Jump Rope Kingdom

Told by Mary Hamilton

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hamilton-jumprope

About the Story

hamilton2Many years ago, while sitting at the kitchen table of my storytelling friend and colleague Cynthia Changaris, I told her I felt it was way too easy for me to remember times when I had felt wronged, and I wondered what I would tell if I wanted to capture a time when I had been treated with great kindness.  Immediately the memory, “When I was in first grade, an older girl, Anna Jo Hinton, taught me how to run into the jump rope” sprang to mind.  Of course such a brief memory does not a told story make, so I had work to do.  Why questions — Why do you remember this? Why did it matter then? Why does it matter now? – were followed by the challenge of finding words to show what happened and why it mattered, instead of directly saying to the audience “I want to tell you about an act of kindness I have never forgotten.”

About Mary:

You can read more about Mary’s development of “Jump Rope Kingdom” from the briefest of memories into a tellable tale in the family folklore section of her book, Kentucky Folktales: Revealing Stories, Truths, and Outright Lies published in 2012 by University Press of Kentucky, available both from the publisher and on Mary’s website www.maryhamilton.info. Mary’s book is unusual because it not only contains stories retold and tells where they come from, but each tale is followed by an essay that provides additional information about the story while also commenting on some aspect of the art of storytelling.

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Why we need fairy tales

By Laura Packer

packerThe recent resurgence in fairy-tale based media, such as movies (Hansel and Gretel, Sleeping Beauty), TV shows (Once Upon a Time, Grimm), literature (Kelly Link, Neil Gaiman, Bill Willingham, and others), and games (The Path) makes it clear that these stories have deep resonance in our culture. But what is it about them that drives us to them, over and over again, when we are being bombarded with so many new kinds of stories all the time?

Fairy tales endure because they are, at their most basic, the stories of our lives in their most stripped down form. They are stories of love and loss, desire and death, riches and ruin. They are the unadorned stories of what drive us, without the civilizing details of technology and manners. They teach us how to survive in this wily and wicked world. They are a shortcut to a common understanding of the way the world works.

I love fairy tales. I grew up hearing Grimm’s stories, not from books, but passed down to me by my mother from her mother from her mother, through the oral tradition. I went on to read as many fairy tales as I could find and earned my degree in them. I love the mystery and magic, the possibility and even the moralizing. I learned how to solve problems, trick my way out of dangerous situations and see beyond the obvious.

As a storyteller, I know if I tell a fairy tale or a story structured like one, my audience will understand what I’m doing and come along for the ride. They are a common cultural language, with familiar symbols and pathways, that let us connect more easily with one another.

Fairy tales are potent for retelling and healing. When we tell the story of our own broken youth, we can tell it as a fairy tale and make it easier to both state and hear. We can talk about the dark and process those experiences without frightening ourselves any more.

Fairy tales help us understand that the values of once upon a time aren’t so different from our values now. We still yearn for love, for fiscal comfort, for a better life for ourselves and our children. We want to overcome the ogres, move to better pastures, be cared for as best we can. If those values, carried across time, still endure, then perhaps values across cultures can be similar as well. Fairy tales help us break boundaries of time and culture.

And fairy tales feed our imaginations. The wondrous is matter of fact in these tales, so we are encouraged to look for wonder in our own lives. We are given permission to see the world as one of possibility. Einstein said “Imagination is more important that knowledge”. If you believe that, as I do, then fairy tales are one of your most potent tools to feed your imagination.

It’s important that we keep these stories in circulation, even the disturbing ones, because they tell us so much about what it is to be human. They allow us to talk about dark and scary things through metaphor (how many wolves have you met today?) and find ways through the woods in the safety of our own homes. They help us understand that yes, there is a woods, and yes, there is a wolf, but if we are wise or kind or clever, we will survive. They offer us unexpected solutions to the oldest problems. They remind us that strangers can offer kindness when we are kind in return. They teach us that we do not need to be alone.

(c)2012 Laura S. Packer
This article was originally published in a slightly different form at truestorieshonestlies.blogspot.com. Please do not reproduce without permission.

About Laura

Laura Packer knows that the best way to the truth is through a good story. Whether folktale or true, epic or flash, her stories captivate and amuse audiences around the world. Laura has told, taught, ranted, raved, consulted and considered storytelling around the world. When she isn’t telling, she runs venues, coaches, writes, and helps people and organizations find their stories, hone their vision and use their voices to make the world a better place. For her story and more, go to www.laurapacker.com. For her blog go to www.truestorieshonestlies.blogspot.com. And to learn more about her organizational storytelling work go to www.thinkstory.com.

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Ballinamuck

told by Yvonne Healy

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healy

healyFamily was a blue envelope crinkly thin as onion skin. My mother sliced it with a butter knife careful to preserve the criss-crossed messages of love held inside.  My uncle was the sweet, rank aroma of a brown box stuffed with shamrock plants grown moldy on the transatlantic mail voyage. Granny was an Irish Sweepstakes lottery ticket, race run and prize lost before my birthday gift arrived. Photographs were too costly for Irish incomes. Instead we exchanged “holy cards,” pictures of saints, to mark weddings, funerals and births. My friends dined on grandmother’s roast chicken each Sunday and holiday. Summertime was when Granny fed me boiled sweets with cuddles. (To my knowledge, she never cooked. Cuddling was more important.) Sprouting like weeds, cousins changed enough that each visit we circled like dogs meeting for the first time.

My family is not remarkable. But I’ve discovered that many people like to hear about our idiosyncracies and attitudes because we’re Irish. Maybe it’s because most Americans are of Irish descent or are close to people with Celtic ancestry. In this story, I wrap memories around an old chestnut to share my family with you.

Sin é. That’s it.

About Yvonne

Yvonne Healy is the premier traditional Irish storyteller in the USA determined by the Republic of Ireland’s authority on culture and language.

Invite Yvonne to your neighborhood. Yvonne finds home stays cozy, driving relaxing and sharing stories fulfilling. Workshops reveal the secret bounty of public domain Celtic stories, develop performance skills, and uncover easy ways to shape stories and family history. Programs are tailored to each audience: urban slam, school residency, town festival, chic regional theater, church basement or book nook.

Purchase CDs “Blarney” and “Heart of the World” at www.IrishStoryteller.US. Keep eyes peeled for Yvonne’s Ghost Stories due Halloween 2013.

Note: Yvonne was chosen to perform this story at a regional showcase at the 2012 National Storytelling Conference, after which she joined the Board of the National Storytelling Network as the North Central Regional Director.

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200 Years of the Brothers Grimm: Profiling a Successful Event

By Katie Knutson

Katie KnutsonIn the New Voices column in Storytelling Magazine, I have been focusing on making connections between the storytellers we often see at NSN events and the younger adult tellers out there, who do not find their way to our festivals and conferences. On November 11, 2012, adults of all ages packed a sold-out room in Minneapolis to hear stories. These were not the edgy, Moth-style, personal stories many think of when they imagine young listeners. Nor were these the family-friendly tales that fill many storytelling festivals. These were four tales from the Brothers Grimm – two that many had heard, and two tales that Jack Zipes had recently translated into English for the first time.

With a $20 ticket price and limited marketing, one might assume that the audience would have been solely the existing members of the storytelling community, but that was not the case. The audience varied greatly in performing experience, exposure, styles, and applications. Two dancers in their twenties who had just discovered storytelling sat near 30-year veterans of the art; all were there to celebrate “200 Years of the Brothers Grimm.”

Jack Zipes shares background information before introducing a teller. Photo by Kay Kirscht.

Jack Zipes shares background information before introducing a teller. Photo by Kay Kirscht

What was it about this performance that made it universally appealing to so many different people? A large part of it was featuring the well-known and respected local talents of Kevin Kling and Jack Zipes. Part was bringing in Megan Wells, a regional teller who has been building a local following. Part was the commitment to a specific body of work and area of study. Part was the excitement built with occasional email or Facebook updates sharing the declining number of available tickets. Part was the atmosphere: the elaborately painted banquet space of The Black Forest Inn, an authentic German restaurant, filled with story lovers. The producers invited ticket holders to come early for a special themed dinner menu that included blood sausage and black bread, turning the night from a performance only to an evening-long event. Storyteller Barbara Schutzgruber heard the buzz from Ann Arbor, Michigan and flew in for the night. She said, “It was a once in a lifetime opportunity to hear those stories in that setting. It was definitely worth it!”

The evening’s curator and host, Loren Niemi, introduced Jack Zipes, who gave us an introduction to and context for each tale. Each of the four performers told one of the Grimm stories, followed by a variant. The evening included Leif Jorgensen and Maria Asp, two teaching artists from the Children’s Theater Company. Their fast-paced, informal styles contrasted nicely with the seductive, deliberate style of Megan Wells and the jocular, honest and personal style of Kevin Kling. Audience members, engrossed in conversations, lingered after the evening concluded. These 90 people, whether they realized it or not, were advocating for the relevance of folklore in the present.

What events have you produced or attended that drew in young and old alike, or that attempted to reach a broad audience and succeeded or failed? What do you think led to that result? Please share your experiences here!

About Katie

Katie Knutson has spent more of her life as a storyteller than not. She holds a degree in Theatre and spends her days working in schools using theater and storytelling to teach literacy, playwriting, acting, improvisation, and teamwork. She leads a variety of workshops for adults, including voice and movement, and has served extended terms on the boards of Northstar Storytelling League and Northlands Storytelling Network.

Contact Katie

Website: www.ripplingstories.com
Email: stories2teach@gmail.com

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His True Name

told by Jo Walter

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His True Name came from a NonViolent Communication workshop via Marcia Christen. Her version tells of the boy’s “song”, but somehow I remembered it as his “name”. It makes me think of the sacredness of naming, and how in some cultures a name is given to you at important moments in life. I was raised Catholic and got a name at my confirmation ceremony. I told it first at the Seattle Folklife Festival. A woman in the audience asked to use the story to share with a judge – on behalf of her son who was about to be sentenced. Wow. I’d like a world without judges and jails. I’d like a world where we felt strong connections with others who loved us – and where we all actively supported each other to be the best people we could possibly be.

About Jo

Jo has combined storytelling for kids and adults in teaching and social justice work for more than 20 years.  Her teaching mission is to inspire imaginations through the spoken word. “In our culture where images arrive fast and furious from television screens, our imaginations blossom when we are invited to make up our own pictures by listening to the words in a well told tale!”  Her social justice mission is to help us all imagine and believe in the possibility of a just and peaceful world.

Contact Jo

www.JoWalter.org

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