From the Stage. . .
or the Library
Art from Rachel's Perspective
When I carried--or rolled--35 books about adoption from the library, I imagined all the knowledge that would help in my adoption folktale project.
In case of an emergency, my husband is willing to lend me his library card.
I was thrilled when Dr. Joseph Sobol gave permission for me to research for the Storytelling Masters thesis before the Research Methods class in June. As I am attempting to graduate in August 2010, everything will be tight.
No matter what, there is always graduation in December, but I am not that kind of gal. I have the drive and the energy to make my dreams come to pass. Though a journey of this kind is never traveled alone.
The support from my family and friends has been phenomenal. Sometimes I feel like they are personal cheerleaders. My energy level most likely comes from them.
Why choose to "rush" graduation?
My husband and I are uncertain when things may develop for our adoption process. It would be easier to finish the Masters program before all of the exciting adventures of parenthood.
Easier. . .yes. . .but maybe the Lord has other plans for us.
Par of the thesis writing involves deciding on 12 adoption folktales from around the world that best reflect the adoption process. I aim to have two folktales from each of the six major continents. Sorry, Antarctica.
Several people have said, "Oh, you should use the Moses story." That would qualify, but I prefer to work with tales that not many people have heard.
Friends have scanned or skimmed folktale book collections for key words like "adopt", "baby", "childless", etc. From this simple yet effective technique, I found an Ancient Egyptian tale called "The Wanderings of Isis and the Agony of Horus."
The parallels to the adoption process were amazing as even a caseworker was identified in the story: Thoth.
Many of the adoption folktales I have found do not necessarily have one person dedicated to that caseworker role. Often the adoptive parent(s) merges as being the caseworker to make the placement.
If you happen to know of any adoption folktales, please send them my way at info@rachelhedman.com.
I would welcome them with open arms.
 Cap's Off to You
Featuring: Joanna Huffaker
Loyal Listener & Writer/Teller
Taylorsville, UT
Stories naturally come to Joanna Huffaker whether holding a paintbrush, a pencil and a pad of paper, or a microphone. It would be difficult to categorize her as one kind of artist, though everything she creates is story-based.
"My parents still have pictures they took of me when I was just little, sitting on a bed and telling stories out loud." Joanna continued, "Stories run in my family's blood--get my Dad's side of the family together, and stories come out."
She has an answer to inheriting this family trait. "Stories are how I work."
Joanna remembered when several performing artists would come to elementary school assemblies. Besides actors and musicians, she deemed some of these people "storytellers" because they "actually look[ed] out into the audience at us." One of her favorite tellers told about Halley's Comet.
She did not recall any other organized-type storytelling until she attended Brigham Young University. Joanna noticed a sign asking for members to take part in a newly formed Storytelling Club on campus.
Joanna reflected, "Joining the Storytelling Club felt like coming home."
Despite all her experience of playing pretend with her siblings, when it came to choosing a story to tell as part of the club, she recited from a "charming book". Though, Joanna declared, "I soon discovered that I got my best results with the stories that I created myself."
With this realization, she polished storytelling skills with the club that "just gave me tools to express the stories that were already inside me."
Regardless of the ability to share stories, she was reluctant to call herself a "storyteller". She admitted, "I'm more of an appreciator of storytelling now. . .that's my feeling anyway." Some of her stories have gathered dust.
She quickly added that she would always love stories. That would never change.
While not professing to be a fortuneteller, Joanna predicted that as technology inundated society, people would need a "sense of community". To this need, Joanna responded, "The element that storytelling has that many other arts do not have to the same degree is connection--direct connection with the audience."
Thank you, Joanna.
You are one of the many who brings that connection to others through stories shared in all worlds: visual, writing, and telling.
Find Joanna's artwork online at http://jo1day.deviantart.com.
What are your loyal listener memories? Email your story to
info@rachelhedman.com.
Random Rachel Ideas (RRIs)
Ideas for the Art to Embrace
Guilds will establish relationships with one or more organizations to sponsor activities so that the art would expand its reach to new audiences and once-thought-impossible projects.
Most of the time, guilds around the world rely on the energies of their members to accomplish goals. Who said that there were not any other pro-storytelling people who would also like to see the art more prevalent in society?
The most successful storytelling festivals have consistent support from corporations, organizations, and individuals. All of these donations--money, in-kind, services--come from people who may or may not call themselves storytellers but are willing to see the art go forth.
The help from sponsors does not have to be restricted to events hosted by the guild. Collaborations could also improve the quality of any newsletters, advertising literature, or provide interns to delve into tasks that no one in the guild is qualified to do. For example, the Utah Storytelling Guild hopes to find a sponsor to make it possible to transform the black and white regular paper newsletter into a glossy color miniature magazine.
Whether guilds connect with restaurants or home improvement stores or bookstores, there are plenty of people who respect the art.
So could sponsored guilds become a trend in storytelling?
This could happen.
 YouthTellerTip
3 featured from YouthTellerTip from Twitter (StorytellingAdv)
1. Establish traditions to begin and end storytelling gatherings. Traditions unify and provide stability in a changing world.
Traditions do not have to be elaborate. They only need to be consistent inspirations of positive memories. For example, a story stick could be passed around at the beginning of each gathering for people to share a good news moment that may or may not be related to storytelling. A common ending tradition would be to create a circle where everyone clasps hands and one by one people share a word or phrase of what they will take with them as a result of meeting. Traditions can unify people as singing choruses do for songs. Your participants may not remember what was done for each meeting, but they will remember the feelings they had there.
2. Certificates are like the "I was there" statement for all youth storytelling participants. They are often collected.
We tend to have times when we need physical proof that we belong or that we took part in something amazing. Certificates, ribbons, or other items could help fulfill that need. These things do not cost much, though keeping in mind these details could make the difference of how well the experience will be remembered later on in life. Certificates may find themselves framed and on the walls or perhaps in protector sheets in a scrapbook or binder. Even if certificates and ribbons get lost later, when participants receive them there is still a flutter of joy or pride.
3. Kids may tell intense stories. Be willing to listen. Storytelling tends to open hearts, and hearts could be tender.
When a child tells an intense story, it most likely will be intended for a small or even one-on-one audience. The story may delve into sensitive topics like abuse, violence, or drug use. An adult may first want to quiet such talk or possible foul language. Nevertheless, an adult could discern whether the child is telling the story to shock the adult or if there is a genuine purpose. If the child is discouraged to share such stories, then the child may not share any other stories when in desperate need. Be thankful that the child chose you to listen.
Game of the Month:
The Magic Remote Control
Shared by Rachel Hedman, creator
Audience: youth to adult
Level: intermediate
Items Needed: None, though an actual remote control could be fun
Number of Players: 10-30
Roles: Controller and Players
Ave. Playing Time: 10 min. to however long you want to play
One-Liner: resembles a person using a pretend remote control to rewind, fast-forward, pause or any other functions for different parts of a story of which the other people act out or tell
Instructions:
Everyone stands facing each other as part of one huge circle about the width of 30'. Make sure that when people spread their arms that they cannot touch the person next to them. Then one person, known as the Controller, is either given a remote control or pretends to have one. The rest left around the circle are the Players.
Review with everyone the agreed upon functions of the remote control. The basics are rewind, pause, play, and fast-forward. You might want to have fun with volume, mute, and the ability to switch channels. By switching channels, the story type would completely change. The Controller would call out something like "Channel Switch--Western!" or "Channel Switch--Soap Opera!" or "Channel Switch--Ninja!"
Once the remote control functions are discussed, then the Controller can announce, "Story On!" The Controller then points the remote control to at least two people who would start the first story.
The Players chosen to start interact with each other as soon as the Controller announces what kind of channel will be the starting point. Besides the kind of channel, the Controller needs to determine what kind of characters the chosen Players will be. If the Controller wants help, the Plays could suggest ideas. For example, if the Controller calls out "Channel--Mystery!" then possible characters could be a sleuth, a criminal, a witness, or even something as silly as a talking dog.
The chosen Players talk to each other as if the characters within the type of channel decided upon.
With each new story or channel switch, the position of Controller could change or the Controller could choose other Players to act out the channels.
Within the story itself, the Controller could call out "Remind!" and the Players pretend to go backwards of what they recently did for the story. This gives a chance for the Players to approach the one or two lines of story in a different way. For example, one of the Players might have said, "Let us follow these footprints!" The rewind option could change this line to something like "I'm hungry for a sandwich. How about you?"
For fast-forward, the Players could skip what would normally happen and jump one or more scenes--perhaps even to what would be an ending.
Mute could make it possible for the Players to interact as mimes, thus still progressing the plot of the story. Remember that the Controller could play with the volume, too.
Pause could be a test of how well the Players stay still and let everyone enjoy their facial expressions and body language.
Repeat the channel switching or have one channel equal a round.
Feel free to tweak the game.
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