Pub Date : 2014-04-01DOI: 10.13110/STORSELFSOCI.10.1.0129
M. Jackson
A lan Brown, professor of English at the University of West Alabama, is the author of numerous books on ghost lore. His works include Ghost Hunters of the South, Haunted Places in the American South, Stories fr om the Haunted South, and Shadows and Cypress: Southern Ghost Stories. In his current work, Brown traces the legends and tales of ghosts up and down the Mississippi River. Brown states that “ghost stories should be enjoyed, and valued, because they preserve the history and values of the people who pass them along” (6). Th is is not a volume of “scary bump in the night” ghost stories that a reader might find in a traditional collection. Brown gathers oral narratives from people he meets in his travels to towns, large and small, in Southern and Northern states that border the Mississippi River. Th e author draws on personal experience from his visits as well as from others who are involved in paranormal research and ghost tours. He includes historical facts about the towns as well as the places, public and private, where he has discovered paranormal activity. Th e firsthand accounts of encounters with ghosts are integrated into the text about the place.
{"title":"On Brown's 'Ghosts along the Mississippi River'","authors":"M. Jackson","doi":"10.13110/STORSELFSOCI.10.1.0129","DOIUrl":"https://doi.org/10.13110/STORSELFSOCI.10.1.0129","url":null,"abstract":"A lan Brown, professor of English at the University of West Alabama, is the author of numerous books on ghost lore. His works include Ghost Hunters of the South, Haunted Places in the American South, Stories fr om the Haunted South, and Shadows and Cypress: Southern Ghost Stories. In his current work, Brown traces the legends and tales of ghosts up and down the Mississippi River. Brown states that “ghost stories should be enjoyed, and valued, because they preserve the history and values of the people who pass them along” (6). Th is is not a volume of “scary bump in the night” ghost stories that a reader might find in a traditional collection. Brown gathers oral narratives from people he meets in his travels to towns, large and small, in Southern and Northern states that border the Mississippi River. Th e author draws on personal experience from his visits as well as from others who are involved in paranormal research and ghost tours. He includes historical facts about the towns as well as the places, public and private, where he has discovered paranormal activity. Th e firsthand accounts of encounters with ghosts are integrated into the text about the place.","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"10 1","pages":"129"},"PeriodicalIF":0.0,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66769831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-09-01DOI: 10.1080/15505340.2012.704816
M. Garlock
Abstract:Alongside the script of "It is In You: Health Justice Performance in Tanzania," this article explores oral history and critical ethnography performance as dialogue-based methods of global storytelling. A cross-cultural performance project engaging the politics of development, HIV, and the body, "It is In You" hopes to host otherwise difficult dialogues by centering invitation and health justice. I consider three key groups of global storytelling participants—experts, tellers, and contributing listeners—as essential to an ethic of mutuality which cycles through stories to mobilize communities, confront neocolonialisms, and situate research in our bodies.
{"title":"The Performance and Expansion of Global Storytelling in \"It is In You\"","authors":"M. Garlock","doi":"10.1080/15505340.2012.704816","DOIUrl":"https://doi.org/10.1080/15505340.2012.704816","url":null,"abstract":"Abstract:Alongside the script of \"It is In You: Health Justice Performance in Tanzania,\" this article explores oral history and critical ethnography performance as dialogue-based methods of global storytelling. A cross-cultural performance project engaging the politics of development, HIV, and the body, \"It is In You\" hopes to host otherwise difficult dialogues by centering invitation and health justice. I consider three key groups of global storytelling participants—experts, tellers, and contributing listeners—as essential to an ethic of mutuality which cycles through stories to mobilize communities, confront neocolonialisms, and situate research in our bodies.","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"8 1","pages":"138 - 166"},"PeriodicalIF":0.0,"publicationDate":"2012-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15505340.2012.704816","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60002653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-09-01DOI: 10.1353/sss.2012.a813182
Rivka Syd Eisner
{"title":"Critical Adaptations in the Somali Diaspora: Community-Based Learning as Collaborative Process and Performance","authors":"Rivka Syd Eisner","doi":"10.1353/sss.2012.a813182","DOIUrl":"https://doi.org/10.1353/sss.2012.a813182","url":null,"abstract":"","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"8 1","pages":"208 - 212"},"PeriodicalIF":0.0,"publicationDate":"2012-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66922582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-09-01DOI: 10.1080/15505340.2012.704819
Wajuppa Tossa
Abstract:This paper introduces a storytelling project that aims to preserve and revitalize local cultural heritage in Isan or northeast Thailand. The paper explains how this local storytelling project has developed a global aspect through our meeting with international storytellers. Their many storytelling styles have influenced our own work, and ours has influenced theirs. Finally, we discover that global storytelling can nurture the communities of international storytellers through the ideology of reciprocity.
{"title":"Global Storytelling and Local Cultural Preservation and Revitalization","authors":"Wajuppa Tossa","doi":"10.1080/15505340.2012.704819","DOIUrl":"https://doi.org/10.1080/15505340.2012.704819","url":null,"abstract":"Abstract:This paper introduces a storytelling project that aims to preserve and revitalize local cultural heritage in Isan or northeast Thailand. The paper explains how this local storytelling project has developed a global aspect through our meeting with international storytellers. Their many storytelling styles have influenced our own work, and ours has influenced theirs. Finally, we discover that global storytelling can nurture the communities of international storytellers through the ideology of reciprocity.","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"8 1","pages":"194 - 201"},"PeriodicalIF":0.0,"publicationDate":"2012-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15505340.2012.704819","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60002705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-09-01DOI: 10.1080/15505340.2012.704817
H. Harvey, Karen J Robinson
Abstract:The Ben M'Sik neighborhood surrounding Hassan II University in Casablanca, Morocco, is the largest and poorest of the region's six districts. In 2009, a group of American performance studies faculty and students partnered with faculty and students at Hassan II Ben M'sik University in Casablanca to participate in workshops focused on oral traditions and storytelling, emphasizing active listening, performance, and dialogic encounters. This paper uses excerpts from ethnographic texts generated by our American students to consider their predispositions, attitudes, and discoveries during the trip; the challenges we encountered while fostering dialogic experiences and performances; happy surprises; and generative frictions that transpired.
{"title":"Intercultural Storytelling Performance in Morocco and the United States","authors":"H. Harvey, Karen J Robinson","doi":"10.1080/15505340.2012.704817","DOIUrl":"https://doi.org/10.1080/15505340.2012.704817","url":null,"abstract":"Abstract:The Ben M'Sik neighborhood surrounding Hassan II University in Casablanca, Morocco, is the largest and poorest of the region's six districts. In 2009, a group of American performance studies faculty and students partnered with faculty and students at Hassan II Ben M'sik University in Casablanca to participate in workshops focused on oral traditions and storytelling, emphasizing active listening, performance, and dialogic encounters. This paper uses excerpts from ethnographic texts generated by our American students to consider their predispositions, attitudes, and discoveries during the trip; the challenges we encountered while fostering dialogic experiences and performances; happy surprises; and generative frictions that transpired.","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"8 1","pages":"180 - 193"},"PeriodicalIF":0.0,"publicationDate":"2012-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15505340.2012.704817","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60002667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-09-01DOI: 10.1080/15505340.2012.704821
L. Simms
Abstract:Since the disastrous 2010 earthquake in Haiti, Laura Simms has traveled to Haiti to work with NGOs and to offer narrative-as-therapy workshops. Here she reports on one day in a hot tent, trying to find ways to make story useful to children still stranded in this tent city over a year after the earthquake.
{"title":"Passport to Joy: The Journey of a Haitian Tale in a Tent in Haiti","authors":"L. Simms","doi":"10.1080/15505340.2012.704821","DOIUrl":"https://doi.org/10.1080/15505340.2012.704821","url":null,"abstract":"Abstract:Since the disastrous 2010 earthquake in Haiti, Laura Simms has traveled to Haiti to work with NGOs and to offer narrative-as-therapy workshops. Here she reports on one day in a hot tent, trying to find ways to make story useful to children still stranded in this tent city over a year after the earthquake.","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"121 1","pages":"202 - 207"},"PeriodicalIF":0.0,"publicationDate":"2012-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60002710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-09-01DOI: 10.1080/15505340.2012.704814
M. Macdonald, H. Harvey
In an age of transmigration and border-crossings, many academics and professional storytellers have looked to storytelling as a way to broaden and deepen our participation in a global community. "Global storytelling" has emerged as a term to identify individuals and projects that engage the act of storytelling to create culturally responsible interaction across borders. Border-crossing involves vulnerability, trust, mutual listening, bodily investment, an ethical imperative of respect, and a desire to learn all of which are inherent to storytelling. In the academic world, global storytelling scholarship helps us to question the role of power in international story arenas and the constructed nature of cultural storytelling. It provides us with ethical models for cross-cultural engagement, as well as cautionary tales of those who "crossed the line" in their border hopping. The best of this scholarship lives both in the trenches and on the page engaging in relationships with others and promoting dialogues that provoke, incite, and move us toward a greater understanding of how cultures story themselves and how they narrate their own locales, folklore, and family histories. In the festival world, tellers and audiences are connecting across the globe in exciting patterns. Madrid's festival in 2010 brought tellers from Venezuela, Chile, Cuba, the United States, and Mexico. Festivals in Columbia, Cuba, Argentina, and Mexico gather tellers from throughout Latin America. Penang's children's storytelling festival 2010 brought tellers from India, Thailand, Japan, Indonesia, and the United States. The Beyond the Border festival in Wales brings in epic performers from around the world each year. The festival in 2012 features a Kazakh epic singer and a group of Iranian poets and musicians. Partially because of U.S. visa barricades and partially because of our reliance on English language audiences, the United States is less involved in this international movement of tellers than much of the world. However, North American tellers are traveling abroad in ever-increasing numbers, and international tellers are coming to visit the United States and Canada. The international website Red International de Cuentacuentos (www.cuentacuentos.eu) is taking the lead in connecting storytellers worldwide. The National Storytelling Network's Storytelling Magazine has recently added the section "International News." The blog http:// historiasparacambiarelmundo.blogspot.com is promoting an international storytelling day: Historias para Cambiar el Mundo/ Stories to Change the World. In 2012 there were participants from Australia, the United States, Spain, United Kingdom, Brasil, Switzerland, the Dominican
在这个人口迁移和跨越国界的时代，许多学者和专业讲故事的人都把讲故事看作是扩大和深化我们在全球社区中的参与的一种方式。“全球讲故事”是一个术语，用来指那些通过讲故事来创造跨国界文化互动的个人和项目。跨越边界包括脆弱、信任、相互倾听、身体投入、尊重的道德要求，以及学习所有这些都是讲故事所固有的。在学术界，全球叙事研究帮助我们质疑权力在国际故事舞台上的作用，以及文化叙事的建构本质。它为我们提供了跨文化交往的道德模式，以及那些在边境跳跃中“越界”的人的警示故事。这种学术的精华既存在于战壕中，也存在于书页上，与他人建立关系，促进对话，激发、煽动并推动我们更好地理解文化是如何讲述自己的故事的，以及它们是如何讲述自己的地方、民间传说和家庭历史的。在电影节的世界里，讲述者和观众正以令人兴奋的方式在全球范围内联系在一起。2010年的马德里艺术节吸引了来自委内瑞拉、智利、古巴、美国和墨西哥的柜员。哥伦比亚、古巴、阿根廷和墨西哥的节日聚集了来自拉丁美洲各地的讲述者。2010年槟城儿童讲故事节吸引了来自印度、泰国、日本、印度尼西亚和美国的讲述者。威尔士的Beyond The Border音乐节每年都会吸引来自世界各地的史诗级表演者。2012年的音乐节有一位哈萨克史诗歌手和一群伊朗诗人和音乐家参加。部分由于美国的签证障碍，部分由于我们对英语听众的依赖，美国与世界上许多国家相比，较少参与这场国际讲述者运动。然而，北美的出纳员出国旅行的人数越来越多，国际出纳员也来访问美国和加拿大。国际网站Red international de cuentacuenttos (www.cuentacuentos.eu)在连接世界各地的故事讲述者方面发挥了带头作用。美国国家讲故事网络的《讲故事》杂志最近增加了“国际新闻”栏目。博客http://historiasparacambiarelmundo.blogspot.com正在推广一个国际讲故事日:改变世界的故事。2012年有来自澳大利亚、美国、西班牙、英国、巴西、瑞士和多米尼加的参与者
{"title":"Introduction to the Special Issue: Global Storytelling","authors":"M. Macdonald, H. Harvey","doi":"10.1080/15505340.2012.704814","DOIUrl":"https://doi.org/10.1080/15505340.2012.704814","url":null,"abstract":"In an age of transmigration and border-crossings, many academics and professional storytellers have looked to storytelling as a way to broaden and deepen our participation in a global community. \"Global storytelling\" has emerged as a term to identify individuals and projects that engage the act of storytelling to create culturally responsible interaction across borders. Border-crossing involves vulnerability, trust, mutual listening, bodily investment, an ethical imperative of respect, and a desire to learn all of which are inherent to storytelling. In the academic world, global storytelling scholarship helps us to question the role of power in international story arenas and the constructed nature of cultural storytelling. It provides us with ethical models for cross-cultural engagement, as well as cautionary tales of those who \"crossed the line\" in their border hopping. The best of this scholarship lives both in the trenches and on the page engaging in relationships with others and promoting dialogues that provoke, incite, and move us toward a greater understanding of how cultures story themselves and how they narrate their own locales, folklore, and family histories. In the festival world, tellers and audiences are connecting across the globe in exciting patterns. Madrid's festival in 2010 brought tellers from Venezuela, Chile, Cuba, the United States, and Mexico. Festivals in Columbia, Cuba, Argentina, and Mexico gather tellers from throughout Latin America. Penang's children's storytelling festival 2010 brought tellers from India, Thailand, Japan, Indonesia, and the United States. The Beyond the Border festival in Wales brings in epic performers from around the world each year. The festival in 2012 features a Kazakh epic singer and a group of Iranian poets and musicians. Partially because of U.S. visa barricades and partially because of our reliance on English language audiences, the United States is less involved in this international movement of tellers than much of the world. However, North American tellers are traveling abroad in ever-increasing numbers, and international tellers are coming to visit the United States and Canada. The international website Red International de Cuentacuentos (www.cuentacuentos.eu) is taking the lead in connecting storytellers worldwide. The National Storytelling Network's Storytelling Magazine has recently added the section \"International News.\" The blog http:// historiasparacambiarelmundo.blogspot.com is promoting an international storytelling day: Historias para Cambiar el Mundo/ Stories to Change the World. In 2012 there were participants from Australia, the United States, Spain, United Kingdom, Brasil, Switzerland, the Dominican","PeriodicalId":39019,"journal":{"name":"Storytelling, Self, Society","volume":"8 1","pages":"135 - 137"},"PeriodicalIF":0.0,"publicationDate":"2012-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15505340.2012.704814","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60002615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-09-01DOI: 10.1080/15505340.2012.711126
Non Arkaraprasertkul
Abstract:Based on my long-term ethnographic research in the traditional alleyway neighborhoods in Shanghai, known as lilong ("li" meaning neighborhood and "long" meaning lane), I discuss "popular stories" surrounding their existence. As a legacy of the city's treaty port era (1842-1932), the lilong houses and neighborhoods are to Shanghai more than just a physical structure, but also a distinct cultural relic. I focus on the "moral responsibility" to live a life that aligns with one's narrative of historic preservation. I demonstrate how the forces of globalization play a major role in the changing sociopolitical landscape of life in lilong neighborhoods. We could better understand those forces by placing them in the context of morality. I here reveal three major themes: the discourse around the ideas of "authentic Shanghai life," the perceptions of lilong neighborhoods in relation to the political economy of heritage brought about by the popular knowledge about Shanghai, and how architecture tells its stories of the city and cultures.
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