Covey Center for the Arts: Could I really get it?

After the Covey Center for the Arts virtual tour, I fell in love with it.

It matched the dreams I have had for the premiere since the ideas formed in my head in 2005. The ambiance was perfect.

The big question: could I really get it?

From there I wondered--

• Will it be available on February 9, 2009?
• Could I afford it?
• Would my husband support the potential cost of it?

The Covey Center for the Arts is owned by Provo City and many organizations and performing artists reserve the spaces usually a year in advance. With about three months before my "Family Famine: Hunger for Love" premiere, it is a wonder if any dates would be available let alone the February 9th that I desire.

When I asked Jenni McCall, Scheduling and Events Manager, about February 9th, she said that though there was not a performance on that Monday night, the stage was reserved until 7:00pm by the BYU International Folk Dance Ensemble.

I sighed. I had already called the SCERA Shell, another venue I considered, and February 9th was taken. Now with the Covey Center for the Arts out of the picture, I could not think of any other place that had the seat capacity or the ambiance that I wanted.

But wait!

I asked Jenni if it was possible to still have the Covey Center for the Arts as long as my premiere did not start until 8:00pm. Could I still be allowed to come early and set up displays in the lobby and hallways? Would the BYU International Folk Dance Ensemble be open to my presence? How would the General Manager of the Covey Center for the Arts feel?

When I explained that the timing of this premiere was based around the time of the Timpanogos Storytelling Conference and that my professor Elizabeth Ellis would be in the state, I sensed positive vibes on the other side of the telephone from Jenni.

"I will check for you," she said.

That was what I wanted to hear. I have grown up with the mentality that it does not hurt to ask.

Due to needing to talk with the General Manager as well as the person over the BYU International Folk Dance Ensemble, Jenni predicted that she should know the answer by Wednesday, November 12th. If I had not heard from her by that time, then I was to call her the next day.

November 12th seemed forever away, yet it gave time for me to call friends and ask for prayers. Perhaps this seems like a strange thing to pray for when there is so much to pray for in the world. Though, if the Lord saw it fit to amuse and to tickle me pink, then maybe this was not such a terrible request.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Latin Tales with the Right Aroma: Pantheon Books

I can never seem to leave a bookstore empty-handed. The trip to Barnes & Noble was no different.

The book that caught my eye was "Latin American Folktales: stories from Hispanic and Indian traditions" edited by John Bierhorst. When I saw it was published by Pantheon Books, I knew I had struck gold. Books from this publisher have fantastic notes in the back on each of the stories and even lists the Aarne-Thompson (At) Motif-Index.

I became more fully aware of this fact due to my Storytelling Masters program at East Tennessee State University. More specifically, Dr. Joseph D. Sobol urged two publishers when considering collections of folktales: Pantheon Books and the University of Chicago Press.

With guides to the AT, then I could be guided to other version or variants of any stories that I would want to add to the "Family Famine: Hunger for Love" narrative production.

As I scanned the Table of Contents, I searched for titles of stories that may suggest family relationships as the center focus. Not all can be gained from titles, but it is a start. If it had family connections as well as references to food or famine, then it intrigued me more.

These are some that caught my attention first:

• "Mother and Daughter" from Columbia, yet only half a page so it would be hard to develop
  
• "The Witch Wife" from Columbia, which reveals the strange eating habits of the man's wife and the consequences for the husband when he discovered why
• "The Three Sisters" from Columbia, where three sisters said who they would marry and the kinds of foods they would expect from each husband

I need to read the whole book, though sometimes research and story development means I cannot read from cover to cover as I would prefer.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Trek (7 of 7): Which Title Inspires You?

If ever you want to expand your mind, then there is someone you must talk with: Dr. Marsha D. Broadway.

This is seven of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

When I wrote my Honors Thesis "Transformation of the Storyteller's Identity and Role Through the American Storytelling Movement", Marsha was my thesis adviser. As one of the founders of the Utah Storytelling Guild, she had inside knowledge of the storytelling community as well as intense English and grammar skills. To this day, she is the Head Juvenile Literature Librarian in the Harold B. Lee Library at Brigham Young University (see above picture).

I could not have had a better adviser.

While on the BYU campus, I was anxious to hear any questions she would ask about the project. Any question would be her way to open my mind rather than purely out of curiosity.

Marsha read my title and description and wondered, "Why did you call it 'Family Famine: Hunger for Love' rather than 'Family Feast: A Hunger for Love'"?

Her point was that the "famine" choice had a more negative or pessimistic view.

I could not answer for a while. I always thought of myself as an optimist. When I had asked friends and family to vote for a title in 2005, "Family Feast" was not even an option. Yet, the word "feast" was a word used within the description.

When I met with Elizabeth Ellis, one of my East Tennessee State University professors, to discuss "My Finest Hour" project, I shared the title "Family Famine: Hunger for Love". Her immediate reaction was "oooooooooo." If ever I had questions or doubts regarding the title, they vanished after that response.

Yet, here I was with Marsha and questions poured into me.

She did not mean to ask the question with the attitude of "Why would you ever. . .". She sincerely asked "Why?"

Finally, I created lists of the "why" for "Family Famine" and for "Family Feast".

Reasons to use "Family Famine: Hunger for Love":

• Program would eventually delve into the dark side of family life such as abuse and abandonment (though would begin and end with the light side)
• Goal to have 12-year-olds+ in attendance and "too happy" of a title could confuse others to think it was a family show for all ages
• Center story "Forsaken Brother" has a moment when famine/hunger is experienced
• Blog and Facebook support group are entitled "Family Famine: Hunger for Love"
  

Reasons to use "Family Feast: A Hunger for Love":

• Program does begin and end with the light side of family relationships
• College students may feel more inclined when there sounds like the possibility of food at an event (and they are one of the main target audiences)
• Light refreshment will be served afterward to reflect the theme
• Focus on end result from performance versus "famine" mood in center of program
• Survey with friends so far has this title in the lead for "which program would you be more likely to attend?"
  

If nothing else, the "Family Famine: Hunger for Love" could be perfect for a book title. For something deeper and darker, a person could always set the book down and come back to it when ready. Thus, a more "negative" title tends to work better for books. However, a live performance does not necessarily give that option.

Most of my programs tend to have the first word be the most important word. In this case, it is "family".

There is also the possibility that both "Family Famine" and "Family Feast" could be used interchangeably and advertising could reflect opposite images to the words. For example, the flies and posters for "Family Famine" would show plenty of food while the "Family Feast" would reflect the lack of food.

Please share which one of these titles you would be more inclined to attend?--

• "Family Famine: Hunger for Love"
• "Family Feast: A Hunger for Love"
• "Feast or Famine: Hunger for Love"
• "Family Feast or Famine: A Hunger for Love"

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Trek (6 of 7): "Battling Out" Story Project Priorities

I must decide which priorities are most important for the premiere.






This is six of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

Ideally all of the following options would be available, but I may need to drop one or two of them. Perhaps all of them would be possible for a future time but not for the premiere.

After much debate, here are my priorities in order of preference:

• Out-of-town Professor, Elizabeth Ellis, to be Present
• High Attendance
• On-Campus Convenience
  
• True to RSVPs Received for Monday, February 9th
• Fundraiser Capability

Out-of-town Professor, Elizabeth Ellis, to be Present
Though this "Family Famine: Hunger for Love" project has been on my mind since 2005, the project did not emerge into being until Elizabeth Ellis urged us East Tennessee State University graduate students in the Storytelling program to take an incomplete for her Advanced Storytelling class. She wanted us to perform at our top caliber for the "My Finest Hour" assignment.

Finally I had enough courage to see the dream become reality.

There is a benefit for having a professor who is also a national storyteller: she travels often to reach her engagements. However, this does not mean she is in Utah every month or every other month.

When she became one of the two keynote speakers/tellers for the 2009 Timpanogos Storytelling Conference during February 5-7, I this was my chance for Elizabeth to see my performance in-person. True, I could videotape the performance and mail a copy to her, although any storyteller would tell you it is not the same.

Elizabeth Ellis would be in Utah about a week after the conference to perform for schools and community groups. Nevertheless, I could not have Elizabeth pencil in every single evening as one of the possible dates for my premiere. While a venue is determined, Elizabeth has been so kind to reserve Monday, February 9th as well as Wednesday, February 4th.

High Attendance
For any performance you want an audience and the exact number in attendance does not matter.

Yet, when your venue will have 300+ seats, then you want to fill as many as possible.

The main people I aim to attend are: Timpanogos Storytelling Conference attendees (most likely from Utah unless others extend their stay), college students, and Utah Storytelling Guild members. I expect there will also be people from chambers of commerce, youth groups, and senior citizen groups as well as other miscellaneous groups.

If the premiere is scheduled any farther from the Monday, February 9th, date and the less I would gain from the conference attendees.

With Monday known as Family Home Evening, this could help or hurt my efforts. I would like the audience to compose of 12-year-olds+ with no one younger than eight. It may be strange for parents and youth to attend and yet discourage the younger ones to be there on such a night as Family Home Evening. Although, for the student BYU Family Home Evening groups, this may be a nice activity due to the performance's theme.

On-Campus Convenience
The Timpanogos Storytelling Conference is held at Brigham Young University because of its partnership with the Division of Continuing Education housed in the Harman Building. Anybody coming from out-of-town or out-of-state may book a hotel closest to the BYU campus. Being on campus is also desired as I hope some professors will encourage attendance from their students through listing it in their syllabi or at least making an announcement in class.

If the event did not take place on-campus, it would need to be close enough for students and conference attendees. The name of the venue would also need to be recognizable and, hopefully, easy to find.

True to RSVPs Received for Monday, February 9th
Ever since I started the "Family Famine: Hunger for Love" blog and Facebook support group, the date has been announced and I have placed various countdowns throughout the Internet. I have also included the date in my email signature.

As such, I have friends and supporters who have already RSVPed.

One of my storytelling friends, Carol Esterreicher, was offered to tell stories for the Salt Lake County Library system on Monday, February 9th. Carol explained that she would need to tell another night because she was attending my premiere. She did not have to do that and she told me about it after the fact. With friends like Carol, I am truly blessed.

Fundraiser Capability
Being part of the Storytelling Heroes Campaign Advancement Team, I felt a duty in dedicating one of my performances for the 100-benefit-concert-effort to each raise at least $250 for the National Storytelling Network and further the art.

After my trek to the BYU Campus, I realized that this would involve another approval form to be filled. Being sponsored by a college department or club meant I had to abide by the campus' rules. The Family Home Evening night, if also sponsored through a religious group, would forbid the exchange of money, donations, goods, or services. There seemed little to no success even once the approval form was completed.

Having the Heroes fundraiser for this premiere would complicate an already intense project. I have other performances which would be easier to transform into a fundraiser.

So now you know where I stand.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Trek (5 of 7): "Oh Glorious" Paperwork for Theatre

Whether or not the university is conservative or has religious connections, there is a guarantee there will be paperwork to create an event.

This is five of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

Brigham Young University may have the most paperwork than any other place, though that is only to provide a safe place for sponsors and for performers alike. Usually each piece of paperwork is no more than a page. Sometimes receiving the proper signatures is the challenge.

I met with Naomi Davidson (see upper left picture), current BYU Storytelling Club president, so to discuss if the club could sponsor the "Family Famine: Hunger for Love" narrative production. She was fully supportive, and I thought how wonderful it was for a club that I founded to still be around when I could use it's help at this time. Things seemed to fall in place.

Then, with all the forms to be completed and rules to check, I jokingly wondered if at any moment Naomi would shout, "Stop! This is not worth it!"

From talking with the Associate Dean of Students to the Student Leadership Club Coordinator, Naomi and I discovered that paperwork would be needed for the following:

• Official BYUSA club sponsorship of the Event
• Scheduling the Varsity Theatre
  
• Fundraising Exception outside Care Week (March 2-7 for clubs)
  
• Monday Night (during 7:00pm-9:00pm due to Family Home Evening)

The fundraising exception form was considered only because I thought the performance could connect with the Storytelling Heroes Campaign. This is a new tradition by the National Storytelling Network for 100 benefit concerts per year around the country to raise at least $250 each so as to further the art. The Associate Dean of Students believed that it would make sense for the BYU Storytelling Club to want to raise money for a nonprofit national storytelling organization. However, the final say would be from the Club Coordinator.

Usually BYUSA clubs are reserved one Care Week per semester to raise money, services, or goods for causes. My February 9th premiere date was about a month before the actual Care Week of March 2-7, 2009.

Yet, it was the exception form to perform on Monday night that was "the impossible". Besides all-day Sunday, Monday night from 7:00pm to 9:00pm is considered sacred because it is connected to the Family Home Evening (FHE) time.

You may ask, "Why would that be a concern as students are away from their families?" The answer: students are placed into Family Home Evening groups with a student as "mother" and another student as "father". It is amusing when the "parents" and the 10-15 "children" are about the same ages. Someone teaches a spiritual lesson merged with an activity and finally followed by refreshments. Food is of utmost importance to these gatherings.

To have FHE more convenient, you cannot schedule from 7:00pm-9:00pm anywhere on campus. The exception is if one of the BYU bishops from The Church of Jesus Christ of Latter-day Saints calls the Campus Scheduling Office to make the arrangements. So for my "Family Famine: Hunger for Love" program, I thought perhaps Naomi or other BYU Storytelling Club members could approach their FHE groups and see if it could be a grand scale FHE activity also open to the public. This would boost attendance and help in regards to the professional filming of the event.

After the filming and with food being one of the themes in "Family Famine: Hunger for Love", then it made sense to have light refreshments after the performance. Besides the four official forms aforementioned, I would need to check if only food from BYU Catering would be allowed due to health rules or if I could have friends bring in desserts in potluck style. Most elementary, middle, and high schools are not allowed to have homemade treats because they need to be made and wrapped in sanitary ways. I am unsure if this standard stretches to universities.

With the attempt to keep all these forms and exceptions straight, I then received an unexpected answer from the BYU Storytelling Club faculty advisers. They did not think the BYU campus was the best venue for the ambitions and dreams I had for the event. Plus, they did not want to disrupt the Monday FHE time. Their signatures would be need alongside Naomi's and though I was disappointed, I began to think that perhaps they were right--at least about the BYU campus being the best venue.

If it was a FHE activity at the Varsity Theatre, then there could not be any exchange of money for tickets, donations, or selling of merchandise. I had hoped for this option to cover my costs in putting on the event.

Yet, Monday night was the aim as national storyteller Elizabeth Ellis would be in the area for the Timpanogos Storytelling Conference. She is one of my East Tennessee State University Storytelling Masters professors who challenged us students to create "My Finest Hour" project. The "Family Famine: Hunger for Love" narrative production happened to be my project.

Elizabeth Ellis promised to attend and to be my emcee.

Despite all the research to make it possible for the BYU Storytelling Club to sponsor me, I will now determine what other options are available to meet the majority of my ideals.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Trek (4 of 7): Theatre & Visual Art as Story Cousins

I have never been in a play nor have I had any pieces showcased at a gallery.




This is four of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

Regardless of how involved I am in Theatre and Media Arts or Visual Arts, these two fields are still my cousins and comrades in storytelling.

The Theatre and Media Arts (TMA) department often hosts a storytelling course, as is the case at Brigham Young University. Currently a new instructor, Teresa Love, teaches storytelling at BYU whom I am anxious to meet as her name is unfamiliar amongst the Utah Storytelling Guild circle.

I learned from the Dean of the TMA Department that the course tends to be offered almost every Fall and Winter semester, which meant one would be available during Winter Semester 2009. The inside of me cheered as my "Family Famine: Hunger for Love" narrative production occurs during Winter Semester on February 9, 2009.

The previous storytelling instructor, Karla Huntsman, moved to Nevada. She gave credit for those who participated in the BYU Storytelling Club. I hope Teresa Love shares the same inclinations and extends credit to her students in attending my premiere.

Unfortunately, the new instructor does not have an office at BYU despite also teaching TMA 352 "Theatre in Elementary School Classroom". I would have to wait to introduce myself. At least the Dean gave me her email.

The Dean then offered announcing my premiere in the TMAccess, a two-sided weekly newsletter for their students.

TMAccess included the following categories:

• Department Notices
• Department Calendar
• Opportunities & Workshops (largest section)
  
• Scholarships & Grants
• Internships
• Festivals, Conferences & Contests
• Services & Commercial Information
• Auditions
• Events in the Area

Until I create a blurb, I am uncertain which category would be best for my premiere. You may think "Of course 'Events in the Area' would make the most sense."

Yet, there could be requests for artistic support such as:

• Filmmaker who wants to build their portfolio
  
• Actor who may want to do a short tandem piece in the premiere
• Technician or Lights person who may guide in staging
  

These requests may fall under "Opportunities & Workshops" or "Festivals, Conferences & Contests" or "Auditions".

Once I learned about TMAccess, I wondered if the Visual Arts Department may have a similar newsletter or way to call-out to students.

So I walked a few doors over, and entered the Visual Arts Office. I learned that they post items on "Y Bulletin Boards". Requests can be placed on a piece of paper no larger than 8 1/2" by 11". The paper is hung for a two week period. Usually postings are made every Friday. If you want to have a request up for longer than two weeks, then you need to submit a new paper before the two weeks is up of the initial posting. I met the lady who reviews the requests and received her email.

I could announce the need for students' artwork to:

• Assist in advertising of event through fliers, posters, etc.
• Feature in the published book "Family Famine: Hunger for Love"
  
• Display as part of a gallery before people sit down for the performance

All of the above could only be done with permission from the artists.

Any help from the cousin arts to storytelling is always appreciated.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Trek (3 of 7): Finding Filmmakers for Storytelling

The most beautiful storytelling DVD is "The Call of Story" created by KBYU/BYU Broadcasting and PBS.

This is three of seven posts relating to my info-gathering trek to BYU on October 21, 2008.

Since KBYU's home is in the Harris Fine Arts Center at Brigham Young University, I headed to the office to find out who was still around from that 2002 project (though copyright would suggest 2005).

I did have a name given to me from the 2008 Timpanogos Storytelling Festival. The young man behind the desk scrunched his face at the mention of the name for it was unfamiliar.

The man said, "Perhaps you were given the wrong spelling." He thumbed through the massive Rolodex of all the employees, staff, producers, and directors. No results. He even called the head director of KBYU and the name did not ring a bell even at that point.

Rather than sticking to the name I was given, the young man at the desk suggested we look at the credits for "The Call of Story".

I felt like I had to bang my head with my hand at that point. "Of course," I told myself, "Why didn't I think of that?"

Before heading to this info-gathering trek at BYU, I did peruse "The Call of Story" website. With all the research, I did not look at the credits. I had too much confidence in the name I was given at the Timpanogos Storytelling Festival.

Though the young man did not have a copy of the DVD on hand, he did search for the credits online and found them.

At that point, I was told to get in touch with the Executive Directors: Thomas J. Lefler and Sterling Van Wagenen.

This was not the first time I heard the name "Thomas J. Lefler". Other professors I had met during my trek had said he was a Theatre and Media Arts professor and may be interested in my project. No one had mentioned his connection--a major connection at that--to "The Call of Story".

The young man at the desk gave me Lefler's office and contact information. I crossed my fingers, hoping that an unannounced visit would be successful and welcomed by Lefler.

I found his door and I knocked. No answer. Perhaps he was not in his office after all. Yet, something told me to linger in the hallways a bit. I walked down towards the bulletin board with the "Call to Actors, Producers, etc." I never majored in Theatre so I was curious. After ruffling through a few announcements hung on binder-type rings, I returned to Lefler's office.

This time someone answered.

My muscles were more tense than usual as someone earlier had told me how intimidating Lefler was because of how direct he was in his speech. After a deep breath, I entered.

I outstretched my now sweating hand. "Hello. I am Rachel Hedman, professional storyteller, and I would like to talk about "The Call to Story" project you did and how it may relate to my project."

After the introduction, I felt at ease. He was not the intimidating man that I imagined though he was kind to share information I needed to know. He told me he did not do those type of filming project anymore, but he did give me names and direct lines to the partners of Kaleidoscope Pictures.

One of Kaleidoscope's projects included filming national storyteller Donald Davis in spring 2009 on how families tell stories. Most of the shots would take place at Davis' home on Ocracoke Island, North Carolina.

Eventually, I learned that Lefler was first cousins to national storyteller Elizabeth Ellis. My jaw dropped as I told him that Ellis was also my professor at East Tennessee State University for my Storytelling Masters and that my "Family Famine: Hunger for Love" project came to life because of the assignment she put forth for us students.

At that point there was no fear whatsoever of the man as he proceeded to go online and show the place in Tennessee that he grew up alongside Elizabeth Ellis.

Besides this amazing experience, another professor gave me a name, office address, and email for the producer and director of the LDS Motion Picture Studio. This professor was the Content Director of the "Real Families, Real Answers" reality show.

Between Kaleidoscope Pictures and the LDS Motion Picture Studio, that is where the true intimidation lies. To even consider the possibility of being filmed by either one of them is almost unthinkable.

I have found in this world that it does not hurt to ask.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller