What We Learned from Timpanogos Storytelling & Virtual Offerings – Part 3 of 9

This is the third of nine parts on Rachel Hedman’s impressions of the Virtual Timpanogos Storytelling Festival. Although this happened in September 2020, Timpanogos as well as their Encore Offering in December 2020/January 2021. You can follow Timpanogos here.


  • Part 1 – Pre-Recorded vs. Live – REVEALED
  • Part 2 – Inside the Program REVEALED
  • Part 3 – ASL & its Presence/Absence – TODAY
  • Part 4 – Emcees & “Making it Personal”
  • Part 5 – Use of the Screen by Story Artists
  • Part 6 – Art of Binge-Watching
  • Part 7 – Favorites from Featured Tellers
  • Part 8 – Featured vs. Guest Tellers
  • Part 9 – Use of Encore Offering

We love and honor the Timpanogos Storytelling Festival.

Please note that I learn from any experience including this festival in Utah that is cherished worldwide. Any and all of these posts within this series are impressions that are shared with respect despite some differences in opinion.

Timpanogos typically has American Sign Language interpretations for the evening concerts.

While the professional storytellers are wonderful and engaging, I always look forward to the American Sign Language interpretations. Yes, I happen to know one of the official interpreters for Timpanogos, Dale Boam. He is on the Story Crossroads Board over Translations and Academics and extremely amazing in how he interprets and has guided and taught so many other skilled ASL interpreters.

Timpanogos had to make hard decisions when adapting to virtual.

We had to make hard decisions in regards to interpretations for Story Crossroads. We normally offer ASL, Spanish, as well as Audio Descriptions for the Blind. By adapting to virtual, we decided that the easiest way to still offer interpretations was to do American Sign Language with a split screen while live-streaming.

Since Timpanogos chose the Bizzabo platform, I wondered if the videos–which were pre-recorded–would have a closed captioning option or if they would have some kind of split-screen. I did not expect it for each of the 118 sessions, but I figured that the “evening” ones would have something to still be accessible to the Deaf community. Having more than one language involved does require budgeting, though an important part for any festival or event to budget.

But here’s the trick. Normally you can buy many different tickets or packages for the Timpanogos Storytelling Festival.

The online festival meant they charged $25 for the whole package. You could not buy only the evening concerts. Thus, if you are part of the Deaf community or enjoy having the American Sign Language, you had no other choice but to buy the whole package and not have an $8 or $10 evening concert option.

My impression is that Timpanogos was confused on what to do about American Sign Language.

Even though the sessions were pre-recorded, Timpanogos gave the appearance of live-streaming for the normally-scheduled-evening concerts for the festival weekend known as “My Favorite Stories” (Friday night) and “Laughin’ Night” (Saturday night). These would take place on the largest stage of all at the Ashton Gardens in Lehi, Utah with a grassy amphitheater that could seat several thousands of people. A big screen was behind the storyteller for the audience to see facial expressions and gestures, though mainly to see the storyteller rather than the American Sign Language interpretations. The first couple rows are reserved for anyone needing ASL.

The Virtual Timpanogos Storytelling Festival still had sessions labeled “My Favorite Stories” and “Laughin’ Night.” Strangely, only “Laughin’ Night” had the ASL option. And it was listed twice. So people could choose to NOT have ASL or to have it with ASL. Yet, I don’t see ASL as something to turn on or off like closed captioning. I wished “Laughin’ Night” had one listing that included the ASL. Whether or not someone needs American Sign Language, I love all audience members–my family included–to experience other languages. Yes, you have to split the screen and “give up” some space for the videography aesthetics. Yet, I would gladly have dedicated screen space for American Sign Language. I know this is not the message that Timpanogos was saying by having two sessions of “Laughin’ Night,” but it bothered me so much to dedicate a whole blog post on American Sign Language. On top of this frustration, the one that was “featured” at the top of the screen to watch it “live” was the one WITHOUT ASL. You had to scroll to the bottom of 118 session listings to find the one with ASL…if you even knew to look for it. If you are going to premiere a show, please use the version that has American Sign Language.

When Timpanogos offered the Encore for December/January, as it was basically impossible to watch all 118 sessions during the first chance to view in September, I was anxious to re-watch the American Sign Language of “Laughin’ Night.”

Guess what? The American Sign Language concert was gone! I scrolled through all 118 listings that suddenly were 116 sessions. I double-checked with keywords with “American Sign Language” as well as “ASL” in the search bar. This search bar had helped me before for ASL in September. Now…nothing.

This made me more upset than having two listings of “Laughin’ Night” to separate American Sign Language from the one that did not have it.

Why, when it was already filmed and ready, would you take out the ASL version?

I truly would like to know the decision-making that was happening to remove it completely. Yes, that was one offering of ASL out of 116/118 sessions. That was still a bilingual offering.

So what can be done in the future?

I would recommend either more than one ticketing option or even a specific concert offering with the Deaf community in mind.

Even an unlisted YouTube with closed captioning and no American Sign Language would have been something. Or, that one concert with the ASL and split screen could have been available on a password-protected webpage on the Timpanogos website as an individual ticket and not part of the whole package. I could see the latter idea more likely for Timpanogos as the feeling of prestige is not what one gets through YouTube. Though, the benefit of YouTube is the ease of adding closed captioning.

Oh, please, anyone reading this far, please look at offering American Sign Language interpretations for your events and programming. You can expect having two interpreters for an hour show (to switch out, give breaks) and pay each about $40/hour. That is only $80 and then times that amount for any prep time or the actual length of time needed. Is this really so hard to budget? Then, to film and merge the ASL is affordable, too. Yes, interpreter rates can vary and you can have qualified ASL interpreter students with rates closer to $20/hour…but to at least give you an idea that this is something that any event of any size can do.

Let us aim to expand the accessibility of storytelling.

Coming next, in Part 4, we will talk about how Timpanogos had emcees be part of this virtual experience.

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See our already-streamed/recorded The Big Why Panel: Historical Storytelling meets Humanities. See our 5-video playlist from the Story Crossroads Spectacular by clicking here. Feel free to explore our All Things Story virtual workshop series.

Storytelling meets Humanities, Elements Within–Part 6 of 7 – countdown to The Big Why

This is the sixth of seven parts on disciplines/elements of Humanities that can be found in the Art of Storytelling. This is also a countdown to virtual “The Big Why Panel: Historical Storytelling meets Humanities” on Saturday, June 20, 2020 from 9:00am-10:30am MDT.

Storytelling meets Humanities, Elements Within:

  • Part 1 – Archaeology – REVEALED
  • Part 2 – Communication/Interpretation – REVEALED
  • Part 3 – Cultural Studies – REVEALED
  • Part 4 – Folklore/Folklife – REVEALED
  • Part 5 – History – REVEALED
  • Part 6 – Languages/Linguistics – TODAY
  • Part 7 – Philosophy/Ethics

Languages are verbal, written and/or visual ways for humans to communicate. Linguistics is exploring the unique aspects, nuances, and behaviors due to language expressed by humans.

Over 6,500 languages are spoken and used in the world today. Languages can come and go depending on how hard preservation and perpetuation is sought. Every language has a beauty and history to it. Though, you may be curious as to the 20 Most Spoken Languages in the World.

While we have offered American Sign Language interpretation since the beginning, there are at least 134 other sign languages. This blog post put together by Gemma Matheson compares several alphabet sign languages.

Story Crossroads has two storytelling academic series with one being called “Language of Story.” Each year, we have focused on a different language/culture and how it relates to oral storytelling. So far, we have explored American Sign Language (Dr. Dale H. Boam), Portuguese (Dr. De’bora Ferreira), German (Dr. Jeff Packer), and will do Hungarian in 2021 (Dr. Csenge Zalka).

As storytellers and story producers of events–or no matter your background–we encourage more than one language to be featured. Look into bilingual or multi-lingual opportunities. Reach out to foreign language teachers and have youth develop pieces. See who learned English as a second language and inspire people to tell stories in their first language. Be creative.

Linguistics is fairly new as a discipline, emerging more in the early 1900s. Yet, linguistics as always existed and has had influence over a society that impacts from economics to politics to education and with cultural studies.

The Storytelling Masters Program at East Tennessee State University has a class entitled “Storytelling Linguistics” that used to be known as “READ 5190” when housed under the Education Department. While taking this course, classmates posted different linguistic situations. Though this was back in 2009, I was “wrestling with words” on what to call what has now been deemed “Story Crossroads.”

I have Karl Behling to thank on permission to use “Story Crossroads,” his fantastic idea at our inaugural Community Planning Meeting in June 2014 with 28 community leaders ranging from education to civics to the arts.

We will eventually be called “World Story Crossroads” for once every four years with the “off” years being “Story Crossroads.”This is when we are more global as a 6-day event representing the 6 major continents.

Discover the debates on what words to use and reasoning here. Note that I decided that “World Story ______________” was definite at that time.

At the end of this piece, I also explained some history of words: practice, rehearsal, premiere, festival, exposition (expo), conference, venue, stage, slam, and fringe.

Through the University of Luxembourg, a study was published involving bilingual children and how their oral and literary competency improved through storytelling. Though, the best results were when oral storytelling was practiced at the nursery school and at home. While not using the word “linguistics,” the teacher basically told her students to draw upon “their entire linguistic repertoire.” Discover more at the article “Storytelling at home and at the nursery school: A study of bilingual children’s literacy practices” by Claudine Kirsch.

So discover another language. Understand how language has evolved. See how you feel when one word, phrase, or language compared to another. Choose to celebrate the differences and what unifies us in the language of story.

We will be doing this 7-part Blog Series on Storytelling and connections with the Humanities as a countdown to our next adventure--join us on Saturday, June 20, 2020 from 9:00am-10:30am MDT from your computer- The Big Why Panel: Historical Storytelling meets Humanities. Our panelists, as pictured above, are: Dr. Caroliese Frink Reed, Sheila Arnold, Darci Tucker, and Brian “Fox” Ellis. We are grateful to funding from Utah Humanities.

See our 5-video playlist from the Story Crossroads Spectacular by clicking here.

Spectacular Secrets from Story Crossroads Spectacular – Part 4 of 5

This is the fourth of five parts on tech skills needed to transform the live 5th Annual Story Crossroads Festival into a virtual one called Story Crossroads Spectacular.

Secrets to be Revealed:

  • Part 1 – OBS…Software Worth the Struggle – REVEALED
  • Part 2 – Sound and Lighting – REVEALED
  • Part 3 – Trial & Error – Test Runs – REVEALED
  • Part 4 – Involving More Than One Language – TODAY
  • Part 5 – Multi-Streaming and “Scenes”

With so many languages in the world, why would we limit ourselves to only one at a festival? When I attended the largest family history conference in the world, there was a woman who spoke with me about storytelling. She had her Spanish interpreter. I admitted to the woman that I was surprised that this conference did not budget any kind of interpretation services. She vigorously nodded her head.

I was re-committed that having more than one language was and is always part of the Story Crossroads mission. We state this in our by-laws as well.

Since the inaugural Story Crossroads Festival, we have always had Spanish and American Sign Language. By the third year, we added Audio Descriptions for the Blind. We have more plans to add languages with Chinese being the most likely one as there are over 8,800 people in Salt Lake County who speak it. We will some day own translation devices/headsets as part of the Story Crossroads inventory. In the meantime, we have received these as in-kind donations every year…until this year of 2020.

Arranging interpretation services is simple for a live event. What of a virtual one?

That big day came when the Story Crossroads Board decided to transform the live festival to a virtual one. My head swirled with the intense workload with less than a month and a half (closer to one month) to find answers. Normally, we have a year to plan each festival. Sometimes longer.

From watching live-streaming of the National Storytelling Festival and the Timpanogos Storytelling Festival, I saw a small rectangle for American Sign Language. Live-streaming is more involved than a pure live performance. Then adding a screen? That meant “tech power.”

However, I wanted a split screen instead of a small rectangle. Depending on the device, the rectangle could be too small for anyone needing ASL. Sterling Elliott, head videographer, created the split screen that matched the look of Story Crossroads Spectacular. It was an “image” that could be added into OBS. Remember we delved a little into OBS with part one of this series?

We dedicated two cameras to the story artist(s) and one camera solely for the American Sign Language. We had two big rugs (normal ones to put near a door/entryway) to cover the cords so that the American Sign Language interpreters would not trip when trading and giving each other breaks.

What was harder than working out live-stream and ASL? Zoom and ASL! At least, it was harder because Story Crossroads pays for a Zoom Pro Account and not the Zoom Webinar package. We had the two 90-minute virtual workshops on Zoom as exclusive events with a sliding scale fee. We could live-stream AND multi-stream out from Zoom, but we did not do this for Spectacular. We will for our June 20th event with “The Big Why Panel: Historical Storytelling meets Humanities.”

If we were with the Webinar package (expensive, close to $1,500+/year compared to our $112/year plan), then we could assign a presenter/interpreter. With the Zoom Pro, we are allowed up to 100 people at a time. We felt safe in having that for the workshops. A paid account, no matter what level, still offers much more than the limited free version of Zoom.

Despite interpretation services/features not part of the Zoom Pro default settings, you can request without extra cost for the Webinar/interpretation services. BUT, Zoom is majorly backlogged–understandably–and it will be a while before that happens for us. We simply did not have enough time to pursue it.

Here is what I wrote to Zoom:

When reading the Zoom overview on interpretation services, it said to send you a message here to enable this feature. We are registered with Zoom through storycrossroads@gmail.com. Let us know if you need anything else. You can also call/text me at (801) 870-5799.

I sent that request over a month before the Story Crossroads Spectacular. I get automated messages every week reminding of my case number. They apologized for the delay. I am not mad. I love Zoom and am quite loyal.

I have experienced other virtual conferencing and nothing is as user-friendly or has enough features like Zoom. Google wants to compete? Neh. I love their Google Docs and other features, but they are too far behind to catch up to Zoom. And Facebook with rooms? Neh. Cisco Webex? Nightmare. And if someone complains about security with Zoom because of Zoombombers? If you don’t share passwords on social media, then most of the time it will not be a problem. The host can enable features such as the waiting room. Admit into Zoom who you expect. Zoom has been amazing at fixing any issues. Zoom had to build a plane in flight, and they have flown above and beyond what was ever imagined.

We had two options:

  1. Encourage people to “pin” the video of the American Sign Language interpreters. See our Zoom Basics 5-minute video to understand how this works.
  2. Have a breakout room for those needing American Sign Language, but then you don’t see the presenter.

The first option was much easier.

AND, be sure that your American Sign Language interpreters, when possible, can sign from the same place. Even if not in your own home or venue, we had the signing from one of the interpreter’s homes and the second interpreter met her there. They kept proper distancing and made things so much smoother logistically.

Be sure that this one ASL box/screen in Zoom is renamed as “ASL Interpreters.” When someone clicks “Participants” on the lower bar in Zoom, these names tend to list alphabetically and allows for people to find the interpreters faster to pin the video. “Pinning” is what individual attendees can do and does not affect how the other attendees see the Zoom screen. Once pinned, you can even make that person’s box/screen larger by dragging at the lower left corner of that same box/screen.

We had wished to still offer Spanish. It would have been back and forth with the speaker of English to the interpreter of Spanish. The flow would not have been as smooth virtually as what you can do live. Possible, yes. They would both need to be unmuted, which the host/co-host could oversee. Though, with this being our first virtual kick-off—and a big one at that—we wanted to ease on some of the complexity.

Instead of a person interpreting, much like we do for American Sign Language, we considered Spanish closed captioning. You then pay for a third party person to type those closed captioning in the moment. It can cost per minute. Automatic English closed captioning is possible, but it is about 30 seconds behind. That gets frustrating for anyone needing it.

Obviously, any spoken or sign language can work through virtual means. Never even thought about it? Well, now is the time.

Plenty of adventures await me–and you–on these spectacular secrets.

Big thank you to the following:

Want to discover more secrets beyond this 5-part Blog Series? Rachel Hedman will represent Story Crossroads at the National Storytelling Network’s CONNECTED Virtual Storytelling Conference & Festival on Saturday, June 6, 2020 from 3:00pm-4:30pm CDT (2:00pm-3:30pm MDT). You can register for this session only or a conference package.

Check out the the next adventure on Saturday, June 20, 2020 from 9:00am-10:30am MDT from your computer- The Big Why Panel: Historical Storytelling meets Humanities.

See our 5-video playlist from the Story Crossroads Spectacular by clicking here.

Bilingual Bond – A to Z Blog Challenge

Kazakhstan ladies--Steve EvansVersión en Español se puede encontrar a continuación o haga clic aquí para ir allí. Haga clic en mí para saltar a la parte española.  Come to the free Story Crossroads Festival on April 15-16, 2016 at the Viridian Event Center (8030 S. 1825 W., West Jordan, UT).

This post is part of the A to Z Blog Challenge.  See more at http://www.a-to-zchallenge.com/.

Languages are beautiful.  When I hear or see another language, I am in awe and want to listen or watch for as long as possible.  I may not know the meaning, but I can sense the feeling intended.

So here is some advice on how to provide translation services as well as how a story artist can individually choose to have bilingual repertoire.


Providing Translation Services

  •  Connect with Local or National Humanities Group

Although Humanities Groups can be leery around performance-centered events, there is a great support for people connecting together with one or more languages.  We received a $1,910 grant from the Utah Humanities specifically for the Spanish and ASL interpretations of the evening concerts.

  • Work with College or University

Universities already have Foreign Language Departments.  Depending on if your event is nonprofit could determine the degree of help and if there are chances for reduced fees.  Often, professors could use performance events for pre-qualified students to use it in the “real” world.  Dale Boam, an official ASL interpreter for the Timpanogos Storytelling Festival, is also working with the Story Crossroads Festival.  Dale told me, “We can pair a certified interpreter with a student and get quality with a good educational experience.  We have done this with some of the local theaters and it works well.”

  • Discover Assistive Technology Organization

You can rent or reserve assistive technology such as headsets so that Spanish or other languages could be shared at the same time during a performance.  You will still need an interpreter though it is helpful to get the equipment for free or at a reduced price.  Check to see if your local, national, or federal government has an official assistive technology organization.  For the Story Crossroads Festival, we are working with The Utah Center for Assistive Technology and received the augmented listening devices for free due to our  nonprofit status.

Choosing Bilingual Repertoire as Story Artist

  • Learn Language (at least phrases and words)

As a story artist, I have contacted the Brigham Young University Foreign Language Department for help with the pronunciation of some Arabic lines in an Iraqi folktale “The Sparrow’s Wife.”  Not only did I get an email that had it written phonically, but I also received a short audio file I could play over and over to get it right.  I should not have been surprised with this service.  Yes, it was free.  The Brigham Young University Foreign Language Department is one of the most diverse in the world due to many young men and women who return from national and international missions for The Church of Jesus Christ of Latter-day Saints.  Even without contacting a university, sometimes adding a few constant words like for “boy” or “mother” or other common ones already adds a bilingual flavor to the experience.

  • Create Partnership with Interpreter

Get to know your neighbors and find out if they or someone they know would be interested in working with a performing artist.  This best way is by word of mouth.

  • Share All and Repeat vs. Do Line by Line

Whether you do this by yourself or with an interpreter, some story artists do it in the most common language of the audience (usually English) and then repeat the entire story in another language.  Holly Robison, who will be performing for the 2016 Story Crossroads Festival, tells a marriage story song with birds told in English with enlarged gestures so that when she tells it again in German, people connect the gestures and the memory of the story together.  I also attended the 2004 National Storytelling Conference in Bellingham, Washington and watched as Margaret Read MacDonald stood next to an interpreter and they went line by line like a storytelling wrestling tag team.  Well, minus the wrestling.  Though I watched, mesmerized.


Recommended Books (in order of applicability):

  1.  Tell the World: Storytelling Across Language Barriers, compiled and edited by Margaret Read MacDonald (Published by Libraries Unlimited, 2008)
  2. Building Communities, Not Audiences:  The Future of the Arts in the United States, by Doug Borwick (Published by ArtsEngaged, 2012)
  3. The Courage to Create, by Rollo May (Published by W. W. Norton & Company, 1975)


We are pleased that the Story Crossroads Festival will have Spanish and ASL translation services available during the evening concerts.  We aim to have this available throughout the event, though felt it was important to establish this tradition from the beginning.  We are also exploring Audio Descriptions to help those who are blind.  We wish you well on your individual and community endeavors with developing those bilingual bonds.

We appreciate Steve Evans granting permission to use the picture he took in Kazakhstan.  You can find all of his images here:  https://www.flickr.com/photos/babasteve/.


Aquí lo tiene.

Kazakhstan ladies--Steve Evans
Bond Bilingüe

Las lenguas son hermosas.  Cuando puedo ver u oír otro idioma, estoy asombrado y desea escuchar o ver durante tanto tiempo como sea posible.  No puedo saber el significado, pero puedo sentir la sensación de intención.

Así que aquí hay algunos consejos sobre cómo proveer servicios de traducción, así como una historia artista puede elegir individualmente para tener repertorio bilingüe.


Proporcionar servicios de traducción

  • Conectar con el grupo local o nacional de Humanidades

Aunque las humanidades grupos pueden ser recelosos de eventos centrados en el rendimiento, hay un gran apoyo para las personas que conectan conjuntamente con uno o más idiomas.  Hemos recibido un subsidio de $1.910 el Utah Humanities específicamente para los españoles y ASL interpretaciones de los conciertos por la noche.

  • Trabajar con un college o universidad

Las universidades ya tienen departamentos de lengua extranjera.  Dependiendo de si su caso es una organización sin fines de lucro pueden determinar el grado de ayuda y si hay posibilidades de tarifas reducidas.  A menudo, los profesores podrían utilizar los eventos de rendimiento para pre-estudiantes calificados para utilizarla en el mundo “real”.  Dale Boam, un funcionario ASL intérprete para los Timpanogos Storytelling Festival, también está trabajando con la Story Crossroads Festival.  Dale me dijo, “Podemos emparejar un intérprete certificado con un estudiante y obtener calidad con una buena experiencia educativa. Hemos hecho esto con algunos de los teatros locales y funciona bien”.

  • Descubra la tecnología asistiva Organización

Usted puede alquilar o reservar la tecnología asistiva tales como auriculares, de modo que en español o en otros idiomas podría ser compartida al mismo tiempo durante una actuación.  Usted todavía necesitará un intérprete, aunque es útil para obtener el equipo de forma gratuita o a un precio reducido.  Compruebe para ver si su local, nacional o el gobierno federal tiene una organización de tecnología de asistencia oficial.  Para la Story Crossroads Festival, estamos trabajando con el Center of Utah Assistive Technology y recibido los dispositivos de escucha aumentada para libre debido a nuestro  estatus sin fines de lucro.

Elegir Repertorio bilingüe como artista Historia

  • Aprender el idioma (al menos frases y palabras).

Como una historia artista, me he contactado con el Brigham Young University, Departamento de Lenguas Extranjeras para ayudar con la pronunciación de algunas líneas de árabe en un cuento tradicional iraquí “Sparrow’s esposa.”  No sólo recibí un correo electrónico que había escrito phonically, pero también recibí un breve archivo de audio he podido jugar más y más para obtener el derecho.  Yo no habría sido sorprendido con este servicio.  Sí, era gratuito.  El Brigham Young University, Departamento de Lenguas Extranjeras es una de las más diversas en el mundo debido a que muchos hombres y mujeres jóvenes que regresan de  las misiones nacionales e internacionales de La Iglesia de Jesucristo de los Santos de los Últimos Días.  Incluso sin entrar en contacto con una universidad, a veces añadiendo unas palabras constantes como por “niño” o “madre” u otros problemas comunes que ya agrega un sabor bilingüe para la experiencia.

  • Crear asociación con intérprete

Conozca a sus vecinos y averiguar si ellos, o alguien que conocen estaría interesada en trabajar con un intérprete.  La mejor manera es por medio de la palabra de la boca.

  • Compartir todos y repetir vs. hacer línea por línea

Si usted hace esto por sí mismo o por medio de un intérprete, algunos artistas hacen historia en el idioma más común de la audiencia (normalmente en inglés) y luego repetir toda la historia en otro idioma.  Holly Robison, que vayan a realizar para el año 2016 Story Crossroads Festival, narra la historia de un matrimonio con aves de canción en inglés dijo con gestos ampliada para que cuando ella dice de nuevo en alemán, las personas se conectan los gestos y la memoria de la historia juntos.  También asistí a la Conferencia de narrativa nacional de 2004 en Bellingham, Washington y observé como Margaret Read MacDonald estaba junto a un intérprete y partieron, línea por línea, como una narración wrestling tag team.  Bueno, menos la lucha.  Aunque he visto, hipnotizados.


Libros recomendados (en orden de aplicabilidad):

  1. Decirle al mundo: contar historias a través de barreras idiomáticas, compilado y editado por Margaret Read MacDonald (Publicado por bibliotecas ilimitado, 2008).
  2. La construcción de comunidades, no el público: El futuro de las artes en Estados Unidos, por Doug Borwick (Publicado por ArtsEngaged, 2012)
  3. La valentía de crear, por rollo de mayo (Publicado por W. W. Norton & Company, 1975)


Nos complace que la Story Crossroads Festival tendrá español y ASL traducciones disponibles durante los conciertos nocturnos.  Tenemos el objetivo de tener esta disponible durante el evento, a pesar de que consideró que era importante establecer esta tradición desde el principio.  También estamos explorando las descripciones de audio para ayudar a aquellos que están ciegos.  Le deseamos éxito en sus empeños individuales y comunitarias con el desarrollo de esos bonos bilingüe.

Agradecemos Steve Evans conceder el permiso para utilizar la foto tomada en Kazakhstan. Usted puede encontrar todas las imágenes aquí: https://www.flickr.com/photos/babasteve/.

Keen Kinetics (Day 11–A-Z Blog Challenge)

Balancing in ViennaEnjoy all of these A-Z Blog Challenge posts. Versión en Español se puede encontrar a continuación o haga clic aquí para ir allí. Haga clic en mí para saltar a la parte española. Also look forward to the Story Crossroads crowdsourcing campaign May 1, 2015.

“K” is for Keen Kinetics.

Audiences can sit and sit and sit and be grateful for the storytelling experience.  The storyteller engaged them and so time rushed by.  Audiences are more grateful with the invitation to move or to participate during the performance.

Keen Kinetic Choices in Storytelling:

  1. Warm-Ups for Everybody
  2. Stretch
  3. Individual and/or Audience Participation
  4. Performance through Dance or Movement
  5. Sign Language

Warm-Ups for Everybody

We carry on the tradition of doing warm-ups with the audience during the Utah Youth Storytelling Showcase (state level event that links to National Youth Storytelling Showcase).  This transforms the normally pure-performance into a performance merged with a mini workshop.

After each youth teller performs, we lead the audiences in one of these warm-ups.  The youth tellers come with their families to this concert, and doing these exercises grabs the attention of the “littles” and on to the older ones.  We explain that storytellers use more than their mouths.  The families experience what allows storytellers to perform better.  We also figure that the youth tellers either forgot or did not think to do any warm-ups.  The warm-ups serve to calm the nerves of the youth tellers.

Here are some examples:

1.       Loud Yawns, circulates oxygen and stretches the mouth to better tell

2.       Deep Breaths, helps the same as Loud Yawns

3.       Stretching Mouth (like say “Hee, Haw, Hee” and making the mouth tall or wide), physically gets the mouth ready while improving pronunciation

4.       Tongue Twisters, helps the same as Stretching Mouth

5.       Touching Toes & Slowly Bring Arms Up, calms nerves and slows breathing to help with focus


Depending on the needs of the audience, an emcee or a performer could opt to give a moment for the audience to stretch.

Instead of spreading out arms and leaving it only to that, storyteller Kevin Cordi asks for his audiences to think of their favorite story and reach for the sky to capture it in their hands.  However, this favorite story is feisty and will not come down on the first try.  He demonstrates to everyone of the struggle to bring that darn story down through his scrunched and tightened face.  The audience reflects these efforts when grabbing their own favorite stories from the sky.  Then the favorite stories escape and everyone must slowly pull down those stories and hold them tight in their hands.  Finally, once protected in their hands and kept near everyone’s tummies, Kevin has everyone talk to their neighbor a little about their favorite stories.  The audience is ready to continue with the performance or workshop.

Individual and/or Audience Participation

Some storytellers bring one or more people from the audience onto the stage with them whether planned or impromptu.  The storyteller notes any signs of restlessness when making these decisions.

A character, a prop, or a specific movement is often assigned.  For example, the story could involve a magical shovel that can dig on its own.  The individual on stage could represent that shovel and be the only one digging.  Other choices are for an audience member or the storyteller to leads the whole audience in pretend digging.

Performance through Dance or Movement

Many storytellers involve dance or movement such as Dustin Loehr or Robert Kikuchi-Yngojo and Nancy Wang from Eth-Noh-Tec.  Dustin Loehr is a tap-dancer who uses the sounds and movements of that dance to the stories he shares.  Eth-Noh-Tec is a husband and wife tandem team who specialize in kinetic story theatre.  Dustin and Eth-Noh-Tec must choreograph their stories and movements to reflect the plot, the mood, and the intended effect.  Story dance is beautiful.  The structure does take away from the improvisational nature of storytelling.  The planning could involve moments within the choreographed work to be more spontaneous.

Besides individual or tandem performers, entire dance companies could combine forces with professional storytellers.  As dances link to cultural influences and symbols, there are also stories to be revealed.  The trick is to balance the story and the dancing so that these arts enhance each other rather than distract.  When the story is remembered at the end of the day, then one knows it was done right.

Sign Language

Rick Rossiter teaches his audience several signs so the audience can follow along when he later tells the story completely in American Sign Language.  He encourages the audience to interpret the story out loud.  He chooses familiar tales like “Goldilocks and the Three Bears” to boost the comfort level of the audience.  Oftentimes, the audience members mirror the signs as they interpret the story out loud.  People who lean more towards a kinetic experience are in heaven.

There are also many amazing American Sign Language Storytellers like Peter Cook who tell with or without interpreters.  Peter studies the audience and determines what is clear or what is fuzzy for the audience and adapts as necessary.  Sometimes interpreters are added to the performance.

With Story Crossroads, we will make many kinetic choices for on and off the stage.  After all, storytelling is an active art.

We appreciate Steve Evans granting permission to use the picture he took in Vienna. You can find all of his images here: https://www.flickr.com/photos/babasteve/.

Aquí lo tiene.

Balancing in Vienna

Vivo Cinética

Rogamos disculpen esta traducción al español que hemos utilizado un software de traducción. Estamos en proceso de hacer que las personas ayudar a traducir estos A-Z Blog Desafío puestos, así como todas las demás entradas del blog.

Los espectadores pueden sentarse y sentarse y sentarse y estar agradecidos por la experiencia.  El narrador les por lo que el tiempo se precipitó.  El público son más agradecidos con la invitación a pasar o a participar en el ejercicio.

Opciones de Interés Cinética cuentos:

  1. Calentamientos de para todo el mundo
  2. Tramo
  3. Individual y/o la participación del público
  4. Rendimiento a través de la danza y el movimiento
  5. Lengua de Signos

Calentamientos de para todo el mundo

Seguimos con la tradición de hacer calentamiento con el público durante la exposición narrativa Juvenil Utah (nivel estatal evento nacional que vincula a los jóvenes La narración vitrina).  Normalmente se transforme el puro rendimiento a un rendimiento combinado con un mini taller.

Después de cada joven cajero realiza, las audiencias en una de estas cálidas.  Los jóvenes narradores vienen con sus familias a este concierto, y hacer estos ejercicios capture la atención de los “pequeños” y a los más viejos.  Les explicamos que narradores utilizan más de sus bocas.  La familia experimenta lo que permite narradores para realizar mejor.  Tenemos también la figura que los jóvenes narradores ha olvidado o no que hay que hacer un calentamiento.  El warm-up sirven para calmar los nervios de los jóvenes narradores.

Aquí se muestran algunos ejemplos:

1.       Fuerte bostezo, circula el oxígeno y se extiende la boca para contar mejor

2.       Respire profundo, ayuda a que el mismo es tan ruidoso Bostezo

3.       Estirar Boca (como decir “Hee, Haw, Hee”, y de que la boca de alto o ancho), llega físicamente la boca listo mientras que mejora de la pronunciación

4.       Trabalenguas, ayuda a que el mismo se extiende boca

5.       Tocar los dedos y poner lentamente brazos arriba, calma los nervios y reduce respiración para ayudar a con enfoque


Dependiendo de las necesidades de la audiencia, un presentador o un artista intérprete o ejecutante podría optar por dar un momento para que el público pueda estirar.

En lugar de distribuir las armas y lo que sólo para que, narrador Kevin Cordi pide su público a pensar en su historia favorita y llegar hasta el cielo para capturar en sus manos.  Sin embargo, esta historia favorita es alegre y no bajarán en el primer intento.  Él demuestra a todo el mundo de la lucha para poner fin a esa maldita historia en y a través de su perra muy apretados.  La audiencia refleja estos esfuerzos cuando se agarran sus propias historias favoritas  del cielo.  A continuación, las historias favoritas y todo el mundo debe escapar lentamente hacia abajo esas historias y se mantienen firmes en sus manos.  Por último, una vez protegidos en sus manos y se mantiene cerca de todos acostados boca abajo, Kevin ha todos hablar con su vecino un poco acerca de sus historias favoritas.  El público está dispuesto a continuar con el rendimiento o el taller.

Individual y/o la participación del público

Algunos narradores que una o más personas de la audiencia en el escenario con ellos si improviso.  El narrador observa signos de inquietud cuando estas decisiones.

Un personaje, un sostén o un movimiento concreto a menudo se asigna.  Por ejemplo, la historia podría suponer una pala mágica que puede cavar por su propia cuenta.  El individuo podría ser que una pala y ser la única excavación.  Otras opciones son para un miembro de la audiencia o al narrador a todo el público de aparentar excavar.

Rendimiento a través de la danza y el movimiento

Muchos narradores incluir danza o movimiento como Dustin Loehr o Robert Kikuchi-Yngojo y Nancy Wang de Eth-Noh -Tec.  Dustin Loehr es un toque de bailarina que utiliza los sonidos y los movimientos de la danza a las historias que comparte.  Eth-Noh -Tec es un esposo y una esposa equipo tándem cinética que se especializan en historia teatro.  Dustin y Eth-Noh-Tec debe ser coreógrafo sus historias y a los movimientos que reflejan la parcela, el estado de ánimo, y el efecto deseado.  Historia danza es hermosa.  La estructura no se puede apartar de la improvisación de la narración.  La planificación puede implicar momentos dentro del obra coreográfica a ser más espontáneo.

Aparte de los artistas intérpretes o ejecutantes o en tándem, las compañías de danza todo podría combinar sus fuerzas con narradores profesionales.  De danzas enlace a influencias culturales y símbolos, también hay historias que se den a conocer.  El truco consiste en equilibrar la historia y el baile para que estas artes mejorar el uno al otro en lugar de distraer.  Cuando la historia es recordar al final del día, luego se sabe que fue hecho a la derecha.

Lengua de Signos

Rick Rossiter le enseña su público varios signos para que el público pueda seguir más adelante, cuando narra la historia completamente en Lenguaje de Señas Americano.  Él anima a los destinatarios a interpretar el cuento en voz alta.  Él elige tan conocidas historias como “Ricitos de Oro y los tres osos” para aumentar el nivel de confort de la audiencia.  A menudo, los miembros de la audiencia espejo los signos como ellos interpretan el cuento en voz alta.  Las personas que se inclinan más hacia una experiencia cinética están en el cielo.

También hay muchos increíble Lenguaje de Signos Americano narradores como Peter Cook quienes cuentan con o sin intérpretes.  Peter estudios la audiencia y determina lo que es claro o lo que es difuso para el público y se adapta según sea necesario.  A veces los intérpretes se añaden a la actuación.

Con Historia Cruce de caminos, vamos a hacer muchos kinetic opciones para activar y desactivar la etapa.  Después de todo, la narración de cuentos es un art.

Agradecemos Steve Evans conceder el permiso para utilizar la foto de Vienna. Usted puede encontrar todas las imágenes aquí: https://www.flickr.com/photos/babasteve/.