Storytelling can’t be a buzzword!

Buzzword – a combination of ‘verbing’ a noun to make it look elegant, fresh and dynamic and an attempt to re-brand and hence own, something that has been out there for ages.

As discussed on this blog before, storytelling is a noun, a verb, and an adjective; what is called a gerund or a gerundive complementizer (see link for explanations). Storytelling was formed in the oral cultures and cultivated to the level of high-art, way before a written word appeared somewhere.

So it wasn’t that first there was story and then came the telling. It’s not a combination of two words – it’s one! you can’t re-verb it, you can’t re-brand it, and any attempt to add something to it just dilutes its original power. Now I also understand why all these attempts seem to me like fractions of the real thing. The people doing it don’t get it, and what they do isn’t even close.

Εὕρηκα

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Disruptive Innovation in The Arts

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Through the past year I’ve seen so many references to the “democratization” of the arts by aid of technology and social media, that eventually I had to set my mind to look into these declarations.

Paraphrasing on the definition of Democracy on Wikipedia:

Via technology and social media, the governing structures of the arts have moved to a form in which all eligible participants have an equal say in the decisions that affect the artistic expressions in their lives. Technology and social media allow them to participate equally – either directly or through elected representatives – in the proposal, development, and creation of artistic formats and content. This encompasses social, economic and cultural conditions that enable the free and equal practice of artistic self-expression.

How do you define ‘eligible participants’ in relation to using technology and social media in the arts? part of the definition will have to be – have electricity. Well, 20% of the world’s population doesn’t. Another part will have to be – own some sort of a personal computing device and have internet access. Track data about the digital divide and you’ll realize the number of ‘eligible participants’ narrows down. Not so democratic… anyway, I won’t be too tough on definitions.

I know what people mean because I read it everywhere. Taking an example from storytelling, people declare that finally the authority has been taken from the hands of literary dictators and put into the hands of everyone to express themselves. With the aid of a mobile app you can now ‘create’ a story in minutes and share it with the world; in a couple of months you can turn into a ravishing transmaedia storytelling artist and work your way into lucrative productions; you can pay for a technology that will multiply your ‘storytelling’ power enabling your content to pierce the sky of the internet. Cool.

But all the above have nothing to do with storytelling or with any other art. It’s just taking a piece, a feature, a symptom and calling it the entire thing. It’s taking the idea of disruptive innovation and twisting it completely.

According to Prof. Clayton Christensen, disruptive innovation “transforms a product that historically was so expensive and complicated that only a few people with a lot of money and a lot of skill had access to it, a disruptive innovation makes it so much more affordable and accessible that a much larger population have access to it.”

Well, seems to me that historically, the arts were much more accessible before priorities changed in favor of science and technology. Governments need to return into the systems all the budgets that enabled education in the arts with the tools, skills, core definitions and processes of the arts.

How is that for disruptive innovation?

Limor Shiponi Storytelling

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So, you want to be a storyteller?

“Ladies and Gentlemen of the company,

I am honored and grateful for your presence,

for in your absence, my art does not exists.”

In memory of Mimi (Bat Ami) Barthélèmy (May 3, 1939 – April 27, 2013). I’ve heard these opening lines from her and they sunk into my consciousness forever, as an important lesson about what it means being a storyteller. These words are not only welcoming as an opening, even more so if you add to them the million dollar smile Mimi had; they are practically the truth.

I’ll remember her as one of the wiser, sharper and forgiving humans I’ve ever met.

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Storytelling a Sculpture

During October 2012, G started working on David’s Lament. Several texts down the road, the lament became a signature work; that’s when teller and text meet an audience in a way recognizable as evolving down a unique road. They bring something new into the world; It’s like being able to conduct Beethoven’s 5th knowing you have something different to offer the players. Even if you’re not allowed to change a single note; or a single word for our matter.

The reactions to his telling of David’s Lament during the annual Memorial Day ceremony, were situated between gratitude from people deeply moved by the lament – suddenly realizing what the text is about, to overwhelming anger for changing “the way it should be”. That’s something interesting to think about, “the way it should be”. The lament appears in the bible. There are no exact performance instructions; it’s the cantor’s decision to take on the spot, adjusting to context. Still, when a form of presentation is so deeply rooted into people’s consciousness, they cling to the known and sanctify it (PPP anyone?). It’s such a deep behavior, I wouldn’t overlook it.

In G’s case, it was a calculated risk, an informed decision we went through together, looking at all possible outcomes. Remember G’s way of performing the lament didn’t arrive as a total surprise out of his ‘artistic’ mind. It was thoroughly researched and practiced in front of many people from his community. Some of them heard it more than once along five months of work and search. All their remarks, input and contributions influenced the work one way or another.

Storytelling is an ‘us’ art. G doesn’t own the way he tells David’s Lament. He is just the person who can bring the ‘us’ of the lament alive in front of others.

A Storyteller.

During all this time, another work evolved in the background – a sculpture. I saw it developing, contributed along its evolution, so did many others. It evolved between G’s inner thoughts and experiences, the lament and what he knew and saw in it, what others echoed when meeting the work in progress. It evolved through conversation, it’s an ‘us’ sculpture.

David's Lament

If you are an Israeli looking at it, you might feel it looks very much as something that represents part of our narrative as a people – just like David’s Lament. Not something easy to explain to a non-Israeli. This sculpture is the outcome of a deep process ignited by storytelling. It doesn’t tell a story (statues can’t speak), it elicits stories in the observers. If they are from the same narrative the sculpture is, their stories touch each other and enhances their sense of ‘us’.

The same thing exactly happens with evolving story-driven time-sculptures we create during storytelling events. Only in storytelling they don’t stand in the open to be discussed. They are personal imagination dwellers we can only ‘sense’ – touch each other. Never knowing for sure, always intrigued by the mystery.

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Cup of Elijah Family Moment

Every year on Passover eve we share a Seder meal and tell the Haggadah. Somewhere along the night, arrives that moment when the door is opened for Elijah the prophet. The reason for that you can find in many other places – right now I’m looking at something way more important – will he drink from the wine or not? I mean, will he drink from OUR wine, in OUR home?

Like many other children – that question kept me busy for years. The adults would say, “look! see? the wine in the cup is moving!” when we grew up a little, we figured it was moving because one of the adults was gently rocking the table.

One Passover eve, after my mother opened the door for Elijah and returned to the table just to meet our cynical “yes, who’s turn is it to rock the table this time?” something different happened. The cup, made of glass from rim to bottom, became empty. The wine wasn’t moving in little waves, it actually disappeared – slowly but surely. Our astonishment was worth a photograph, I’m sure. We sat there, staring at the glass, dead silent.

It took us another Passover eve to figure out my father went through the trouble of finding someone that will drill through the glass’s leg, so he can insert a transparent tube kept hooked to the table, released silently into a small bucket at the right moment :-)

These efforts make for the most memorable family moments and stories. It happened about 35 years ago and I’m still telling the story…

Wishing you Chag Sameach and great joy with family and friends!   

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World Storytelling Day 2013

To the great clan of dream weavers, yarn spinners, wordsmiths, spell binders, time voyagers, truth seekers often named liars – today is the day we forgive our fellow ignorant; cultural bridge builders and walkers, secret whisperers, tradition carriers, makers and breakers; who mantle truth with story, in joy and in sadness, to sooth body, mind, heart and spirit in great wisdom and kindness; today is our day – like any other day, we just decided this one is special for the sake of others to recognize; to all masters of the spoken word – today we tell about Fortune and Fate. Listen now all the rest and beware what you wish for…

This year I’ve decided to do a private reading and telling of the tale The Seven Beggars told by Rabbi Nachman of Bratslav – which will take me approximately all night to tell. Just to give you a sense of it:

I will tell you how people were happy once.

Once there was a king. This king had an only son, to whom he wished to give the kingdom while he, the king, was still alive (most unusual, don’t you think?). Well’ on the appointed day, he held a great feast. When the king makes a feast there is always great rejoicing and all the more so on such a great occasion. Every one of the royal ministers and the nobles was there, and the common folk too shared in the day’s gladness (I wouldn’t miss it for my life), because it is a great deed when a king abdicates in favor of his son. Everything was prepared to make the feast a joyous event, with musicians and jesters were there to entertain the guests (in case you were wondering how I got invited).

At the height of the festivities, the king said to his son, “I can foresee that a time will come when you will step down from the throne. When this happens, take care not to fall into sadness, be joyful. When you are joyful, I too shall be happy. I would be happy even were you to be sad, for it would show that you were unworthy of being king, and I would be pleased that you no longer ruled the land. But if you are joyful, I shall be very happy indeed.”

Can’t wait for tonight but I will.

Happy World Storytelling Day 2013 to all my fellow storytellers wherever you might be.

And Shalom to President Obama. In the realm of story, nothing is a coincidence, just either fortune or fate and most probably both; to life.

Lovers

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Storytelling awesome

At the end of the storytelling session I asked the young people sitting in front of me, all 11-12 years old, whether someone wishes to say something or ask a question. “Yes,” said one girl, ”I would like to say that your facial expressions, your voice and gestures, give hints that help visualize the story in my imagination. From there, I can continue alone. Meaning, anything beyond that is redundant.”

Brilliant.

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Storytelling Emergency

Found this on The Story Telling Company’s answering machine:

“Shalom! I have insomnia and I need you urgently; urgently, urgently, urgently, so please return a call!”

When it comes to insomnia, kids know the good medicine. Now I need to find something that will save me from dying of cute :-)

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Italo Calvino | Narratives

 

Commenting on what’s important in a tale, Peter Fruhmann mentioned ‘Invisible Cities‘ by Italo Calvino, creating the opportunity to re-write an old post I’ve deleted from this blog long ago. It’s an exercise aiming at answering the question: can any story happen to anyone, anywhere?

Calvino

Find the book, read through, and then pick one city. Ask the people you are working with to create a character that lives in that city – its characterizations and character, its true self. After they do it – and it will take about 30 min. ask the characters questions so the participants get a sense of the way their character speaks and responds. Then, make them meet around a situation or create one in the city you started with.

How do place, space, view, influence people? The way they move? The way they speak? The way they create connections? Can any story happen anywhere? Try it.

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What Women Need

The generating event of this story happened today, while searching for an idea. Seeking advice from people that might have phrased the issue better, I found myself searching through TED talks and eventually landed on a rather rare piece about the performing arts. A lot of the talks are about tech, science, green, social and other considered-cool stuff. If it’s about the arts it’s rarely about the performing arts. You’ll find Ben Cameron’s very relevant talk at the bottom of this post.

After watching it I knew I was thinking about such an idea – the professional hybrid artist – hitting the streets in my vision – for quite a time. I also knew it had to do with women, just wasn’t sure about the focus. Now I know – I want to create a space for storytelling about what women need. Not about what women WANT but rather about what we NEED.

Next stop – Google search.

“What women want” top results:

  • The famous movie
  • What women want in bed
  • A show with glam and glitz
  • Something about men’s health connected to what women want from them
  • Something by Speedo
  • Free dating
  • An infographic about what the sexes want online

“What women need” top results:

  • What women need: everything you (men) need to know
  • Forget what women want, men need to give them what they NEED!
  • What women need to know – showed up several times around different issues
  • What women need to know about what a man wants
  • What a girl wants – AskMen
  • A holy experience – what women need to say to each other …
  • What women need to remember about Romney and the GOP

What looked a little more prominent ended up being that purple-pink stuff. Enough. I’ve found my focus. Right now, I really need your help – in getting as many women as possible to answer the question:

What do women need?

It’s not an easy question although nothing is wrong with it. Nevertheless, I’ve noticed many women feel uncomfortable answering it. I could get an anonymous form over here but I’d rather be sure women are answering my question. So please, in the comments or via the contact form:

What do women need? your age, and where abouts you are in the world.

Update 13/1/2013 Answering a question I’ve been asked about why my question is not about a specific “field”: I’ve realized that naming a “field” leads to seeking stories that empower. Those stories are not enough and they leave many others out of the telling. The picture isn’t truthfull and that truth is important. What is it? that’s what I’m trying to find out.

Update 14/1/2013 I have a better understanding around why ‘what women need’ is the question. What we want is also a result of the environment we live in, it’s a cultural thing; what we need relates to all women in all cultures. The reasoning for what we need is derived from the fact we are women, nothing else.

Second update 14/1/2013 Some women have written to me about their ideas being personal/private, therefore maybe not relevant to this ‘big’ question. They are relevant because there is no way to find out the ‘big’ needs without going through all the ‘little’ personal ones. If you want to send a comment and you’re not sure, write me through the contact form. I’m the only one who has access to it and I’m the only one reading that mail. I’ll add your comment under ‘anonymous’.

Gentlemen, you are welcome to forward this message to all the women around you. As promised, Ben Cameron’s talk:

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Who owns A storytelling?

STORYTELLING

  • Is not property
  • Has no fixed physical expression
  • It is not an idea
  • Nor does it manifest digitally
  • It is not copyright protected
  • Its main inspiration is life
  • Utilitarian or fact? No. So…

What is the ownership model of storytelling?

 

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Bird in a cage | story

Note to storytellers: this text is a dream transcript. You are welcome to tell it as you wish.  It evolved through the years and if it will evolve again and again with you – so be it. Note to anybody else: this text is for oral circulation only. Crediting the source before or after you tell it, is considered best practice.

Many years ago in France, lived a wealthy businessman. He started a great business empire with his own two hands. One day, he was sitting on his executive chair on the top floor of an ultra-modern glass building in the heart of Paris, rotating slowly and watching the panoramic view.

He thought to himself: “For so many years I’ve been so busy with my work that I never got to see and visit the beautiful country I live in. People come from all over the world to visit here. They praise the food, the wines and the beautiful women. It is time for me to take a vacation”.

He left all his responsibilities with trustworthy people and left in his expensive car. He drove through the highways and sideways of France. He stopped often for watching the view, for meals and wines, for meeting people and having conversation. One day, after driving for many hours, he parked his car by a small forest and stepped out to stretch a little. As he was stretching, he heard the singing of a bird. It was beautiful and it moved his heart. It made him feel things long forgotten.

He searched for the bird through the forest, following its voice, but he could not see it anywhere. The voice led him to a clearing. There he saw a little wooden cabin. He walked up to the door and knocked. No one answered, so he walked to the back of the cabin. In the garden, just in front of his eyes was a large tree. A cage was hanging from one of its branches and in it was the singing bird. The businessman stood there for a while and listened, charmed.

As listening, he noticed a bench. Sitting on it were an old man and an old women. They too were listening to the bird’s radiating voice and they never noticed him. After a while he stepped into the garden and approached the old couple.

“Hello” he said. “I was standing here and listening to your bird. It sings so beautifully, I would like to buy it”.

“It is not for sale” replied the old man, smiling friendly.

“Oh, you don’t know who I am,” said the businessman, “I am one of the wealthiest people in this country. Anything your heart desires I can give you!”

“We already have everything our heart desires and the bird is not for sale. Sorry”.

The businessman thought: “Well, this is a country area so the bird is most probably local. I might find another at the local pet-shop”. Back he went to his fancy car and drove into the village. And there, right in the middle of the main street, he found a pet-shop. He pulled over and walked in. Up front he saw a cage with a similar bird in it. The note attached to the cage read “10 Franks”.

“Isn’t that too little?” he asked the salesman.

“Yes” came a reply “But this one doesn’t sing”.

“But I need one that does!”

“But we have none” was the short answer.

He wanted the bird. He bought the silent one, waited for nightfall and drove back to the cabin. There, he switched the cages and drove all the way back to Paris, to his office. He placed the cage next to his chair and the bird sang for him – for days and weeks and months, moving his heart. After about six months he was so changed that he realized: “I have done something terrible. I have to give them their bird back”.

He drove back. Reaching the cabin he parked his car and left the cage in it. He walked around until he got to the garden. There was the tree. From one of its branches a cage with the silent bird was hanging. In front of it on the bench was the old man. As the businessman walked into the garden the old man greeted him:

“Hello! You are the businessman from Paris, aren’t you? How are you?”

The man was surprised:

“What? You remember me? I was here six months ago, we spoke just a few words, how on earth could you remember me?”

“Oh” replied the old man “I do not remember you for nothing. Remember the day you were here? The same night my wife died. Since then, the bird sings no more”.

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Like Brothers Grimm to Storytelling

200th anniversary of Brothers Grimm’s fairy tales and the discussions around their work are still flaming. You can easily find a wealth of opinions, just hit search. I’m arriving to this discussion from the viewpoint of story as action – Storytelling.

For storytellers, the real discussion starts with the tales, and all those issues around Brothers Grimm are not relevant beyond a certain level; something I suppose requires an explanation.

Well, a skillful storyteller reads and hears thousands of stories and is a serious self-appointed researcher. In addition, he shares his questions and musings with other storytellers, listens to what they are thinking and questioning and receives references to more resources. Another important activity is meeting informants, folklorists, elderly storytellers, storytellers with greater experience and storytellers who are devoted to carrying on a tradition. This kind of intensive research is worthy even if the storyteller will eventually end up telling personal stories.

In addition, storytellers tell the stories they work with repeatedly, to an ever-growing number of audiences. Each session teaches us something, tiny or huge, about the way stories work people’s imaginations, our own imaginations. The desire is to reach a high level of intimacy with the text and the way it works, in order to clear the space for reciprocal delivery, being in the now. At the highest level we are looking at recreation and in Hebrew the word ‘tale’ – ‘Maaseya’ can also mean – the deed of God.

Storytellers don’t look for a final text version, but rather for a core version they can revisit, leave and recreate. After years of experience and absorbing story and story-work patterns, the storyteller has enough knowledge, a good ear, and a sharp eye for ‘surgeries’ done in stories. He gains greater respect to deep symbols, archetypes, and other building blocks. Often, he will be able to recognize a “fixed” story in a glance; sometimes it will take closer examination. This reminds the deep acquaintance musicians have with musical forms and structures. A musician who internalized the ‘Sonata’ form along years will recognize it immediately, including changes and “fixes” made to it.

If you read Grimm’s collection, you realize the body of work is not coherent and not all the tales are necessarily worth telling. Some stories are tong twisters; they don’t “sit in your mouth” because they were edited for the reading eye, not the attentive ear. Some are too local or weak and give no special reason to carry them on.

A story-action-patterns school in the German culture and way beyond

With all the criticism, Brothers Grimm’s collection is a storyteller’s treasure for two reasons:

  • Some of the tales are fabulous and way out of the ordinary
  • It is one of the best manuals for European tales and story-action patterns

Learning and practicing as many as possible great Grimm tales is like practicing the works of the great European composers. The patterns are tight, purified, and dense; practicing them with different audiences produces excellent storytelling core skills. The tight disciplined forms, although seemingly limiting at first, leads eventually to great freedom – to improvise, change, stress, dim and above all – to be an open channel to reciprocal communication between tale, audience, and self during a unique, one of its kind, spoken story-event.

The tales mold us on our path to become storytellers and they never stop doing so if we let them. Those patterns are codifications that pass through generations of storytellers. What seems to others as textual patterns are for us a wide score that includes references to performance indicators and the greater knowledge of storytelling.

Happy anniversary!

 

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How I deal with disturbances during a storytelling session

This issue comes up occasionally, not only when discussing storytelling; ask guides, trainers, lecturers and co – we all meet disturbances and have to find a way to deal with them. Some disturbances reside with the teller. If you’re not prepared, if you want to hear only your own voice, if you are preoccupied with the belief listening is stillness – you might interpret any movement and sound around you as a disturbance.

What isn’t really a disturbance? Some examples:

  • When people exchange thoughts about the story while you tell
  • When they talk to you, ask, or make a remark about the story as you tell
  • When they move to a different place because they can’t see or hear well
  • When they move a little in their chairs, scratch or even fall asleep

These and many others are all natural behaviors, relevant to such an event. If they would be sitting upright stiff, you would like it even less. If you are intimidated by such behaviors, check yourself first. Letting them be or incorporating them into the activity as you go is a great and fun way to handle them.

What is a disturbance although people never intended to disturb? Some examples:

  • When someone is translating an entire session to a person next to him and sits in the middle of the crowd
  • When babies cry
  • When toddlers run about or come to you, minding their own initiative in parallel to yours
  • When people answer their cell phone during the session and embark on a detailed conversation although whispering

These and many others are all natural behaviors, clashing with the event. They are real disturbances since they create a competing event, and the audience needs someone to put things in order. Don’t wait – address the addressable and tell them – what’s happening, what you suggest, in a kind, non-apologetic way. Very often, they will thank you for telling them, before everybody else starts gossiping about them.

What is a real disturbance? Some examples:

  • When some people in the audience are having their own loud conversation, aka ‘private party’
  • When a student sitting in an audience makes loud, nasty remarks about his schoolmates and teachers
  • When someone in the audience is making intended wisecrack remarks about what you are telling
  • When someone from the examples in the second paragraph deliberately continues as in “I bought a ticket and you won’t tell me what to do and how to behave”

Obviously, in the last group of examples, there is a different agenda going on; we are just caught in mid fire. Therefore, we will have to handle the situation, not necessarily alone. This is what I do when the above happens, I’ll be happy to read other’s advice:

Private party

This usually happens when someone decides to invite you, unknowing others invited to the event might not necessarily approve with this kind of ‘entertainment’. If it does happen, you can be sure the organizer feels worse than you do. You can try to invite them in, change the stories, play a game, and move into something else that you have up your sleeve. In most cases, that will be enough.

If it does not work, they have a hidden agenda with the organizer. If their own people can’t make them stop, announce a break, go to the organizer, talk things up, tell them how you feel, listen to how they feel and take a decision together. This does not happen often at all. When it does, I find the best way to handle it is to recommend a nice short closure, give the organizer a symbolic discount on the spot, and depart as civilized people.

Student making loud, nasty remarks

This happened to me twice up until now. In both cases, it was the school’s chief troublemaker. The kid not everybody believes in anymore.

Case one: I walked across the stage, positioned myself in direct eye contact with the person, and said, “I see you are used to grabbing all the attention. Now there is someone else doing it and you feel unemployed, you don’t really know what to do. However, for the next 45 minutes I’m going to be center stage whether you like it or not. You need to make a decision and I will respect whatever you decide: you stay here under the rules of proper behavior when attending a performance, the rules are 1-2-3; or you walk out and stay out without disturbance. The thing is you need to decide now. Again, it’s your decision and it will be respected”. The boy was shocked. First, because someone said they actually noticed his existence. Second because everybody was looking. Third, because they were all silent, waiting to hear his decision. He decided to stay under the rules and managed to keep his word.

Case two: I stopped the performance, looked around at all the 500 people in the hall and after examining them very well said, “500 people, including teachers and you let one person bully you all? He needs you to notice him and stop him. The more you are silent the more he is afraid his powers of destruction are endless”. Silence. Heavy silence to be more precise. I waited another 15 seconds and then continued the session. After about 5 minutes the bully was back to business but this time one of the kids next to him looked him straight in the eye and said “shut up, I’m listening to the story”. The surprised bully was close to getting offensive when another kid said, “it won’t work anymore. Just listen if you can”. From there on it was quiet to the end of the session. I could even see the boy giving in to listening and his expression became soft, after realizing no one was watching anymore.

Intended wisecrack remarks about what you are telling

This, with no doubt, is intended behavior. It’s another form of bullying hidden under a disguise of ‘funny’. A person behaving like that doesn’t really give a damn about anyone else. My way of dealing with it is ‘direct fire’ – shooting back something much further down the road than the original remark (never about the person though); something the wisecrack does not have the guts to utter or cannot even think about.

“I bought a ticket and you won’t tell me what to do and how to behave”

I talk, I suggest, in many cases I’ll ask the organizer or parent (if kids are involved) to take charge, I offer a solution. You might have noticed I never use an ultimatum when dealing with these situations. That’s because in many cases, there is a power game going on in the background and I have no intention becoming part of it. If things get to the point someone is trying to force their ‘attitude’ on me and everybody else and they can’t be stopped, I stop the performance, tell people why I’m going to walk out, depart with a smile and walk away. No, I don’t return if they beg me to. They have some issues to deal with and those issues didn’t change to the better in five minutes.

Rain isn’t a disturbance either :-)

 

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Storytellers and movement

Movement is core to storytelling. There is movement in telling, there is movement in listening and there is movement in story. Some of it is evident, part of it is more introvert by nature.

Storytellers move in various ways: our own unique body language, ritual movement for ritual texts, some of us bring in skilled movement we’ve developed somewhere else – dance, pantomime, acrobatics, martial-arts.

We use specific gestures we believe enhance the telling. We illustrate something – not by duplicating the text for it is usually a poor choice; we’d rather add meaning, extend or contradict the spoken.

From years of observation, I can see that when it comes to gesture, storytellers divide into two kinds of ‘movers’:

  • Those who add movement from without
  • Those who release movement from within

It might be that both kinds are needed and it might be they are different maturity stages on the same path. I’ll give you an example: in one of the stories I tell, a story several tellers over here tell too, the main character walks into the ‘eye’ of a sand-storm. After one of my tellings a storyteller came up and said, “most storytellers I’ve seen tell this story, craft the storm movement very dramatically. You – hardly moved, but I saw the most ferocious storm I’ve even seen while listening to this story. How come?”

It’s connected to releasing movement from within. Movement in this case is a response to a situation I can see very clearly. While telling I’m actually there, in the place the story describes, where the character is, I sense it fully. If I sense it fully, I react authentically. The audience sees my reaction and reacts upon, by completing what’s missing – the storm and it’s ‘eye’.

I’m not trying to illustrate a storm – which would be adding movement from without. I react to the storm – which is releasing movement from within. The text tells me about the storm, and it sends me to find-out more details in the narrative – what kind of sand-storms happen in that part of the world, what they look and feel like, what people who have encountered such storms said about the experience, etc. If I can physically experience such a storm – all the better. If not, I’ll research until I know with my senses what it is (from within).

Sometimes I do illustrate from without, but I’ll make such a choice only if it is necessary. For me, it’s the same consideration as in using props: does the audience need it? (from without)

Sand Storm in the Gobi 2

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Need help with a story by Ahamed Hasnaoui

I’m looking for details about a story called “The pomegranate of love – the story of Zainab” or in French which might be the original “pomegranate amour” by Ahamed Hasnaoui. Would like to know if it is an original piece or a translation of an old tale.Someone wants to use this tale and wants to make sure he is not violating any copyright laws.

Any kind of help will be most appreciated.

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‘Skyfall’ best quote

“…and bring forth the old because of the new.” (Leviticus 26:10)

Am I the only one who feels the ‘modern world’ is enforcing this idea, originally related to harvest, on everything? most probably not. The story in ‘Skyfall’ deals quite a lot with this issue. For large chunks of the movie, people over 45 both on the screen and in the audience feel uneasy. But then you get this short dialogue

Q: I can do more damage on my laptop in my pyjamas than you can do in a year in the field.
James Bond: Then what do you need me for?
Q: Every now and then a trigger has to be pulled.
James Bond: Or not pulled. It’s hard to know which in your pyjamas… Q.
Q: [Shaking his hand] Double-O Seven.

(Source: IMDb)

Written by people my age… :-)

So, dear Qs…

You might think you are utterly cool rolling fast-forward with technology; driving a chariot of fire without moving a single big muscle, thinking older people are repulsively ancient.

But… you can’t stand the heat, and when it comes to real life, real time, pinpoint decision-making and execution – or not, your chances are low. It doesn’t require tech; it requires real field experience and a single knife.

You can overlook, better is to collaborate, wiser is to learn.

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Storytelling through social media

First story

Sometime ago I commented on a very well known marketing blog. My comment expressed dissatisfaction concerning a piece of content; It was awkwardly shallow in comparison to the rest of what the blog owner usually writes. The reply, was somewhere around – my blog is for me, all the rest are bonuses.

My first reaction was “idiot” but he is not really.
Then I thought “he is entitled to freedom of expression”. Rational, although it didn’t feel right. Then I put it aside – or so I thought.

Almost a month later I’m writing this post and as sketching out my ideas, that short exchange popped-up immediately. I realised I’ve buried my authentic feelings then. It’s not that I’m going to go back and demand attention. It’s just that I’m not going back. The person, owning a very successful blog might not even notice he lost a subscriber. Even if he does, I don’t think he will terribly mind.

Second story

I play in an early music ensemble. One of our programmes combines Spanish music with the story of Joanna of Castile – known also as Juana la Loca (the mad). She was the daughter of Isabella ‘the Catholic’ and Ferdinand II. Her story is fascinating and miserable; the music is beautiful.

At the end of one of our concerts a lady sitting in the audience stood up and said, “I’m offended you’ve mentioned that horrible woman’s name (referring to Isabella). She and her husband were directly responsible for the the deportation of the Jews of Spain. I hate her for the great sufferings she has caused my family and our people. Hearing her name is too painful”.

I apologised for unknowingly hurting her feelings. At the same time, I told her I will not change the content but wish to thank her for teaching me something I can pass on: you can’t ask people to forget their history for someone else’s convenience. If we hear voices saying “come on, let go, that was during WWII” here is a reminder that memories much older still reside, and need to be acknowledged. We can remember while living on.

The women came over to give me a hug and cry on my shoulder. Imagine what would happen if my reaction was “our concerts are for us, all the rest are bonuses”.

The reader might think “those are very different examples”, they are not at all. In both cases – neither the blogger not the storyteller would change the content. The only difference lies in the way we chose to handle the situation. The blogger chose to look at personal interests, I chose to look at collective interests and preserve a sense of communion.

Preserving a sense of communion is core to storytelling.

Storytelling through social media buzz

Now, let’s look at the buzz called storytelling through social media. Place that phrase in a search engine search box and see what comes up.

We are told the benefits: It can build word of mouth, humanise a brand, grab attention through cyber-noise, answer emotional needs or elicit them, give context to boring data – to mention a few.

We are told what we need to do: Tell a story, treat technology as the campfire around which we tell our stories, get people involved, make it personal – to mention some advice.

We are told the kind of stories that better be told and the preferable formats – which evolve constantly, depending on technological developments, trends and fluctuating guru-advice.

We are even told social media is an evolution of storytelling. Putting aside my opinion, let’s follow this line of thought and bring up some often mentioned developments. Through social media:

  • More people can share their stories with more people.
  • More people can share other’s stories with more people.
  • More people can express themselves in more formats.
  • More people can own a story.
  • More people can respond to more stories.

Isn’t that great? it also means:

  • More people and more stories get less attention.
  • Even more people and more stories get less attention.
  • More people are neglecting the core human skills of communication and depend on technology for natural behaviour.
  • More stories loose path and identity.
  • More stories go unattended because social-media story production rates and human birth rates don’t grow in parallel.

Which drives normal humans to manage their communications in a one-to-many advertising entity style. If that’s what people mean when they say “storytelling through social media” I say – it has nothing to do with storytelling.

Practical advice from storytelling to you

What do you think – if that blogger and myself were in a face-to-face situation, would he answer the same way?

Storytellers always preserves a sense of communion. If people talk to you – listen, ask questions, relate, comment back, try to understand, stand in their shoes, acknowledge their opinion even if it’s the opposite from yours, keep your promises and try to narrow down your assumed reach to a level you can handle relationships and conversations.

Because if you don’t care about them, in due time, they will stop caring about you and that doesn’t feel great – unless you think that’s evolution.

Source: Dreamstime

 

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Responsorium

While listening to the chanting of Selichot (forgiveness prayers) at the Western Wall the night before the Day of Atonement, I realized that this style of congregational chanting – called responsorium – reminds me of the reciprocal act in storytelling. Although the cantor could very well sing the entire Piyut (poem) by himself, the full potential of intention is released only through responsorium.

Notice the eastern style of the tune – just a reminder for the fact Judaism originates here and here is the land of Israel, in the Middle East.

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Halleluiah! Finally, someone got it!

The other day I had a meeting with the head of the educator’s continual education organization of a large city over here. At some point, she asked me to “speak freely” about how I see storytelling and the ways training in storytelling can support her audiences.

Meaning – she invited me to say what I think and feel in storyteller’s language.

After listening for a couple of minutes she stopped me and with an expression of a wonderful realization on her face she said, “Coming to think about it, storytelling does not necessarily need to be connected to reading and writing”.

Thank you Goddess of storytelling. This does not happen too often but when it does – there is great joy in my heart.

Source Dreamstime

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Rosh Hashanah – Happy New Year!

It is that time of the year again! I wish you all the very possible best and lots of great storytelling with your families, friends, and complete strangers. If you can read Hebrew here is a Besht story for storytellers. If you cannot, scroll down to find a beautiful quote translated freely from a Hebrew translation to the original Spanish (she always has to complicate things doesn’t she… oy, well). I am still looking for the exact reference and if I will find it, I will let you know.

HAPPY NEW YEAR TO ALL MY TRIBES!  

“Telling a story is a miracle, something that cannot be explained like breathing, like hugging, like falling in love; something that can happen only occasionally, although we will never know if the shudder was a flutter of an angel or a gust of wind.

It is not just saying, “I’ll tell a story”. It is as if we say “I’ll make a miracle” and the time needs to be right, like the partners.

Story is a mystery solved when someone, shivering, tells someone else, enchanted. Then, when he tells, the miracle occurs.

The storyteller gives something through his words, skin, blood, laughter, and love from the heart.

When I was a child, I jailed worms in an empty cardboard box. A few days passed and when I opened it, a cloud of butterflies appeared, flying in the sun.

So are stories. They change only in air, beat only in the breath of the juggler’s figure of a storyteller”.

Jorge Diaz (1930-2007)

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Treating audiences as emotional rags

Source: Dreamstime

I really wanted to write a peaceful post today. It was going to suggest some interesting ways to handle audience-intake in heritage sites; especially audiences that don’t get there following their own free will or curiosity… schools etc. However, it will have to wait because one of the people participating in today’s workshop (for heritage sites guides) suddenly went

“But storytelling is all about emotion, isn’t it?”

(This is the one when I go and take a cold shower)

No, storytelling is not all about emotion and if you practice THAT kind of storytelling, you are treating your audiences as emotional rags. The warning signs are: a fairy like/joyous voice combined with a fake smile and an unfocused lookout; story texts based on emotional blackmail, usually around family issues, misery, or nationality/religion; body gestures that look as if the speaker thinks the listeners are deaf and dumb (the other meaning of dumb).

Of course, emotion exists in storytelling – it’s about people isn’t it? That’s why using word combinations like ‘emotional storytelling’ as if you’ve invented some great new idea, it totally ridiculous. It’s like saying ‘a headed man’.

If you are into storytelling, don’t take the advice Ann Romney received preparing for her speech.

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Names issue | seeking storytellers advice

I have made up my mind to tell the story Culhwch ac Olwen from the Mabinogion. I heard it told by Michael Harvey several years ago and it was a stunning performance. The story is lovely and complicated just the way I like stories. Michael masters the Welsh – at least to my ears. Embedded in the text there are two long-long lists of names of all sorts of beings, which are quite hilarious. In Welsh, yes…

Most times, storytellers will not wave their talent in your face. The better position for a teller is slightly behind the story, not in front of it. However, this time Michael ‘went for the gold’ as they say in the Olympics. Every time a list appeared he took a slight pause and leaped elegantly into what resembles the x son of y son of z son of someone else chapters in the Bible. He went for clear diction, fluency of memory and accumulating speed – to leave us breathless in admiration for his virtuoso ability.

Big Chapeau.

So now, I want to tell the story in Hebrew and I’m facing two dilemmas: Pronunciation and a very long list of names that do not fit into any kind of local context. It seems to me that even if I’ll learn how to pronounce well, local ears will not be able to grab the names’ gravity. It might be like listening to Gibberish with no intonation.

Obviously, I’ll learn the main characters’ names, without the fear of falling out of context. But what about the rest? What about names of places that mean nothing to my audiences? That cannot help advance the plot in their imaginations? I’d rather state the function of that place than name it.

Any similar experiences out there? Advice?

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