When I first started storytelling back in 1993 I was very attracted to telling Inuit stories and used to ask my self~what right do I have to tell this story? When a story is not from my culture, why do you I want to tell it so much and how can I get under the skin of it.
How? When I have not been to where the story comes from?
This was a difficult question to answer.
Spanish / Catalan / Basque / Galician
Europa!
Where does Europe begin? Where does it end? Along what border, village, or mountain range...? Is it called Europa as in Sweden? Or is it Europe, as they say in England? Or again Evropa as in Serbo-Croatian? Is Europe a sign of separation, or rather a promise of overture? Is Europe defined by what makes us different or what makes us alike - through our desires and fears? And why, by the Gods, does Europe have the name of a Phoenician princess?
But whatever the answers might be that we continue to search for here, onething is sure - stories have always been able to travel far and wideacross Europe, needing neither passport nor visa, bringing along whatneeds to be said, and sharing generously with all who would like to listen.Stories have been presented here as ‘borderless’ and this is indeed the case. But at the same time they have roots, powerful roots, and roots can be of two natures: they can dig down deep into the earth, or run along just under the surface. The roots of storytelling share these two characteristics. They plunge profoundly into the culture or cultures of the country where they were born, but also spread out from the homeland and may grow in other lands, adapting to the local language and culture.
And if the imagery here has to do with the ground, the earth, it could be extended to the other traditional elements as well: stories have travelled over the seas with sailors and adventurers – so they can flow like water; they can be ‘airy ’ and ‘breathy ’ and be sung from one place to another; and they can even inflame you, as the tongues of fire in the biblical reference or in the image of the carnival fire eaters, and even in the Mayan as well as Chinese ideo-gramatical writing systems in which to speak is represented as fire spit from the mouth!
RECOMMENDATIONS FOR THE SUCCESSFUL DELIVERY OF A STORYTELLING SESSION
Preamble
The intention of this document is to provide recommendations in order that storytellers can successfully develop their work while dealing with those external factors surrounding the act of telling.
It points out the ideal,or optimum conditions in which to perform oral narration sessions, both indoors and outdoors, by creating a suitable atmosphere for the spoken word.
DECALOGUE. STORYTELLING CONDITIONS
SPACE
1 Storytelling requires peaceful, serene spaces.
The delivery of a storytelling session must take place in a room dedicated exclusively to the activity. That way noise and other activities which may distract the attention of the public are avoided.
It is important that the temperature in the room is pleasant; neither too high nor too low, so that both the public and the storyteller feel comfortable.
It is essential for the successful execution of a storytelling show that it is not located in a transit area (lobby, entrance hall, corridor, common area, etc.) as the continuous interruptions and possible noise will prevent the creation of a good listening atmosphere.
It would be useful to have the space in which the session is to take place for sufficient time in order to carry out the necessary preparation (set up, preparation of the audience and the storyteller, etc.).
