Choices
One of the things that has changed over the years I have been storytelling, is the time that I take in selecting stories to tell. Although I tell myths and legends (urban and ancient) and the odd literary tale, my favourite genre is folktales, and consequently most of my tellings are of these these simple but wonderful stories. Finding the right tales for each audience is a major part of my preparation time. Folktales are suitable for all age groups and all cultures. Naturally their telling may vary with each audience, and even if the story is specific to a particular culture or region, it still 'speaks' a universal language; humanity. Folktales are essentially about human desire, frailty, emotions and interactions with the world, even if the characters are sometimes portrayed as animals. They act as a mirror to our selves, promoting the attainment of a better self.
So how do these folktales compare to the stories told to us by the 'greatest storyteller in the western world?' (sic)
The television medium is an audio visual one where the images are projected onto the viewer/listener. In oral storytelling, the listener creates their own images from the words expressed by the teller. The listener engages with the story at their own level of comfort, and takes away what they need.
The stories told by television are varied, including fictional narratives, documentaries, event and entertainment coverage and stylised reality. However, advertising is interspersed with nearly all presentations. In oral storytelling there may be a framework constructed for the telling of a tale and a discussion at the end of a session, but the telling is unadulterated by a competing agenda.
Televisions have become permanent fixtures in the western twenty first century household and many households have more than one. Although they have an off button, televisions are often 'on' all the time. Oral storytelling is in competition with audio visual mediums in many households, as there is no space for the sharing of oral stories, as family life centres around the television.
The stories presented on television are controlled by those with vested interests, and these are rarely noble in their intent. Stories that attempt to present compassionate and informative perspectives are often marginalised, therefore having a small audience. They are often documentaries and aired at times that are challenging for mainstream audiences to view. One of the greatest of these challenges is the addictive nature of particular television shows that are aired daily. The 'soaps' and 'reality' shows exemplify this. Even if a worthy television show is offered, the viewer will choose to watch the show they are addicted to, to see who is 'eliminated' or what 'drama' happens next.
Not only does the viewer's addiction dictate their choices, it also dominates their social interactions. The stories of the television characters in last night's show are the topic of the next day's discussion. The television stories are 'real' and people who did not watch the show are left out of the conversation.
This is particularly perfidious among groups of school children who practice inclusion and exclusion, based on whether an individual is a watcher of particular television shows.
Whose stories are being told and who is telling them?
As a storyteller one of my aims is to present the richness of a culture through the telling of its folktales. It is my aim to show what we have in common with each other, and build upon that. This is in contrast to many television stories. It is no accident that the majority of stories about some cultures and countries are portrayed in a negative context. This is especially so if one country is waging a war in another country, then propaganda is essential for the justification of the war. If television is the main (or the only) source of information about a culture or country, that a viewer receives, and unfortunately there are many people whose political and social attitudes are informed solely through television, then in presenting this unbalanced view prejudice is perpetuated.
Censorship is not the issue, as adults have the right to read and view whatever material they like; it is selection. What is chosen to be aired? Why do we have a surfeit of crime shows, reality shows, soap operas, opinion in the guise of news, and humiliation masquerading as entertainment on the television, complete with the all pervasive advertisements to consume more?
On the other hand what governs the actions of the professional oral storyteller? Like most people the storyteller has to earn a living, but money is not our main motivation, as like most artists, storytellers are not in a high income bracket. Like other artists, the storyteller has something to say and the desire to share that with their listeners. For the most part their desire is to promote a more humane world through the sharing of stories.
So the challenge is to bring about a coup! Install oral storytelling in the home and oust the television! It can't be done or can it?
Storytelling Coup d' etat in three easy steps:
1. Find the off button of the television and use it. (A cloth over the screen will also help to create the illusion that it is no longer there).
2. Everyone has a story to tell. Tell them at meal time, bed time and in leisure time, with no other audio visual equipment in use. ie computers, games, ipods etc.
3. Unplug the machines and listen to each other. Create a time when there are no electronic machines on and people have to orally communicate.
One of my favourite storytellers is The Hodja, Mullah Nasruddin. He is known throughout the world but his identity is claimed by three countries, Afghanistan, Iran and Turkey. This tale particularly appeals to me.
A Nasruddin Tale
One day Mullah Nasruddin went to market to buy a fresh piece of meat. He stopped at a stall and chose a good cut and then placed it in his basket and made his way home. He had not gone far when he met a friend who upon hearing Nasruddin had bought the meat, gave him a special recipe for it. Nasruddin was looking forward to trying the recipe but was hungry, so put down the basket to take a date from inside his cloth bag. He popped it into his mouth and in doing this, did not see a crow land on the basket and then clasp the meat in his claws and fly away with it. When Nasruddin went to pick up the basket, he saw that the meat was gone, and overhead he heard the cawing of the crow. He looked up into the sky and saw the thief flying away. Furious he called out,
"Thief! You may have stolen my meat but you won't enjoy it. No you won't! Because I have the recipe."
Photo Choices by Roman W. Schatz
