Feed on
Posts
Comments

2011 is coming close to closure and plans for 2012 are appearing on the horizon of my task list. So I’ve figured I need some time to get organized and put structures in place if I want to follow up on my intentions. The Agora is going to change too so it can better facilitate what people are looking for and express more areas of interest me and my company have been involved with through the past two years.

I’m going to ask for your help with writing my next book

During 2012 I’m going to write my second book. The first one “Stories at Work” was published in Hebrew during 2006 and was well received by its target audience, mainly – trainers, educators, coaches, managers, public speakers and the general audience. It helps people understand why we tell stories at certain moments in life, how to do it on a basic and effective level and it carries fifty short stories people can embed in various situations. The stories were edited in a way that forces the reader to change them and adapt them orally in an on-the-spot relevant way.

My next book is targeting the organizational world. For now, I’m not going to tell you what it’s about; it will be clear in due time. What I’ve noticed though while writing this blog and discussing various issues with different commentators, is that the discussions always helped me come up with clearer definitions that people can eventually use in one way or another. I’m talking about audience-intelligence not crowd-sourcing and this blog does have an intelligent audience. So when I come back, I’m going to ask for your help.

Leaving for now although will continue to appear on social-media conversations. If you have any requests you’re welcome to leave a comment or contact me directly. Keep an eye open for when I come back J

Warm regards, Limor.

Share

Once upon a time I was jealous of English speaking storytellers for having the word ‘storytelling’ to describe their art – a single word which is both a noun and a verb, concise with movement and flair, elegant. In Hebrew we had a combination of two words – ‘Sipur Sipurim’ – meaning telling stories or telling of stories. I though this had to be changed, so I wrote a letter to The Academy of the Hebrew Language asking them to look into the issue. After a while I got a reply. It was long, orderly and well argued but at the end it left me and my curious colleagues with ‘Sipur Sipurim’. At the time I felt a disappointment.

Years passed. Carrying the cumbersome ‘Sipur Sipurim’ became a frustration, especially while the single word version was soaring into the limitless sky. About five years ago though I started feeling something was going wrong. The word ‘storytelling’ started to appear in very different contexts and various forces were pulling it their way – far away from its true meaning. I reacted by separating the words ‘Story’ and ‘Telling’ in my business company’s name – ‘The Story Telling Company Inc’. “Back to cumbersome” I thought but somehow it felt closer to the truth of the art.

Through the last two years I’m witnessing (don’t know about you though) a massive abuse of ‘storytelling’. Not only the word – the entire concept. Somehow it seems people miss the

part of the word or interpret it as a primitive channel for distributing stories. There is no bigger mistake you could have about storytelling than such a thought but if you wish to stay with it – so be it for you.

Interesting to notice though – Hebrew speaking storytellers do not suffer the feeling of abuse by other disciplines. In fact, most of them are not even aware of all the nonsense that is flying around. We do suffer an abuse within the spoken-arts domains lately flooded with all kinds of people using the title ‘storyteller’ while performing shallow-entertainment, but that problem isn’t unique to this place.

Over here, when you say you are a ‘Mesaper Sipurim’ people know it is about ‘Telling’. So the guys from the academy  were right and by not giving in to the modern tendency to link conciseness with elegance, they left us with a true name to our art; a name that differentiates what we do and protects our feeling of clear identity.

Storytellers – can you help here?

I’m wondering how the issue of identity is solved in other cultures. Ok, the Irish tricked us all cleverly carrying the unbeatable and lovely title ‘Seanchaí’ (curious to know its full meaning). What about other cultures?

I’m unraveling the various titles in Hebrew, hoping to inspire other storytellers to contribute. I’m by no means an academic scholar in the fields of Philology and Linguistics; just bringing here the more common uses of words and how they are captured by the general public. Please feel comfortable to share what you know and let’s see what we can come up with.

Story Telling in Hebrew

One of the better known applications of telling stories as a means of carrying tradition is the Jewish ‘Hagada’. It is a short book told through Passover eve during the ‘Seder’. It’s a book so the original texts will be preserved but the texts are only a basis for feelings of communality – the point is to have a telling event with one person leading the ritual and others taking part, including children. You can have as many ‘asides’ as you like as long as the audience is not getting too hungry and the telling continues well after an unbelievable meal; it can continue far into the late night with songs and personal stories and sometimes blends into learning and debating – just like some of the characters in the text of the ‘Hagada’.

So if ‘Hagada’ is ‘a telling’, the person who performs the lead is ‘Magid’ – ‘teller’. There is an important distinction here

‘Magid’ is still used in religious contexts and years ago the art of story-telling was coined the art of ‘Heged’ by scholars. Today, it is not in use outside of the academic context.

The most fabulous idea (to my humble opinion) which also sketches out the problematic change in the perception of the art, is encapsulated is the word ‘Sipur’. If you’ll ask a Hebrew speaker what it means you’ll immediately get ‘Story’. Story is a noun and it describes a body of text. But… ‘Sipur’ is also a verb which most people don’t remember anymore, meaning – telling a story and also storying (equivalent to envisioning). The written culture has run over its dynamic predecessor and turned it into print on page.

What the academy did is draw back into the word’s true verbal nature while knowing very well people might get confused. Therefore they decided to use an association ‘Sipur Sipurim’ – telling of stories.

If you have a couple of moments and something to share, please contribute. I’m dead curious to read your input on this issue.

Share

Tags: , , ,

The web is getting crowded with posts about the new Facebook timeline – the idea, privacy concerns, law suits, cool cover designs and all the rest. Most surfers haven’t seen it yet but you will pretty soon if everything works according to FB’s plan. Most people don’t remember since when they’ve been there and what exactly they’ve been dropping around, meaning – possible embarrassments are on the way; all the information is going to surface in an easily searchable format. Add this to the fact that many people still don’t know how to handle privacy on FB and are unaware of the fact that their likes on other sites all over the web count under their name. Think about all the above and a sense of personal disaster starts creeping up your spine.

There is another way to look at it though and I’m not talking about marketers and developers for now. From the moment you’ll be handled the possibility, you’ll have exactly a week to take care of your timeline until it goes live. You’re going to invest something like fifteen hours of work giving your data a good makeover so what I’m suggesting is – if you’re staying on Facebook, do it right. Give your story a chance to represent you in a way that will make you feel good about it.

If you’re a professional and you have a FB profile, thinking your LinkedIn or Xing profiles are substantial is from now on a mistake. You’ll also have to jump out of the fixed-format mindset – Facebook allows you much greater freedom in designing your story. That freedom can be frightening since the frame is loose and you’ll have to build it by yourself. Still, it’s important if you are on the platform and don’t wait for too long.

Haven’t seen the timeline yet? See the official video before you read the rest:

Timeline story makeover step-by-step

Well, I wouldn’t call it a story yet. It’s more of a narrative space people can look at in many ways so we’ll starts with a narrative clean-up:

  • When you get the timeline go back to the beginning and carefully scan for anything you wouldn’t like peers, bosses, clients or recruiting managers to meet. Consider your parents, mates and children too. You can delete or hide the information.
  • Check texts too, not only pictures and videos.
  • After you’ve weeded the timeline go back and check your pace. If you find months where you over-posted while you were supposed to be very busy doing something else, weed some more.

After cleaning the narrative it’s time to arrange the highlights:

  • Go back to the beginning and highlight anything you see that represents you right, is flattering in a way but not too myself.com, clears your persona and makes it cross the screen.
  • Select texts and visuals. Highlighting only visuals isn’t really interesting. It’s like showing someone your pictures from a tour abroad – the story isn’t there.
  • While you’re highlighting keep other surfers in mind otherwise the timeline will be very busy with itself and will lack sense of communication.
  • If you find gaps you’d like to fill-up, prepare the content and upload it. The platform enables you to upload back in time.

After arranging and highlighting the timeline, let someone else look at it (preferably several people) and tell you what crosses the screen, what kind of sense they get from your timeline. Make adjustments if you don’t like their feedback :)

Take care of your narrative’s audiences

The amount of information that will easily surface through timelines will grow substantially. There is something rather bothering in this understanding. If you’re a top level executive people around you will find it difficult to refrain from picking your timeline and sharing their findings. The same is relevant if you’re in the middle of a love affair or any other vulnerable moment in your life. The question of authenticity will rise again and again for months to come. Recruiting managers will have to develop scanning and verification skills they don’t yet have. Vendors will check their clients and prey for the lingo and info that will help them make a better sales pitch.

  • Although ‘sharing is caring’ in this case take care of yourself first. Sharing is not over-exposing. Keep secret, private and public apart.
  • Facebook has enough features to help you divide your audiences – learn how to use them and use them.
  • Not everyone has to see everything and not everything has to be on Facebook – just a friendly reminder. Not even on Google+…
  • Those who don’t trust themselves with remembering their varying privacy settings, just custom you’re setting to “only me”. Then, every time you upload something you’ll have to ask yourself “who do I want to share this with?” it’s tiresome but much safer.
  • Make sure you have handled all your apps’ privacy settings too. Set the ones you are worried about to “only me”.

A little bit of self coaching and identity-arching (branding)

Working on your timeline is a great opportunity to gain perspective on what you’ve been up to through the past 2-3 years or more. Do you remember your important life events? Try and list them up before going through your timeline for the first time. Try and imagine your identity-arch before digging into the narrative. Then check for gaps. It might be you’ve forgotten important moments and it might be you don’t ‘broadcast’ who you really are. This is also a process of sense making and you might go through some really exciting insights as you work through the narrative.

Keep a copy

When you’re done, go to your account settings, look and the bottom of the list and find ‘download a copy of your Facebook data’. Do it and keep it somewhere safe. For now, there are still problems with this feature, especially with information predating 2009. Let’s hope it’s only a temporary glitch. If it’s not, you’ll hear about it pretty soon…

After arranging your timeline come-back for the ‘Facebook Timeline | your story makeover – advanced’. Coming soon…

Share

Tags: , , , ,

“Have you seen the library?” asked the guide. From my expression he continued “second floor up that staircase”. I was tired, dragging my feet up the stairs somewhat unwilling, mainly because of the heat. I reached a narrow wooden door and the view was blocked by a local guard ‘no photo!’. She moved back to her position to unblock a majestic sight that left me speechless.

Source: Flickr by Jess & Peter

Boy is that an amazing place! I walked slowly along the book-cases on one side and then measured the other side closely observed by the many guards.  The artwork on the ceiling didn’t interest me that much although it does have a beautiful effect; I was interested in the books – 45,000 printed works and around 5,000 manuscripts. Luckily some of the works are presented open, especially because of the beautiful illustrations they carry. The wooden cases are open at the front… covered with wire mesh.

I looked at the illustrated books with admiration and continued along the room. Suddenly my mind went ‘boing!!!’ I walked back looking at the manuscripts until I reached what made me stop – I was standing in front of the E codex of  ‘Cantigas de Santa Maria’. There is no early music player in the world who doesn’t know about those cantigas, I play quite a few of them and now I was standing facing the original script.

“What’s the excitement?!” you might wonder. Well, art (fine art) is physical matter. You can touch the same thing the artist touched. Music is abstract, immaterial, you can’t touch it. The closest you can get is touching the score, the manuscript – and I was standing in front of something that lit my imagination at the age of sixteen – which was just like the manuscript, somewhere in the 13th century… I was really excited and willing to commit a ‘manuscript crime’ – push my finger through the wire mesh and touch the page. They were looking so I turned to the power of imagination, running my fingers along the lines, touching the illustration only at the edge, I promise.

That made me wonder about storytelling again – in today’s world it lacks the possibility of ownership. I find exactly that very lovely but maybe I’m one of very few. Storytelling doesn’t have even a manuscript since the tales role along millenniums orally and happen only in our minds – free spirits in perfect flexible form, leaving the main stage for human interaction and imagination.

Source: Wikimedia

Walking downstairs I met the guide again “did you see the Cantigas?” he asked with a smile. He too is highly interested in early music so we had some excitement exchange. But that’s not the end of the story. At the airport on our way back, passing through many passengers waiting for their flights I heard a voice call my name. As I turned around I knew I recognized it – it was the voice of the person who introduced me to early music many years ago – perfect ‘coincidence’. We were happy to meet each other after not meeting for a very long time. As I went through the stories of our trip I got to Escorial and he immediately asked me “did you see the Cantigas?” seems they are a common denominator among people like us. Then I got home and after a couple of days called my early-music partner whom I play together with for over 20 years. I told her about Montserrat and Escorial and eventually got to the Cantigas. I heard a short silence on the other end of the line and then an overwhelmed reaction “WHAT?! YOU SAW THE CANTIGAS?! GOD, I’M SO EXCITED!!!” followed by a quiet curious “did you touch it?”

She understood me all right :)

Share

Tags: , , , , ,

A collaboration between The Israel Museum Jerusalem and Google Israel. Mouse history, fabulous texts in any case.

Share

Share

Tags: ,

Listening to Terrence right now.

Terrence, you’ll have to establish the ‘it’s about listening not about telling’ part so we can have a nice conversation (read>argument). The lady talking to you (sorry, didn’t get the name) makes a good point about the possibility of ‘disguise’. Considering the way many people are grabbing storytelling by her hair to ‘leverage’ their marketing certainly brings up the issue.

You’re stories about the way you do the work and the ideas behind it are lovely. Yes, it sounds long, elaborate, requires attention, very different from the ‘give me three insights’ kind of talk and I for one thank you for that.

Share

Years ago I asked storyteller David Campbell what to his opinion marks a good storyteller. There are many answers to this question. He told me about a similar conversation he had and the conclusion was “it’s the pace. It’s the pace”. In conducting we say that if the conductor knows to choose the right pace (tempo), everything else will settle in place perfectly. It’s like having the right heartbeat.

On our way from Madrid to Zaragoza we visited El Escorial – a historical residence of the king of Spain built by Philip II of Spain. I won’t go into the entire story but obviously, this place is about pace – perseverance which resembled the king’s nature. Comparing to other royal sites Escorial is plain yet majestic and what creates that feeling is what this post is about.

The entire building and its surroundings were erected in only 21 years – that’s rocket-speed considering similar undertakings. True, the king gave the workers a good reason to work fast, a reason that has the sound of Spanish gold, but even with this kind of motivation creating such an accurate building with such superb craftsmanship required something more – pace.

Look at these photographs – every detail is precise and it’s all in granite or marble…

1316717408_ee8.jpg
1316717383_ee7.jpg
1316717361_ee6.jpg
1316717335_ee5.jpg
1316717309_ee4.jpg
1316717288_ee3.jpg
1316717408_ee8.jpg1316717383_ee7.jpg1316717361_ee6.jpg1316717335_ee5.jpg1316717309_ee4.jpg1316717288_ee3.jpg

How did they do it? Well, I wish I could sit next to the guy who was responsible for the project’s Gantt chart… the possibility is not out of reach though – they left the entire documentation behind, in itself a masterpiece. There are so many amazing insights about this place for instance: everything was planned in advance to the last stone – you wouldn’t see a guy running around with a piece wondering where to bring it to – he knew exactly where it needs to go and could plan shipments in advance; the chiseling was done in a different place, not on site and no corrections were needed; they had a special unit in charge of supplying sharp tools constantly, no waste on dull blades and smaller amount of waste in any case; even the waste was used – to fill the space between the exterior floor plates; just imagine feeding and accommodating all those workers… the first element of pace was the perfect synchronization between everyone involved, without compromising the level of precision.

The building itself is structured in marvelous pace – the distances and sizes of construction elements create the right feeling they were intended to create – not too much, not too little – perfect. Each part of the building has its unique destination and is paced accordingly; the relationship with the environment – just right. One might think that such a building can make you want to go crazy a little but not – navigating through it you can feel someone has thought about the unsteady nature of the human soul – the building is much disciplined but it doesn’t suffocate.

That’s what I like about great music and storytelling – it moves forward with perseverance but the feeling is that someone is holding the steering-wheel with a human heart.

Share

Tags: , , ,

Our last stop in Madrid was Museo Nacional Centro de Arte Reina Sofia; an interesting modern building hosting modern art; the house for Picasso’s famous ‘Guernica’ which I find poorly placed indoors. I understand why it has to be safeguarded but I’d rather see it somewhere outside, somewhere it will be part of people’s everyday life like graffiti.

Visiting Reina Sofia I suddenly realized every artist has a repertoire of possibilities – some richer, some leaner and at the same time every artist has a special cauldron that cooks all kinds of ingredient into a main deep theme, a leitmotif, along many years. Each of us is trying to figure out something, to reach a clearer understanding even if it’s only for ourselves; none are totally eclectic when it comes to a theme.

I started wondering about myself and about other works I’ve seen through my life – what am I concerned about? What are others trying to understand? One theme I know for sure which I’m busy with is the balance between the chalice and the blade – the balance between empathy, compassion and inclusion on one side – being reserved, unaware and excluding on the other.

Knowing a thing like this about yourself helps a lot when looking for repertoire or crafting a program – to mention two benefits out of several. Many storytellers go through a long period of looking for their ‘voice’, collecting loads of texts they will never use only to reveal what they are truly interested in and where they can do their best because of who they are. At times it seems easier to have been an ‘ethnical’ teller – the stories, the style, the moves even the costumes are there waiting. But that’s not the situation for most modern storytellers and even those that have the scene as-if ready and waiting will have to find their personal voice in a long chain of predecessors.

Look for your themes.

Share

Tags: , , , ,

Look for it on FB in  the group called “storytellers” (I hate sending you to a place you need to log in to, but in this case, that’s the situation). It started with Eric James Wolf asking “If theater uses the word storytelling to sell really good theatrical performances… are you comfortable using the word theater to sell really good storytelling?”

By now there are 85 comments and still counting with a large variety of heartfelt responses. The conversation led me to post an elaborate response which continued into a post by Eric while continuing the conversation on the wall. I referred to Eric’s post on FB, he edited his point of view into that document, people are responding as we walk along this conversation and debate together. So now I have another document of FB but this time I’m pulling it over here too, feeling people who are not members of that group might want to respond or just read:

Thanks for everything people wrote, it helps to continue sense-making this conversation. I think I have a clearer understanding of where the gaps in this conversation are and I’m suggesting a rearrangement of issues to look at, together with my personal opinion about some of them:

General statements

  • If we look into the storytelling community, there is a general understanding of what storytelling is as an experience.
  • If we look into the storytelling community, there is no general understanding of what storytelling is as a form of art or practice.

These two above suggested statements are relevant everywhere storytelling is mentioned, not only in the ‘oral storytelling’ community.

Concerning the art of storytelling

  • There is core and there are applications. Since these are not defined in a way that is agreeable upon a large group of practitioners, the definitions are open to any kind of interpretation. Even to interpretations that take the experience and not only the practice – away from the undefined core.
  • Since some of us have gone into the trouble of defining, we can say that the word ‘application’ has in most cases skipped the core of storytelling and is being defined from other discipline’s perspectives. My suggested list of storytelling (undefined) applications can be found here.
  • The list unraveled in that post derives from the core of the art (the way I see it, it’s a suggestion) and does not cross into other fields. It is relevant when speaking about the art form even though as mentioned before, it has no agreed definition.

Regarding ‘story’ and ‘storytelling’

  • There is a great misconception about the difference between ‘story’ and ‘storytelling’.
  • ‘Story’ is seen as ‘dramatic text’ (in the better case) or any kind of text (in the worst case).
  • ‘Storytelling’ is perceived in most cases as a channel for delivery and distribution, the early primitive form of other delivery and distribution channels from books to iPad apps, games, robots, movies, social media etc.
  • The above is the most problematic misconception storytelling suffers from these days. Why is it a misconception? Because story-telling is not just a delivery and distribution channel, it is a CREATION MECHANISM which other channels of story delivery cannot imitate or scale. Business wise and I’ve said it before – all those thinking they are storytelling while they are really producing, delivering and distributing stories are enjoying only 33% of storytelling ROI – if they care about business outcome.

Concerning how we call what we do

  • This depends on your point of view. If you are looking for the benefits of storytelling in teamwork for instance, you’ll want the person who does the job to know something (or a lot) about teamwork. You’ll want him to have a degree in organizational behavior. Hence story-practitioners that arrive from other fields and call themselves ‘organizational storyteller’ ‘corporate storyteller’ ‘chief product storytelling executive’ or ‘brand storytelling experts’.
  • Some of these practitioners come from the art, most of them don’t, yet the latter have a great advantage selling their services. The customer wants to know they are keeping their eyes on the wanted outcome – for the organization, storytelling aside, although nice.
  • Where I agree with Eric is how to name your services and what knowledge to acquire in order to approach other fields with (also) our storytelling knowledge. Where I disagree with Eric is that ‘storyteller’ does not sell and is bad branding. You need to know what you are doing in the business/marketing/organizational arena so they can trust you but you needn’t need to hide or wear a mask.
  • If you work in another field with your storytelling they are interested in a required outcome. Accumulate your blessings and don’t leave storytelling out.
  • If you work as an artist, storytelling is the single blessing you need. Be magnificent, never stop learning and practicing, market well, educate your audience and don’t be afraid.
Share

Tags:

Older Posts »

Bad Behavior has blocked 263 access attempts in the last 7 days.