This is from an article was compiled and edited by my friend and fellow storyteller Dan Keding published in Sing Out! Magazine.  At the time I was teaching full time storytelling classes at a high school in California. I now teach Applied Storytelling at Ohio Dominican University.  

As we consider youth involvement in stories and storytelling I think what it says applies even more today than yesterday.  For this reason I have posted it on my blog.  

From: Sing Out!  |  Date: 9/22/2004  |  Author: Keding, Dan

This issue I have asked three of the best known advocates of youth storytelling to talk

about some of the issues and ideas that arise when dealing with storytelling with kids.

Flora Joy is currently the Storytelling Professor Emeritus at East Tennessee State

University. In 2000, she received the Lifetime Achievement Award in Storytelling from

the National Storytelling Network. Kevin Cordi teaches storytelling at the high school

level and created the award winning student storytelling troupe, Voices of Illusion. He is

the 2004 recipient of the National Service Award from the NSN. Judy Sima has trained

hundreds of young storytellers at the middle school where she is the librarian in Warren,

Michigan. She started the Chatterton Talespinners, a student troupe and The Parent­

Tellers, an award winning adult volunteer storytelling group. She is the co­author with

Kevin of the new book Raising Voices: Creating Youth Storytelling Groups and Troupes.

What is the best way to attract students to be active storytellers? 

KC: In order to encourage students to be storytellers they must first be aware of the value

of stories and storytelling. We need to have a national and international mentoring

program where older or seasoned storytellers can work with younger tellers. This

apprenticeship program can work wonders.

JS: Expose them to good storytelling by professional storytellers as well as other youth

tellers. Then, invite them to join a group and bring their friends. Provide active and

engaging activities to teach storytelling skills and always have a performance goal in

mind.

FJ: Youngsters must feel the power of story before they are drawn to the telling process.

Sometimes this power occurs through the strength of peer approval (whether they’re

telling ”stories” in a private group or in a more formal audience), and sometimes the

power is emanated through the stories’ messages. Adult leaders can provide venues for

both of these situations.

In what way does storytelling fit into the curriculum? 

KC: There is no subject material that cannot be taught using storytelling. In this state of

standards, oral and written language are highly valued. What better way to teach them

than through story? Storytelling is a natural method to learn any material.

FJ: All storytellers who are interested in connecting with school­age listeners (and

potential tellers) should first check out . Massive listings of curriculum skills are given

(and they are even broken down by individual states). Practically every story that is fit a

teller’s repertoire call relate to one or more of the skills listed. ”Tellers wanting to

convince academic personnel of the value of their programs should in advance prepare a

written connection of their stories and these standards.

What is the value of storytelling in the classroom? 

JS: Many state objectives now include oral communication. Storytelling helps not only in

communication skills but listening skills, as well as comprehension. By helping

strengthen imagination, storytelling helps with writing and comprehension and even

understanding of science concepts. Storytelling brings any subject to life? history,

English­­even math. In regards to reading it helps with comprehension, story structure

and language development. Storytelling by students helps them develop self confidence,

poise and strengthens their ability to organize and express their thoughts. My students

also tell me it helps with their memory skills in all subjects.

KC: Since it has been observed that using narrative­based teaching or storytelling is the

most effective style of learning, storytelling has a natural place in teachers’ lesson plans.

It can be used to teach effective skills such as group cooperation to cognitive work such

as exploring the causes of The Civil War.

FJ: And the young learners themselves may become involved in the telling process. By so

doing, they are developing all of the oral language arts skills­­a ”lifetime” communication

enhancement.

Do young storytellers actually stay with the art form? 

KC: We have a ”Storyteller’s Hall of Fame” on my classroom walls. Everyone in my

storytelling group signs it at the end of the year. I see it everyday and just the other day I

looked at all the names and was surprised that 1 knew where most of the students were

over the years. Very few, but some, have become professional storytellers … but

countless others write or call me to share how they use stories as nurses, police officers,

as guards in the military, or even how they now tell stories to their own family.

JS: Many of my former Talespinners went into the theater program and forensics in high

school. They’ve told me that storytelling helped them in speech and writing classes. And

one wrote that she tells stories now to her own child.

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  Sometimes I hear storytellers “borrow” a tale without credit or simply not know credit should be provided when telling certain kinds of stories.   Sometimes, I need a reminder that in order to tell this folktale, personal tale, and/or original tale I need to do a mental ‘check in’ to see if the tale should be told by me.  This is not to say it can not, but it is to say, it requires time, dedication and care when deciding.  A story is a gift.   Has it been given?  Does it need to travel?  How do we know the answers to these questions?  This questions should be considered before sharing the gift of certain stories.

Below is a poem that I wrote to remind me that some stories can be told and some stories should not be told without doing the required   homework or securing permissions.

You can’t catch this story.

 (For Tersi Bendiburg who reminded me that some stories are not always meant to be caught.)

By Kevin D. Cordi

January 13, 2011

Here is the windup, here is the pitch

A story is thrown.

Wait. You can’t catch this story.

It belongs to someone else.

It is a tale that has reservation,

A Native tale for a tribe

that you have no ownership.

An African tale told in a sacred circle

A Lakota legend passed within the tribe

A Cuban recount personally rolled like a homemade cigar.

An Appalachian account told in whispers

not meant for public ears.

Another pitch is thrown, but

you can’t catch this one either.

It is a story sacred to someone’s family

A true tale about a sad ordeal

that was meant for the family.

A tale about someone:

A grandmother who survived the war.

A grandfather who worked the mines.

A brother who died of something everyone was told was something else.

A sister who secretly married the one she did not love.

The last pitch is thrown, but again this story

is not meant for you.  It is a tale that another has

written,

penned,

versed-

told.

From a published children’s tale

to a tale someone else labored to find the right words.

You don’t have permission to carry their words.

This story they hold tight to their chest,

close to their hearts.

Why would you stop their heart from hearing it?

Rest easy. This story may not be your story to tell,

but others freely throw out their stories.

Waiting for them to be caught.

Tell these stories.   Share them with the rooftops and

short stops.  Let them travel because they desire it.

Tell your family tale that you know so well.

Share a folktale that the culture has said let soar.

Let travel words meant for children that you wrote

so others can hear.

This is your heart tale that beats with each word.

Let the words soar, like a fastball seeking home plate.

Be the pitcher who knows how to hold these stories

and let them go.

Here is the wind up, here is the pitch

Don’t let these stories slip from your grip.

Remember,

Let them go and be close to your heart when you hear them.

*For those who would like this poem to travel, I give permission for this to be shared but please share the author as well as the site when you do.

Thank you for your care and artistry when telling stories.

Kevin D. Cordi

www.kevincordi.com

 ”Together we make a difference with stories.”

*Note: This poem was inspired by this poem “Story Catching” read it at http://kevincordi.com/blog/2011/02/catching-stories-a-poem/

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The Artist’s Commitment

I promise to always remember my power, love, and intelligence as an artist,

and the vital role that artists have played in every culture and time.

I will never again invalidate any artist,

including myself, or any work of art, but rather ally myself with all artists to end our economic oppression,

and enthusiastically encourage the creativity of every human.

 Rational Island Publishers developed by the Re-evaluation Co-counseling Community

The next person to speak to this is noted storyteller, author and coach Jay O’Callahan. 

Jay O’Callahan has performed with acclaim at Lincoln Center, at the Abbey Theatre in Dublin and other theatres around the world, at the Olympics, with the Boston Symphony Orchestra, and on National Public Radio. Time Magazine has called his work “genius.” NASA commissioned Mr. O’Callahan to create and perform a story to celebrate NASA’s 50th anniversary. He Performed the resulting work, Forged in the Stars at space centers across the country, in Cape Town, South Africa For the International Astronautical Congress, and in New Zealand. Michael Eastwood from the Jet Propulsion Laboratory said, “O’Callahan captured the soaring human spirit of our work.” Forged in the Stars was also broadcast nationally on PRI’s Living on Earth.

The National Endowment of the Arts awarded Jay a fellowship for solo performance excellence. In addition he has received awards for his performances, books, CDs and DVDs from the National Education Film Festival, Fund for U.S. Artists at International Festivals, Parents’Choice, NAPPA, New England Theater Conference and UNESCO. He leads creativity workshops for corporations, universities, law firms and private groups. www.ocallahan.com

On a personal note, I have known the work of Jay before I knew Jay.  It is hard to say what happens when Jay is working.  He knows the value of silence before sound so that sound is poignant.  He treats each performance with extra care so that he can be ready for the invitation of story.  Most of all, he is reflective not only of his work but really listens to others.  He knows the inherent value of always building from  where you are now and where you can be.  Most of all, he does all this with care and passion.  He is attuned to the story, audience,and the tale.   He is a true testament of what it means to be fully involved in the work of the telling and the joy that comes from when  you know it is done well.

Jay’s words:

Storytelling has been the work of my life. An artist explores life in any way that he or she can. My gift is creating stories to tell. That means I use sound, gestures, silence, movement, dance, song, all to create images and characters and scenes. When I was beginning I read one of the Noh Masters in Japanese theater who said he would rise each morning and work on a gesture. I admired the sense of commitment and have tried to follow suit. Each work is a new world and I stay with it until the story seems to be whole, and that can take a commitment of two or three years. So I’ve stayed with it and it’s been a great gift.

Feel free to leave a comment for others to read or send me your response to Jay’s message or your own commitment as an artist.

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I

The Artist’s Commitment

I promise to always remember
my power, love, and intelligence
as an artist,
and the vital role that artists have played
in every culture and time.
I will never again invalidate any artist,
including myself, or any work of art,
but rather ally myself with all artists
to end our economic oppression, and
enthusiastically encourage the creativity
of every human.

Rational Island Publishers
developed by the Re-evaluation Co-counseling Community

The next artist to weigh in on this commitment is well known professional storyteller and author Rafe Martin.

Rafe was born in a snowstorm in New York City in 1946, after a hurricane destroyed the Air Force Base in the Everglades where his father was stationed after returning from overseas. Perhaps, Rafe muses, the shift from sunny, tropical, pre-natal dreams to the shock of darkness and snow is what launched him into a lifetime of dreaming and imagining. He spent much of his childhood up in treetops with a good story at hand. In sixth grade he discovered Moby Dick, and read it over and over; this led, years later, to his becoming the first student to graduate with Highest Honors in English from Harpur College (now Binghamton University), for his thesis on that book.

With an M.A. in English Literature and trained as a literary critic, Rafe left academia in 1969 and held a variety of odd jobs ranging from construction worker to substitute teacher. In 1974 he and his wife opened a bookstore, and in 1982 he became the first storyteller-in-residence for the Rochester City Schools.

Rafe’s first book was published in 1984. Twenty others have followed since, with more appearing every year. Besides being an award-winning author, Rafe is also an internationally known storyteller; he has spoken or performed in nearly every state, including Alaska and Hawaii, as well as in the International Schools of Japan.

On a personal note: I met Rafe years ago at East Tennessee State University.  Rafe handles words carefully and with his well told tales can freeze time.  Better yet, he can suspend time to take you the place of the stories he is sharing.   This craft and skill seems to be done at ease, but from  taking workshops with Rafe and talking with him, he spends a great deal of energy and contemplation around how a story should be shared.  Even in casual conversation, Rafe invites me to think of what I say and the best way to share it.   I value the rich learning that I have received from Rafe.  He is truly values the gift and enrichment that comes from a lifetime of storytelling study.

My Commitment as an Artist

Rafe Martin

www.rafemartin.com

My commitment as an artist is to let myself know nothing, (or at least less and less), so as to be available to be grabbed by an idea, a color, a character, an image, a brush stroke, a word, a phrase, a narrative pattern. And then to obsessively mine into it past the point of disaster, and come out the other side with something that can walk away from me and live on its own. And I will do my best to not cry when it does not say goodbye or call or write or visit. And then also do my best to get paid decently (and have a contract, and go after any organization, person, etc. who does not pay properly) for the privilege of it all, and to keep growing into work that still grabs me, without hacking out and repeating the same stuff again and again, just because it made (makes) money in the past, unless I’m simply fascinated with the process, theme, image, etc. and cannot let it go. In short, I promise to have the courage to go where the vision leads. And when it comes to storytelling, my commitment is only tell stories I really care about. No ifs, ands, buts.  And finally, when the well is dry, to stop. Just stop. And have the patience and courage (are they different?) to see what comes next. Or might come next. Or will.

So that’s my commitment in a nutshell.  Cheers! Now, back to work.

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Lorna Czarnota Responds to the Artist Commitment

A personal reflection: I have known Lorna as a storyteller artist for a long time.  Like the arrows she skillfully holds when she is practicing archery, she uses that same skill to hit the mark with her stories.  Most recently I had the pleasure of sharing stories with her in New York.  She dedicates her time on a regular basis to tell stories for runaway teens. She never fails to remind them of the value of their stories.   Please take a minute to check out Lorna’s response.  She also has a new book out called Wicked Niagara: The Sinister Side of the Niagara Frontier.  Find out more at www.storyhavenstudio.com

I promise
to always remember

my power, love, and intelligence

as an artist,

and the vital role that artists have played

in every culture and time.

I will never again invalidate any artist,

including myself, or any work of art,

but rather ally myself with all artists

to end our economic oppression, and

enthusiastically encourage the creativity

of every human.

Rational Island Publishers

developed by the Re-evaluation Co-counseling Community

As
I see it, this commitment has four parts that I can address.

“My power, love and intelligence as an artist” in itself is a three part statement.
I learned long ago the power of words and I am always mindful that what I say
and when I say it can make a difference for someone. I always tell people what
I think if I believe it will better the situation but if it is just an attempt to speak my mind and I feel I might be using it to grandstand myself, I know it
is sometimes best left unspoken. As storytellers, we are the wise village
elders, our stories are the words we speak and the more we know, the more we
have to offer. But it is always wise to let the listener do the interpreting.

            Love is self-explanatory I think, as long as our intent is to do no harm, we are loving.

            As to my intelligence, I honor the story and my own integrity about how I tell it. I won’t do less than my best
and I keep the audience first, the story second, and my own ego last, if at all.

“Role
of artists in every culture and time” I am an amateur historian and not only a
storyteller but a musician and visual artist too, so I know very well the
history of art and in fact believe that we learn much of what we know about a
history and a people by studying their arts. I also believe art is what
civilizes us and this is what I teach others. Every summer I run a ten day
storytelling academy that reinforces storytelling in the Middle Ages, but I also
make sure the students learn about storytelling as an art in our century too.
It’s a balance.

“Never
invalidate any artist…to end our economic oppression…” I do not
under-charge for my work but try to be competitive with other tellers in the
regions where I am working. I seldom give my work away without some
compensation so as not to cheapen our art and I urge others to do the same. I
also teach that “we”, whether it is a storyteller or a teacher or a student or
whomever, “represent.” In other words, wherever we go and whatever we are
doing, it speaks directly to the rest of the community. We need to do our best
and be on our best at all times. That’s the love of the art and it furthers the
art.

“Enthusiastically
encourage creativity” I teach many arts to children and adults, I never refuse
to share my knowledge, and I present at conferences. I openly praise all the
wonderful and good things people do. One of my favorite arts programs is a
local Buffalo studio that supports learning disabled adult artists. If I have a
project I think they might like to be involved with, I make sure I share with
them. Young, old, rich, poor, whole or challenged, all people can create and
what they have to share benefits all of humanity.

 Be sure to send your response or comment on this one.

“Together we make a difference with stories.”

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The Artist Commitment: Your thoughts

The
Artist’s Commitment

I promise
to always remember

my power, love, and intelligence

as an artist,

and the vital role that artists have played

in every culture and time.

I will never again invalidate any artist,

including myself, or any work of art,

but rather ally myself with all artists

to end our economic oppression, and

enthusiastically encourage the creativity

of every human.

Rational Island Publishers

developed by the Re-evaluation Co-counseling Community

Years ago I had the pleasure of working with both Marni Gillard and Doug Lipman in a “Coaching Coaches” workshop in New York.  Upon leaving Marni provided me a copy of “The Artist’s Commitment” that was given to her by Doug.   I was struck by the words and have kept it close to me at all times.  I issued a call for other storytellers to respond to it. Some believed they could not commit, others shared how they were able to commit.  Over the next few blog posts, we will hear from others about their take on these words.

On a personal note: I don’t think a commitment means in all cases.  I believe it is a pledge to consider these words when working with an artist.  If an artist is guiding by the heart, advice is often a good thing to provide.  However, the advice needs to be requested.  I do believe we need to empower artists more than disassemble them.   The journey of an artist may be a difficult one sometimes but there are greater degrees of difficulty.  Despite this, I do listen to these words and work to honor them.

I would be interested in your thoughts.  My friend and colleague Eric Wolf, from the art of storytelling site suggests that I put a call to others to respond.  I issue the call. I look forward to the response.

www.artofstorytellingshow.com

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Much of theater contained stories.

A word for storytellers and actors about
storytelling—telling stories on and off
stage

By Kevin D. Cordi, Ph.D.
Storytellers are the first actors.  Before there were set designs, lighting plots, or directors, storytellers were telling stories.   Skillfully
positioned words handled by a crafty raconteur steered the audience’s attention.  An African Griot might use stories to warn
children to use common sense.  From the foolish antics of the wild spider Anansi, children learn to think more about
their choices.   From the dynamic and vibrant tones of a master bard, the epic tale of Beowulf chilled the fires.  It,
too, was because of the storyteller‘s voice and deliberate actions that Grendel was able to strike the warriors.  This
talented epic teller recounted the battle as though it was occurring as the listeners heard it.   He set the
scene.   From the Seannachai in Ireland to the Jack teller of the Appalachian Mountains, storytellers are rooted within our
culture.  The nurse at the bed side often became  a storyteller to soothe the pain of  unhealthy or scared soldiers.  Often times, storytellers were the community
elders.  In fact, becoming a storyteller was seen as a rite of passage.   As an African proverb suggests, one would never die if you told his or her story
because storytellers were positioned to keep the tales alive.

Today, there are thousands
around the world who call storytelling their profession.   I, too, am a storyteller and for the past
twenty five years, have studied storytelling both from the oral tradition and through
formal study as well.  My first storytelling influences were my parents who shared Appalachian tales and personal
stories from their homes in West Virginia.  I sat spell bound, mesmerized as our living room became the theater for
myself as well as my five brothers and sisters.  My mother would recount each tale, without props or scenery, of how
grandfather killed the giant black snake and we hung on the words as much as the dead snake hung at the end of the pitch fork.   Stories were my theater.  I wanted to learn more.   I then earned a Master’s degree in Storytelling and Education combining work from the University of Akron and East
Tennessee State University.   With the guidance of Dr. Flora Joy and countless others, I learned to soak into what noted teller Jay O’Callahan calls “theater of the mind.”  We learned how to unfold each story so that it was heard by the audience.  We explored the importance of silence, transitions, and effect.   Most importantly, we began to understand storytelling that this art, like acting, was a practiced discipline.

During this time, I
also learned the formal art of theater.  I
was also able to train as an actor at Kent State University and working at The
Pioneer Playhouse, a summer stock program in Kentucky.   At Kent, I learned to position myself so
that I could physically open up to both the actors that I worked with and to in
scenes.  The way I was blocked could have
a dramatic effort on the play.  I had to
physically stand so the audience had an inside view of what was going on the
stage.  I learned how to focus the work
so that one could see the scenes in connection to the play.  My summer stock experience further trained me
to value objectives and obstacles that are inherent in character and scene
work.   Every night that we perform, the
audience reacted differently to our choices.
I learned that a good actor needs to learn from these reactions as they
develop the work of the character in relation to the play.

As a storyteller, I
value the characters that I create for my audience.  As an actor, one must find a way to tell the
story of your work, no matter how small the role.   Each character is always in connection with
the experience of the play.

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Story Banners tell a powerful story.

Let the Story Banners  Fly!

An interview by Dr.
Kevin Cordi
Today we interview retired librarian, storyteller, and skilled craft artist Muriel
Feldshuh on her Story Banners.  I have the good fortune of knowing her from being a recipient of the National Youth
Storytelling Pegasus Award.  She found out about my Story Box Project (www.storyboxproject.com)
and wanted to join in the fun and sent me Story Banners which will travel
around the country and possibly the world.

In this interview we will share how you can  add and receive the Story Banners as it
travels.

In your work at a library teacher, storytelling coach, and quilter, how did you start the Story Banner Project?
The inspiration for the Story Banner Project came from the children.  The colorful banners made of felt fabric
proved to be an invaluable tool to help young children navigate their attention to many of their favorite stories and tales.

What surprised you about the Story Banners?

Muriel and her work. Find out how to be involved in this post!

Everyone who came in contact with these colorful banners wanted to make their own.  (Teachers, children and parents)  They were eager to hold up a banner and be the
next one to tell the story.

The Story Banners are meant to travel.  A school or community can use them once they receive them.

What would you like them to do with them when they arrive?

I would like them to display each banner and set aside time for storytelling.  After listening to the story on the banner,
display them.  Each site should encourage their members to use the banners and create their own.

How do you respond when people say, “I could not do this, and I am not an artist.”

The beauty of this project is everyone can make a Story Banner.  If they follow my step-by-step instructions
(in the box you receive) and they will enjoy the process.  Many individuals have not felt fabric and
find the experience exciting.

**And she has not stopped at Story Banners.  Because of the success of this project, she now has Poetry Banners.

Her next project, Poetry Banners!

We are thankful for Muriel and her work.  She truly knows the value of creating and sharing stories. Let her Banners fly!  If you would like to receive a Story Banner
for your school or community organization, all is required:

1. Fill out the application at http://storyboxproject.com/?content=request Be sure to specifically request The Story
   Banners.
2. You do not agree to pay for postage for it to arrive, but to “pass it forward.”
3. Organize at least two events of sharing the banners and telling stories.
4. Create at least one Story Banner for the Story Banner Traveling Box and post a report to kcteller@sbcglobal.net

The Story Banners are fun and easy to make.   My next posting will share the Story Banners my students  created from Muriel’s easy instructions. Many students had never
touched felt in their lives. Stay tuned! Sign up now to receive your Story Banners.

“Together we make a difference with stories.”

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This is a poem that I shared with my Applied Storytelling class. I thought I would share it with you.  Feel free to share your thoughts.

Our Tales have heart beats..listen to them

by Kevin Cordi

What makes us human?

Put simply, our stories.

At first our stories began with a dash–

A simple sharing of quiet times and perhaps wishes

Of where we could be.

But as our time together progressed

we shared our wonderings,

worries and wildness.

We read about

others who could not share thier

stories and suffered for thier silence.

Some people

who told stories as

their secret gift

but now

the secret is to be kept no longer.

For you see

our tales have heart beats

Listen to them.

Tell them.

Enjoy the sound.

(Special thanks to Ted Gup who wrote A Secret Gift, a book all my students enjoyed.)

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The Secrets to Storytelling Success: Unlocking the Mystery of Telling

Part II

6.   Take safe risks when telling:  There  is a world of awareness when you take risks when telling your story.  When you are practicing your stories, explore
places that are new and unknown with your story.

Ways to Take a
Risk:

Change the environment of the story.

Add a new character

Have a lesser character become a major character.
Start the story in the middle.
Share the telling with someone else who knows the story.

7.  Give yourself permission to play and make mistakes: When you are developing your stories, realize
that you have play with them and experiment in your telling. In this process, as well as on stage or a public venue, you will make mistakes.  It is ok, but don’t point them out, let them be part of your story and move on.

Play with the story and realize it does have to be scripted, but new dialogue, characters, settings; conflict may arise because of the play nature of story.

8. The audience has a shared part in your telling:  No audience reacts the same way when hearing
a story.  Recognize this.  Realize that your telling with this audience is a unique experience that can be celebrated when you are sharing your
story.   For example, let go of the place in the story where the audience always laughs; the experience is unpredictable,
but also new.  Let the newness and the fresh awareness be what helps you direct the story, not the pattern that you
have set from telling the story before.
9.  Accept praise and honor it: Often people want to share how a story affected
them, how it moved them in order to make sure to make time for this voice.  Honest, sincere, and direct praise can often
move a story in new ways if you allow it to happen.

10.  Accept constructive criticism: Sometimes people offer suggestions so it best to be open and never believe that your
story is beyond needing help.  Other people’s eyes and ears can help you move the story in new and different ways.  Remember, the more someone understands you as
a teller, the more you can listen to specific suggestions.   You should weigh them, appreciate them, and choose whether to accept them or not.

*****  Lastly, the experience should be fun.  It can be demanding, but it should never take
away from the real joy that sharing a story can bring to others and to you.   If you no longer enjoy telling a story
because you have told it too much or you have worked it too much, step away from it.  Let it live in the times of reflection.  When you think you can come  back to the story with a new outlook, return to it.

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