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Social and cultural sharing of stories

Storytelling is the social and cultural activity of sharing stories, sometimes with improvisation, theatrics or embellishment. Every culture has its own stories or narratives, which are shared as a ways of entertainment, education, cultural preservation or instilling moral values.^[1] Crucial elements of stories and storytelling include plot, characters and narrative bespeak of view. The term "storytelling" can refer specifically to oral storytelling simply besides 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 epic of Pabuji is an oral ballsy 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 earliest forms of storytelling were commonly oral, combined with gestures and expressions.^{[ citation needed ]} Some archaeologists^{[ which? ]} believe that rock art, in addition to a role in religious rituals, may take served as a form of storytelling for many^{[ quantify ]} ancient cultures.^[3] The Australian aboriginal people painted symbols which also appear in stories on cave walls equally a ways of helping the storyteller call up the story. The story was then told using a combination of oral narrative, music, stone art and trip the light fantastic toe, which bring understanding and pregnant to human being existence through the remembrance and enactment of stories.^[iv] ^{[ page needed ]} People accept used the carved trunks of living copse and ephemeral media (such equally sand and leaves) to record folktales in pictures or with writing.^{[ citation needed ]} Complex forms of tattooing may too represent stories, with information near genealogy, amalgamation and social status.^[5]

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

Groups of originally oral tales can coalesce over fourth dimension into story cycles (like the Arabian Nights), cluster around mythic heroes (like King Arthur), and develop into the narratives of the deeds of the gods and saints of various religions.^[6] The results can be episodic (like the stories virtually Anansi), epic (as 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 utilise of stable, portable media, storytellers recorded, transcribed and connected to share stories over wide regions of the world. Stories accept 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 cloth, paper, silk, canvas and other textiles, recorded on motion picture and stored electronically in digital form. Oral stories proceed to be created, improvisationally past impromptu and professional storytellers, as well as committed to retention 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 add-on to its traditional forms (fairytales, folktales, mythology, legends, fables etc.), it has extended itself to representing history, personal narrative, political commentary and evolving cultural norms. Contemporary storytelling is too widely used to address educational objectives.^[seven] New forms of media are creating new ways for people to tape, express and eat stories.^[eight] Tools for asynchronous group communication tin can provide an environment for individuals to reframe or recast individual stories into group stories.^[ix] Games and other digital platforms, such as those used in interactive fiction or interactive storytelling, may be used to position the user as a character within a bigger world. Documentaries, including interactive web documentaries, apply storytelling narrative techniques to communicate information about their topic.^[10] Self-revelatory stories, created for their cathartic and therapeutic result, are growing in their employ and application, as in Psychodrama, Drama Therapy and Playback Theatre.^[11] Storytelling is likewise used equally a means by which to precipitate psychological and social modify in the practice of transformative arts.^[12] ^[13] ^[fourteen]

Some people likewise make a case for different narrative forms existence classified as storytelling in the contemporary world. For example, digital storytelling, online and dice-and-paper-based role-playing games. In traditional office-playing games, storytelling is done by the person who controls the environs and the non-playing fictional characters, and moves the story elements along for the players every bit they interact with the storyteller. The game is advanced by mainly exact interactions, with dice scroll determining random events in the fictional universe, where the players interact with each other and the storyteller. This blazon of game has many genres, such as sci-fi and fantasy, equally well as alternating-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 amid circles of youth in many countries earlier calculator and console-based online MMORPG's took their identify. Despite the prevalence of computer-based MMORPGs, the die-and-paper RPG nevertheless has a dedicated post-obit.

Oral traditions [edit]

Story Teller by Gaganendranath Tagore

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 adult a pantheon of gods and myths. Oral stories passed from one generation to the next and storytellers were regarded as healers, leaders, spiritual guides, teachers, cultural secrets keepers and entertainers. Oral storytelling came in various forms including songs, poetry, chants and dance.^[15]

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

Lord identified two types of story vocabulary. The beginning he called "formulas": "Rosy-fingered Dawn", "the wine-dark sea" and other specific prepare phrases had long been known of in Homer and other oral epics. Lord, however, discovered that across many story traditions, fully xc% of an oral epic is assembled from lines which are repeated verbatim or which apply one-for-i give-and-take substitutions. In other words, oral stories are built out of fix phrases which have 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. But as the teller of tales proceeds line-by-line using formulas, so he proceeds from outcome-to-event using themes. Ane virtually-universal theme is repetition, as evidenced in Western folklore with the "rule of three": Three brothers set out, three attempts are made, three riddles are asked. A theme tin exist as elementary as a specific prepare sequence describing the arming of a hero, starting with shirt and trousers and ending with headdress and weapons. A theme can be large plenty to be a plot component. For example: a hero proposes a journey to a dangerous place / he disguises himself / his disguise fools everybody / except for a common person of little account (a crone, a tavern maid or a woodcutter) / who immediately recognizes him / the commoner becomes the hero'southward ally, showing unexpected resources of skill or initiative. A theme does not belong to a specific story, only may be found with small variation in many different stories.

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

A demand to tell and hear stories is essential to the species Homo sapiens – 2nd in necessity obviously after nourishment and before love and shelter. Millions survive without dear or home, nigh none in silence; the opposite of silence leads chop-chop to narrative, and the sound of story is the dominant audio of our lives, from the pocket-size accounts of our 24-hour interval's events to the vast incommunicable constructs of psychopaths.^[17]

In contemporary life, people volition seek to fill "story vacuums" with oral and written stories. "In the absence of a narrative, particularly in an ambiguous and/or urgent state of affairs, people will seek out and consume plausible stories like h2o in the desert. It is our innate nature to connect the dots. Once an explanatory narrative is adopted, it's extremely difficult to undo," whether or not it is true.^[18]

Märchen and Sagen [edit]

Analogy from Silesian Folk Tales (The Book of Rubezahl)

Folklorists sometimes dissever oral tales into two principal groups: Märchen and Sagen.^[nineteen] These are German terms for which there are no exact English equivalents, yet we take approximations:

Märchen, loosely translated as "fairy tale(southward)" or lilliputian stories, take place in a kind of separate "once-upon-a-time" world of nowhere-in-particular, at an indeterminate time in the past. They are clearly not intended to be understood every bit true. The stories are total of clearly defined incidents, and peopled by 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 little result, mostly; bloodcurdling events may take place, but with picayune call for emotional response from the listener.^{[ citation needed ]}

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

Another important examination of orality in human life is Walter J. Ong's Orality and Literacy: The Technologizing of the Word (1982). Ong studies the distinguishing characteristics of oral traditions, how oral and written cultures collaborate and status 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 homo life is narratively rooted, humans construct their lives and shape their world 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.^{[ citation needed ]} Storytelling can be used equally a method to teach ethics, values and cultural norms and differences.^[20] Learning is about effective when it takes place in social environments that provide authentic social cues about how knowledge is to be applied.^[21] Stories part as a tool to pass on cognition in a social context. So, every story has 3 parts. Get-go, The setup (The Hero's world before the hazard starts). 2nd, The Confrontation (The hero'southward globe turned upside downwardly). Tertiary, The Resolution (Hero conquers villain, but information technology's not enough for Hero to survive. The Hero or World must be transformed). Whatsoever story can be framed in such format.

Human being knowledge is based on stories and the human brain consists of cerebral machinery necessary to understand, remember and tell stories.^[22] Humans are storytelling organisms that both individually and socially, lead storied lives.^[23] Stories mirror human idea equally humans think in narrative structures and nearly ofttimes call up facts in story form. Facts can exist understood as smaller versions of a larger story, thus storytelling can supplement analytical thinking. Because storytelling requires auditory and visual senses from listeners, one can learn to organize their mental representation of a story, recognize structure of language and express his or her thoughts.^[24]

Stories tend to be based on experiential learning, but learning from an experience is not automatic. Often a person needs to attempt to tell the story of that experience before realizing its value. In this case, it is not only the listener who learns, but the teller who also becomes enlightened of his or her own 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 human accomplishment. Storytelling taps into existing knowledge and creates bridges both culturally and motivationally toward a solution.

Stories are effective educational tools because listeners get engaged and therefore recall. Storytelling tin be seen as a foundation for learning and teaching. 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 too every bit observe, mind and participate with minimal guidance.^[27] Listening to a storyteller can create lasting personal connections, promote innovative trouble solving and foster a shared understanding regarding future ambitions.^[28] The listener can then activate knowledge and imagine new possibilities. Together a storyteller and listener tin seek best practices and invent new solutions. Because stories often have multiple layers of meanings, listeners take to heed closely to identify 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] Too as connecting children with their environment, through the theme of the stories, and give them more autonomy by using repetitive statements, which amend their learning to learn competence.^[30] It is also used to teach children to take respect for all life, value inter-connection and always work to overcome adversity. To teach this a Kinesthetic learning fashion would exist used, involving the listeners through music, dream interpretation, or dance.^[31]

Storytelling in indigenous cultures [edit]

The Historian – An Indian creative person is painting in sign linguistic communication, on buckskin, the story of a battle with American soldiers.

For indigenous cultures of the Americas, storytelling is used every bit 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 touch and perspective to the narrative collaboratively – both individual and culturally shared perspectives have a place in the co-cosmos of the story. Oral storytelling in indigenous communities differs from other forms of stories because they are told non only for entertainment, merely for teaching values.^[32] For case, the Sto:lo customs in Canada focuses on reinforcing children's identity by telling stories virtually the land to explicate their roles.^[32]

Furthermore, Storytelling is a way to teach younger members of indigenous communities about their culture and their identities. In Donna Eder'south written report, Navajos were interviewed virtually storytelling practices that they have had in the past and what changes they desire to see in the future. They find 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 1 of many main practices that teaches children the important principles to live a practiced life.^[33] In ethnic communities, stories are a way to pass knowledge on from generation to generation.

For some indigenous people, experience has no separation between the concrete world and the spiritual world. 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 formation.^[34]

In the Quechua customs of Highland Peru, at that place 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 listen to the story that is beingness told in society to acquire most their identity and culture. Sometimes, children are expected to sit quietly and heed actively. This enables them to engage in activities as independent learners.^[35]

This teaching practice of storytelling allowed children to formulate ideas based on their ain experiences and perspectives. In Navajo communities, for children and adults, storytelling is ane of the many effective means to brainwash both the young and sometime nigh their cultures, identities and history. Storytelling help the Navajos know who they are, where they come from and where they belong.^[33]

Storytelling in indigenous cultures is sometimes passed on by oral ways in a quiet and relaxing environment, which usually coincides with family unit or tribal community gatherings and official events such as family occasions, rituals, or formalism practices.^[36] During the telling of the story, children may act as participants by asking questions, interim out the story, or telling smaller parts of the story.^[37] Furthermore, stories are non often told in the same manner twice, resulting in many variations of a single myth. This is because narrators may cull to insert new elements into one-time stories dependent upon the human relationship between the storyteller and the audition, making the story correspond to each unique state of affairs.^[38]

Indigenous cultures too apply 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 ethnic peoples [edit]

There are diverse types of stories among many indigenous communities. Communication in Indigenous American communities is rich with stories, myths, philosophies and narratives that serve as a means to exchange data.^[40] These stories may be used for coming of age themes, core values, morality, literacy and history. Very often, the stories are used to instruct and teach children nigh cultural values and lessons.^[38] The significant inside the stories is non ever explicit, and children are expected to brand their ain meaning of the stories. In the Lakota Tribe of North America, for example, young girls are often told the story of the White Buffalo Calf Woman, who is a spiritual figure that protects immature girls from the whims of men. In the Odawa Tribe, immature boys are often told the story of a fellow who never took care of his trunk, and as a result, his feet neglect to run when he tries to escape predators. This story serves as an indirect means of encouraging the young boys to have care of their bodies.^[41]

Narratives can be shared to limited the values or morals amid family unit, relatives, or people who are considered part of the close-knit community. Many stories in ethnic American communities all have a "surface" story, that entails knowing certain information and clues to unlocking the metaphors in the story. The underlying bulletin of the story being told, can exist understood and interpreted with clues that hint to a certain estimation.^[42] In order to make meaning from these stories, elders in the Sto:lo community for example, emphasize the importance in learning how to listen, since it requires the senses to bring one's heart and mind together.^[42] For instance, a way in which children learn most the metaphors significant for the lodge they alive 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 ethnic cultures encompass a multifariousness of values. These values include an emphasis on individual responsibility, concern for the surround 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 every bit a bridge for cognition and understanding allowing the values of "cocky" and "customs" to connect and be learned as a whole. Storytelling in the Navajo community for case allows for community values to exist learned at different times and places for different learners. Stories are told from the perspective of other people, animals, or the natural elements of the earth.^[46] In this fashion, children learn to value their place in the earth as a person in relation to others. Typically, stories are used as an informal learning tool in Indigenous American communities, and can act as an alternative method for reprimanding children'southward bad behavior. In this fashion, stories are non-confrontational, which allows the kid to discover for themselves what they did wrong and what they can do to adjust the beliefs.^[47]

Parents in the Arizona Tewa community, 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 customs emphasizes the traditional wisdom of the ancestors and the importance of commonage as well as individual identities. Indigenous communities teach children valuable skills and morals through the actions of skillful or mischievous stock characters while also assuasive room for children to make meaning for themselves. By not being given every element of the story, children rely on their own experiences and not formal educational activity from adults to fill up in the gaps.^[49]

When children heed to stories, they periodically vocalize their ongoing attention and accept the extended turn of the storyteller. The emphasis on attentiveness to surrounding events and the importance of oral tradition in ethnic communities teaches children the skill of dandy attention. For case, Children of the Tohono O'odham American Indian customs who engaged in more cultural practices were able to call back the events in a verbally presented story better than those who did not engage in cultural practices.^[50] Body movements and gestures aid to communicate values and keep stories alive for future generations.^[51] Elders, parents and grandparents are typically involved in pedagogy the children the cultural ways, along with history, customs values and teachings of the land.^[52]

Children in indigenous communities can too learn from the underlying bulletin of a story. For instance, in a nahuatl community near United mexican states City, stories about ahuaques or hostile water dwelling spirits that guard over the bodies of water, contain morals nearly respecting the environment. If the protagonist of a story, who has accidentally broken something that belongs to the ahuaque, does not supplant it or give back in some manner to the ahuaque, the protagonist dies.^[53] In this style, storytelling serves every bit a style to teach what the community values, such as valuing the environment.

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

Storytelling research [edit]

This department needs expansion. You can help by calculation to it. (January 2015)

Storytelling has been assessed for critical literacy skills and the learning of theatre-related terms past the nationally recognized storytelling and creative drama organization, 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 likewise been studied every bit a way to investigate and archive cultural noesis and values inside ethnic American communities. Iseke's study (2013)^[57] on the role of storytelling in the Metis customs, showed promise in furthering research nearly the Metis and their shared communal temper during storytelling events. Iseke focused on the idea of witnessing a storyteller as a vital way to share and partake in the Metis community, every bit members of the community would finish everything else they were doing in lodge to heed or "witness" the storyteller and permit the story to become a "ceremonial mural," or shared reference, for everyone nowadays. This was a powerful tool for the community to appoint 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 folklore, which members of the community tin can apply to share ideologies. In the future, Iseke noted that Metis elders wished for the stories being told to exist used for farther research into their culture, as stories were a traditional fashion to pass down vital knowledge to younger generations.

For the stories nosotros read, the "neuro-semantic encoding of narratives happens at levels higher than private semantic units and that this encoding is systematic beyond both individuals and languages." This encoding seems to appear most prominently in the default mode network.^[58]

Serious Storytelling [edit]

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

Storytelling as a political praxis [edit]

Some approaches treat narratives as politically motivated stories, stories empowering certain groups and stories giving people agency. Instead of just searching for the chief signal of the narrative, the political function is demanded through request, "Whose interest does a personal narrative serve"?^[60] This arroyo mainly looks at the power, authorization, knowledge, credo and identity; "whether it legitimates and dominates or resists and empowers".^[60] All personal narratives are seen as ideological because they evolve from a structure of power relations and simultaneously produce, maintain and reproduce that power structure".^[61]

Political theorist, Hannah Arendt argues that storytelling transforms individual 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 audience listening to it is where the power lies.

Therapeutic storytelling [edit]

Therapeutic storytelling is the human action of telling i's story in an attempt to better understand oneself or i's situation. Oftentimes, these stories affect the audition in a therapeutic sense as well, helping them to view situations like to their ain through a different lens.^[63] Noted author and folklore scholar, Elaine Lawless states, "...this procedure provides new avenues for understanding and identity formation. Linguistic communication is utilised to bear witness to their lives".^[64] Sometimes a narrator will simply skip over certain details without realizing, simply to include it in their stories during a afterward telling. In this way, 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 virtually gruesome details private. Regardless, these silences are not as empty as they appear, and it is only this act of storytelling that can enable the teller to fill up them back in.

Psychodrama uses re-enactment of a personal, traumatic event in the life of a psychodrama group participant as a therapeutic methodology, starting time developed by psychiatrist, J.50. Moreno, M.D. This therapeutic use of storytelling was incorporated into Drama Therapy, known in the field as "Self Revelatory Theater." in 1975] Jonathan Fox and Jo Salas developed a therapeutic, improvisational storytelling class they chosen Playback Theatre. Therapeutic storytelling is also 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 form [edit]

Aesthetics [edit]

The art of narrative is, by definition, an aesthetic enterprise, and there are a number of artistic elements that typically interact in well-developed 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 strong focus on temporality, which includes retentiveness of the by, attention to present action and protention/future anticipation; a substantial focus on characters and characterization which is "arguably the most important single component of the novel";^[67] a given heterogloss of unlike voices dialogically at play – "the sound of the man voice, or many voices, speaking in a variety of accents, rhythms and registers";^[68] possesses a narrator or narrator-like voice, which by definition "addresses" and "interacts with" reading audiences (see Reader Response theory); communicates with a Wayne Berth-esque rhetorical thrust, a dialectic process of estimation, which is at times below the surface, conditioning a plotted narrative, and at other times much more than visible, "arguing" for and confronting various positions; relies substantially on now-standard aesthetic figuration, particularly including the utilise of metaphor, metonymy, synecdoche and irony (run across Hayden White, Metahistory for expansion of this idea); is often 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 endeavor to evince becoming in character and customs.

Festivals [edit]

Storytelling festivals typically characteristic 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 frequently include the tellers encouragement to take participants co-create an feel by connecting to relatable elements of the story and using techniques of visualization (the seeing of images in the mind's eye), and use vocal and bodily gestures to support understanding. In many ways, the art of storytelling draws upon other art forms such as interim, oral interpretation and Performance Studies.

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

Several other storytelling organizations started in the U.S. during the 1970s. I 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 organisation 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 institution of storytelling guilds in the late 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 year since 2000 has run a National Storytelling Calendar week the first week of Feb.^{[ citation needed ]}

Currently, there are dozens of storytelling festivals and hundreds of professional storytellers around the earth,^[seventy] ^[71] and an international commemoration of the art occurs on World Storytelling 24-hour interval.

Emancipation of the story [edit]

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

In business [edit]

People have been telling stories at piece of work since aboriginal times, when stories might inspire "courage and empowerment during the hunt for a potentially dangerous animate being," or simply instill the value of listening.^[72] Storytelling in business has go a field in its own correct as industries accept grown, equally storytelling becomes a more popular art grade in general through alive storytelling events like The Moth.

Recruiting [edit]

Storytelling has come to have a prominent role in recruiting. The modernistic recruiting industry started in the 1940s as employers competed for bachelor labor during World State of war Two. 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 part of human civilization since aboriginal times, but the mod public relations industry traces its roots to a Boston-based PR firm called The Publicity Agency that opened in 1900.^[74] Although a PR firm may not identify its role as storytelling, the house'south chore is to control the public narrative nearly the organisation they represent.

Networking [edit]

Networking has been around since the industrial revolution when businesses recognized the need—and the do good—of collaborating and trusting a wider range of people.^[75] Today, networking is the subject 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 i of 8 networking competencies the Association for Talent Development has identified, maxim that networkers should "exist able to answer the question, 'What do you exercise?' to make expertise visible and memorable."^[76] Business concern storytelling begins by considering the needs of the audience the networker wishes to reach, asking, "What is information technology about what I exercise that my audience is almost interested in?" and "What would intrigue them the most?"^[18]

Inside the workplace [edit]

Example of the use of storytelling in education.

In the workplace, communicating by using storytelling techniques tin exist a more 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 problems and facing challenges. Managers may employ narrative discourse to deal with conflicts when direct action is inadvisable or impossible.^[79] ^{[ citation needed ]}

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

In a group discussion a process of collective narration tin can help to influence others and unify the group past linking the by to the future. In such discussions, managers transform problems, requests and bug into stories.^{[ commendation needed ]} Jameson calls this collective group structure storybuilding.

Using narrative in the reasoning process [edit]

Storytelling plays an of import role in reasoning processes and in convincing others. In business meetings, managers and business officials preferred stories to abstract arguments or statistical measures. When situations are circuitous or dense, narrative discourse helps to resolve conflicts, influences corporate decisions and stabilizes the group.^[80]

In marketing [edit]

Storytelling is increasingly being used in advertizing in order to build customer loyalty.^[81] ^[82] According to Giles Lury, this marketing trend echoes the deeply rooted homo need to be entertained.^[83] Stories are illustrative, easily memorable and permit companies to create stronger emotional bonds with customers.^[83]

A Nielsen report shows consumers want a more personal connectedness in the style they get together information since human brains are more engaged by storytelling than past the presentation of facts alone. When reading pure information, only the language parts of the brain work to decode the meaning. But when reading a story, both the linguistic communication parts and those parts of the encephalon that would exist engaged if the events of the story were actually experienced are activated. As a upshot, it is easier to think stories than facts.^[84]

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

See likewise [edit]

Dramatic structure
Story arc
Storyboard

Storytelling festival
Storytelling game
Globe Storytelling Day

References [edit]

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