Inspiration: It Starts With One Story

The Family Famine Series started with one story.

Then another story.

Then another story.

Finally, by 2014 I hope to have 120 new stories in the series.

But is that the end? Of course not.

Something as basic--and precious--as family relationships touch our souls with intensity.

Despite the new stories that will be part of this Family Famine Series, you could say that there is an "ancestral" story that has been the foundation even before I officially named this series.

As a sophomore in high school, I told my first official story entitled "Big Kihuo, Little Kihuo" from the Vakishamba people in Africa. At the time, I was fascinated by the not-so-happy-yet-satisfying ending. The father and son relationship also made me curious.

Since creating the Family Famine Series, I have returned to this story. As a student I connected with the adolescent Kihuo, the son. As a 30-year-old, I ponder more about the father--or at least about parents in general.

Yes, my husband and I do not have kids yet. We are in the middle of the adoption process. Though knowing that perhaps in the next six to twelve months we have have a little one in the home, I wonder what kind of relationship I will have with my children.

As they grow older, will I acknowledge their independence?

Will I provide room for their creativity to bloom?

Would they feel comfortable coming to me in need?

A story told shares more about the storyteller than the culture from which it came.

Until we tell again,

Rachel Hedman

Professional Storyteller

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

URL: http://www.rachelhedman.com/

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

Family Famine Series Site: http://www.familyfamine.com/
Fan Page: http://www.facebook.com/rachelfans
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Behind the Wheel: When Imagination is Most Active

The drive home from the New Year's Eve party was the perfect opportunity to practice.

We were invited to gather for New Year's Eve at the home of one of my husband's brothers. Over 20 of us celebrated into the wee hours. As my husband and I traveled the furthest, we were offered to sleepover so we could be well rested and start the New Year right.

When I sat in the car, I wanted to review the scenes of "The Gardener's Wife", the Colombian story. I would meet with Holly Robison on January 2nd to tell the whole story, and I wanted to be ready. I expected to the story to be told in about 40 minutes so there were many details to remember.

Along the highway, I saw the Utah mountains. I pretended that the mountains were the ones in Colombia and made them more green in my mind.

Eventually I pictured the Wife in the story looking down from the mountains and into a corner of the garden. I did not speak words of what I saw. This was something I witnessed through thoughts and driving upon the highway.

The imaginings continued.

The Wife thinks she sees a child, only to discover it is squash. The Wife laughs at herself while have a touch of sadness as she and her husband are childless.

This was not hard to feel as my husband and I have been married for over seven and a half years and we have wanted children from the beginning.

I thought of the winding river that brought a baby one by one to the Wife. As Utah is a dry place, the winding highway became my "winding river".

And so was my drive home. Something outside my window would transform into something inside "The Gardener's Wife" story.

If only the pictures in my head would translate into words from my mouth to share with others. Then I would transform from being dreamer to being storyteller.

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

"Forsaken Brother" & Ojibwa Influences on the Boy

There are so many beautiful cultures in the world, and, as a storyteller, I do my best to honor them.

The same is for the Ojibwa people.

I shared what I learned with Julie Barnson, my story buddy for "Forsaken Brother", and we were also able to discover even more elements that could prove crucial to the telling of the tale.



Ojibwa Cultural Elements that may Shape Story:

• The boy will be at least seven-years-old as this is the age when children are expected to help with the chores. Perhaps I will place him at age eight about to turn nine as this could add to why the older sister feels she must abandon him.
• When boys reach age twelve, they go on a Vision Quest. Though the boy in "Forsaken Brother" will not yet be this age, he could reflect on this future ceremony. During a Vision Quest, there is fasting that is chosen of the boy's own free will. Whereas, in this story, he is forced to starve. A Vision Quest is often connected to sights or sounds for the boy only. Listening to the wolves howl and seeing them off in the distance could seem like a vision at first but then realizes that they are truly before him.
• The words for food and water in the language would add more culture to the story. For example, the word for "water" is "nibi" or pronounced "ne-be".
• At one point the boy finds shelter in a tree. Though the type is not shared in the original story, I may make it a maple tree. The Ojibwa would gather syrup as families. The boy could take his fingers and peel the bark away, attempting to make a hole, and then remember that it is wintertime and the syrup comes in spring. The tree that once gave him food could not at his time of greatest need.
• While huddled in the tree, he could reflect on a story or two about Nanabozho, a half spirit/half human being. Nanabozho is credited with the discovery of wild rice as well as hunting skills. He also drove Winter-Maker away so spring could come and food be present once more. Of all times, these skills are needed for the boy. This could be a little story within a story.
• The family may be part of the Nooke ("Tender", i.e. Bear) clan, which is known for healing and defense. These attributes are prominent in the story. The bear, lynx, and wolf are part of the Nooke totem/doodem. It is the largest totem.
• When someone is ill, it is thought to be of the spirit as well as for the physical body. I have added that the sister could see her father's eyes through the eyes of her younger brother. The eyes are often thought as the "window to the soul".
• Mourning for the dead--There is mourning for about a year and then you can join the community again. This could partly explain why the lodge was so far from the village at the beginning of the story. The sister may have been surprised when the older brother left the lodge so soon as the year of mourning was not complete for the passing of the father or of the mother.
  
• Ritual for the dead--The dead are placed in special clothing and have a spirit bundle that holds a lock of the dead person's hair. Then the dead are wrapped in a blanket and birchbark. The body is removed from the west side of the wigwam and food is placed with them. A close family member dances around the open grave. A barkhouse is made and reflects the symbol of the family's clan over the grave.
• The boy would know about the food buried with his father and mother, though the thought to get the food would never have crossed his mind.

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

Julie Barnson: Buddy for "Forsaken Brother"

Three stories are part of the "Family Famine: Hunger for Love" and I wanted a different buddy per story.

I scheduled every Tuesday from 1o:00am to Noon to be "Forsaken Brother" Day with story buddy Julie Barnson. (Yet this time went to almost 1:00pm.)

As was done with story buddy Holly Robison for "The Gardener's Wife", Julie read the "Forsaken Brother" story aloud. Again, this allowed me to reflect on the images in the story so that our session would be more productive.

We came up with questions that may or may not be answered during the actual performance. If I am familiar with these questions and have answers, then it is enough to come across in the telling.

I brought my whiteboard and here were some results:

• What is it like for the sister to run the household, which is usually thought of as the mother's role?
• Why is the lodge so far away? Symbolic reasons? Farther from water? Illness to to keep away from the village, especially as the father and mother eventually die?
• Was the illness due to the Europeans/White Man settling in the area with such things as cholera or tuberculosis?
• What kind of illness does the youngest brother have as he was not completely helpless to go after food in the middle of the woods during winter? Polio? Small pox? (Leaves some people crippled but not helpless)
• What is the Ojibwa perception of werewolves, as this does come up in Native American lore? What of the transformation from human to animal how is it perceived?
• Why was the sister not there when the transformation of the youngest brother occurred?
• Why do I love to have the brother's eyes remind the sister of the father's eyes? Is it because it represents family and when she no longer sees anything, she is wanting a family of her own?
• Is leaving the lodge to search for her brother an excuse to leave the sickly brother?
• What personal stories do I have that reflect promises broken? Transformation among my brother or sister?

The image below is the original outline for "Forsaken Brother":





















This is only the beginning of a wondrous journey for "Forsaken Brother". Feel free to follow the process.

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

Holly Robison: Buddy for "The Gardener's Wife"

With so much time dedicated to the marketing of "Family Famine: Hunger for Love", I had to focus on story development.

As simple as blocking the time on my planner, I scheduled every Friday from 1:00pm to 3:00pm to be "The Gardener's Wife" Day with story buddy Holly Robison. (Yet this time was to almost 4:00pm.)

As there are one or two songs I would like her to sing duet in this story, then it made sense to choose her. The other fact is that she is fun and inspirational.

For perspective on the story, I asked Holly to read the version in "Latin American Folktales: stories from Hispanic and Indian traditions" edited by John Bierhorst and published by Pantheon Books. The way Holly would interpret what was happening through her tone of voice or pauses was enough for me to dwell in the story and create images in my mind.

Afterward the reading, Holly asked me questions. For some I did not have answers but they were great to consider.

Out came the whiteboard and here were some of the results:

• Does the Garden reflect the barrenness of the Gardner's Wife?
• With the image of the squash at the end, how can that image be threaded throughout?
• What are the meanings behind the symbols of the bird that speaks, the orange tree that dances, and the water that jumps and leaps?
• What if everything seemed to blossom around the Gardner's Wife except for having children?
• Would the Gardener's Wife have a favorite plant or tree? Would it be referred to in the story?
• What importance, if any, is there for the titles to be Gardener and the Gardener's Wife versus Farmer and the Farmer's Wife? Has this any Colombian connection? Does this mean that the Gardener and his Wife live within the palace?
• What draws the Queen to the garden? Was there a rumor that the King overhears and shares with her?
• Why would the King need a night patrol to overhear conversations? What kind of unrest is in the kingdom? What problems does the King fear that people may talk about?
• When reviewing the Hero's Journey (Joseph Campbell), is the threshold when the Girl goes up the mountain and then down to the plain?
• What is the Gardener's Wife response when each of her Adopted Children go on the quest?
• Why does the Queen not sense the presence of her own Children when with the Gardener's Wife? Or does she?

Finally, a rough outline of the story was drawn as I wanted the Gardener's Wife to be the focus whereas the original focuses on three sisters and who they want to marry first.

Besides whiteboards, I am a believer in scrap paper. The image below is the original outline and some of the print from the other side can be seen:






















This is only the beginning of a fantastic journey for "The Gardener's Wife". Feel free to follow the process.

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

The Grand Finale Story: At Last it is Found

Though I listed the Colombian story "The Three Sisters" in a previous post, today was when inspiration struck.

Sometimes stories need to be set aside so that the right paths to take can be found on the creativity map.

The original story starts with three sisters giggling and teasing about who they would want to marry. The oldest sister would like to be with the king's baker as then she can have sponge cake all day. The middle sister would like to be with the king's steward as then she can have anything in the pantry to eat. The youngest sister would like to be with the king himself as then there is quite a feast to eat for every meal.

This conversation is overhead and reported to the king, and the king has these idle wishes to come to pass. The oldest and middle sisters are jealous though they do marry their respective grooms. Eventually, the king and the youngest sister, now the queen, have a child. The two jealous sisters switch out the baby for a dog and then put the baby in a wooden coffin and send it down the river.

Then we meet a gardener and his wife who are unable to have children. The baby is found and they praise God for the blessing.

The king and queen have a second baby. The jealous sisters switch out the baby again, this time for a cat, and send the baby down the river. Again, the gardener and his wife are blessed.

A third time the king and queen have a baby. The jealous sisters switch out the baby for a piece of wood. The gardener and wife are joyous beyond measure as a third child comes down the river to them.

There is much more to this story, though I discovered that I had the most compassion on the gardener's wife. As my husband and I want children of our own and have started the adoption process, I could hear the sounds of joy that the gardener's wife must have shared when her husband walked through the door with a baby, and then a second one, and finally a third. The story came alive and it was at that moment I knew this story had to be part of the "Family Famine: Hunger for Love" narrative production.

For this reason, I will rename this story from "The Three Sisters" to "The Gardener's Wife".

I looked at the back of the Latin American Folktales: stories from Hispanic and Indian Traditions edited by John Bierhorst for any notes or hints of other versions and variants. As this was a book published by Pantheon Books, there was guidance.

I learned the following:

• Aarne-Thompson Motif Index is type 707 of The Three Golden Sons
• Versions with this type 707 could be found in California, Chile, Dominican Republic, Mexico, New Mexico, Panama, Puerto Rico, Europe, India, and the Middle East
• Colombian version found in this book is close to the one shared in Thousand and One Nights

Naturally, I will search out these other kinds as well as research the Colombian culture.

I have found the final destination with the "Family Famine: Hunger for Love" narrative production--this story!

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

Silly & Provoking Family Quotes to Boost Memory

My eyes found "Wit and Wisdom from the Peanut Butter Gang, a collection of wise words from young hearts" by H. Jackson Brown, Jr. at one of the display areas that librarians create.

Simply flipping though the pages and reading some of the quotes had my mind journey to the past.

Here are some that provoked images or ideas for me--

• "If love isn't taught in the home, it is almost impossible to learn it anywhere else."--from 75-year-old great-grandmother, on p. 7
• "If your mom picks your clothes and you dislike them, tell her they don't fit."--Christie, age 12, on p. 15
• "My grandmother can say more in a sentence than a college professor can say in an hour and a half.", Angela, age 14, on p. 16
• "No matter how much I love something, mom will throw it away without a second's thought.", Brian, age 12, on p. 16
• "When you complain about doing the dishes, you usually get stuck doing them more often.", Nichole, age 14, on. p. 17
• "It's no fun to stay up all night if your parents don't care.", Carrie, age 15, on p. 19
• "If your sister hits you, don't hit her back. Parents always catch the second person.", Michael, age 10, on p. 21
• "When you mom is mad at your dad, don't let her brush your hair.", Morgan, age 11, on p. 23
• "One of the greatest feelings in the world is the feeling you get when your little sister shows that she admires you.", Dawn, age 14, on p. 24
• "Despite all the loving and caring relationships in the world, there is nothing more loving than the feel of my mother's hand on my forehead when I am sick.", Rosemary, age 17, on p. 27
• "It's not always easy being a kid, but I bet it's even harder being an adult.", Julie, age 11, on p. 28
  

As I develop "Family Famine: Hunger for Love" narrative production, I want to merge personal reflection with the multicultural tales that I choose to tell that either reflect on the light or dark side of family relationships.

Perhaps a single quote could launch me into a library of ideas.

Until we tell again,

Rachel Hedman

Professional Storyteller

Co-Chair of Youth, Educators, and Storytellers Alliance

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

Story not to be used

When I find the word "famine" in my everyday readings, I pause and wonder how this might influence the kinds of stories I share for the "Family Famine: Hunger for Love" narrative production.

If nothing else, I am reminded that many cultures--whether or not directly related to my own--have stories that call for rain so that there will not be famine upon the land.

While reading my scriptures (Book of Helaman, chapters 10 and 11) I found a story that, despite its meaning to me, will not be used in this program. It is too close to my culture and so far I can only think it appropriate to develop for a youth group in my church. I would like to find a similar story from another culture with the viewpoint of a family and how they get through such adversity. How does the disaster affect their relationship with each other--whether for good or for ill?

Besides the obvious reference to famine in the story, I also thought about the similarities to 9/11 in relation to the Gadianton Robbers that hid in the mountains. The threat of terrorism is not new.

Above all, the threat to the family is not new.

Until we tell again,

Rachel Hedman

Professional Storyteller

Co-Chair of Youth, Educators, and Storytellers Alliance

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