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by Mary Grace Ketner

Between “Once upon a time” and “happily ever after,” each fairy tale presents a brilliant metaphor for one stage of life.

In the course of a fairy tale, the protagonist leaves a state of innocence to navigate a path through territory dense with risks and challenges. With courage, integrity, and persistence, s/he prevails to reach the goal. People forge such paths in each stage of their lives, too, and they complete the stage successfully only if they display the same qualities. Psychologist Erik Erikson describes the Stages of Psychosocial Development as: Infant, Toddler, Preschool, School Age, Adolescent, Young Adult, Middle Adult, and Mature Adult.

Fairy tales speak most strongly to persons in the same stage of life as the protagonist. When they don’t seem to “work,” it is often because they are being told to the wrong age or stage of listener. Writer Libby Copeland recently complained in Slate magazine, “I hate reading [fairy tales] to my young daughter. The classic versions are too violent; the Disney versions have bad values.” Aladdin, Snow White, Cinderella? Too violent for her 2 1/2-year-old? Of course, they are! Those classics are for teens and young adults, not toddlers! And the Disney version holds the younger crowd not because the story enchants them but because the production dazzles them.

However, the Disney versions fail with teens. In contrast, teens are awed to discover, for example, Grimm’s original Rapunzel: an abused teenager who finds herself pregnant, an unwed mother who searches for years for her beloved, the father of her twins, only to find he also had suffered as a result of their lust and love. Like Rapunzel, teens feel captive in a prison of their parents’ design; they, too, are dealing with issues of sexuality, love and loneliness. They long for a deep, passionate relationship. “Rapunzel” affirms that such a love can happen, that fulfillment can take a long time, and that love and lust are closely tied–just as teens suspected!

So, how can we determine which fairy tales speak to which audience? The best clue is the protagonist’s age. Listeners in the same life stage will find comfort and hope in that story. Is it about a beautiful princess? Tell it in middle and high schools, where beautiful princesses abound. “Hansel and Gretel”? Tell it to elementary children, sheathed in their nuclear families. Does it begin, “Once there was a King…”? Tell it to middle adults. To craft your tale for its appropriate audience, explore the elements of the story which resonate with that stage in life. Consider the protagonist in light of the conflicts, questions, and virtues Erikson describes for his/her stage in life.

And, what about that “happily ever after”? More than just “The End,” it means the protagonist has accomplished the task for his/her stage in life and is ready for whatever comes next. Isn’t that what happiness is?

While we cannot deeply understand fairy tales set in stages of life we’ve not yet journeyed into, we can certainly enjoy tales from the stages we’ve survived. At my stage, I can appreciate all of them!

About Mary Grace

Mary Grace was hooked on storytelling when she learned you get more hugs for telling stories than for talking on the radio or writing a book. A Texas Commission on the Arts Touring Roster performer, she tells fairy tales and other stories at schools, festivals, and events in San Antonio and south Texas. Her book Ganzy Remembers was a Banks Street College selection, and her CD “Ghostly Gals and Spirited Women” received a Storytelling World Gold Award. Mary Grace and Megan Hicks serve as Principal Simpletons at the Fairy Tale Lobby, an NSN Discussion Group and communal blog.

Contact Mary Grace

Website:  www.talesandlegends.net
Blog: http://fairytalelobby.wordpress.com
Email: mgk@talesandlegends.net

by Andy Offutt Irwin

For my contribution to the NSN Blog, I am much too lazy to offer anything different than what I am already working on, which at this time is a book on humor theory.  E.B. White wrote, “Humor can be dissected as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind.”

I am out to prove him right.

When you were casually browsing through your Aristotle, I am sure you came upon this: “Only the human animal laughs.”  Whatever your philosophical bent, let us all agree to agree on that, please, for I know there are those of you who take a Scientific/Evolutionary approach to the origins of humor, and others of you insist on a Creationist view.  But just to keep everyone happy, (or equally offended) and in the spirit of fairness, I will flip a coin to determine with which presupposition to begin. The coin I have chosen for the flipping is a 2005 Commemorative Quarter honoring the State of Kansas. This coin has an American Bison embossed on the back – it is the first appearance of our nation’s official bovine on U.S. currency since the phasing out of the Buffalo Nickel in 1938.  I have chosen this quarter because it is the first one I found in my pocket.

Here goes the flipping: *flip*…

The quarter has come up tails.  Oh, I’m sorry; this is an NSN Blog:  The quarter has come up tales. (Insert favorite emoticon here.)  Therefore we will begin with the Scientific/Evolutionary theory.

Comedic anthropologists agree: minor pains or mishaps befalling one person or a group of persons witnessed by other persons brought on all primitive human laughter. The earliest, most basic language had not reached a sophistication necessary to form a verbal joke; early conversation was elemental, structured merely around the three rudiments of survival: (1) protection, (2) alimentation, and (3) shelter.

Such as…

1. In times of danger:  “Run!”
2. Regarding sustenance:  “Here, try this.”
3. Making shelter:  “Hold this stick while I pound it into the ground with this rock tied to another stick.”

The above number three (3) gave rise to the occurrence of the first intentional laugh, which came in the form of, what we would now call, a practical joke. Administered by a primitive farceur, it was an act of physical comedy, designed to create a situation conducive to an individual coming close to being seriously injured (funny), but not quite to the point of death (not as funny). Anthropologists concur that within the Paleolithic Cave paintings of Lascaux, France, a scene is depicted wherein one person – let’s call him Iocus – is altering the primitive hammer of his friend  – we’ll name him Plumbus.  In the first panel of what may be the first comic strip, Iocus is untying the knot in the rawhide string holding a rock on a stick.  The tying of an object requires tension in the cordage; untying brings about release.

Tension and release. Please hold that blatantly foreshadowed thought. Thank you.

Iocus had gathered all the people in the village to watch Plumbus in anticipation of his attempt to use the altered hammer.  Those who were witness to the event were rewarded for as Plumbus made his upswing, the rock came free. As the empty handle struck the ground, the previously skyward rock began its descent.  Plumbus, astonished, raised the empty stick to his eyes and within a second or two the rock struck him on the head.  All who witnessed the rock flying off the handle fell into laughter, except, of course, for Plumbus, who, himself, flew off the handle. Allow me to confirm your supposition; in the advancement of language beyond its aforementioned elemental-survival form, many linguists feel this event brought about the advent of the metaphor.

Furthermore, when the rock came to rest on the ground, after bouncing twice on Plumbus’s head, the sound it made can be best described as, badda-boom. It is the opinion of this soi-disant socio-lexical acoustician that the retelling of this event saw rise to the use of the onomatopoeia.

Ah, yes:  the retelling of the event, or more is to the point, the telling of this or any event brings on the ability to relive the event.  Retelling, reliving and finding the wit within – by creating tension and release – that is this storyteller’s main gig.

About Andy

Andy Offutt Irwin is a storyteller, whistler, comedian and arts educator who lives in Covington, Georgia.

Contact Andy

Website: www.andyirwin.com
Email: andy@andyirwin.com
For booking call Kay:
336-269-3489
kay@andyirwin.com

by Sue Black

After a recent storytelling program for bullying prevention, a boy broke out of the line exiting the school gym, ran up to me with a smile, and said, “Mrs. Black, thank you! Maybe this will make a difference! Maybe kids will stop picking on me now.” Then he adjusted the oversized glasses lying crooked across his nose and ran back to his place in line.

Yes, our stories can make a difference. They can be valuable, memorable tools in bullying prevention. Stories can be used to start a conversation or move the existing conversation forward. Our stories’ characters can be a touchstone for future discussions.

As storytellers and teaching artists we can develop stories that highlight bullying prevention strategies – folktales and true stories that focus on:

• Tolerance
• Empathy
• Inclusion
• Working together to solve a problem
• Celebrating our unique selves
• Bystanders who do the right thing

But be sure to know before you go:

Effective bullying prevention is long-term, consistent, and integrates the committed efforts of individuals, classrooms, schools, communities, and parents. We can be part of that community commitment – but know that our single storytelling program will not solve the problem.

So consider asking these questions when you receive a call for a storytelling program that focuses on bullying prevention:

• What is the corporate, school, or district policy regarding bullying?
• What bullying prevention program and accompanying vocabulary is used at this venue?
• What can I do to help you?

Ask yourself these questions before you accept the offer:

• Have I done enough research and do I have enough experience to know I’m doing more good than harm?
• What stories will clearly communicate the message I want my audience to remember?
• Is there anything I might suggest and/or leave with my audience to carry the message forward?

Then, present a storytelling program that will be part of the community solution to long-lasting bullying prevention. Know that your focused stories can:

• Build community
• Confirm community commitment to bullying prevention
• Identify and define vocabulary
• Let those who are targeted  know they are not alone
• Inspire and empower bystanders to act
• Teach youth and adult strategies and interventions for bullying prevention
  • for details visit my website at www.youandme-bullyfree.com
• Aid in individual and community healing

As I was packing up after a You and Me – Bully Free storytelling program earlier this year, individual students stopped to talk to me. They couldn’t identify what it was, but something in the stories had resonated with them and they were grateful – maybe even hopeful. Some whispered a quiet thank you. Others offered a hug without saying a word. The last to speak to me that day was a 4^th grade girl. “I found this today, Mrs. Black. I thought I was so lucky to find a nickel. I want you to have it.” Then she held it out to me.

I accepted her lucky nickel. As I slipped it into my pocket I felt very lucky to be in that place, on that day, with those kids, sharing stories I was confident could be part of the solution. As we move forward with stories for bullying prevention, may it be so for all of us.

About Sue

Sue Black is an Olweus certified Bullying Prevention Trainer. She brings energy, enthusiasm, and experience to her unique, well-researched bullying prevention programs. Sue uses stories to communicate and illustrate bullying prevention strategies. She challenges her listeners to become part of the solution in programs that are fun, focused, and fast-paced. Sue’s work covers a wide range of venues and audiences – keynotes, conference presentations, teacher training, parent workshops, classroom meetings, and school assemblies.

A storyteller and teaching artist, Sue’s telling and writing residencies combine her passion for storytelling with her delight in teaching students and their teachers. It’s an awesome combination.

Contact Sue

Bully Prevention Website: www.youandme-bullyfree.com
Storytelling Website: www.sue-black.com