Two things you need to know about me: I do not tell stories only to entertain or share my Latin American culture; I tell stories to renegotiate grounds with the audience, to exchange ideas about the world. Second, I believe that when a storyteller likes a story the story should like them back. In other words, if both do not fall in love the story will only serve to entertain (hopefully).The tale will be another story told by another storyteller. When the storyteller believes and understands the story it can become a meaningful version of the past that is sharing its light in the present.Although, it may appear that telling stories is quite simple, the tricky part is performing a story that has nothing to do with you. In other words, if the storyteller fails at delivering the originally meaning of the story and takes liberty in shaping it according to their personal beliefs, they might be contributing to distort the originally message or even worse reinforcing a cultural stereotype.

I recall a story slam where we had to bring a myth or legend from an assigned part of the world. One of the contestants brought a South American myth and this storyteller could not be more different from the average Latin person. The version of a Peruvian Myth delivered was quite entertaining. We laughed a lot, but the storyteller stereotyped the main character by portraying her as a woman of dubious reputation. To do that with the Greek gods is one thing, but with a tale of a culture that still exists and is still discriminated against is another. For instance, many Native North Americans do not like at all when the white man tells their stories, and I can understand why. Usually their stories are performed out of their original context and instead of bringing understanding on a culture it obscures it. Now I honestly do not have a problem with telling stories from other cultures, as long as the storyteller takes the time to research about it, drop their own cultural perspective, and make a sincere effort to empathize with the culture through the story.


Antonio Sacre interviewed by Sonia Carmona

Antonio Sacre, born in Boston to a Cuban father and Irish- American mother, is an internationally touring bilingual storyteller, author, and solo performance artist, based in Los Angeles. He earned a BA in English from Boston College and an MA in Theater Arts from Northwestern University. He has performed at the National Book Festival at the Library of Congress, the Kennedy Center, the National Storytelling Festival, and museums, schools, libraries, and festivals internationally. Called “a charismatic, empathetic presence” by Chicago Tribune, his stories have appeared in numerous magazines, journals, and on National Public Radio.

His storytelling recordings have won numerous awards, including the American Library Association’s Notable Recipient Award, the Parent's Choice Gold and Silver Awards, and the National Association of Parenting Publications Gold Award. He was awarded an Ethnic and Folk Arts Fellowship from the Illinois Arts Council.

As a solo performer, Sacre has performed in festivals and theaters in New York City, Los Angeles, Minneapolis, San Francisco, and Chicago, where he performed under the tutelage and mentorship of Jenny Magnus. At The New York City International Fringe Theater Festival, Sacre was awarded a Best in Fringe Festival award for Excellence in acting, and a Best in Fringe Festival Award for Excellence in Solo Performance. At the United Solo Theater Festival off-Broadway, he twice won the United Solo Award for Best Storyteller, in 2011 and 2012.


Spanish / Catalan / Galician / Basque


Oral narration can become a significant vector for the re-establishment of democracy for three main reasons:

1.- DUE TO ITS CONTENT, as stories speak about the human condition: 

Traditional stories cover all issues connected with the individual as a member of society. They also deal with huge questions regarding existence in matters relating to the key to the mystery of life, but without the blunt, realist explanations. Through symbolism they connect dreams and poetry through a truly emancipated link, from both the point of view of freedom of imagination, and in an understanding of a person's psychological development mechanisms. Optimism is obligatory: Children can change their destinies by learning what is good for them and what they should avoid. 

Whether we are storytellers or listeners, we can and should develop a vision of the world based on solidarity, courage, and a view to the future. In this way an approach to the story can come about for the individual based on their own reading in an enjoyable, emotional way.  As the grioti from Mali, Hampâté Bâ said: Stories entertain the children; adults can relax after a day's work and the grey-haired ones can philosophize. In other words, stories can unite the three parts which live together within us,   the affective, the playful, and the cognitive.

Spanish / Basque

When we tell a story a relationship is established between the narrator and the others, and I am saying "the others" deliberately because what I find interesting is to develop the idea of the role of the narrator within society, and not solely with respect to those members of the public who actually go to storytelling shows. 

What is the relationship between the narrator and the others? 

This question follows me around in my work and comes up in essays, on the stage and on courses. To travel the roads of the art of telling stories accompanied by a good question keeps us on our toes, with open eyes and a generous spirit. The answers are at times dangerous; above all those purchased in the supermarket of easy ideas which do nothing but settle the matter and close the door on possible debate. 

I prefer to imagine an open response, like a never-ending puzzle in which little by little pieces are added and spaces are defined. So if I chance my hand with a lucky answer it is (and should be taken as such) with the intention of enriching and provoking debate, but not closing it. 

Spanish / Basque / Catalan

Among the objectives laid down in the AEDA statutes there are various references to providing visibility, dissemination and outreach for the activity of storytelling. For that reason, and in order to achieve those objectives, this web page was created and various social media accounts are managed; Facebook, Twitter, Storytellers' List and the monthly Bulletin. Even so, we believe that there are virtual environments in which news of the spoken word still lacks sufficient presence. We are referring specifically to mobile devices. 

For that reason for the last six months AEDA has been working to set up an APP which is compatible with Andriod and iOS, which will allow access to information regarding storytelling from mobile devices (smartphones and tablets).  


Spanish / Basque / Catalan



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.





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.).