Out of the Tunnel and Into the Light of Peace

by Liz Weir

LizWeirI have lived in Northern Ireland all my life. The first 18 years or so were uneventful. I was lucky enough to grow up in a house where stories were told. Many were about my family’s adventures in India during the late 1930’s when my father was a career soldier and of course I heard lots of true stories of the Second World War. Going to an all Protestant state school where we learned mostly British history I had no sense of my “Irishness”.

In 1969 everything changed, not just for me, but for all the people in my country. I started university in Belfast and that autumn saw the start of the Civil Rights Movement and then, sadly, a cycle of violence, of bombs, shootings and mayhem that was to last for the next 30 years. Living in Belfast I saw first-hand the results of carnage and when I became Children’s Librarian for the city I ventured into places most people in my town only heard about in news headlines. I met people of all shades of political opinion and learnt that blood is the same color on both sides of the religious divide. I met widows and bereaved children who wept the same tears. I told stories in jail to men whom some hailed as heroic freedom fighters and others regarded as terrorists and murderers.

Following the Good Friday Agreement in 1998 the stage for set for a peaceful resolution to “The Troubles”. Those political prisoners were released no matter what their crimes,and in fact many have since gone into politics here and hold important positions. But all of this has left a legacy. Within our community there are ordinary people who still carry hurt, secrets and pain. For them there is no moving on and there can be no justice or peace as long as the killers of their relatives go free, whether those are civilians or members of the security forces.

So, how can stories help? If people take the time to listen to another’s story they are paying them respect. Even if the other person holds views which are diametrically opposed to our own, the very act of listening to their stories is important. It acknowledges them as members of a shared society. In post-conflict Northern Ireland other prejudices are emerging – racism, homophobia. There is still much work to be done to build a new future for our children but to do so we have to acknowledge what went on in the past. History cannot just be air-brushed.

Over the years since 1969 I have listened to thousands of stories, stories which have helped me develop more fully as a person able to understand those whose beliefs are very different from my own. In my workshop in Phoenix I hope to explore practical ways in which the sharing of difficult stories can be encouraged and supported.

We in Northern Ireland are indeed emerging, blinking, into the sunlight of peace.

About Liz Weir

Liz Weir is a storyteller and writer from Northern Ireland who has told her stories to children and adults on all five continents. She has appeared at major international festivals including the National Storytelling Festival and the Australian National Storytelling Festival. Liz Weir was the first winner of the International Storybridge Award from the National Storytelling Network which cited her “exemplary work promoting the art of storytelling within Ireland and between other countries.

Contact Liz

Website: www.lizweir.net / www.ballyeamonbarn.com
Email: liz@lizweir.net
Phone: + 44 7703 440558

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Planning your First Storytelling Residency

By Katie Knutson

Katie KnutsonAre you ready to dive into the world of school residencies? If so, here are a few tips that will make the walk to the diving board and the plunge a little less shocking.

There are two major models for residencies that I use: the pre-packaged residency and the co-created residency. They each have benefits and drawbacks.

The pre-packaged residency has a set curriculum that you can bring from one classroom to another without changing it. You write the lesson plans and learning objectives and create any necessary handouts beforehand. Since you can focus on one specific strength of yours, it is often easier to start with this kind of residency. The range of topics could vary greatly, from Historical Fiction to Bullying. These residencies make life really easy for teachers and administrators because they don’t necessarily need to be involved in the planning process.

The co-created residency is one that you create directly with the teachers. It requires more planning time and will be customized for each classroom. One teacher might want to create a play based on Cinderella, while another wants to teach Science vocabulary. These residencies include embedded professional development for both the teachers and teaching artist. Co-created residencies also have a better chance of being repeated by the teacher in the future, as the teacher will be viewing herself as a learner and be personally invested in the residency and its success. This process requires a substantial knowledge of appropriate activities and stories to teach a variety of subjects.

Planning

Make sure to allow sufficient planning and evaluation time with the teachers. I prefer to have two meetings before the residency begins. In the pre-planning meeting, we iron out logistics, I share what I do, and we begin brainstorming. In the second, we set goals for the residency, scaffold what each session might look like, and create a detailed lesson plan for the first class. Ideally, I schedule one planning session for each class I teach. This is not always possible or necessary, but it is good to get it in the calendar early.

Evaluation includes the assessment of three things: each classroom session you have taught, the students’ learning, and your performance as a teaching artist. In each planning meeting, I spend the first few minutes getting feedback on the previous class and troubleshooting any problems before planning for the next session. In order to know what the students have learned, it is necessary to assess them before and after the residency. This does not necessarily mean a written test. You can look at work samples before and after, comparing growth in specific areas such as character development or the use of details. You could ask students to use their bodies to make things, like the main character of a story you just told or an organism you are about to study, and count how many can do it. Talk to the teachers about other creative ideas for assessments. Ideally, most residencies will end with some kind of a final performance or product.

Every residency is different, and no residency will go exactly as planned. Remember to have fun and love those kids, and you’ll do just fine. Please share your success stories and failures, as well as any tips you have for first-time residencies in the comment section below.

Here are some additional resources:

Artful Teaching and Learning Handbook: you can download it for free or order a printed copy for $30
http://www.mcae.k12.mn.us/index.php?section=outreach_publications

Teaching Artist Handbook, Volume 1: Tools, Techniques, and Ideas to Help Any Artist Teach by Nick Jaffe, Becca Barniskis, & Barbara Hackett Cox

Books that include Stories and Lesson Plans or Discussion Ideas:

  • Beyond the Beanstalk: Interdisciplinary Learning Through Storytelling by Lynn Rubright
  • Literacy Development in the Storytelling Classroom by Sherry Norfolk, Jane Stenson, and Diane Williams.
  • The Moral of the Story: Folktales for Character Development by Bobby and Sherry Norfolk
  • Once Upon a Time: Storytelling to Teach Character and Prevent Bullying by Elisa Davy Pearmain
  • Social Studies in the Storytelling Classroom: Exploring Our Cultural Voices and Perspectives by Jane Stenson and Sherry Norfolk
  • Speaking Out: Storytelling and Creative Drama for Children by Jack Zipes
  • The Storytelling Classroom: Applications Across the Curriculum by Sherry Norfolk, Jane Stenson, and Diane Williams.
  • Storytelling and QAR Strategies by Phyllis Hostmeyer and Marilyn Adele Kinsella
  • Tales with Tails: Storytelling the Wonders of the Natural World by Kevin Strauss
  • Write Right!: Creative Writing Using Storytelling Techniques by Kendall Haven

 

About Katie

Katie Knutson is a Storyteller and Teaching Artist based in Minneapolis. In addition to writing or curating this column, she performs regularly, leads workshops for storytellers and teachers, and spends time with her kindergartner. She is the Storyteller-in-Residence/Arts Integration Specialist at Folwell K-8 School. More at www.ripplingstories.com.

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Creating Personal Stories: From Cloud to Lightning!

by Doug Lipman

lipmanIn January, 2013, I had a problem. My week as Teller-in-Residence at the International Storytelling Center was coming up soon, and the stories I wanted to tell there – an hour of stories about my parents – didn’t yet exist! How would I create and polish them in so short a time?

Always the optimist, I began talking to my principal storytelling coaching buddy, Jay O’Callahan, about what I wanted to communicate about my mother and father.

“Even though they’ve both been dead for years, their influence remains in everything I do,” I found myself saying. “For example, I was coming home last week in the snow. I saw how beautiful our front door looked, decorated with the snow-crowned Christmas wreath my wife Pam had chosen. Then I saw the Jewish mezuzah next to the wreath, on the doorpost; it had a crown of snow, too.” (A mezuzah, by the way, is a container for a small scroll from Deuteronomy, placed on the doorpost of many Jewish homes.)

“Suddenly, I saw the house I grew up in, near Chicago. Even though my father was Jewish, we always had a Christmas tree in one window – but this year my Christian mother had bought a tacky electric menorah and put it in the other front window. I never understood why she thought we should have a menorah. We never celebrated Hanukah.”

I paused a moment, as I remembered something. “You know,” I said, “the snow-covered mezuzah I noticed last week was a gift from my Christian minister wife. It was a significant gift, because it said to everyone who came to our house—including the members of her church—’A Jew lives here.’”

Suddenly, my eyes filled with tears. I told Jay, “I just got it! My mother couldn’t articulate it, but her menorah said, ‘A Jew lives here.’ What a thoughtful gesture toward my father—and I never understood it until now.’”

Jay made some very appreciative comments, then asked me to tell him more. I told him some of my unformed memories about growing up with one Jewish and one Christian parent. Before I knew it, my mind was combining those early memories with the moment of noticing the snow-covered wreath and mezuzah. In less than a week, I had a solid draft of a new half-hour story, “My Mother and the Menorah.”

Lightning Strikes Twice. And More.

Two weeks later, I began brainstorming more memories with Jay, including the time I convinced my 91-year-old father to have a biopsy, after his chest x-ray had shown what was almost certainly cancer. After Jay gave me some appreciations, I told him a new thought: “You know, the techniques I used, to get my Dad to stop being so anxious, were really techniques I had learned from him as a boy!”

Within minutes, I had outlined a new story composed of an episode about how my Dad had taught me when I was a child, the episode about the lung cancer, and additional episodes required to get from the childhood key moment to the adult key moment.

Soon, I found myself creating story after story from memories that had just been “things that happened” and were now becoming the core of some very meaningful and entertaining stories. I ended up with two and a half hours of material – and ideas for a half-dozen more stories that I didn’t have time to develop!

What Had I Discovered?

Although the stories came quickly, the understanding about my newly discovered story-creation technique came slowly. In the fall of 2013, when I was deciding what workshop to propose for the 2014 National Storytelling Conference in Phoenix, AZ, I asked myself, “Is there something new I can teach, based on how I created all those stories so quickly?”

After some thought, an image came to me: those raw memories (e.g., of my mother and the menorah and of my father and his biopsy) were a lot like clouds: shapeless yet filled with emotional charge. There was emotional energy in them for me, but that energy was static, unable to flow from the cloud to a listener.

Once I found that second episode, though (e.g., the moment of seeing the wreath and mezuzah in the snow, or the way my Dad had taught me to listen and praise) the energy began to flow. The second episode became like a lightning rod, conducting the emotional energy, focusing the story’s meaning, and producing a clear story line.

I’ve come to call this approach to creating personal stories “From Clouds to Lightning.” I’d be interested to know if anyone else has come up with a similar approach.

© Doug Lipman – Adapted from Doug’s free email newsletters

About Doug:

Storytelling coach Doug Lipman is the creator of the acclaimed Storytelling Workshop in a Box – the one-of-a-kind, 37-lesson, comprehensive, audio-plus-print storytelling workshop that comes to you. Doug also offers free articles and other resources, listed at www.storydynamics.com/lists, to help you become a transformative artist and integrate storytelling into your work life – including how to market your teller by creating a supportive community around you. His monthly “eTips from the Storytelling Coach” has subscribers in over 60 countries. Don’t miss working with Doug live at the 2014 National Storytelling Conference, July 24-27, Phoenix/Mesa, AZ – http://www.storynet.org/conference/index.html.

Contact Doug:

Website: http://www.StoryDynamics.com
Email: doug@StoryDynamics.com
Phone: 1-855-LIPMAN-1 (1-855-547-6261)

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Remembering Marilyn Monroe

© 2014  Kate Dudding

duddingYou remember Marilyn Monroe, right? It seemed to me that there had been so much publicity about her, that I had to know everything there is to know about her. However recently I was very surprised to read that Marilyn Monroe had changed Ella Fitzgerald’s life by making a phone call. Did any of you know that? OK – so I’ll tell you the story.

It started in 1953, as Marilyn was preparing for the film “Gentlemen Prefer Blondes,” a musical. She was advised by her vocal coach: “Buy Ella Fitzgerald’s recording of Gershwin songs and listen to it a 100 times.”

Marilyn wasn’t really into jazz at that time. But she became a fan of Ella Fitzgerald’s by listening to her record, over and over.

marilynmonroeMarilyn went on to star in several other smash hits including“ The Seven Year Itch” you remember, where she wore that white halter dress and stood on top of a subway grate to get cool one hot summer night. AND Marilyn continued to buy and listen to records by Ella Fitzgerald.

Finally after two years of listening, in 1955, Marilyn just had to make that phone call. Marilyn was now 29 years old and a Hollywood superstar. Ella was 38 and, after 20 years of performing, was still singing in small, second rate jazz clubs – you know, dingy places with sticky floors where the air reeks of smoke and spilled beer at the beginning of the evening.

It was 1955 when African Americans rarely sang in the first rate jazz clubs. In fact, when traveling they had difficulties finding hotels where they could stay and restaurants where they could eat. It was 1955 when Rosa Parks sat down in the front of a bus in Montgomery, Alabama. It was 1955 when 14 year old Emmett Till was brutally murdered in Mississippi for speaking to and, perhaps, whistling at, a white woman.

It was 1955 when Marilyn changed Ella’s life.

Marilyn called the owner of a Hollywood nightclub, the club that Clark Gable, Charlie Chaplin, Humphrey Bogart and Lauren Bacall frequented, the one where Frank Sinatra had made his Los Angeles debut in the 1940s.

It was 1955 when Marilyn told the nightclub’s owner:

“I’ve never seen Ella Fitzgerald perform. I want you to book her for a week immediately.”        

“You know I can’t. She’s black.”

“If you do, I will take a front table every night. The press will go wild.”

“I’ll do it.”

marilynmonroe2Marilyn kept her word – she was there, at a front table, every night. The press did go wild.

Ella later said, I owe Marilyn Monroe a real debt. After that, I never had to play a small jazz club again. She was an unusual woman – a little ahead of her time.

As you probably know, Ella went on to have a long career – singing in all the first class venues – thanks to Marilyn.

As you probably also know, Marilyn did NOT have a long career. After 1955, she made the movies “Bus Stop”, “Some Like It Hot” in addition to several others.

In 1962, Marilyn gave her last interview, just several weeks before her death at age 36. Marilyn pleaded with the Life Magazine reporter: “End the interview with what I believe.”

He, or his editor, didn’t. Instead, the article ended with Marilyn talking about fame: “If fame goes by, I’ve always known it was fickle. So at least it’s something I experienced. But that’s not where I live.”

Here’s how Marilyn wanted that article to end – here’s what she believed:

“What the world needs is a real feeling of kinship. Everybody: stars, laborers, Negroes, Jews, Arabs. We are all brothers.”

Did you know that was what Marilyn believed??? Me neither.

Now I wonder what else we don’t know about Marilyn Monroe.

About Kate

A storyteller and a producer of storytelling events, Kate specializes in true stories about people who made a difference. She firmly believes in this Norwegian saying:  “It is the duty of the present to convey the voices of the past to the ears of the future.” Don’t miss Kate’s workshop at the 2014 National Storytelling Conference, July 24-27 in Phoenix/Mesa, AZ: “People Who Made a Difference: Stories of Fire and Light.” This workshop will focus on how to find inspiring historical people, research their lives, and create memorable stories about them.

Contact Kate

Website: http://katedudding.com/

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Bringing Old Tales to Light

by Priscilla Howe

howeWhat is that? See it, down there, under ages of dust and grime, just a glint of gold? Pick it up, use your shirttail to wipe it off. Wow! What a marvel! Needs a bit of cleaning, polishing, maybe a small repair or two, but it’s all there, a new story from the depths of tradition.

I’ve found great satisfaction in bringing old stories to light, specifically (though not limited to) long-form traditional stories. I started with Tristan and Iseult, not a terribly obscure story but one that is rarely told. In a remainder bin at a bookstore, I’d found a paperback edition by Joseph Bédier. One day while casting about in my office for a new story to tell, I picked it up and read it in one gulp.

Despite an archaic quality to the written language, I fell in love with this epic tale of good luck, bad choices, giants, dragons, fools, betrayal and of course, Romance. Call me fickle, but I later fell in love with another Medieval tale, Queen Berta and King Pippin, and now have a dalliance with Amleth, better known to audiences since the 1590s as Hamlet.

Falling in love with the story, though, is only the first step. From there, we have to go farther, to create a story worth telling and worth hearing. Long-form traditional stories, generally at least an hour long and sometimes much longer, can be a rewarding challenge.

How do you tackle a long traditional story? What are the cultural considerations? How do you craft the language for modern audiences without jarring them or boring them? What do you do with conflicting versions? How do you practice the story? How do you break the work into manageable bits? How do you find the stamina for the performance? Where are the venues for stories like this? Will people really listen? What works? Those are questions we’ll consider in my workshop this summer in Phoenix/Mesa, Bringing Old Tales to Light: Long-Form Traditional Stories.

Many years ago, Liz Warren, Olga Loya and I started Going Deep, the long traditional storytelling retreat, because we wanted to tell long-form stories and play with the questions they raise. We found many storytellers who yearned to tell and hear this kind of deep story, but didn’t know where to start. We found storytellers who already tell long traditional tales and wanted a place to perform them and to talk about the process. We can’t cram an entire retreat into a workshop session, but we can at least catch a glimpse of that gold under the dust and grime. Hope to see you in Arizona!

About Priscilla

Priscilla travels the world with a headful of stories and a bagful of puppets. She has been a full-time storyteller since 1993, after five years as a storytelling librarian. Priscilla is thrilled beyond belief that she has been awarded a Fulbright Scholarship to do folktale research for five months in Bulgaria in 2015. Priscilla also coaches other storytellers (in person and on Skype), writes, hangs out with puppets and is on a lifelong quest for the best restaurant pie on earth (fruit, not cream).

Contact Priscilla

Email: Priscilla@priscillahowe.com
Facebook: https://www.facebook.com/pages/Priscilla-Howe-Storyteller/77498847062
Website: www.priscillahowe.com

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