Favorite Resources for Storytelling

Professional Books:

Fujita, Hiroko. Stories to Play With : Kids’ Tales Told with Puppets, Paper, Toys, and Imagination. Little Rock, Arkansas : August House, 1999.
Holt, David and Bill Mooney. More Ready-To-Tell tales from Around the World. Little Rock, Arkansas : August House, 2000.
Holt, David and Bill Mooney. Ready-to-Tell Tales. Little Rock, Arkansas: August House, 1994.
MacDonald, Margaret Read. Shake-It-Up Tales! Stories to sing, dance, drum, and act out. Little Rock, Arkansas : August House, 2000.
McClure, Amy A. Books that Invite Talk, Wonder, and Play.Urbana, Il: National Council of Teachers of English, 1996.

Story Books (sources of easy to learn stories that "tell well"):

The Three Little Pigs (any version)
Jack and the Beanstalk (any version)
The Little Red Hen (any version)
Wat’s In Fox’s sack?
Amazing Pig.
Gingerbread Boy
Always Room For One More
The Great Big Enormous Turnip
The Lady With the Alligator Purse
Sally Ann Thunder Ann Whirlwind Crockett

Guidelines:

Read it until you know it
Don’t memorize the text – learn the story, it’s characters, its action sequences, and its “mood”.
Step into the book until you feel it
Surround yourself with the story, “visualize” yourself in the tale. Play with it, change it, make it personal.
Tell the story like you were there
It is now your story. What is it like: what do you see, feel, smell, hear? Are you going to just stand there? Will you run from encounters, react to situations, recite advice or formulas, review options/directions, recognize similarities?


From: Off the Page! by M.A. Hudson (used by permission)

STORYTELLING BLOGS

Storied Career
http://www.astoriedcareer.com/story_seminar_essay.html

Voice
http://www.storytellingadventures.blogspot.com/

Pew Study Indicates Personal Storytelling is behind Blogs
http://www.businessweek.com/the_thread/blogspotting/archives/2006/07/pew_study_shows.html

Beth’s Blog
http://beth.typepad.com/beths_blog/storytelling/index.html

Internet Time
http://metatime.blogspot.com/2005/12/storytelling.html

Chief Storytelling Blog
http://www.chiefstoryteller.com/chief_storytellers_blog/business_storytelling/index.html

NSN Storytellers Blogs
http://www.storynet.org/Resources/StorytellerBlogs/StorytellerBlogs.html

BOOKENDS: WHAT STORYTELLERS WISH THEY COULD TELL THOSE WHO HIRE THEM

1. Know why it is that you want to expose your students to the art of storytelling. As you clearly define what role you hope oral tradition will play in your class or school life you will also be helping the performer to know how to craft the visit for mutual satisfaction. “We thought a storyteller would be fun!” is a good reason but far better are: “ We were studying various art forms and wanted the oral arts represented” , “We’ve been studying folklore and myth and thought the students hearing stories communicated in a traditional and ancient manner would add to the lessons,” or “ We thought that since children learn in so many diverse ways that a storyteller –bringing an auditory component – would bring an excellent dimension to the event.”
2. Clear with your building administrator to make sure that there are no problems with your plans and you have their support for bringing an enriching program to your class/library/school.
3. Place on school calendar. Get the information out early enough so that everyone gets to learn of the event, that information goes out on any mailings, or send-home packets.
4. Know how much you can spend to bring a professional teller into your setting. Some storytellers have firm price packages. Others may be more flexible, especially if they are not full time tellers. What might you use to barter a price with a storyteller? Can you guarantee a spot on the local cable TV show, a big write-up in the newspaper, or a secondary storytelling job in the same area?
5. Make sure that everything is placed in writing using a standard contract format that defines who, what, when, where, and how much. Any special additions/restrictions/etc. will need to be added to this and both parties sign and receive copies of the signed contract.
6. Plan for problems. Illnesses, missed flights, sudden death or loss of funding can all happen without warning. Remain flexible and even the worst case scenario will be much easier to handle.
7. Check with the administration about any special forms/clearances required by your system or administrative offices before a performer can a) visit your school and b) receive their check. Make sure your performer gets a copy of this in a timely manner so that payment is not unnecessarily delayed.
8. Advertise the visit among students, teachers, staff, and parents.
9. Prepare the groundwork for a wonderful experience by a) explaining your goal for the event, b) explaining storytelling, c) sharing audience etiquette with students and other staff.
10. Call or write close to the date to confirm all arrangements.
11. Provide clear directions to location.
12. Have someone on hand to a) greet (“Yes, you have the right place” b) direct (“The library is here, the restrooms here, etc.) and c) assist your guest storyteller (“would you like some water, a chair?”).
13. Make any necessary announcements prior to introduction. These may include last minute notices to staff and teachers, requests that pagers be turned off, and reminders about proper behavior.
14. Introduce your guest to the audience. If you are uncomfortable with introductions, ask the artist ahead of time to provide you with a script to use as you introduce them.
15. Thank your guest performer at the conclusion of the event. Even if the event was not all you hoped for it is a good role model for students and staff.
16. Follow up with a written thank you to the guest artist. Include copies of any PR material that may have appeared in newsletters, local papers, etc.

Just as the visiting artist should be expected to impress you with his or her level of professionalism….the teacher, administrator, librarian, or school district should also set out to impress the visiting artist that they are a place worth the artist’s time and effort.

TELLING STORIES TO CHILDREN (AND OTHERS)

FURTHER RESOURCES

Barrett, Ethel. Storytelling, It’s Easy. Grand Rapids, Michigan: Zondervan, 1960.

Bauer, Carolyn Feller. New Handbook for Storytellers, with stories, poems, magic and more. Chicago: American Library Association, 1993.

Bruchac, Joseph. Tell Me A Tale: A Book About Storytelling. San Diego: Harcourt Brace & Company, 1997.
Colwell, Eileen. Storytelling. London: Bodley Head, 1980.

Geisler, Harlynne. Storytelling Professionally: The Nuts and Bolts of a Working Performer. Englewood, CO.: Libraries Unlimited, Inc., 1997.

Griffin, Barbara Budge. Storyteller’s Journal: A Guidebook for Story Research and Learning. Medford, OR: Storyteller Guidebook Series, 1990.

Hutchinson, Duane. Storytelling Tips: How to Love, Learn, and Relate a Story. Lincoln, NE: Foundation Books, 1985.

Litherland, Janet. Storytelling from the Bible: Make scripture live for all ages through the art of storytelling. Colorado Springs, CO: Meriweather Publishing, 1991.

Livo, Norma J. Storytelling: Process and Practice. Littleton, CO: Libraries Unlimited, Inc., 1986.

Maguire, Jack. Creative Storytelling: Choosing, Inventing, and Sharing Tales for Children. New York, McGraw-Hill, 1985.

Moore, Robin. Awakening the Hidden Storyteller: How to Build a Storytelling Tradition in Your Family. Boston: Shambhala, 1991.

Pellowski, Anne. The Storytelling Handbook: A Young People’s Collection of Unusual Tales and Helpful Hints on How to Tell Them. New York: Simon & Schuster, 1995.

Pellowski, Anne. The World of Storytelling. Expanded & Rev. ed. Bronx, NY: H.W. Wilson, 1990.

Storytelling: Learning and Sharing. [video recording] Coyote Creek Productions. 1995.

Zipes, Jack. Creative Storytelling: Building Community, Changing Lives. New York: Routledge, 1995.

SOURCES FOR STORIES TO TELL

Bierlein, J.F. Parallel Myths. New York: Ballantine Books, 1994.
Bullfinch’s Mythology. New York: Gramercy Books, 1979.
Grimm’s Complete Fairy Tales. New York: Barnes & Noble Books, 1993.
Philip, Neil. The Illustrated Book of Myths: Tales and Legends of the World. London: Dorling Kindersley, 1995.

Marilyn A. Hudson/Storytelling 101/30 September 1999

CHILD SIZED STORIES - m.h.

The Audience
In order to tell stories to children several factors should be in place.
· Know children: how they develop, how they change, what they are learning in school and what interests them.
· Revisit your childhood. Go back in memory and walk into your room, taste your favorite things, run down the street as you hurried to a friend’s house…some things never change. As you discover those “universal” elements you will be well on your way to being able to recognize timeless elements for use in your stories.

The Story
In order to be a storyteller you must have a story. The story you tell can be a family story, a familiar folktale, a classic myth, or a page out of history. Regardless of the type of story chosen for telling the key is to remember two important facts.
The story must be appropriate to the age and develop of the children in the audience. It must also be a story you can really enjoy telling because children can see through half-hearted interest and lazy telling.
What kind of stories can be told to children?
· Myths
· Fables
· Folklore
· Tall tales
· Family Stories
· Historical tales
· Nursery rhymes
· Religious tales
Where can a storyteller find an audience?
· Schools
· Churches
· Camps
· Festivals
· Hospitals
· Nursing Homes
· Local clubs
· Hotels
· Luncheons
· Historical associations
· Park programs
· Conventions
· Senior citizens centers
· Fundraisers
· Local special events

As you begin the process of learning and practicing the story it is important to keep in mind the role that such things as vocabulary, diction, and timing play in telling a story.

Vocabulary: How easy to understand are the words? If unique terms are used are they adequately explained?

Diction: How clearly are you speaking? Are you understood as you tell by people listening at the back of the room?

Timing: Do you tend to gallop through what you say in a breathless fashion because of nervousness or fright? Are you telling stories like they were “fast food” when what you really need is a sit down meal with pauses between the courses?

All of these can be dealt with by taping yourself, judging listener response, and taking a deep breath to steady yourself as you perform.

The Event
Children can be noisy, have a short attention span, and be easily distracted combining to cause a storyteller to swear never to tell to anyone under 20 ever again! On top of those normal childhood conditions there is the culture which has trained us to 60-second commercials, big productions, and dizzying special effects.
The storyteller can feel they are too simple to really appeal to children, however, these elements can be turned to the teller’s advantage. Some stories are very short and as you may have read a collection you discarded one or two because they were too short for telling to an adult audience. Look at these again to see if they can be adapted to the shorter story times required for younger children.
Some ways to get and keep attention (try some on for size):
· Costume
· Storytelling clothing (hat, vest, cane, glasses, etc.)
· Listener contract (spell out expectations on attention, noise, etc. up front)
· Opening ritual (candle, gather in story place, song, spiral dance, poem, fingerplays, etc.)
· Lively presentation with varied speech levels.
· Audience participation

The Recovery
You successfully made your appearance telling stories to your audience. You may have been embarrassed, you may have been elated, and you may have been sure you could never do that again in a million years. If you are a storyteller you will be telling again and as soon as you can. The post-event period is very important to improving your presentation. It requires assessing what worked, what was awkward, and what seemed to really make the time fly while you had real fun telling your story or stories.

Oklahoma Storytellers - Part of Red Dirt Book Festival 2005

There are pictures of Kathryn Thurman, President Bonnie, Rosemary Czarski, and Marilyn Hudson on this flicker page created by the Pioneer Library System (http://www.flickr.com/photos/jsyk/481798040/in/set-72157600087279200/ ).

The next one of these festivals will be the first Friday and Saturday of November 2007 in Shawnee, Oklahoma. See you there!

STORYTELLERS UNITE: SEND YOUR VIDEO CLIPS TO THE INTERNET

Storytelling is missing a great opportunity in not making sure that the finest and best examples of storytelling finds a home amongst the film clips and videos on various sites : You Tube, Goggle Video, etc.

Talk about promotion for state groups, non-profit events, etc.! Storytelling has hidden too long in the corners of the performance world. If a storyteller is good enough to tell - film them and load that clip!

Never Too early To Think of Tellabration

Tellabration (tellabration.org) is an international event highlighting the place of storytelling in society: some focus on stories for grownups, some for families, and some for children and youth.

The event is held each November and so now is the time for any groups to begin the process of planning the where, when, what, and who of a local event.

Gather some of the best tellers together and do a "demo" tape of CD (or DVD). Take this along so the prospective sponsor can hear what you mean by storytelling. Create a mock flyer showing how the event will be promoted (and how a local business or two might be featured as sponsors). Vi st local businesses (bookstores, museums, libraries, schools, and other places people can congregate without being arrested).

Begin promoting at least three months in advance and promote well. Local radio (not just the station you like - but ones that people listen to in great numbers) often look for community services news; newspapers; newsletters (local schools, local businesses, local churches, etc.).

Visit the main Tellabration webpage for more hints and how-to's and then get going!

STATE OF THE STATE OF OK STORYTELLING

In researching the history of storytelling in modern Oklahoma it has become clear that the term "storytelling" has been a fluid term and used interchangeably to represent reading to children, orally telling a story, writing a story, and making visual a story (via cinema or art). This has led to more than one misconception in the mind of journalists and programmers as to what constitutes "storytelling". Indeed, in one newspaper article from 1995 a storyteller was described by the journalist as intending to "read to children."

Several myths that emerged have included:

Storytelling is for children

Storytelling means reading to children

Storytelling is theatrical

Storytelling must have a purpose

The misconceptions have colored how news media interpreted press releases, how editors relegated space to the teller or the event, how program planners approached hiring and use of storytelling talent, how educators have handled storytelling, and ultimately, how storytelling has been valued within the state.

Storytelling appears to be the only art form where local artists are regularly ignored in favor of artists from elsewhere. Indeed, Peter Dolese when he filled the roster of talent for the 1st "WinterTales" established the principle of always bringing in those for whom Oklahoma was a new experience. These were tellers whose styles and presentations would serve to set the model of what "storytelling" had to be. As a result there developed a dearth of support for local artists (storytellers) unless they emerged from ethnic groups. In comparison other states had storytellers who covered a broad range of styles from homespun folk tellers to highly stylized theatrical tellers. The breadth of storytelling styles would greatly add to building a storytelling listening base that encompassed wide socio-economic segments leading to better support for the art form in those regions. An honest intent to inject new views, voices, and perceptions into the developing Oklahoma cultural ethos also set in place an elitism, and an artistically stifling atmosphere and marginalization of many Oklahoma voices.

Education also served to limit storytelling, as it has often done with reading, to the formula of read-hear and then analyze the story until all appreciation or joy is removed from the initial experience. This ultra-conservative attitude that all activity had to have a purpose or a rationale served to move storytelling from the motivation-art appreciation camp into the story-analysis-test paradigm. Storytelling was viewed, as most arts and music, but seldom sports, as a fringe component that had little impact on student learning and therefore could not be part of the school year. This served to remove the imaginative element from many schools and created a cold and uninspiring classroom.

The loss of the "folk artist" was most probably related to the low self-esteem most Oklahomans experienced in the post-Depression years. Those "cracker-barrell tellers" with their stories of hard times and little education often were simply not what the state wanted mirrored to them in stories. They were economically growing, becoming more sophisticated, "catching up" with the other, longer established, states and wanted to shed those times like a child seeking to grow-up too fast. This meant that many local tellers of the traditions, lore, and vales of the state were sorely under appreciated and much distinctly Oklahoma folklore was lost as a result.

In moving a fundamentally intimate art form on to the large stage there has been a loss of appreciation for the intimacy of storytelling. The larger-than-life theatrical movements required by many event planners has set in stone the public precept ion of what "storytelling", especially with children. The belief is that those stylings are required to attract and keep the attention of youth raised on 60-second sound bites. The truth is that a good storyteller can style hook their listener and get them focused on the story without a lot of physicality or histrionics. They achieve this through the ability - despite the venue - of creating intimacy with their audience and drawing them into the story.

STORYTELLING IS....???

In the past the term has been used to refer to "once upon a time" tales....to bald face lying that would end with a trip to the "woodshed" where discipline was swift and sure.

Today, the term is used to refer to everything from film to graphic novels to a rock group. The simple and traditional use of the term has been lost for many.

Types of Storytelling:

Traditional, Oral. This form is defined as the small group gathered in an intimate environment where a story of moral, imaginative, or educational value is shared by a person. This is the primarily and historically the place where folklore, heroes, myths, and legends are passed along to new listeners and preserved for the generations. Although, it can occur in larger venues - many feel that the larger the audience the less impact the stories have. Some traditions required the storyteller to not move or make only limited gestures as they shared a tale.

Nontraditional, Oral. This form is best defined by the Garrison Keillor approach but also includes storytellers who incorporate objects, costumes, movement and more theatrical elements into their stories. This form may incorporate more animated telling styles with gestures, movement, and audience participation.

Digital. Stories created, passed on, and preserved in digital formats as video, animation, or audio forms, most often online.

Visual. This form includes the use of film, cinematography, photographs to "tell a story". The narrative structure of story is translated into a almost entirely visual format in this medium. As with many art forms this one requires the audience to bring with it their own experiences and emotions as a vehicle for the telling of the story.

Book sharing. This is one of the most common uses of storytelling with children. Librarians and parents and teachers all read a book to children to share the experience through followup instruction, interaction, participation, role playing, puppets, and art. Although a viable vehicle for adults and teens, it does require some preparation for reading pace, intonation, volume, and presentational skills and is sometimes most useful as a "teaser" rather than a real reading of an entire teen or adult book. Many librarians and teachers have found, however, that some picture books are really written on a higher level. This makes the useful for older people because they are visually interesting and contain more mature themes, vocabulary or ideas.

Writing. The marriage of the written word and the oral tradition has tremendously benefited modern storytelling. Although two different mediums with differing requirements they can be used collaboratively since all storytellers need writers to provide material and inspiration and all writers need audiences and contact with natural forms of verbal and non-verbal communications.

Performance based. A merger between the modes and values of theater with the stage production of storytelling. Professional storytellers often benefit from classes on how to move, to speech, and express emotion in a natural, artistic, or entertaining manner.

Group or team. A sub group that is very ancient and often found in team or duo exchange storytelling. George Burns & Gracie Allen perfected a comedic form of this style and provide a model for the timing and artistry required to team tell effectively.

Musically embedded storytelling. Using music or instruments in the telling of a tale or as filler between tales.

Spirit of Oklahoma - 1st Annual Storytelling Festival

SAMPLE PRESS RELEASE

Storytelling Festival set June 1-2

SEMINOLE — At least 30 tellers — and probably many, many more listeners — will take part in the first Spirit of Oklahoma Storytelling Festival, set for June 1-2 in Seminole.
The event, sponsored by the Oklahoma Territory Tellers in conjunction with Seminole State College, will be held on and around the college campus. The festival is planned to commemorate the state's Centennial but also as a first annual event, said Jeanette Harjo, festival chairwoman.

Featured during the two days will be storytelling in various categories — with subjects including American Indians, the Old West, family memories, the state's history in general and even ghost stories — the “swapping” of stories, a children's matinee and visits to the nearby historic Mekusukey Mission.

An overall festival pass of $20 is meant to help cover expenses, or smaller fees are available for individual events. The festival will begin on Friday evening with stories by three “featured tellers,” Lynn Moroney of Oklahoma City; Jerry Young of Mesquite, Texas, originally of the Oklahoma City and Mustang areas; and Steve Kardaleff of Lawton. Both tellers and fanciers of word-of-mouth stories are expected from throughout Oklahoma and even other states, said Harjo, a resident of Maud and a retired library media specialist - as well as a storyteller, too, who calls herself “country through and through.”

In connection with some of the festival events, college credit is offered through Seminole State, added Harjo, who will teach Storytelling 101 in conjunction with the festival. Bonnie Smith of Paden, Territory Tellers president, said all the stories told during the festival - those both true and untrue - will somehow portray both the history and culture of Oklahoma. Smith, a retired Prague teacher, said her organization created the festival “as a special way to commemorate the state's Centennial - with the telling covering everything from the oil fields to cultural activities.

”She also expressed the belief that all state storytellers share her sentiments: “I'm very proud to say 'I'm an Okie'!”

Molly Lemmons of Mustang, a writer who is retired from Mustang Schools, agreed that all stories planned for the festival “portray the character of Oklahoma.” She is among seven women who will tell stories based on family backgrounds in a session called “History from the Heart.” Chester Weems of Yukon, a retired school administrator and a native of Seiling, will tell stories based on the history of his family, who settled in present-day western Oklahoma in the 1890s. However, he said, while the yarns he spins are based on fact, “I don't always let the truth get in the way.”

Contacts:Jeanette Harjo, (405) 398-4310; jmharjo@hotmail.com;Bonnie Smith, (405) 932-5406

CAN ANYONE IDENTIFY THE AUTHOR OF THIS POEM?

This was found in a book, typed onto a few sheets that appeared to be a class or workshop handout on storytelling. Yes, they were "typed" as in the old hunt and peck form of writing with ribbon and paper. I would love to find out who the author is....or if there is one.....

STORY TELLING – FOR LAUGHTER AND LEARNING

I am a Story.
I am your Great Opportunity.
I make you Think.
I make you Imagine many things.
I am the Spoken Word.
I am Eternal.
I lived in the beginning and I shall endure to the End of Time.

The Blind may not read,
The young cannot Read
The Stupid will not Read –
But all can hear my Message.

I bring memories of “Once Upon A Time”.
I am Castles in the Air.
I can show you the Road to Laughter Town.
I make life a Great Adventure—
Seven Stories High!

--Let me know! Marilyn A. Hudson

Territory Tellers - The Statewide Storytelling Organization of Oklahoma

The ONLY state-wide organization for storytelling in the state of Oklahoma, Territory Tellers was organized in the 1980's to encourage storytellers, introduce stories to a wide audience and to keep alive the rich storytelling tradition that was already alive and vital by 1907 statehood.

The logo is blending of the outline of the fair state of Oklahoma and the Native American dreamcatcher. So in that logo are the rich native traditions and stories of the states strong Native American heritage and added are all the ethnic groups and cultural heritages who have also made this land their home. As Oklahoma storytellers we share a rich and wise corpus of stories and motifs bringing color and flavor to the traditional tales we love and the perosnal experience tales we share.

For more information, or if you want to join this non-profit group, visit their website at www.territorytellers.org

• Ardmore: Word Weavers [SOUTH CENTRAL]
  Meetings: as called.Contact Valerie Kimble, vtkimble@brightok.net, 580-226-3980
• Bartlesville: Tallgrass Tellers [NORTHEAST]
  Contact Fran Stallings
• Lawton/Apache: [WEST CENTRAL]
  Irregular times for concerts.Contact Steve and Pat Kardaleff or Sam McMichael, chessam@pldi.net
• City: Boomer Storytellers Toastmasters [CENTRAL]
  Meetings: first and third Mondays, 7:00 PM (dinner at 6:00 PM)Aloha Gardens, I-240 and S. PennContact Don Dillon, 405-354-7447, or Marge Smith, 405-685-9884
• Tulsa: Tulsey Town Yarnspinners [NORTHEAST]
  Meetings: first Monday 7 p.m. Biscotti's Coffee House 28 E. Broadway, Sand Springs.Contact Darla L'Allier or tulseyty@yahoo.com NEW INFO: Tulsa: Tulsey Town Yarnspinners Sept. 30 & Nov 4, 2008 @ Zarrow Regional Library Tulsa, OK 6PMContact Connie Fisher at 918-241-9859