Hearing a Story and Telling It Again as if You Know Its True

Social and cultural sharing of stories

Storytelling is the social and cultural activeness of sharing stories, sometimes with improvisation, theatrics or embellishment. Every civilisation has its own stories or narratives, which are shared as a ways of entertainment, educational activity, cultural preservation or instilling moral values.^[i] Crucial elements of stories and storytelling include plot, characters and narrative point of view. The term "storytelling" tin refer specifically to oral storytelling but also broadly to techniques used in other media to unfold or disembalm the narrative of a story.

Historical perspective [edit]

A very fine par dated 1938 A.D. The ballsy of Pabuji is an oral epic in the Rajasthani language that tells of the deeds of the folk hero-deity Pabuji, who lived in the 14th century.

Storytelling, intertwined with the development of mythologies,^[2] predates writing. The primeval forms of storytelling were unremarkably oral, combined with gestures and expressions.^{[ citation needed ]} Some archaeologists^{[ which? ]} believe that rock fine art, in add-on to a role in religious rituals, may have served as a form of storytelling for many^{[ quantify ]} aboriginal cultures.^[iii] The Australian ancient people painted symbols which too appear in stories on cavern walls as a means of helping the storyteller think the story. The story was and then told using a combination of oral narrative, music, rock art and dance, which bring understanding and meaning to human existence through the remembrance and enactment of stories.^[4] ^{[ folio needed ]} People have used the carved trunks of living trees and ephemeral media (such as sand and leaves) to record folktales in pictures or with writing.^{[ citation needed ]} Complex forms of tattooing may also represent stories, with data virtually genealogy, affiliation and social condition.^[five]

Folktales often share common motifs and themes, suggesting possible basic psychological similarities beyond various human cultures. Other stories, notably fairy tales, announced to have spread from place to place, implying memetic appeal and popularity.

Groups of originally oral tales tin can coalesce over fourth dimension into story cycles (like the Arabian Nights), cluster around mythic heroes (similar King Arthur), and develop into the narratives of the deeds of the gods and saints of diverse religions.^[6] The results tin can exist episodic (like the stories about Anansi), epic (every bit with Homeric tales), inspirational (note the tradition of vitae) and/or instructive (as in many Buddhist or Christian scriptures).

With the appearance of writing and the employ of stable, portable media, storytellers recorded, transcribed and continued to share stories over broad regions of the globe. Stories have been carved, scratched, painted, printed or inked onto wood or bamboo, ivory and other bones, pottery, clay tablets, stone, palm-leaf books, skins (parchment), bark material, paper, silk, sheet and other textiles, recorded on film and stored electronically in digital grade. Oral stories continue to be created, improvisationally by impromptu and professional storytellers, too as committed to memory and passed from generation to generation, despite the increasing popularity of written and televised media in much of the world.

Gimmicky storytelling [edit]

Modern storytelling has a broad preview. In improver to its traditional forms (fairytales, folktales, mythology, legends, fables etc.), information technology has extended itself to representing history, personal narrative, political commentary and evolving cultural norms. Contemporary storytelling is also widely used to address educational objectives.^[7] New forms of media are creating new ways for people to record, express and consume stories.^[8] Tools for asynchronous group communication tin provide an environs for individuals to reframe or recast private stories into group stories.^[9] Games and other digital platforms, such every bit those used in interactive fiction or interactive storytelling, may be used to position the user equally a character within a bigger earth. Documentaries, including interactive web documentaries, apply storytelling narrative techniques to communicate data about their topic.^[10] Self-revelatory stories, created for their cathartic and therapeutic result, are growing in their use and awarding, every bit in Psychodrama, Drama Therapy and Playback Theatre.^[11] Storytelling is likewise used as a means past which to precipitate psychological and social change in the exercise of transformative arts.^[12] ^[13] ^[14]

Some people also brand a case for different narrative forms beingness classified every bit storytelling in the contemporary globe. For example, digital storytelling, online and dice-and-newspaper-based role-playing games. In traditional role-playing games, storytelling is done by the person who controls the environment and the not-playing fictional characters, and moves the story elements along for the players as they interact with the storyteller. The game is advanced by mainly verbal interactions, with dice roll determining random events in the fictional universe, where the players collaborate with each other and the storyteller. This type of game has many genres, such equally sci-fi and fantasy, every bit well as alternate-reality worlds based on the current reality, only with different setting and beings such as werewolves, aliens, daemons, or hidden societies. These oral-based role-playing games were very popular in the 1990s among circles of youth in many countries before estimator and panel-based online MMORPG'south took their place. Despite the prevalence of computer-based MMORPGs, the dice-and-paper RPG still has a dedicated following.

Oral traditions [edit]

Oral traditions of storytelling are found in several civilizations; they predate the printed and online press. Storytelling was used to explain natural phenomena, bards told stories of creation and developed a pantheon of gods and myths. Oral stories passed from ane generation to the next and storytellers were regarded every bit healers, leaders, spiritual guides, teachers, cultural secrets keepers and entertainers. Oral storytelling came in various forms including songs, verse, chants and dance.^[fifteen]

Albert Bates Lord examined oral narratives from field transcripts of Yugoslav oral bards collected past Milman Parry in the 1930s, and the texts of epics such as the Odyssey.^[sixteen] Lord found that a big part of the stories consisted of text which was improvised during the telling process.

Lord identified two types of story vocabulary. The first he chosen "formulas": "Rosy-fingered Dawn", "the wine-dark sea" and other specific set phrases had long been known of in Homer and other oral epics. Lord, however, discovered that across many story traditions, fully ninety% of an oral epic is assembled from lines which are repeated verbatim or which use one-for-ane word substitutions. In other words, oral stories are built out of set phrases which take been stockpiled from a lifetime of hearing and telling stories.

The other type of story vocabulary is theme, a set sequence of story actions that structure a tale. Only equally the teller of tales gain line-past-line using formulas, so he proceeds from issue-to-event using themes. 1 near-universal theme is repetition, as evidenced in Western folklore with the "dominion of three": Three brothers set up out, iii attempts are made, three riddles are asked. A theme tin can be as uncomplicated as a specific set sequence describing the arming of a hero, starting with shirt and trousers and catastrophe with headdress and weapons. A theme can be big plenty to be a plot component. For case: a hero proposes a journey to a dangerous place / he disguises himself / his disguise fools everybody / except for a common person of little business relationship (a crone, a tavern maid or a woodcutter) / who immediately recognizes him / the commoner becomes the hero'due south marry, showing unexpected resource of skill or initiative. A theme does not belong to a specific story, simply may be found with minor variation in many unlike stories.

The story was described by Reynolds Price, when he wrote:

A need to tell and hear stories is essential to the species Homo sapiens – second in necessity apparently afterward nourishment and earlier love and shelter. Millions survive without dear or home, almost none in silence; the opposite of silence leads quickly to narrative, and the audio of story is the dominant sound of our lives, from the pocket-size accounts of our mean solar day'due south events to the vast incommunicable constructs of psychopaths.^[17]

In gimmicky life, people will seek to fill "story vacuums" with oral and written stories. "In the absenteeism of a narrative, especially in an ambiguous and/or urgent situation, people volition seek out and consume plausible stories similar water in the desert. Information technology is our innate nature to connect the dots. One time an explanatory narrative is adopted, information technology'south extremely difficult to disengage," whether or not it is true.^[18]

Märchen and Sagen [edit]

Illustration from Silesian Folk Tales (The Book of Rubezahl)

Folklorists sometimes dissever oral tales into 2 main groups: Märchen and Sagen.^[nineteen] These are German terms for which there are no exact English equivalents, nevertheless nosotros have approximations:

Märchen, loosely translated equally "fairy tale(s)" or picayune stories, take place in a kind of separate "once-upon-a-time" globe of nowhere-in-particular, at an indeterminate time in the past. They are clearly not intended to exist understood as true. The stories are full of conspicuously defined incidents, and peopled past rather flat characters with little or no interior life. When the supernatural occurs, it is presented matter-of-factly, without surprise. Indeed, there is very piffling effect, by and large; appalling events may take identify, simply with little telephone call for emotional response from the listener.^{[ citation needed ]}

Sagen, translated as "legends", are supposed to have actually happened, very often at a particular time and identify, and they draw much of their power from this fact. When the supernatural intrudes (equally it often does), it does so in an emotionally fraught manner. Ghost and Lovers' Leap stories vest in this category, every bit do many UFO stories and stories of supernatural beings and events.^{[ citation needed ]}

Another important exam of orality in human life is Walter J. Ong's Orality and Literacy: The Technologizing of the Discussion (1982). Ong studies the distinguishing characteristics of oral traditions, how oral and written cultures collaborate and condition one another, and how they ultimately influence human epistemology.

Storytelling and learning [edit]

Storytelling is a means for sharing and interpreting experiences. Peter L. Berger says human life is narratively rooted, humans construct their lives and shape their globe into homes in terms of these groundings and memories. Stories are universal in that they can bridge cultural, linguistic and age-related divides. Storytelling can be adaptive for all ages, leaving out the notion of age segregation.^{[ commendation needed ]} Storytelling can be used equally a method to teach ethics, values and cultural norms and differences.^[xx] Learning is most constructive when it takes identify in social environments that provide authentic social cues nearly how noesis is to be practical.^[21] Stories office equally a tool to pass on knowledge in a social context. And then, every story has iii parts. First, The setup (The Hero'southward earth before the take chances starts). Second, The Confrontation (The hero's globe turned upside down). Third, The Resolution (Hero conquers villain, merely it's not plenty for Hero to survive. The Hero or World must be transformed). Any story can be framed in such format.

Human being knowledge is based on stories and the man brain consists of cerebral mechanism necessary to understand, remember and tell stories.^[22] Humans are storytelling organisms that both individually and socially, lead storied lives.^[23] Stories mirror human thought as humans think in narrative structures and nearly oftentimes remember facts in story grade. Facts tin be understood every bit smaller versions of a larger story, thus storytelling can supplement analytical thinking. Considering storytelling requires auditory and visual senses from listeners, one can acquire to organize their mental representation of a story, recognize construction of language and express his or her thoughts.^[24]

Stories tend to be based on experiential learning, simply learning from an feel is not automated. Oftentimes a person needs to attempt to tell the story of that experience before realizing its value. In this example, it is not only the listener who learns, but the teller who also becomes enlightened of his or her ain unique experiences and background.^[25] This process of storytelling is empowering as the teller effectively conveys ideas and, with practice, is able to demonstrate the potential of homo accomplishment. Storytelling taps into existing cognition and creates bridges both culturally and motivationally toward a solution.

Stories are effective educational tools because listeners become engaged and therefore remember. Storytelling tin can be seen as a foundation for learning and instruction. While the storylistener is engaged, they are able to imagine new perspectives, inviting a transformative and empathetic experience.^[26] This involves allowing the individual to actively engage in the story likewise as observe, listen and participate with minimal guidance.^[27] Listening to a storyteller can create lasting personal connections, promote innovative problem solving and foster a shared understanding regarding future ambitions.^[28] The listener tin can then actuate cognition and imagine new possibilities. Together a storyteller and listener can seek best practices and invent new solutions. Because stories oftentimes have multiple layers of meanings, listeners take to heed closely to place the underlying knowledge in the story. Storytelling is used as a tool to teach children the importance of respect through the practice of listening.^[29] As well as connecting children with their surround, through the theme of the stories, and give them more autonomy by using repetitive statements, which improve their learning to learn competence.^[thirty] It is too used to teach children to accept respect for all life, value inter-connectedness and always piece of work to overcome adversity. To teach this a Kinesthetic learning style would be used, involving the listeners through music, dream interpretation, or trip the light fantastic.^[31]

Storytelling in indigenous cultures [edit]

The Historian – An Indian artist is painting in sign language, on buckskin, the story of a battle with American soldiers.

For ethnic cultures of the Americas, storytelling is used as an oral form of linguistic communication associated with practices and values essential to developing one's identity. This is because everyone in the customs can add their own impact and perspective to the narrative collaboratively – both individual and culturally shared perspectives take a place in the co-cosmos of the story. Oral storytelling in indigenous communities differs from other forms of stories because they are told not just for entertainment, merely for pedagogy values.^[32] For instance, the Sto:lo community in Canada focuses on reinforcing children's identity by telling stories about the land to explain their roles.^[32]

Furthermore, Storytelling is a way to teach younger members of indigenous communities about their civilization and their identities. In Donna Eder's written report, Navajos were interviewed nearly storytelling practices that they accept had in the past and what changes they want to see in the future. They notice that storytelling makes an impact on the lives of the children of the Navajos. According to some of the Navajos that were interviewed, storytelling is one of many main practices that teaches children the of import principles to live a good life.^[33] In indigenous communities, stories are a manner to laissez passer cognition on from generation to generation.

For some indigenous people, experience has no separation between the physical world and the spiritual earth. Thus, some indigenous people communicate to their children through ritual, storytelling, or dialogue. Community values, learned through storytelling, help to guide future generations and aid in identity germination.^[34]

In the Quechua customs of Highland Peru, in that location is no separation between adults and children. This allows for children to learn storytelling through their own interpretations of the given story. Therefore, children in the Quechua community are encouraged to mind to the story that is being told in social club to learn about their identity and civilization. Sometimes, children are expected to sit quietly and mind actively. This enables them to engage in activities equally contained learners.^[35]

This didactics practice of storytelling immune children to formulate ideas based on their ain experiences and perspectives. In Navajo communities, for children and adults, storytelling is 1 of the many effective means to educate both the immature and old about their cultures, identities and history. Storytelling help the Navajos know who they are, where they come up from and where they belong.^[33]

Storytelling in indigenous cultures is sometimes passed on by oral means in a quiet and relaxing environment, which usually coincides with family or tribal community gatherings and official events such as family occasions, rituals, or ceremonial practices.^[36] During the telling of the story, children may act every bit participants past asking questions, acting out the story, or telling smaller parts of the story.^[37] Furthermore, stories are not oft told in the aforementioned way twice, resulting in many variations of a single myth. This is because narrators may choose to insert new elements into old stories dependent upon the relationship between the storyteller and the audition, making the story stand for to each unique state of affairs.^[38]

Indigenous cultures too utilise instructional ribbing— a playful form of correcting children's undesirable behavior— in their stories. For example, the Ojibwe (or Chippewa) tribe uses the tale of an owl snatching away misbehaving children. The caregiver will often say, "The owl will come and stick yous in his ears if you don't stop crying!" Thus, this form of teasing serves as a tool to correct inappropriate behavior and promote cooperation.^[39]

Types of storytelling in indigenous peoples [edit]

There are various types of stories among many indigenous communities. Communication in Indigenous American communities is rich with stories, myths, philosophies and narratives that serve equally a means to exchange information.^[40] These stories may be used for coming of age themes, core values, morality, literacy and history. Very oft, the stories are used to instruct and teach children well-nigh cultural values and lessons.^[38] The meaning inside the stories is non e'er explicit, and children are expected to brand their own meaning of the stories. In the Lakota Tribe of N America, for example, young girls are often told the story of the White Buffalo Dogie Woman, who is a spiritual figure that protects immature girls from the whims of men. In the Odawa Tribe, young boys are often told the story of a young man who never took intendance of his body, and as a result, his feet fail to run when he tries to escape predators. This story serves as an indirect means of encouraging the young boys to take care of their bodies.^[41]

Narratives can be shared to express the values or morals among family, relatives, or people who are considered part of the close-knit community. Many stories in indigenous American communities all have a "surface" story, that entails knowing certain information and clues to unlocking the metaphors in the story. The underlying message of the story beingness told, can be understood and interpreted with clues that hint to a certain estimation.^[42] In order to brand significant from these stories, elders in the Sto:lo customs for example, emphasize the importance in learning how to listen, since it requires the senses to bring one's heart and heed together.^[42] For instance, a way in which children larn about the metaphors significant for the society they live in, is past listening to their elders and participating in rituals where they respect one another.^[43]

Passing on of Values in indigenous cultures [edit]

Stories in indigenous cultures encompass a variety of values. These values include an accent on individual responsibility, concern for the environment and communal welfare.^[44]

Stories are based on values passed down by older generations to shape the foundation of the community.^[45] Storytelling is used as a bridge for knowledge and understanding assuasive the values of "self" and "community" to connect and exist learned as a whole. Storytelling in the Navajo community for example allows for community values to be learned at unlike times and places for unlike learners. Stories are told from the perspective of other people, animals, or the natural elements of the earth.^[46] In this style, children learn to value their place in the world as a person in relation to others. Typically, stories are used every bit an informal learning tool in Indigenous American communities, and can human action as an alternative method for reprimanding children's bad behavior. In this way, stories are not-confrontational, which allows the child to discover for themselves what they did incorrect and what they can do to arrange the beliefs.^[47]

Parents in the Arizona Tewa customs, for example, teach morals to their children through traditional narratives.^[48] Lessons focus on several topics including historical or "sacred" stories or more domestic disputes. Through storytelling, the Tewa community emphasizes the traditional wisdom of the ancestors and the importance of collective as well every bit private identities. Ethnic communities teach children valuable skills and morals through the actions of adept or mischievous stock characters while too allowing room for children to make meaning for themselves. By not beingness given every element of the story, children rely on their ain experiences and not formal didactics from adults to make full in the gaps.^[49]

When children listen to stories, they periodically vocalize their ongoing attention and accept the extended plow of the storyteller. The emphasis on considerateness to surrounding events and the importance of oral tradition in indigenous communities teaches children the skill of great attending. For instance, Children of the Tohono O'odham American Indian community who engaged in more cultural practices were able to recall the events in a verbally presented story improve than those who did not engage in cultural practices.^[fifty] Body movements and gestures aid to communicate values and continue stories alive for hereafter generations.^[51] Elders, parents and grandparents are typically involved in pedagogy the children the cultural ways, along with history, community values and teachings of the state.^[52]

Children in indigenous communities can as well learn from the underlying bulletin of a story. For example, in a nahuatl community near Mexico City, stories almost ahuaques or hostile h2o dwelling spirits that guard over the bodies of water, contain morals almost respecting the environment. If the protagonist of a story, who has accidentally broken something that belongs to the ahuaque, does not replace it or give back in some way to the ahuaque, the protagonist dies.^[53] In this fashion, storytelling serves as a mode to teach what the community values, such as valuing the environment.

Storytelling likewise serves to deliver a particular bulletin during spiritual and ceremonial functions. In the ceremonial use of storytelling, the unity building theme of the message becomes more important than the time, place and characters of the message. Once the bulletin is delivered, the story is finished. As cycles of the tale are told and retold, story units can recombine, showing various outcomes for a person's actions.^[54]

Storytelling inquiry [edit]

This section needs expansion. You can help by adding to it. (Jan 2015)

Storytelling has been assessed for critical literacy skills and the learning of theatre-related terms past the nationally recognized storytelling and artistic drama system, Neighborhood Bridges, in Minneapolis.^[55] Another storyteller researcher in the Britain proposes that the social space created preceding oral storytelling in schools may trigger sharing (Parfitt, 2014).^[56]

Storytelling has also been studied as a way to investigate and annal cultural knowledge and values within indigenous American communities. Iseke'south study (2013)^[57] on the role of storytelling in the Metis community, showed hope in furthering research about the Metis and their shared communal atmosphere during storytelling events. Iseke focused on the thought of witnessing a storyteller as a vital way to share and partake in the Metis community, equally members of the community would cease everything else they were doing in order to mind or "witness" the storyteller and allow the story to become a "ceremonial mural," or shared reference, for everyone present. This was a powerful tool for the community to engage and teach new learner shared references for the values and ideologies of the Metis. Through storytelling, the Metis cemented the shared reference of personal or pop stories and sociology, which members of the community can use to share ideologies. In the hereafter, Iseke noted that Metis elders wished for the stories beingness told to exist used for further research into their culture, equally stories were a traditional style to laissez passer down vital knowledge to younger generations.

For the stories we read, the "neuro-semantic encoding of narratives happens at levels college than individual semantic units and that this encoding is systematic across both individuals and languages." This encoding seems to appear about prominently in the default fashion network.^[58]

Serious Storytelling [edit]

Storytelling in serious application contexts, every bit e.g. therapeutics, business, serious games, medicine, education, or religion can be referred to equally serious storytelling. Serious storytelling applies storytelling "outside the context of entertainment, where the narration progresses as a sequence of patterns impressive in quality ... and is office of a thoughtful progress".^[59]

Storytelling as a political praxis [edit]

Some approaches treat narratives every bit politically motivated stories, stories empowering certain groups and stories giving people agency. Instead of but searching for the main indicate of the narrative, the political function is demanded through asking, "Whose interest does a personal narrative serve"?^[60] This arroyo mainly looks at the power, authority, cognition, ideology and identity; "whether information technology legitimates and dominates or resists and empowers".^[lx] All personal narratives are seen equally ideological because they evolve from a construction of ability relations and simultaneously produce, maintain and reproduce that ability structure".^[61]

Political theorist, Hannah Arendt argues that storytelling transforms private meaning to public meaning.^[62] Regardless of the gender of the narrator and what story they are sharing, the performance of the narrative and the audition listening to information technology is where the ability lies.

Therapeutic storytelling [edit]

Therapeutic storytelling is the act of telling one's story in an attempt to better understand oneself or i'southward situation. Oftentimes, these stories affect the audience in a therapeutic sense as well, helping them to view situations similar to their own through a different lens.^[63] Noted writer and folklore scholar, Elaine Lawless states, "...this procedure provides new avenues for agreement and identity formation. Language is utilised to bear witness to their lives".^[64] Sometimes a narrator will simply skip over sure details without realizing, simply to include information technology in their stories during a later telling. In this style, that telling and retelling of the narrative serves to "reattach portions of the narrative".^[65] These gaps may occur due to a repression of the trauma or even just a want to keep the nearly gruesome details private. Regardless, these silences are not as empty as they appear, and information technology is only this act of storytelling that can enable the teller to make full them back in.

Psychodrama uses re-enactment of a personal, traumatic event in the life of a psychodrama group participant every bit a therapeutic methodology, starting time adult by psychiatrist, J.L. Moreno, Thou.D. This therapeutic use of storytelling was incorporated into Drama Therapy, known in the field as "Cocky Revelatory Theater." in 1975] Jonathan Play a joke on and Jo Salas developed a therapeutic, improvisational storytelling form they called Playback Theatre. Therapeutic storytelling is as well used to promote healing through transformative arts, where a facilitator helps a participant write and often present their personal story to an audience.^[66]

Storytelling as fine art grade [edit]

Aesthetics [edit]

The art of narrative is, by definition, an aesthetic enterprise, and there are a number of creative elements that typically interact in well-adult stories. Such elements include the essential idea of narrative structure with identifiable beginnings, middles, and endings, or exposition-development-climax-resolution-denouement, normally constructed into coherent plot lines; a potent focus on temporality, which includes memory of the past, attention to nowadays action and protention/future apprehension; a substantial focus on characters and characterization which is "arguably the nigh important single component of the novel";^[67] a given heterogloss of different voices dialogically at play – "the audio of the human being voice, or many voices, speaking in a variety of accents, rhythms and registers";^[68] possesses a narrator or narrator-similar voice, which by definition "addresses" and "interacts with" reading audiences (see Reader Response theory); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times below the surface, conditioning a plotted narrative, and at other times much more visible, "arguing" for and against various positions; relies substantially on at present-standard artful figuration, particularly including the use of metaphor, metonymy, synecdoche and irony (see Hayden White, Metahistory for expansion of this thought); is frequently enmeshed in intertextuality, with copious connections, references, allusions, similarities, parallels, etc. to other literatures; and commonly demonstrates an effort toward bildungsroman, a description of identity development with an effort to evince condign in graphic symbol and community.

Festivals [edit]

Storytelling festivals typically feature the work of several storytellers and may include workshops for tellers and others who are interested in the art form or other targeted applications of storytelling. Elements of the oral storytelling art form ofttimes include the tellers encouragement to have participants co-create an experience by connecting to relatable elements of the story and using techniques of visualization (the seeing of images in the mind's heart), and utilise vocal and bodily gestures to support agreement. In many means, the art of storytelling draws upon other art forms such every bit acting, oral interpretation and Performance Studies.

In 1903, Richard Wyche, a professor of literature at the Academy of Tennessee created the starting time organized storytellers league of its kind.^{[ citation needed ]} It was called The National Story League. Wyche served as its president for 16 years, facilitated storytelling classes, and spurred an interest in the fine art.

Several other storytelling organizations started in the U.Southward. during the 1970s. 1 such organization was the National Association for the Perpetuation and Preservation of Storytelling (NAPPS), now the National Storytelling Network (NSN) and the International Storytelling Center (ISC). NSN is a professional organization that helps to organize resources for tellers and festival planners. The ISC runs the National Storytelling Festival in Jonesborough, TN.^[69] Australia followed their American counterparts with the establishment of storytelling guilds in the belatedly 1970s.^{[ citation needed ]} Australian storytelling today has individuals and groups across the land who meet to share their stories. The Uk's Society for Storytelling was founded in 1993, bringing together tellers and listeners, and each twelvemonth since 2000 has run a National Storytelling Week the first calendar week of February.^{[ commendation needed ]}

Currently, there are dozens of storytelling festivals and hundreds of professional person storytellers effectually the world,^[70] ^[71] and an international celebration of the art occurs on World Storytelling Day.

Emancipation of the story [edit]

In oral traditions, stories are kept alive past being told once again and over again. The material of any given story naturally undergoes several changes and adaptations during this process. When and where oral tradition was superseded by print media, the literary idea of the author equally originator of a story'south authoritative version inverse people's perception of stories themselves. In centuries following, stories tended to be seen as the work of individuals rather than a collective endeavour. But recently when a significant number of influential authors began questioning their own roles, the value of stories equally such – independent of authorship – was once again recognized. Literary critics such as Roland Barthes even proclaimed the Expiry of the Author.

In business organisation [edit]

People have been telling stories at work since ancient times, when stories might inspire "backbone and empowerment during the chase for a potentially dangerous fauna," or simply instill the value of listening.^[72] Storytelling in business has become a field in its own right every bit industries take grown, every bit storytelling becomes a more popular art form in general through live storytelling events similar The Moth.

Recruiting [edit]

Storytelling has come up to accept a prominent role in recruiting. The modernistic recruiting industry started in the 1940s every bit employers competed for bachelor labor during World State of war II. Prior to that, employers usually placed newspaper ads telling a story about the kind of person they wanted, including their character and, in many cases, their ethnicity.^[73]

Public Relations [edit]

Public influence has been office of human civilization since ancient times, but the modern public relations manufacture traces its roots to a Boston-based PR business firm called The Publicity Agency that opened in 1900.^[74] Although a PR firm may non identify its role as storytelling, the firm'southward task is to control the public narrative well-nigh the organization they represent.

Networking [edit]

Networking has been around since the industrial revolution when businesses recognized the demand—and the benefit—of collaborating and trusting a wider range of people.^[75] Today, networking is the bailiwick for more than 100,000 books, seminars and online conversations.^[75]

Storytelling helps networkers showcase their expertise. "Using examples and stories to teach contacts about expertise, experience, talents, and interests" is one of eight networking competencies the Association for Talent Development has identified, saying that networkers should "be able to answer the question, 'What do you lot do?' to make expertise visible and memorable."^[76] Business storytelling begins by because the needs of the audience the networker wishes to accomplish, asking, "What is information technology most what I do that my audience is most interested in?" and "What would intrigue them the most?"^[18]

Within the workplace [edit]

Instance of the utilize of storytelling in education.

In the workplace, communicating by using storytelling techniques can exist a more than compelling and effective route of delivering data than that of using only dry facts.^[77] ^[78] Uses include:

Using narrative to manage conflicts [edit]

For managers storytelling is an important way of resolving conflicts, addressing issues and facing challenges. Managers may use narrative discourse to bargain with conflicts when direct action is inadvisable or impossible.^[79] ^{[ citation needed ]}

Using narrative to interpret the past and shape the future [edit]

In a group discussion a process of collective narration can help to influence others and unify the group by linking the past to the time to come. In such discussions, managers transform bug, requests and issues into stories.^{[ citation needed ]} Jameson calls this collective grouping construction storybuilding.

Using narrative in the reasoning process [edit]

Storytelling plays an important role in reasoning processes and in convincing others. In business organization meetings, managers and business concern officials preferred stories to abstruse arguments or statistical measures. When situations are complex or dumbo, narrative discourse helps to resolve conflicts, influences corporate decisions and stabilizes the group.^[80]

In marketing [edit]

Storytelling is increasingly beingness used in advertising in order to build customer loyalty.^[81] ^[82] Co-ordinate to Giles Lury, this marketing trend echoes the securely rooted human demand to exist entertained.^[83] Stories are illustrative, easily memorable and allow companies to create stronger emotional bonds with customers.^[83]

A Nielsen study shows consumers want a more than personal connection in the way they gather data since human brains are more than engaged by storytelling than by the presentation of facts alone. When reading pure data, only the language parts of the brain work to decode the meaning. Simply when reading a story, both the language parts and those parts of the brain that would be engaged if the events of the story were actually experienced are activated. Every bit a result, it easier to remember stories than facts.^[84]

Marketing developments incorporating storytelling include the use of the trans-media techniques that originated in the film manufacture intended to "build a world in which your story can evolve".^[85] Examples include the "Happiness Factory" of Coca-Cola.^[86]

Run across also [edit]

Dramatic structure
Story arc
Storyboard

Storytelling festival
Storytelling game
Globe Storytelling Day

References [edit]

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