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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“My Shidech” (My Match)

told by Noa Baum

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Noa Baum

baum“So… how did you two meet?”

For years I’d been telling the story around the dinner table about my American blind date. But it took me 20 years to craft it for telling before an audience.

Just because something happened doesn’t make it into a story worth telling. To be accessible to others, a story needs to be crafted to serve some connection to the universal. My dinner table banter was somewhat entertaining, but I couldn’t figure out the path to anything meaningful.

Then one day I was diving into the Well of Wisdom that is our storytelling community – talking with the wonderful teller Megan Wells about heroes and fools. She helped me see that when we allow ourselves to be the fool – we raise the potential of a story to offer that valuable universal wisdom that transforms an anecdote into a story.

I was stuck because I’d been telling the “how we met” story about worldly, sophisticated me vs. him, the nerd. But the minute I could laugh at myself, I was able to gain some distance from the events. When I allowed myself to be the fool, the (funnier and accessible) story fell into place.

Noa tells this story in her show “Impossible to Translate But I’ll Try – True Life Israeli Stories” that will be featured at the 2014 NSN Conference Fringe.

About Noa

Born and raised in Israel, Noa Baum performs internationally with diverse audiences ranging from the World Bank, prestigious universities and congregations, to inner city schools and detention centers. She offers a unique combination of performance art and practical workshops that focus on the power of narrative to heal across the divides of identity. She lives in the US since 1990, was recently voted by Washington Jewish Week as one of 10 most interesting local Jews, and her new recording, “Impossible To Translate But I’ll Try” won a 2014 Storytelling World Award.

Contact Noa

Website: www.noabaum.com

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Giving the Games Away

by Pat Nease

neaseI spent a year in Vietnam (Aug. ’66-Aug.’67) working with the Red Cross SRAO Program.  Our job with the military was to build morale and be a touch of home, but as you can imagine we needed to interact with the troops in some sort of structured environment.  So we created portable programs of activities and games. Every day we hopped a chopper and, in pairs, flew out to remote fire bases. We’d arrive with our satchel of tricks, the guys would gather in a tent and then we’d launch our activity (how to read your palms, hand writing analysis, etc.) or play a game.  A game usually meant dividing the men into two groups (all the games were designed for large groups. In a tent. With little space for movement.) and might be based on TV shows such as Jeopardy or What’s My Line? or be a huge board game of Concentration (the one with Playboy Bunnies was very popular) or whatever we devised. We were always either learning a game or making one up.  We played games about everything: sports, geography, trivia, movies, movie stars, fish, cars, food, animals, songs, music, musicians, TV shows, history, advertisements, and fairy tales.

For just a little while we were somewhere else, involved in something besides bullets, bandages, and jungle rot.  It gave the guys something to look forward to the following week – if we could get to them.

I wish I’d been a storyteller then.  I think we’d of done a good bit of sharing and swapping.

Returning home, I spent 36 years as an educator.  I wanted to always give the students a good reason to get up in the morning and come to school.  I used games again.  Rather than rote memorization of states and capitals, get a giant outline map and make it a game.  Challenge the class across the hall.  Play multiplication baseball, applaud at the homonym bell game.  Celebrate Crazy Hat Day.  Play What’s My Question? Present The Weekly Reader News (complete with advertising and weather.). Guess the idiom. Post the weekly riddle-rhyme challenge for Hinky-Pinky.  Hey!  Who wants to find out what it’s like to eat a worm?  List three possible uses for this object. Guess what’s in the bag.

Learning, cleverly camouflaged as games, is a win-win because we learn by doing, by applying, by figuring out, jumping in and taking part.  We’re often surprised by ideas and stories triggered by our participation in something out of the ordinary.

Now days games have pretty much left the classroom. There’s no time. Everyone is on a lock-step curriculum so that no matter where you move in the USA, you can join a new class and be exactly where you were in your old class.  And free play?  No.  Kids cannot be left to their own devices. Someone might get hurt. We’ll be sued. Structured play. That’s what we need.  Line up here.  Play this.  Play it this way.

Ugh.

I don’t believe we ever outgrow our love of games.  Those included in this workshop were gleaned from talented tellers and story coaches including Olga Loya, Mary Hamilton, Doug Lipman, Len Cabral, Anndrena Belcher (who introduced me to my first storytelling activity) and others. They were found in books, played during workshops, adapted from commercial games, and learned at conferences.

I invite everyone to come; play again. Stretch a little, have some fun, and leave with something new to try at home.

About Pat

Pat is a three-time winner of Florida’s Liars’ Contests.  Or at least that’s what she says.  Who can believe such a liar?  In addition to her wide array of folk, family, original, and bone-chilling tales she offers a variety of workshops including “What’s So Funny?”  “Creative Soup,” and “Building a Whopper.”  Information about these and other workshops are available on her website.

She currently serves as secretary of the Florida Storytelling Association and as the NSN Florida Liaison. She is the recipient of FSA’s Lifetime Achievement Award and NSN’s Oracle Award. Or so she says…

Contact Pat

Pat Nease
4435 Pratt Avenue
Panama City, FL 32404
Phone: (850) 871-0165
Cell:  (850) 814-2616
E-mail:  patnease@patnease.com
Website:   www.patnease.com

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Branding: It Doesn’t Have to Hurt!

by Simon Brooks and Karen Chace

“A brand name is more than a word. It is the beginning of a conversation.”  ~ Lexicon

For some, the concept of branding is synonymous with marketing. Yet, what many fail to realize is that branding comes before marketing. Branding is a separate piece and it should be the first piece.

Despite what many believe, a brand isn’t just about your logo, tagline and glossy brochure, but rather integrates these numerous components, including customer contact, your business philosophy and marketing details. Branding tells us, and our clients, who we are as a business or organization. It’s about our image, what we do, our ethics, and how we present ourselves to the world. Whether you are running a company with multiple employees or the CEO of your own storytelling business, you need to think about your brand.

If you already have a brand, has it changed through the years? Brands should evolve if our focus changes.  We might start out telling to young children but later, find our emphasis shifting to environmental stories. Change has to do with perception, fashion, management, needs, or personal choice. Although Starbucks has transformed its logo over the years, we still recognize it, from the brown, full bodied, twin-tailed siren, with the company name embedded into the logo, to the green, unembellished green version of her face and hair and no text. Even without the name emblazoned on the logo we still know the product is Starbucks. This strong, brand recognition didn’t happen overnight, it took time. The logo was the entry point to the brand, which was then marketed to the masses.

You see a photo of Jason Mraz and know him by his iconic pork pie hats.  We recognize Nike by the ‘swoosh’, and Coca-Cola by its swish!  You immediately identify the product and the company from their logo. However, be aware that ‘brand’ and ‘logo’ are two different things.  The brand is the overall image a business, product or person projects and the logo is part of that brand.  Other specifics make up a brand:

  • typeface/fonts
  • color schemes
  • design styles
  • taglines
  • mission statement

For example, in the taglines “Just Do It” or “I’m Lovin’ It,” all those things come together to make a ‘brand’.

Simon’s CD’s have their own separate ‘brand’ with the circle image and typeface along with their overall style and presentation. Originally, Simon’s letterhead was a cute watercolor picture he painted.  When he moved from performing primarily for children and families, to also working in colleges, with adult audiences and businesses, he changed the letterhead to reflect that additional focus. The watercolor was dropped and he adopted a more serious black panel with his name in white letters. Another part of his ‘brand’ is the apple crate he brings to his performances. Initially, it began as a simple way to carry his gear and have something to place his glasses and notes. His bodhrán and backdrop are also part of his ‘brand’!

Story-by-Story-BackdropKaren’s brand entry point is the ladybug. Her brochure, business card, website, and blog all use the same font, color scheme and graphic; even her gig bag is decorated with ladybugs. For performances, Karen uses a hand painted backdrop, which also has a ladybug incorporated into the picture. The ladybug, along with her tagline, “Catch the Storybug,” has become part of her brand.

Your brand is telling people the story of who you are, what you do, and sometimes, how you do it. Your brand is YOU!

Take a look at yourself and what you do. Look at what others think you do. Do you have a brand or identifier?

Need some help? The workshop we are presenting, ­Branding: It Doesn’t Have to Hurt, at the National Storytelling Conference in Arizona this July can help you sort it out. Come and get branded. Trust us, you won’t feel a thing!

About Simon and Karen

brooks-simonAward-winning, British storyteller Simon Brooks began storytelling to groups and family audiences in 1991 in England, becoming a professional teller in 2003 in American.  Born in England and making many trips in and out of Wales, Simon was raised on traditional tales.
Simon combines the intensity of a solo performance with the intimacy of a face-to-face conversation whether live or on his recordings. Simon’s love of his work is as inherent as his love of stories and this carries over into his workshops, teaching and sharing of skills with anyone wanting to learn the multiple facets of being a storyteller.

chaceKaren Chace’s introduction to storytelling in 1999 was pure serendipity! Since then she has been sharing stories professionally and in 2002 founded The Story Explorer’s, a student storytelling troupe, and has taught the art of storytelling to over 500 students. She is the 2009 recipient of the LANES Brother Blue-Ruth Hill Storytelling Award and the 2011 National Storytelling Network’s Oracle Service and Leadership Award/Northeast Region. Her book, Story by Story: Building a Student Storytelling Troupe, published by Parkhurst Brothers, will be available July 2014. Karen’s greatest joy is helping students succeed in ways they never imagined!

Contact Simon and Karen

Simon Brooks
Website: http://www.diamondscree.com/

Karen Chace
Website: http://storybug.net/
Blog: http://www.karenchace.blogspot.com/

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The Prism of Performance: A Storyteller Looks In

by Elaine Muray

murayAt the end of July, I will have the honor of providing a workshop at the 2014 NSN Conference entitled: The Prism of Performance: Bringing Light and Color to the Stage.  This workshop, designed for all levels of tellers, will help them to learn some staging techniques, tricks, and exercises used by by some of the best stage performers. Ever since I can remember, I have wanted to move…whether it be dancing, cheerleading as a teenager, or my love of performances which use the full scope of the body to communicate intention. My influences primarily come from the stage of physical theater, with my biggest influence coming from Eastern European theater, which use the full palette of tools in their work. Specifically, my biggest influence comes from the Caucuses and the work of Georgian performer/director Paata Tsikurishvili (artistic director of Washington, DC’s Synetic Theater), whom I’ve worked with for over 15 years. Paata’s collaborative approach and his insight into how and when to best incorporate physicality, has been one of the greatest gifts I have received as a performer.

If you are looking for new ways to approach your work, the workshop will cover areas not often covered in the storytelling art form. We will cover space, timing, texture, rhythm,  prop management, and much more. This is not a mime workshop, but rather an opportunity to discover how to use your body and the stage in the most efficient way, so as to best move your story forward.  The workshop is designed to work with all levels of physicality as well as experience in storytelling. Time permitting, participants will be able to share snippets from their work, and receive input from the collective experience of some of the best.

I am looking forward to sharing the gifts I have received in my own development as a storyteller. Won’t you join me on stage?

About Elaine

Elaine Muray integrates movement and narration to deliver tales from around the world as well as personal stories.  She has performed at the Australian Storytelling Festival, the Northlands Storytelling Conference and the Jemez Storytelling Festival. In 2008 was chosen by her then Pacific peers to perform at the NSN All Regions Concert, representing the 5-state Pacific Region. Elaine has been directed by some of the best in physical theater, including Tony Montanaro and James Donlon.  The majority of her work is a result of over 15 years directing by the director of Washington, DC’s Synetic Theater, Paata Tsikurishvili, who hails from the country of Georgia, and whose “mark” can be seen in most of her pieces.

Contact Elaine

Website: www.embodiedvoicestoryarts.com
Email: emuray@embodiedvoicestoryarts.com

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