Author: BAKER, Augusta, and GREENE, Ellin.Title: Storytelling Art: Art and Technique
New York: R.K. Bowker Co., Date: 1977 A 1ST Edition, warmly inscribed and dated by the author to the owner. Softback. No dust jacket, as issued. The covers and spine are unmarked, unbumped and unrubbed. Wear to cover. Signed by Author Augusta Baker.
Augusta Braxton Baker was an American librarian and storyteller. She was known for her contributions to childrens literature, especially regarding the portrayal of Black Americans in works for children.
Augusta Braxton Baker (April 1, 1911 – February 23, 1998)[1] was an American librarian and storyteller. She was known for her contributions to childrens literature, especially regarding the portrayal of Black Americans in works for children.[1]Early life and educationAugusta Braxton Baker was born on April 1, 1911, in Baltimore, Maryland. Both of her parents were schoolteachers, who instilled in her a love of reading. During the day while her parents worked, her grandmother, Augusta Fax (from whom she received her name) cared for her and told her stories. Baker delighted in these stories, carrying her love for them throughout her life.[2] She learned to read before starting elementary school, later enrolling in the (racially segregated) Black high school where her father taught, and graduating at the age of 16.[1] Baker then entered the University of Pittsburgh, where she both met and married James Baker by the end of her sophomore year.[1]Relocating with her husband to New York, Baker sought to transfer to Albany Teacher's College (now the State University of New York at Albany), only to be met with racial opposition from the college. Eleanor Roosevelt, the wife of Franklin Roosevelt (who was then the Governor of New York), was on the board of the Albany Interracial Council (now the Albany Urban League). Mrs. Roosevelt heavily advocated for Baker's transfer. Though the college did not want to admit Black people, they also did not want to oppose the governors wife, and Baker was admitted.[3] While there, she aimed toward a different career and wrote, "I discovered I loved books, but I didnt love teaching."[4] She completed her education there, earning a B.A. degree in education in 1933 and a B.S. in library science in 1934.[1] She became the first African-American to earn a masters degree in librarianship from the college.[4]Professional careerAfter graduation, Baker taught for a few years, until she was hired in 1937 as the childrens librarian at the New York Public Librarys 135th Street Branch (now the Countee Cullen Regional Branch) in Harlem.[1][5][6] Moore applied three times before the head of children's services, Anne Carroll Moore, took a personal interest in her application. Moore later berated the director of the library for not passing along the application, as she was interested in anyone who showed an affinity for childrens work[7]In 1939, the branch began an effort to find and collect childrens literature that portrayed Black people as something other than "servile buffoons," speaking in a rude dialect, and other such stereotypes. This collection, founded by Baker as the James Weldon Johnson Memorial Collection of Childrens Books, led to the publication of the first of a number of bibliographies of books for and about black children. Baker furthered this project by encouraging authors, illustrators, and publishers to produce, as well as libraries to acquire, books depicting Black people in a favorable light.[8]In 1953, she was appointed Storytelling Specialist and Assistant Coordinator of Childrens Services.[5] Not long after that, she became Coordinator of Childrens Services in 1961, becoming the first African-American librarian in an administrative position in the New York Public Library (NYPL). In this role, she oversaw childrens programs in the entire NYPL system and set policies for them.[5] During this time, Baker also figured prominently in the American Library Associations Childrens Services Division (now the Association for Library Service to Children), having served as its president. Additionally, she chaired the committee that awarded the Newbery Medal and the Caldecott Medal.[2] Furthermore, Baker influenced many childrens authors and illustrators—such as Maurice Sendak, Madeleine LEngle, Ezra Jack Keats, and John Steptoe—while in this position. She also worked as a consultant for the then newly created childrens television series Sesame Street.[9]In 1946, she published an extensive bibliography of titles relating to the Black experience titled Books about Negro Life for Children.[4] In a 1943 article, Baker stated her criteria for selection. The books included should be ones "that give an unbiased, accurate, well rounded picture of Negro life in all parts of the world." The lists and the standards were freely distributed from 135th Street Branch in Harlem. Many librarians, editors, and authors of the time used the lists in conjunction with their own work.[10] In 1971, it was retitled The Black Experience in Childrens Books, and its criteria played an important part in bringing awareness about harmful stereotypes in Helen Bannermans The Story of Little Black Sambo.[4]In 1974, Baker retired from the New York Public Library.[5] However, in 1980, she returned to librarianship to assume the newly created Storyteller-in-Residence position at the University of South Carolina; this was also the first such position in any American university at the time. She remained there until her second retirement in 1994. During her time there, Baker cowrote a book entitled Storytelling: Art and Technique with colleague Ellin Greene, which was published in 1987.[11]Death and continued legacyAfter a long illness, Baker died at the age of 86 on February 23, 1998. Her legacy has remained even today, particularly through the "Baker's Dozen: A Celebration of Stories" annual storytelling festival.[12] Sponsored by the University of South Carolina College of Information and Communications and the Richland County Public Library, this festival originated in 1987 during Baker's time at the University, and is celebrated still to this day.[5] The College of Information and Communications also created an endowed chair bearing Bakers name in 2011.[13] In 2019, Dr. Nicole A. Cooke was appointed the Augusta Baker Endowment Chair.[14]When asked: "What do you tell your students when you conduct your workshops?" Baker stated:"I tell them what Ive always said. Let the story tell itself, and if it is a good story and you have prepared it well, you do not need all the extras – the costumes, the histrionics, the high drama. Children of all ages do want to hear stories. Select well, prepare well, and then go forth, stand tall, and just tell."[15]Her legacy also continues through the Augusta Baker Collection of Childrens Literature and Folklore at the University of South Carolina. The collection, donated by her son, James H. Baker III, contains over 1,600 childrens books, including materials from her personal and working library, as well as papers, illustrations, and anthologies of folktales Baker used during her career.[8]Awards and honorsFirst recipient of the E.P. Dutton-John Macrae Award (1953)[2]Parents Magazine Medal Award (1966)[2]ALA Grolier Award (1968)[2]Womens National Book Association, Constance Lindsay Skinner Award (1971)[2]Clarence Day Award (1975)[2]Honorary ALA Membership (1975)[16]Honorary Doctorate from St. Johns University (1980)[2]Catholic Library Associations Regina Medal (1981)[3][17]Honorary Doctorate from the University of South Carolina (1986)[18]Second recipient of ALSC Distinguished Service Award (1993)[19]BibliographyLibrary resources aboutAugusta Braxton BakerResources in your libraryResources in other librariesBy Augusta Braxton BakerOnline booksResources in your libraryResources in other librariesFrom Janice M. Del Negro, former Editor of The Bulletin for Childrens Books:[5]Baker, Augusta. 1955. Talking tree; fairy tales from 15 lands. Illus. by Johannes Troyer. Philadelphia, PA: J.B. Lippincott.Courlander, Harold. 1956. Uncle Bouqui, folk tales from Haiti; from Uncle Bouqui of Haiti. Read by Augusta Baker. Sound recording. Washington, DC: Folkways Records.Baker, Augusta. 1957. Books about Negro life for children. New York, NY: New York Public Library.Baker, Augusta, ed. 1960. Golden lynx, and other tales. Illus. by Johannes Troyer. Philadelphia, PA: J.B. Lippincott.Baker, Augusta, ed. 1960. Young years; best loved stories and poems for little children. New York, NY: Parents Magazine Educational Press; Home Library Press.Baker, Augusta. 1961. Books about Negro life for children. New York, NY: New York Public Library.Baker, Augusta. 1963. Books about Negro life for children. New York, NY: New York Public Library.Baker, Augusta. 1963. Young years library. New York, NY: Parents Magazine Educational Press.Baker, Augusta, et al. 1966. Come hither!: papers on childrens literature and librarianship. Los Angeles, CA: Yeasayers Press.Baker, Augusta. 1967. Aids to choosing books for children. New York, NY: Childrens Book Council.Rollins, Charlemae Hill. 1967. We build together; a readers guide to Negro life and literature for elementary and high school use. With contributions from Augusta Baker, et al. Champaign, IL: National Council of Teachers of English.Baker, Augusta, ed. 1971. Black experience in childrens books. Cover design by Ezra Jack Keats. New York, NY: New York Public Library.Baker, Augusta. 1975. Storytelling. Cassette recording. New York, Childrens Book Council.Baker, Augusta and Ellin Greene. 1977. Storytelling: art and technique. New York, NY: R. R. Bowker.Baker, Augusta and Ellin Greene. 1987. Storytelling: art and technique, 2nd ed. New York, NY: R. R. Bowker.Greene, Ellin. 1996. Storytelling: art and technique. With a foreword by Augusta Baker. New York, NY: R. R. Bowker.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 means of entertainment, education, cultural preservation or instilling moral values.[1] Crucial elements of stories and storytelling include plot, characters and narrative point of view. The term "storytelling" can refer specifically to oral storytelling but also broadly to techniques used in other media to unfold or disclose the narrative of a story.Historical perspectiveA very fine phad painting dated 1938 A.D. The epic of Pabuji is an oral epic in the Rajasthani language that tells of the deeds of the folk hero-deity Pabuji, who lived in the 14th century.Storytelling, intertwined with the development of mythologies,[2] predates writing. The earliest forms of storytelling were usually oral, combined with gestures and expressions.[citation needed] Some archaeologists[which?] believe that rock art, in addition to a role in religious rituals, may have 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 as a means of helping the storyteller remember the story. The story was then told using a combination of oral narrative, music, rock art and dance, which bring understanding and meaning to human existence through the remembrance and enactment of stories.[4][page needed] People have used the carved trunks of living trees and ephemeral media (such as sand and leaves) to record folktales in pictures or with writing.[citation needed] Complex forms of tattooing may also represent stories, with information about genealogy, affiliation and social status.[5]Folktales often share common motifs and themes, suggesting possible basic psychological similarities across various human cultures. Other stories, notably fairy tales, appear to have spread from place to place, implying memetic appeal and popularity.Groups of originally oral tales can coalesce over time 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 about Anansi), epic (as with Homeric tales), inspirational (note the tradition of vitae) and/or instructive (as in many Buddhist or Christian scriptures).With the advent of writing and the use of stable, portable media, storytellers recorded, transcribed and continued to share stories over wide regions of the world. Stories have been carved, scratched, painted, printed or inked onto wood or bamboo, ivory and other bones, pottery, clay tablets, stone, palm-leaf books, skins (parchment), bark cloth, paper, silk, canvas and other textiles, recorded on film and stored electronically in digital form. Oral stories continue to be created, improvisationally by impromptu and professional storytellers, as well as committed to memory and passed from generation to generation, despite the increasing popularity of written and televised media in much of the world.Contemporary storytellingModern storytelling has a broad purview. In addition 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 also widely used to address educational objectives.[7] New forms of media are creating new ways for people to record, express and consume stories.[8] Tools for asynchronous group communication can provide an environment for individuals to reframe or recast individual stories into group stories.[9] 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, employ storytelling narrative techniques to communicate information about their topic.[10] Self-revelatory stories, created for their cathartic and therapeutic effect, are growing in their use and application, as in Psychodrama, Drama Therapy and Playback Theatre.[11] Storytelling is also used as a means by which to precipitate psychological and social change in the practice of transformative arts.[12][13][14]Some people also make a case for different narrative forms being classified as storytelling in the contemporary world. For example, digital storytelling, online and dice-and-paper-based role-playing games. In traditional role-playing games, storytelling is done by the person who controls the environment and the non-playing fictional characters, and moves the story elements along for the players as they interact with the storyteller. The game is advanced by mainly verbal interactions, with dice roll determining random events in the fictional universe, where the players interact with each other and the storyteller. This type of game has many genres, such as sci-fi and fantasy, as well as alternate-reality worlds based on the current reality, but with different setting and beings such as werewolves, aliens, daemons, or hidden societies. These oral-based role-playing games were very popular in the 1990s among circles of youth in many countries before computer and console-based online MMORPGs took their place. Despite the prevalence of computer-based MMORPGs, the dice-and-paper RPG still has a dedicated following.Oral traditionsThis section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (March 2011) (Learn how and when to remove this template message)See also: Oral storytellingStory Teller by Gaganendranath TagoreOral traditions of storytelling are found in several civilizations; they predate the printed and online press. Storytelling was used to explain natural phenomena, bards told stories of creation and developed a pantheon of gods and myths. Oral stories passed from 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.[16] Lord found that a large part of the stories consisted of text which was improvised during the telling process.Lord identified two types of story vocabulary. The first he called "formulas": "Rosy-fingered Dawn", "the wine-dark sea" and other specific set phrases had long been known of in Homer and other oral epics. Lord, however, discovered that across many story traditions, fully 90% of an oral epic is assembled from lines which are repeated verbatim or which use one-for-one word substitutions. In other words, oral stories are built out of set 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. Just as the teller of tales proceeds line-by-line using formulas, so he proceeds from event-to-event using themes. One near-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 can be as simple as a specific set sequence describing the arming of a hero, starting with shirt and trousers and ending with headdress and weapons. A theme can be large enough 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 heros ally, showing unexpected resources of skill or initiative. A theme does not belong to a specific story, but may be found with minor variation in many different stories.The story was described by Reynolds Price, when he wrote:A need to tell and hear stories is essential to the species Homo sapiens – second in necessity apparently after nourishment and before love and shelter. Millions survive without love or home, almost none in silence; the opposite of silence leads quickly to narrative, and the sound of story is the dominant sound of our lives, from the small accounts of our days events to the vast incommunicable constructs of psychopaths.[17]In contemporary life, people will seek to fill "story vacuums" with oral and written stories. "In the absence of a narrative, especially in an ambiguous and/or urgent situation, people will seek out and consume plausible stories like water in the desert. It is our innate nature to connect the dots. Once an explanatory narrative is adopted, its extremely hard to undo," whether or not it is true.[18]Märchen and SagenIllustration from Silesian Folk Tales (The Book of Rubezahl)Folklorists sometimes divide oral tales into two main groups: Märchen and Sagen.[19] These are German terms for which there are no exact English equivalents, however we have approximations:Märchen, loosely translated as "fairy tale(s)" or little 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 as true. The stories are full 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 effect, generally; bloodcurdling events may take place, but with little call for emotional response from the listener.[citation needed]Sagen, translated as "legends", are supposed to have actually happened, very often at a particular time and place, and they draw much of their power from this fact. When the supernatural intrudes (as it often does), it does so in an emotionally fraught manner. Ghost and Lovers Leap stories belong in this category, as do many UFO stories and stories of supernatural beings and events.[citation needed]Another important examination of orality in human life is Walter J. Ongs Orality and Literacy: The Technologizing of the Word (1982). Ong studies the distinguishing characteristics of oral traditions, how oral and written cultures interact and condition one another, and how they ultimately influence human epistemology.LearningOrunamamu storyteller, griot with caneStorytelling is a means for sharing and interpreting experiences. Peter L. Berger says human 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 as a method to teach ethics, values and cultural norms and differences.[20] Learning is most effective when it takes place in social environments that provide authentic social cues about how knowledge is to be applied.[21] Stories function as a tool to pass on knowledge in a social context. So, every story has 3 parts. First, The setup (The Heros world before the adventure starts). Second, The Confrontation (The heros world turned upside down). Third, The Resolution (Hero conquers villain, but it is not enough for Hero to survive. The Hero or World must be transformed). Any story can be framed in such format.Human knowledge is based on stories and the human brain consists of cognitive 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 thought as humans think in narrative structures and most often remember facts in story form. Facts can be 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 aware 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 become engaged and therefore remember. Storytelling can be seen as a foundation for learning and teaching. While the story listener 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 as well as observe, listen and participate with minimal guidance.[27] Listening to a storyteller can create lasting personal connections, promote innovative problem solving and foster a shared understanding regarding future ambitions.[28] The listener can then activate knowledge and imagine new possibilities. Together a storyteller and listener can seek best practices and invent new solutions. Because stories often have multiple layers of meanings, listeners have to listen 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] As well as connecting children with their environment, through the theme of the stories, and give them more autonomy by using repetitive statements, which improve their learning to learn competence.[30] It is also used to teach children to have respect for all life, value inter-connectedness and always work to overcome adversity. To teach this a Kinesthetic learning style would be used, involving the listeners through music, dream interpretation, or dance.[31]In indigenous culturesFurther information: Indigenous storytelling in North AmericaThe Historian – An indigenous artist is painting in sign language, on buckskin, the story of a battle with American soldiers.For indigenous cultures of the Americas, storytelling is used as an oral form of language associated with practices and values essential to developing ones identity. This is because everyone in the community can add their own touch and perspective to the narrative collaboratively – both individual and culturally shared perspectives have a place in the co-creation of the story. Oral storytelling in indigenous communities differs from other forms of stories because they are told not only for entertainment, but for teaching values.[32] For example, the Sto:lo community in Canada focuses on reinforcing childrens identity by telling stories about the land to explain their roles.[32]Furthermore, Storytelling is a way to teach younger members of indigenous communities about their culture and their identities. In Donna Eders study, Navajos were interviewed about storytelling practices that they have had in the past and what changes they want to see in the future. They notice that storytelling makes an impact on the lives of the children of the Navajos. According to some of the Navajos that were interviewed, storytelling is one of many main practices that teaches children the important principles to live a good life.[33] In indigenous communities, stories are a way to pass knowledge on from generation to generation.For some indigenous people, experience has no separation between the physical 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 community of Highland Peru, there 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 being told in order to learn about their identity and culture. Sometimes, children are expected to sit quietly and listen 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 own experiences and perspectives. In Navajo communities, for children and adults, storytelling is one of the many effective ways to educate both the young and old about 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 means in a quiet and relaxing environment, which usually coincides with family or tribal community gatherings and official events such as family occasions, rituals, or ceremonial practices.[36] During the telling of the story, children may act as participants by asking questions, acting out the story, or telling smaller parts of the story.[37] Furthermore, stories are not often told in the same manner twice, resulting in many variations of a single myth. This is because narrators may choose to insert new elements into old stories dependent upon the relationship between the storyteller and the audience, making the story correspond to each unique situation.[38]Indigenous cultures also use instructional ribbing— a playful form of correcting childrens 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 you in his ears if you dont stop crying!" Thus, this form of teasing serves as a tool to correct inappropriate behavior and promote cooperation.[39]TypesThere are various 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 information.[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 about cultural values and lessons.[38] The meaning within the stories is not always explicit, and children are expected to make their own 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 young girls from the whims of men. In the Odawa Tribe, young boys are often told the story of a young man who never took care of his body, and as a result, his feet fail to run when he tries to escape predators. This story serves as an indirect means of encouraging the young boys to take care of their bodies.[41]Narratives can be shared to express the values or morals among family, relatives, or people who are considered part of the close-knit community. Many stories in indigenous American communities all have a "surface" story, that entails knowing certain information and clues to unlocking the metaphors in the story. The underlying message of the story being told, can be understood and interpreted with clues that hint to a certain interpretation.[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 ones heart and mind together.[42] For instance, a way in which children learn about the metaphors significant for the society they live in, is by listening to their elders and participating in rituals where they respect one another.[43]Passing on valuesStories in indigenous cultures encompass a variety of values. These values include an emphasis on individual responsibility, concern for the environment and communal welfare.[44]Stories are based on values passed down by older generations to shape the foundation of the community.[45] Storytelling is used as a bridge for knowledge and understanding allowing the values of "self" and "community" to connect and be learned as a whole. Storytelling in the Navajo community for example allows for community values to be 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 way, children learn to value their place in the world 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 childrens bad behavior. In this way, stories are non-confrontational, which allows the child to discover for themselves what they did wrong and what they can do to adjust the behavior.[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 community emphasizes the traditional wisdom of the ancestors and the importance of collective as well as individual identities. Indigenous communities teach children valuable skills and morals through the actions of good or mischievous stock characters while also allowing 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 teaching from adults to fill in the gaps.[49]When children listen 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 indigenous communities teaches children the skill of keen attention. For example, Children of the Tohono Oodham American Indian community who engaged in more cultural practices were able to recall the events in a verbally presented story better than those who did not engage in cultural practices.[50] Body movements and gestures help to communicate values and keep stories alive for future generations.[51] Elders, parents and grandparents are typically involved in teaching the children the cultural ways, along with history, community values and teachings of the land.[52]Children in indigenous communities can also learn from the underlying message of a story. For example, in a nahuatl community near Mexico City, stories about ahuaques or hostile water dwelling spirits that guard over the bodies of water, contain morals about respecting the environment. If the protagonist of a story, who has accidentally broken something that belongs to the ahuaque, does not replace it or give back in some way to the ahuaque, the protagonist dies.[53] In this way, storytelling serves as a way to teach what the community values, such as valuing the environment.Storytelling also serves to deliver 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 time, place and characters of the message. Once the message is delivered, the story is finished. As cycles of the tale are told and retold, story units can recombine, showing various outcomes for a persons actions.[54]Research[icon]This section needs expansion. You can help by adding to it. (January 2015)Storytelling has been assessed for critical literacy skills and the learning of theatre-related terms by the nationally recognized storytelling and creative drama organization, Neighborhood Bridges, in Minneapolis.[55] Another storyteller researcher in the UK proposes that the social space created preceding oral storytelling in schools may trigger sharing (Parfitt, 2014).[56]Storytelling has also been studied as a way to investigate and archive cultural knowledge and values within indigenous American communities. Isekes study (2013)[57] on the role of storytelling in the Metis community, showed promise in furthering research about the Metis and their shared communal atmosphere during storytelling events. Iseke focused on the idea of witnessing a storyteller as a vital way to share and partake in the Metis community, as members of the community would stop everything else they were doing in order to listen or "witness" the storyteller and allow the story to become a "ceremonial landscape," or shared reference, for everyone present. This was a powerful tool for the community to engage and teach new learner shared references for the values and ideologies of the Metis. Through storytelling, the Metis cemented the shared reference of personal or popular stories and folklore, which members of the community can use to share ideologies. In the future, Iseke noted that Metis elders wished for the stories being told to be used for further research into their culture, as stories were a traditional way to pass down vital knowledge to younger generations.For the stories we read, the "neuro-semantic encoding of narratives happens at levels higher than individual semantic units and that this encoding is systematic across both individuals and languages." This encoding seems to appear most prominently in the default mode network.[58]Serious storytellingStorytelling in serious application contexts, as e.g. therapeutics, business, serious games, medicine, education, or faith can be referred to as serious storytelling. Serious storytelling applies storytelling "outside the context of entertainment, where the narration progresses as a sequence of patterns impressive in quality ... and is part of a thoughtful progress".[59]As a political praxisSome approaches treat narratives as politically motivated stories, stories empowering certain groups and stories giving people agency. Instead of just searching for the main point of the narrative, the political function is demanded through asking, "Whose interest does a personal narrative serve"?[60] This approach mainly looks at the power, authority, knowledge, ideology 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 private meaning to public meaning.[62] Regardless of the gender of the narrator and what story they are sharing, the performance of the narrative and the audience listening to it is where the power lies.TherapeuticTherapeutic storytelling is the act of telling ones story in an attempt to better understand oneself or ones situation. Oftentimes, these stories affect the audience in a therapeutic sense as well, helping them to view situations similar to their own through a different lens.[63] Noted author and folklore scholar, Elaine Lawless states, "...this process provides new avenues for understanding and identity formation. Language is utilised to bear witness to their lives".[64] Sometimes a narrator will simply skip over certain details without realizing, only to include it in their stories during a later 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 most 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 them back in.Psychodrama uses re-enactment of a personal, traumatic event in the life of a psychodrama group participant as a therapeutic methodology, first developed by psychiatrist, J.L. 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 form they called Playback Theatre. Therapeutic magasin 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]As art formAestheticsThe 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 retention of the past, 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 different voices dialogically at play – "the sound of the human 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 Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, conditioning a plotted narrative, and at other times much more visible, "arguing" for and against various positions; relies substantially on now-standard aesthetic figuration, particularly including the use of metaphor, metonymy, synecdoche and irony (see 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 effort to evince becoming in character and community.FestivalsStorytelling festivals typically feature the work of several storytellers and may include workshops for tellers and others who are interested in the art form or other targeted applications of storytelling. Elements of the oral storytelling art form often include the tellers encouragement to have participants co-create an experience by connecting to relatable elements of the story and using techniques of visualization (the seeing of images in the minds eye), and use vocal and bodily gestures to support understanding. In many ways, the art of storytelling draws upon other art forms such as acting, 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] It 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. One such organization was the National Association for the Perpetuation and Preservation of Storytelling (NAPPS), now the National Storytelling Network (NSN) and the International Storytelling Center (ISC). NSN is a professional organization that helps to organize resources for tellers and festival planners. The ISC runs the National Storytelling Festival in Jonesborough, TN.[69] Australia followed their American counterparts with the establishment of storytelling guilds in the late 1970s.[citation needed] Australian storytelling today has individuals and groups across the country who meet to share their stories. The UKs Society for Storytelling was founded in 1993, bringing together tellers and listeners, and each year since 2000 has run a National Storytelling Week the first week of February.[citation needed]Currently, there are dozens of storytelling festivals and hundreds of professional storytellers around the world,[70][71] and an international celebration of the art occurs on World Storytelling Day.Emancipation of the storyThis section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2023) (Learn how and when to remove this template message)In oral traditions, stories are kept alive by being told again and again. The material of any given story naturally undergoes several changes and adaptations during this process. When and where oral tradition was superseded by print media, the literary idea of the author as originator of a storys authoritative version changed peoples perception of stories themselves. In centuries following, stories tended to be seen as the work of individuals rather than a collective effort. Only recently when a significant number of influential authors began questioning their own roles, the value of stories as such – independent of authorship – was again recognized. Literary critics such as Roland Barthes even proclaimed the Death of the Author.In businessPeople have been telling stories at work since ancient times, when stories might inspire "courage and empowerment during the hunt for a potentially dangerous animal," or simply instill the value of listening.[72] Storytelling in business has become a field in its own right as industries have grown, as storytelling becomes a more popular art form in general through live storytelling events like The Moth.RecruitingStorytelling has come to have a prominent role in recruiting. The modern recruiting industry started in the 1940s as employers competed for available labor during World War II. Prior to that, employers usually placed newspaper ads telling a story about the kind of person they wanted, including their character and, in many cases, their ethnicity.[73]Public RelationsPublic influence has been part of human civilization since ancient times, but the modern public relations industry traces its roots to a Boston-based PR firm called The Publicity Bureau that opened in 1900.[74] Although a PR firm may not identify its role as storytelling, the firms task is to control the public narrative about the organization they represent.NetworkingNetworking has been around since the industrial revolution when businesses recognized the need—and the benefit—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 one of eight networking competencies the Association for Talent Development has identified, saying that networkers should "be able to answer the question, What do you do? to make expertise visible and memorable."[76] Business storytelling begins by considering the needs of the audience the networker wishes to reach, asking, "What is it about what I do that my audience is most interested in?" and "What would intrigue them the most?"[18]Within the workplaceExample of the use of storytelling in education.In the workplace, communicating by using storytelling techniques can be a more compelling and effective route of delivering information than that of using only dry facts.[77][78] Uses include:To manage conflictsFor managers storytelling is an important way of resolving conflicts, addressing issues and facing challenges. Managers may use narrative discourse to deal with conflicts when direct action is inadvisable or impossible.[79][citation needed]To interpret the past and shape the futureIn a group discussion a process of collective narration can help to influence others and unify the group by linking the past to the future. In such discussions, managers transform problems, requests and issues into stories.[citation needed] Jameson calls this collective group construction story building.In the reasoning processStorytelling plays an important 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 complex or dense, narrative discourse helps to resolve conflicts, influences corporate decisions and stabilizes the group.[80]In marketingStorytelling is increasingly being used in advertising in order to build customer loyalty.[81][82] According to Giles Lury, this marketing trend echoes the deeply rooted human need to be entertained.[83] Stories are illustrative, easily memorable and allow companies to create stronger emotional bonds with customers.[83]A Nielsen study shows consumers want a more personal connection in the way they gather information since human brains are more engaged by storytelling than by the presentation of facts alone. When reading pure data, only the language parts of the brain work to decode the meaning. But when reading a story, both the language parts and those parts of the brain that would be engaged if the events of the story were actually experienced are activated. As a result, it is easier to remember stories than facts.[84]Marketing developments incorporating storytelling include the use 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 Factory" of Coca-Cola.[86]See alsoDramatic structureStory arcStoryboardStorytelling festivalStorytelling gameWorld Storytelling DayStory ShaperHarlem is a neighborhood in Upper Manhattan, New York City. It is bounded roughly by the Hudson River on the west; the Harlem River and 155th Street on the north; Fifth Avenue on the east; and Central Park North on the south. The greater Harlem area encompasses several other neighborhoods and extends west and north to 155th Street, east to the East River, and south to Martin Luther King Jr. Boulevard, Central Park, and East 96th Street.Originally a Dutch village, formally organized in 1658,[5] it is named after the city of Haarlem in the Netherlands. Harlems history has been defined by a series of economic boom-and-bust cycles, with significant population shifts accompanying each cycle.[6] Harlem was predominantly occupied by Jewish and Italian Americans in the 19th century, but African-American residents began to arrive in large numbers during the Great Migration in the 20th century. In the 1920s and 1930s, Central and West Harlem were the center of the Harlem Renaissance, a major African-American cultural movement. With job losses during the Great Depression of the 1930s and the deindustrialization of New York City after World War II, rates of crime and poverty increased significantly.[7] In the 21st century, crime rates decreased significantly, and Harlem started to gentrify.The area is served by the New York City Subway and local bus routes. It contains several public elementary, middle, and high schools, and is close to several colleges, including Columbia University, Manhattan School of Music, and the City College of New York. Central Harlem is part of Manhattan Community District 10.[1] It is patrolled by the 28th and 32nd Precincts of the New York City Police Department. The greater Harlem area also includes Manhattan Community Districts 9 and 11 and several police precincts, while fire services are provided by four New York City Fire Department companies.GeographyA map of Upper Manhattan, with Greater Harlem highlighted. Harlem proper is the neighborhood in the center.Harlem is located in Upper Manhattan, often referred to as "Uptown" by locals. The three neighborhoods comprising the greater Harlem area—West, Central, and East Harlem—stretch from the Harlem River and East River to the east, to the Hudson River to the west; and between 155th Street in the north, where it meets Washington Heights, and an uneven boundary along the south that runs along 96th Street east of Fifth Avenue, 110th Street between Fifth Avenue to Morningside Park, and 125th Street west of Morningside Park to the Hudson River.[8][9][10] Encyclopædia Britannica references these boundaries,[11] though the Encyclopedia of New York City takes a much more conservative view of Harlems boundaries, regarding only central Harlem as part of Harlem proper.[12]: 573 Central Harlem is the name of Harlem proper; it falls under Manhattan Community District 10.[8] This section is bounded by Fifth Avenue on the east; Central Park on the south; Morningside Park, St. Nicholas Avenue and Edgecombe Avenue on the west; and the Harlem River on the north.[8] A chain of three large linear parks—Morningside Park, St. Nicholas Park and Jackie Robinson Park—situated on steeply rising banks, form most of the districts western boundary. Fifth Avenue, as well as Marcus Garvey Park (also known as Mount Morris Park), separate this area from East Harlem to the east.[8] Central Harlem includes the Mount Morris Park Historic District.West Harlem (Manhattanville and Hamilton Heights) comprises Manhattan Community District 9 and does not form part of Harlem proper. The two neighborhoods area is bounded by Cathedral Parkway/110th Street on the south; 155th Street on the north; Manhattan/Morningside Ave/St. Nicholas/Bradhurst/Edgecombe Avenues on the east; and Riverside Park/the Hudson River on the west. Manhattanville begins at roughly 123rd Street and extends northward to 135th Street. The northernmost section of West Harlem is Hamilton Heights.[9]East Harlem, also called Spanish Harlem or El Barrio, is located within Manhattan Community District 11, which is bounded by East 96th Street on the south, East 138th Street on the north, Fifth Avenue on the west, and the Harlem River on the east. It is not part of Harlem proper.[10]SoHa controversyFurther information: Morningside Heights, Manhattan § SoHa controversyIn the 2010s some real estate professionals started rebranding south Harlem and Morningside Heights as "SoHa" (a name standing for "South Harlem" in the style of SoHo or NoHo) in an attempt to accelerate gentrification of the neighborhoods. "SoHa", applied to the area between West 110th and 125th Streets, has become a controversial name.[13][14][15] Residents and other critics seeking to prevent this renaming of the area have labelled the SoHa brand as "insulting and another sign of gentrification run amok"[16] and have said that "the rebranding not only places their neighborhoods rich history under erasure but also appears to be intent on attracting new tenants, including students from nearby Columbia University".[17]Multiple New York City politicians have initiated legislative efforts to curtail this practice of neighborhood rebranding, which when successfully introduced in other New York City neighborhoods, have led to increases in rents and real estate values, as well as "shifting demographics".[17] In 2011, U.S. Representative Hakeem Jeffries attempted but failed to implement legislation "that would punish real estate agents for inventing false neighborhoods and redrawing neighborhood boundaries without city approval."[17] By 2017, New York State Senator Brian Benjamin also worked to render illegal the practice of rebranding historically recognized neighborhoods.[17]Political representationPolitically, central Harlem is in New Yorks 13th congressional district.[18][19] It is in the New York State Senates 30th district,[20][21] the New York State Assemblys 68th and 70th districts,[22][23] and the New York City Councils 7th, 8th, and 9th districts.[24]HistoryHarlem, from the old fort in the Central Park, New York Public LibraryThree Harlem Women, ca. 1930Main article: History of HarlemBefore the arrival of European settlers, the area that would become Harlem (originally Haarlem) was inhabited by a Native American band, the Wecquaesgeek, dubbed Manhattans or Manhattoe by Dutch settlers, who along with other Native Americans, most likely Lenape,[25] occupied the area on a semi-nomadic basis. As many as several hundred farmed the Harlem flatlands.[26] Between 1637 and 1639, a few settlements were established.[27][28] The settlement of Harlem was formally incorporated in 1660[2] under the leadership of Peter Stuyvesant.[29]During the American Revolution, the British burned Harlem to the ground.[30] It took a long time to rebuild, as Harlem grew more slowly than the rest of Manhattan during the late 18th century.[31] After the American Civil War, Harlem experienced an economic boom starting in 1868. The neighborhood continued to serve as a refuge for New Yorkers, but increasingly those coming north were poor and Jewish or Italian.[32] The New York and Harlem Railroad,[33] as well as the Interborough Rapid Transit and elevated railway lines,[34] helped Harlems economic growth, as they connected Harlem to lower and midtown Manhattan.Apartment building in Central HarlemA condemned building in Harlem after the 1970sThe Jewish and Italian demographic decreased, while the black and Puerto Rican population increased in this time.[35] The early-20th century Great Migration of black people to northern industrial cities was fueled by their desire to leave behind the Jim Crow South, seek better jobs and education for their children, and escape a culture of lynching violence; during World War I, expanding industries recruited black laborers to fill new jobs, thinly staffed after the draft began to take young men.[36] In 1910, Central Harlem population was about 10% black people. By 1930, it had reached 70%.[37]Starting around the time of the end of World War I, Harlem became associated with the New Negro movement, and then the artistic outpouring known as the Harlem Renaissance, which extended to poetry, novels, theater, and the visual arts. So many black people came that it "threaten[ed] the very existence of some of the leading industries of Georgia, Florida, Tennessee and Alabama."[38] Many settled in Harlem. By 1920, central Harlem was 32.43% black. The 1930 census revealed that 70.18% of central Harlems residents were black and lived as far south as Central Park, at 110th Street.[39]However, by the 1930s, the neighborhood was hit hard by job losses in the Great Depression. In the early 1930s, 25% of Harlemites were out of work, and employment prospects for Harlemites stayed poor for decades. Employment among black New Yorkers fell as some traditionally black businesses, including domestic service and some types of manual labor, were taken over by other ethnic groups. Major industries left New York City altogether, especially after 1950. Several riots happened in this period, including in 1935 and 1943.There were major changes following World War II. In the late 1950s and early 1960s, Harlem was the scene of a series of rent strikes by neighborhood tenants, led by local activist Jesse Gray, together with the Congress of Racial Equality, Harlem Youth Opportunities Unlimited (HARYOU), and other groups. These groups wanted the city to force landlords to improve the quality of housing by bringing them up to code, to take action against rats and roaches, to provide heat during the winter, and to keep prices in line with existing rent control regulations.[40]The largest public works projects in Harlem in these years were public housing, with the largest concentration built in East Harlem.[41] Typically, existing structures were torn down and replaced with city-designed and managed properties that would, in theory, present a safer and more pleasant environment than those available from private landlords. Ultimately, community objections halted the construction of new projects.[42]From the mid-20th century, the low quality of education in Harlem has been a source of distress. In the 1960s, about 75% of Harlem students tested under grade levels in reading skills, and 80% tested under grade level in math.[43] In 1964, residents of Harlem staged two school boycotts to call attention to the problem. In central Harlem, 92% of students stayed home.[44] In the post-World War II era, Harlem ceased to be home to a majority of the citys black people,[45] but it remained the cultural and political capital of black New York, and possibly black America.[46][47]By the 1970s, many of those Harlemites who were able to escape from poverty left the neighborhood in search of better schools and homes, and safer streets. Those who remained were the poorest and least skilled, with the fewest opportunities for success. Though the federal governments Model Cities Program spent $100 million on job training, health care, education, public safety, sanitation, housing, and other projects over a ten-year period, Harlem showed no improvement.[48] The city began auctioning its enormous portfolio of Harlem properties to the public in 1985. This was intended to improve the community by placing property in the hands of people who would live in them and maintain them. In many cases, the city would even pay to completely renovate a property before selling it (by lottery) below market value.[49]After the 1990s, Harlem began to grow again. Between 1990 and 2006 the neighborhoods population grew by 16.9%, with the percentage of black people decreasing from 87.6% to 69.3%,[39] then dropping to 54.4% by 2010,[50] and the percentage of whites increasing from 1.5% to 6.6% by 2006,[39] and to "almost 10%" by 2010.[50] A renovation of 125th Street and new properties along the thoroughfare[51][52] also helped to revitalize Harlem.[53]CultureSee also: Harlem RenaissanceWelcome to Harlem sign above the now defunct Victoria 5 cinema theater on 125th stIn the 1920s and 1930s, Central and West Harlem was the focus of the "Harlem Renaissance", an outpouring of artistic work without precedent in the American Black community. Though Harlem musicians and writers are particularly well remembered, the community has also hosted numerous actors and theater companies, including the New Heritage Repertory Theater,[29] National Black Theater, Lafayette Players, Harlem Suitcase Theater, The Negro Playwrights, American Negro Theater, and the Rose McClendon Players.[54]The Apollo Theater on 125th Street in November 2006The Apollo Theater opened on 125th Street on January 26, 1934, in a former burlesque house. The Savoy Ballroom, on Lenox Avenue, was a renowned venue for swing dancing, and was immortalized in a popular song of the era, "Stompin at the Savoy". In the 1920s and 1930s, between Lenox and Seventh Avenues in central Harlem, over 125 entertainment venues were in operation, including speakeasies, cellars, lounges, cafes, taverns, supper clubs, rib joints, theaters, dance halls, and bars and grills.[55]133rd Street, known as "Swing Street", became known for its cabarets, speakeasies and jazz scene during the Prohibition era, and was dubbed "Jungle Alley" because of "inter-racial mingling" on the street.[56][57] Some jazz venues, including the Cotton Club, where Duke Ellington played, and Connies Inn, were restricted to whites only. Others were integrated, including the Renaissance Ballroom and the Savoy Ballroom.In 1936, Orson Welles produced his black Macbeth at the Lafayette Theater in Harlem.[58] Grand theaters from the late 19th and early 20th centuries were torn down or converted to churches. Harlem lacked any permanent performance space until the creation of the Gatehouse Theater in an old Croton aqueduct building on 135th Street in 2006.[59]Spiritual African Drummer on 135th Street between Adam Clayton Powell Boulevard and Frederick Douglass BoulevardFrom 1965 until 2007, the community was home to the Harlem Boys Choir, a touring choir and education program for young boys, most of whom are black.[60] The Girls Choir of Harlem was founded in 1989, and closed with the Boys Choir.[61]From 1967 to 1969, the Harlem Cultural Festival took place in Mount Morris Park. Another name for this festival is "Black Woodstock". Artists like Stevie Wonder, The 5th Dimension, and Gladys Knight performed here.[62][63]Harlem is also home to the largest African American Day Parade, which celebrates the culture of African diaspora in America. The parade was started up in the spring of 1969 with Congressman Adam Clayton Powell Jr. as the Grand Marshal of the first celebration.[64]Arthur Mitchell, a former dancer with the New York City Ballet, established Dance Theatre of Harlem as a school and company of classical ballet and theater training in the late 1960s. The company has toured nationally and internationally. Generations of theater artists have gotten a start at the school.By the 2010s, new dining hotspots were opening in Harlem around Frederick Douglass Boulevard.[65] At the same time, some residents fought back against the powerful waves of gentrification the neighborhood is experiencing. In 2013, residents staged a sidewalk sit-in to protest a five-days-a-week farmers market that would shut down Macombs Place at 150th Street.[66]Uptown Night Market was founded in 2021 to celebrate cuisine, community, and culture.[67] It is one of the largest night markets in Manhattan. The main attractions include musical performances, arts and crafts shows, and food.[68]MusicBlack Ivory in Harlem 2017Many R&B/Soul groups and artists formed in Harlem. The Main Ingredient, Frankie Lymon & The Teenagers, Black Ivory, Cameo, Keith Sweat, Freddie Jackson, Alyson Williams, Johnny Kemp, Teddy Riley and others got their start in Harlem.Manhattans contributions to hip-hop stems largely from artists.
AFRICAN AMERICAN magasin BOOK SIGNED AUGUSTA BAKER STORYTELLER GREAT INSCRIPTION HARLEM
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