The Docent Educator

16 Pages·1991·2 MB·English

by  Gartenhaus, Alan

4 A
minds motion
in \
' ' \
Vol. 1 No. 2 The Quarterly Journal for Dedicated Docents Winter 1991
Sharpening Communication
Skills
Inside
The Art and Science of
Storytelling
Talking with Teenagers
Connecting with
Multi-Cultural Audiences
Maintaining Discipline
"Say what you mean and mean what you say!" Sounds simple, but is it?
Whether you teach in a museum, historic home, zoo, botanical garden,
nature center, interpretative park, or traditional classroom, successful
communication requires a strong command of language, clarity of thought,
knowledge of the subject matter, an understanding of the audience, and a
delivery style that's engaging.
This issue of The Decent Educator investigates a range of methods and
techniques that can sharpen your communication skills and make your
teaching activities more successful.
!
minds
in motion^
Watch Your Language
fhilkMmtor
Publisher/Editor
Alan Gartenhaus
hat's wrong withtelling productive context. Visitors may
Associate Editor visitors that this isan excellentexample become confusedordisheartenedby
JackieLittleton
ofnaturalistpaintingandrevealsthe that form ofcommunication because
Editorial Assistant artist's commandofcolor, light, andthe they see things differently, orbecause
Molly Dempsey reflectivepropertiesofwater?' they don't understand the criteriaor
Everything I've said iscorrect." rationale u,sed.
Graphic Design Docents are often puzzled to learn Forinstance, when visitorsare
Shelly Baldwin that communicating in this manner told that something is an "excellent
may be counterproductive. Afterall, example," as in the statement above,
minds in motion the information, and in some cases the they may be at a loss to understand
The Docent Educator © words themselves, were providedby why. The word "excellent" conveys a
201 Eleventh Avenue East curators or scholars. valuejudgment. Valuejudgmentsare
1
Seattle, WA 98102-4109 The reason statements like the one determinations ofrelative worth based
above are inappropriate for most tours on subjectivecriteria. Understanding a
iscomplex, but revolves around the valuejudgment requires a shared
difference between tellingand awareness ofthe standards by which
TheDocentEducatorwelcomes teaching, and the manner in which .something wasjudged and the
unsolicitedarticles, announcements, letters ideas and insights are communicated in paiticularreasons it wasdetenninedto
to theeditor, general correspondence, and each case. be superior. These assumptions,
advertising inquiries. The viewsexpressed Text panels tell; docents teach. however, exceed most visitors' level of
orimplied inthispublicationdo not Each has adifferent objective and awareness andcomprehension.
necessarilyrepresenttheofficialposition requires adifferent approach to Look again at the statement above
oftliepublisher, andefforts aremade to communication. froma visitor'spoint-of-view. What is
presentavarietyofviewpoints for Telling serves to transfer .specific meantby having "command" ofsuch
readers' consideration. facts, information, andjudgments thingsas coloror light? Why woulda
about a collection, exhibition, object, painting, which might seem poorly
TheDocentEducatorispublished orlife fonn. It is communication from renderedor splotchy, demonstrate
quarterly. Theofficeandmailingaddressis: adefinite perspective, determined by mastery? This statement fails to
2011 Eleventh Avenue East such factors as the discipline and communicate in a mannerthat visitors
WA
Seattle, 98102-4109 orientation ofthe institution, context, can verify or understand.
and the insights and backgroundofthe Speaking with valuejudgmentsor
TheDocentEducatoris availableby panel's author. assumedpoints-of-view, as one does
individual andinstitutional subscnption. Teaching serves to impart skills, when "telling," puts many visitors ata
especially tho,se ofobservation and distinctdisadvantage. Some will react
Nopailofthispublicationma\be analysis. The goal is toenhance by accepting what they are told
reproduced, orusedinan\manner, without visitors' abilitiestoobtain and without comprehending it; othersmay
thewrittenconsentofthepublisher construct theirown meaning from simply dismiss what they're told
All rightsare reserved. collections, exhibitions, objects, orlife without giving it appropriate
forms. The emphasisis weighted more consideration. In eitherscenario,
towardpracticingbehaviorsandproblem visitors wind upresponding to what is
solvingthantoward accumulatingand .said, rather than to what they shouldbe
CoverPhoto: memorizingisolatedfacts. seeing andexamining. Theresult is
DenverZoo docentGary Outlaw, Whetherin an art, history, or notonlymiscommunication, butmissed
accompaniedbya liornedowl speaks science institution, the majority of opportunitiesforlearning andgrowing.
directly with his audience. His name people taking docent-Iedtours lack the In hisbookLanguage in Thought
tag andhis vest, with its institutional developed backgroundand andAction, S.I. Hayakawa categorized
patch, clearly identify' him asa docent- understanding toplace definitive words into three distinct types useful
educatorto visitors. statements, such as those used in forcontrolling communication and
"telling," in an appropriate and comprehension. The first category he
. '
Words Promote Understanding
that
by Alan Gartenhaus
termed report words. Report words observations, butalso allows visitors
are those thatdescribe whatcan be tocommunicate more precisely with
seen, heard, felt, orotherwise verified. each other.
They are accurate descriptionsof Hayakawa suggests that in every minds in motion:
observations and can be confirmedby case where inference orjudgment is using museums
others. Forexample, stating that "the made, report words follow to clarify
grandfatherclock in the entry hall the "mental leap" between whatcan to expand
stands oversix feet tall, ismade of be confirmedand what has been creative thinking
mahogany wood, and chimeson the implied. This notonly improves
hour" usesreport words. communication, it teaches visitors by Alan Gartenhaus
The secondcategory is inferential how to use anddevelop their Caddo Gap Press, 1991
words. Inferential wordsmake observation skillstoextract $9.95 plus $1.50 postage
statementsabout the unknown based information, and how tobetter
on what is known. Forexample, comprehend theirpersonal responses
stating that "crocodiles are well suited and decisions.
forlife in the water" is an inference. It Docents, interpreters, and others
may ormay not be true. If, however, who teach must be vigilant
this inference is followedby report communicators, working toensure
words, communication is clarified. A that language serves toclarify what
verifying report statement might be they (and visitors) are saying. Unlike
that "crocodiles have eyes and nostrils theprocess ofwriting, which can be
higherthan the rest oftheir heads for reworked and refined, the verbal
seeing andbreathing while floating in communication taking place between
the water." docents and visitors is dynamic and
The thirdgroup isjudgmental fluid. The luxury ofbeing able to
words. They convey approval or secondguess, torework, oredit is
disapproval. They are words such as unavailable. Docentsare obliged,
"good" and "superior," or"poor" and therefore, to make certain that
Havefunusingmuseumstoexercisethe
"bad." Judgmental words inhibit inferences andjudgments, which are
brain's creative "muscles!"
understanding unlessreport words, subject toa wide latitude of
which state the reasons andcriteria, misinterpretations, are alwaysreferred
minds in motion: using museums to
are put forth. Forexample, saying back toreport words so that everyone
expand creative thinking offers simple,
"this wasa terrific advance in aircraff learns and understands whatis being
practical,andfunwaystouseart,history,
tells the listener little. However, if communicated. andscienceinstitutionstomakechildren
that statement is followedby ".
. and adults more creative thinkers.
because this carrierused less fuel,
could fly longerdistances, andcould
To orderyourcopy, write orcall:
hold more passengers," the
Caddo Gap Press
communication is clearand AlanGartenhaus isthe publishing 915 "L" Street, Suite#C-4I4
judgmTehnet'ussemoefanreipnogrtiswuonrddesrsttooeonds.ure erdeictioprieonfttohfisanneAwslldeetnteBr..DHoewhCarseabteievnittyhe Sacramento, CA 95814
accurate transferofmeaning does not Fellowship, anawardofspecialrecognition [phone]
only pertain to docents. Visitors forcontributionstochildren'stelevision (creditcardphoneordersaccepted)
should be asked, in a non-threatening fromtheTaftBroadcastingCompany, and
an AwardforMeritoriousServicefromthe
and non-challenging manner, to
Smithsonian Institution. Inadditionto
reference their ideasandopinions with
writing,heprovidesworkshopsfordocents
reportwords. This notonly allows
andclassroomteachersoninterpretative
docents tomonitorandrespond teachuigtechniques,creativityandits
appropriately to visitors" thoughts and enhancement,andquestioningstrategies.
3
Connecting with Multi-Cultural
I
n 1989, the American interpretation oftheircollections, these various culturesand their
Association ofMuseums establisheda museumscan fosterinclusiveness." contributions to ourcollective pastand
task force on education toexamine The visions expressed in the report present, does not mean that the
critical issues, and todevelop are laudable and desirable, and they "mainstream" culture will be
proposals forstrengthening and challenge museum staffand docents to eliminated. What will change,
expanding the educational role of enfranchise the many racial, ethnic, however, is the singulai"emphasis on
museums. Theirfinal report, which social, economic, andeducational the accomplishments and lifestyles of
wasrecently issued, discussed the backgroundsofthe people in their white Americans to the neglect of
"public dunension" and "educational community. To accomplish this, others and the impression that they
role" ofmuseums, and the broad howc\er, we must first confront some were the only people to make
contributionsmuseums significant contributions.
can make to society. A Thefactspresented
I urge all ofthe in subjectssuchashistory
museum community to willbedistortedinan
read this report in its effort to contributeto
entirety, but permit me raisingtheself-esteemof
toexcerpt some ofthe othercultures.
conclusionsbearing on Our view ofthe past
multi-culturalism and has always been "slanted"
education: simply by choosing one
A
"... individual emphasisoveranother.
museums ofdifferent Whether by focusing on
sizes and typesmust wealthy landowners,
ensure that they are industrialists, orpolitical
accessible to a broad figures, we present a mere
audience and that they piece ofthe entire picture.
do not intentionally, While some people might
oreven subtly and Visitorssuchas these intheHouston MuseumofNaturalSciencearrive have us completely
unintentionally, withdiffering ethnic, cultural, andeducationalbackgrounds. overhaul how history is
exclude anyone. presented, it seemsmost
"Each visitor supplies yet ofthe apprehensionsandassumptions appropriate andreasonable to
anothercontextandanotherlayerof that may blockorobscure these goals. incorporate the roles and lifestylesof
meaning as he orshe brings individual They include: men and women ofvarious colors,
experiences and valuestothe The mainstream culture many creeds, andeconomic groups as we
encounter with objects in amuseum have come to know andvalue isgoing examine the past, rather than tomimic
setting. to be supplantedbya new, strange an elitist approach by shifting
"Those chargedwithmaking hybridofexotic elements. inordinate emphasis from one group to
museumpolicy, aswellas those charged This country hasalways consisted another.
with carrying itout, mustunderstandthe ofa mix ofcultures, and today we are A multi-culturalapproach may
diversity ofoursocietyand supportthe becoming even more diverse. The promote racism andrage.
implications ofthatdiversity for U.S. Census Bureau predicts that the There is concern that sharing
museumoperationsandactivities. percentage ofpopulation growth information about repression will
"Assure thatthe interpretive between now and the first 30 yearsof engenderresentment, anger,andshame.
processmanifestsavarietyofcultural the next century will be vastly larger These risks doexist. Nonetheless, by
andintellectual perspectivesandreflects among Hispanic Americans, Native sharing this type of infonnation about
anappreciation forthediversityof Americans, Asian Americans, and the past, we provide contrasttoour
museums' publics. Bycultivatingand African Americans than it will among present and recognize that there should
expressing avarietyofcultural "white" Americans. Developing an be no single standard or image to
perspectives inthepresentation and understanding andappreciation for which everyone ought to aspire.
4
Audiences
by Tamra Carboni
In thefinalanalysis, andregardless A Askmuseum staffforprograms "real experiences andbeliefs," andthat
ofone'spersonal viewsconcerninga and sources ofinformation that will there isn'tone dominantconceptand
multi-cultural approach toeducation, assist you in learning and other, minoraberrations.
there are several salientiinplicationsfor understanding more ofthe various Don'tavoid,oruseeuphemisms
those involvedin interpretation within culturesthat comprise your todiscuss, areas ofcultural conflict
museumsandhistoric homes. These community. The more you know and strife such as slaveryorracial
implications impactthe responsibilities aboutothers, the easier it will be for discrimination. Don't misrepresent the
ofdocentsdirectly. you to convey appreciation and pastby giving disproportionate
In most cases, the time-honored sensitivity in concrete ways. emphasis toa few pleasant
techniques ofworking with visitors Be prepared tomeet valuesthat circumstances within a generally
continues tobe appropriate. However, differfrom yourown. These undesirable situation. Strive fora
some need tobe emphasized. differences can presentreal obstacles balancedandaccurate representation.
Examine the language you use as thevaluesamong various cultures Become aware ofwhat
and the attitudes youexpress in are sometimes disparate, andeven in constitutes racism, and how itpervades
relaying infonnation to visitors. Be conflict. This is when understanding mainstream culture.
particularly wary ofreinforcing and respect fordifferences canbe most In conclusion, rememberthat
stereotypesrelated to ethnicity, race, or difficult to attain. However, it is not education is the transmission ofculture
sex. Do not treat studentsofone group your responsibility to change anyone's from one generation toanother. We
differently than you treat those of values norto defend yourown. mustrecognize that the composition of
another. Don't favor, ignore, Attempttoachieve tolerance by American society haschanged
condescend, orassume. adopting the attitude that all significantly overthe past several
Try topresent information perceptions ofthe world come from generations, and, as aconsequence, the
within a broadcultural framework. culture tobe transmitted has
Ifthe main subject pertains changed. The way we educate and
primarily to one culture, find ways what we teach must change
ofputting it in a widercontext that accordingly. Thisdoesn'tmean
makes itrelevant toothergroups. that we discard all the teachings of
Remember, people need to see the past. It doesmean that we
themselves as participants in the should broaden ourfieldofvision,
history presented. Give enough notjust extending the periphery, by
infonnation toallow forsome sharpening ourfocus throughout.
connections to be made. For
example, ifyou are interpreting the
home ofa wealthy Caucasian
family, considerhow the houseand
family related, compared, and Tamra Carboni isDirectorof
contrasted to other segments ofthe PublicProgramsattheLouisiana State
area's population. Ifthisrequires Museum inNewOrleans. In addition
infonnation you haven't been to hermuseum responsibilities, she is
provided, request it from the thechairoftheAmericanAssociation
museum staff. ofMuseum'sMediaandTechnology
Be accepting ofvaried Committee, andisaconsultantforthe
NewOrleamPublicSchoolSystem.
comments and responses. Beopen
ser\'ingontheirAdvisory- Committeeto
todifferentperceptionsofartifacts.
InfuseAfrican/AfricanAmerican
Shoulditprove useful forpromoting Studies intothe Curriculum. She
communicationandunderstanding, earnedherundergraduatedegree inart
askforclarificationsorexplanations histoiyfrom Tulane Universityandher
withan interested,ratherthan M.Ed,fromthe UniversityofNew
skepticalorjudgmental, tone. Diversityamong visitorswillcontinueto increase. Orleans.
5
Talking with Teenagers
by Susan Feibelman
T
he teenagers' world isa Conveying interest in your lours. The challenge is tocapture their
difficultone. Between the advertising teenaged visitors requires learning who imagination and put it into gear. Ifyou
wizards ofMadison Avenue andthe these important people are. Questions can do this, you've got them!
film moguls ofHollywood, teens are such as "Why have you come here Throughout your—tour, shift the
given an incredible range ofimages to today?" and "Whatdoyou need/want focus backand forth from whatyou
contend with. When one adds to this toaccomplish during our tour?" can want to teach toan investigation of
confusion the harsh realities faced by begin this process, while serving as a tlh'ir insights and ideas through
many teenagers, including pregnancies, barometerofthe group's mood, creative questioning. Teenagers need
suicides, substance andphysical abuse, readiness to participate, and opportunities todemonstrate and
and a general lack ofadult expectations. discuss their interests, knowledge, and
involvement in their lives, the teen Respect also implies that the understanding ofsubjectmatter.
years seem farfromthe Norman questioner, or teacher, will share back Also, provide opportunities for
Rockwell-type images we find so with the group. Consideroffering your teenagers to respond to questions using
comforting. opinions orassessments with students theirown imaginations. Questionssuch
Asaclassroom teacherand after giving them an opportunity to as, "What smells do you associate with
administrator, I have worked with this express theirs. this type ofsetting?"or "How is this
agegroupformany years. During that Respect requires valuing their like apiece ofmusic?" can serve as ice
time, I developedagreatappreciation opinions and insights. Let them know breakers toprcxluctiveconversations.
andaffection forteachingteenagers. I you do, and tell them that throughout PERSONAL MEANING. Tobe
foundthatbeneath theirtough, the touryou will be learning from, and effective, amuseum experience must
protective skin,manufacturedtosurvive with, each other. involve all studentspersonally and
in a hostile environment, arepeople IMAGINATION. While there is meaningfully. Studentsbecome most
eagertoconnectandembrace new ideas no truerhome tothe spiritof engagedwhen the instruction is
andexperiences. Much like peeling an imagination than that ofa museum, interactive. Teenagers need tobe
orange tofindits fragrantmeat, I have many teens arrive with preconceived totally immersed in the content,
discoveredtherewardsofbreaking notions ofboring exhibits, monotone drawing upon all their senses, and
through theirtoughenedexteriors. lectures, andovercrowded, rushed linking information to many different
Experience taughtme to
incorporate three, non-negotiable
strategies into my teaching when
working with teenagers. These
strategies require that I:
establish a sense ofmutual
respect;
A
recognize that tapping their
imagination iskey; and
realize that learning occursbest
when personal meaning isascribed.
RESPECT. Teens respondto
respect withrespect. To ateenager,
respectequates with being treatedas
an adult. Thatmeans teenagers want
you tobe sincerely interested in them
and theirideasandtoengage them in
"give andtake" conversations.
Teenagers resentbeing talked "af or
'
"downto." Docent Celeste Clarkengagesthe imagination andinterestofherteenagedvisitorsat
theDenverMuseumofNaturalHistory.
subjectareasandpersonal experiences, and the teenagers' world is your them with agreat service, presents you
rather than simply listening. responsibility to suggest as the teacher, with an interesting educational
Questions should focuson the not simply theirresponsibility to challenge, andoffers you one ofthe
teens' previous experiences with discoveras the students. mostrewarding ofteaching
similarsubject matter, as well asrelate Today's teens come ofage in a experiences.
to issues they are currentlydiscussing. society offast foodsand schemes for
Teenagers relate best iflinkage can be instant gratification. Museums,
made to theirworld. Forexainple, in gardens, historic homes, and othersuch
an art museum teensmight be asked institutions demand behaviors thatrun
SusanFeihelman hasbeena
how they have seen "conflict" contrary tothese experiences. They
classroomteacherandadministratorfor
expressed visually. require that studentsandother visitors theDallas(TX)IndependentSchool
Teenagers mustbe madeaware of slow down enough tomake careful District(DISD)since 1979. Shecurrently
how yourtourrelates to them, observations and engage in thoughtful senesasanInstructionalSpecialist
personally. Remember, making reflection. Helping teenagerspractice workingwithinDISD'sPsychologyand
connections between subject matter these behaviors=and skills=provides SocialSenicesDivision.
A
Few
Principles of
Public Speaking
by Molly Dempsey
L
arge or small, in an Questions clarify, and can enlighten looking at the collection, not your
auditorium or in a museum gallery, both the listenerand the speaker. wardrobe.
audiencesrespond to the same basic When you are asked a A Enunciateandproject! Nothing
principles ofpublic speaking. challenging question, orone requiring ismore frustrating forlisteners than
Begin bypresenting the some thought, do not try toanswer not to be able to understandorhear
overview or theme that will thread quickly to "cover up" yoursurprise. what is being said.
itselfthroughout yourtalk. Your Youriskgiving misinformation or Most importantly, public
audience needs to understand what you saying something you will have to speaking requirespractice and strong
will be teaching them and to have modify later. Instead, give yourselfa knowledge ofthe material you want to
some sense ofa unifying concept. moment to think. And, ifyou simply present. Work on yourpresentation
Avoidconfusing or technical don't know the answer, say so. and yourstyle with friends, family
A
terms wheneverpossible; use simple, The "art ofpausing" works members, orotherdocents. Tape
conversational language and hone your better iffillers like "um..."or"well..." record yourselfand listen to it as
ideas to their sparest, yet still don't substitute for silence. visitors might. Amore critical
A
informative, fonn. Ifyou must use an Be relaxedenough to laugh, approach would be to videotape your
obscure tenn, orare attempting to especially ifsomething spontaneously tour to improve control ofbody
introduce new vocabulary, be certain funny occurs. Be a partofthejoke, language andgesturing, in addition to
toexplain fully, and in amanner not its subject. speaking voice, intonation, and
A
consistent with the listener'sability to Cultivate enthusiasm. Ifyou content. And, be sure topractice often.
comprehend. are enthusiasticabout yoursubject, it Chances are, when youare satisfied,
Relate each new object or will seem more interesting and your audience will be, too.
importantpiece ofinformation back to worthwhile to youraudience. Ifyou
yourmain concept or theme to keep feel less than enthusiastic, do
listeners"on track." additional research, speak with staff, or
A
Beware oftangents, unless they find something that makes the subject
are briefanddirectly relate to your more interesting to you. Remember, MollyDempseyrecentlygraduated
subject. They can confuse listeners what you feel inside comes through to fromBoston CollegewithaB.A. inEnglish.
anddistract you from yourown train of visitors. In additionto herresponsibilitieswith this
A
thought. Select clothing andaccessories publication, she isafreelanceproduction
Usequestions fromthe audience you feel comfortable in, andthatdo not assistantforafilm andvideocompanyin
tocreate something ofadialogue. dominateordistract. Visitorsshould be Seattle. WA.
7
There's an art and science to
. . .
Telling Stories
by Clare Cuddy
T
throughout history, storytellers voice in acknowledgmentofthe drama creating images in theirminds that
havefulfilledrolesastheircommunity's oftheevent. correspond to, andelaborate upon,
historians, spiritual counselors, Giventhisshared tradition, why what is told. As the story unfolds,
educators, andentertainers. They aren'tmoredocentsmaking storytelling listeners begin to identify with
engagedcommunity members in— an integral componentoftheirtours'? characters, empathize with dilemmas,
thoughtful consideration oflife Whenever I have asked thisquestions and become emotionally involved
enabling them to laugh at theirfoibles, ofdocents 1 usually hearvariations on with outcomes. As the "plot thickens"
learn from thepast, andmakejudicious the same tworesponses. and the resolution nears, listeners may
decisionsforthe future. The settings One is that "stories are more even respond viscerally with a
fortraditional storyteUing varied from entertainment than education, and 10 quickened heartbeat or a tearful eye.
intimate gatherings arounda hearth to to 15 minutesofstorytelling can't be As the storytellerobserves these
large public ceremonies. Presentation justifiedagainst the time available for responses, he or she, in turn, reshapes
stylesranged, too, from conversational looking at collections." The otheris the story. This is how, together, the
totheatrical. However, storytelling that "only 'natural tellers,' orpeople listeners and the tellerjointly create
wasalwaysdefinedas an event where trainedinthetheater,teUstorieswell. It's the story. And, this is how stories can
a story was aeated inpartnershipby notoneofthosethingsyoucanleam." build personal relationships between
both the tellerandthe listeners. Why use precious tour time for listeners and a subject.
Docents are direct inheritors ofthe storytelling? Storytelling has But, the big question still looms.
noble storytelling tradition. Even if "grabbingpower." Even in thisage of Does storytelling have "teaching
they arenottelhng stories, docentsare electronic extravaganzasandmicro- power?" And, can it teach what
presenting in the oral tradition. seconds, the words "letme tell you museums need to teach? The most
Docents estabUshrelationships with what happened" connmandattention. important research being done in this
tour groups; formally shape their And, it isjustthisstateofreadinessand area is by learning theoristDr. Kieran
interactions; improvise to anticipationthateveryeducatorwants. Egan ofthe Simon Eraser University
accommodate the responses oftheir Storytelling also has "keeping in Vancouver, British Columbia. Dr.
audience; andmake choices about power." As soon as the storyteller Egan and his colleagues assert that
pacing, language, dehvery style, and begins the tale, listeners engage by listening to stories is essential to a
student's intellectual development.
Among the skills Egan beUeves are
acquired from listening to stories are:
acultivatedimagination;
A
anabilitytoempathizewithothers;
a sense ofcausahty as it
operates in storiesand in logical
inference;
A
anabilitytoreflectphilosophically
ongeneralhistoricalprocesses;
moral sensitivity;
an ability tomakeromantic
associations with heroesandheroines
orideas;
A
excitement for seeing ideals
and ideas being workedoutthrough
events; and
a hobby-like fascination with
particulars, whetherthey are costumes,
designsofpyramidsorcastles, stamps,
Storytellinghas "grabbingpower!" photo: Clarksville-LeafChronicle
orbaseball cards.
8
Twelve Exercises
for Preparing to Tell a Story
Ifyou are working from amemory ora well-known incident, you are ready to
While these skills may seem begin. Ifyouareworkingfromaprintedtext,however,readitseveraltimesuntilyou
elementary, they are significant in that have the sequence in yourmind, thenclose thebookand do theseexercises.
they serve as foundation skills used by
practicing historians, scientists, and
artists, as well as by students who are Strengthening the Story Visually
exploring the relationships between
1. Close youreyes—andrecreatethe sequenceofthe story in verydetailed
their lives and those that wentbefore. mental pictures asifyoujustarrivedin anew country andare
Forthoseofyouwhofindthis soaking upeverydetail you see.
rationaleconvincing,butarestilluncertain
aboutlearninghowtotellstories,thereis 2. Get upand literally walk through the storyas ifit were happening in the
goodnews! Thetechniquesemployedby room.
effectivestorytellersto"keep"and"teach" 3. Finda fellow docentand tell the story. Then ask the docent to tell the
theirlistenersare,infact,very same story to you addingmore details, suchas colors, textures, sizes,
straightforward than youdid.
Ifyoulookbackatthedescriptionof
howlistenersbecomeengaged,yousee 4. Identify the threemostimportantobjectsandthe most important
whatthetellermustdo: charactersin the story. Describe them toapartner. Tell yourpartnerto
A use strong visual language; askyou five questionsaboutthe way the objectsand characterlooked
A portray the characters in ways that weren'tincludedin yourdescription.
that listeners can identify with and NOTE: Theseareexercises tobuild yourvisuahzation ofthestory; you
react to emotionally; and
A probably won't include all the descriptionsin the final telling.
work with the plot to heighten
the meaning and drama ofthe story.
While it's true that somepeople Getting to Know Your Characters
do this naturally, most ofus need to
work at it. A few exercises are listed 5. Pick three words todescribe yourmain character's personality.
below toget you started. Itmay take a 6. Identify threephysicalcharacteristics thatexemplify these traitsand
while to get the hang ofit, but don't experiment with using themas partofyourteUing.
be discouraged. It can be learned.
One lastpoint ofclarification. 7. Walkacrosstheroomasyourcharacter.
The unqualified benefits oflistening 8. Whatare the first words yourcharactersays in the story? Say them out
to stories in general does not lessen loud as the characterwould say them.
the importance ofstory selection.
Storytelling is not confined to 9. Answerthese questions: Howdoes the characterchange in the story?
folktales and legends. While they Whatis themajorhardship, challenge, orobstacle he orshe faces?
may be easierforbeginners to learn, Then, identify twoemotions the characterfeelsandexpressthem in the
as the visual language, characters, and story, whetherbygesture, toneofvoice,orposture.
plot are in place, they are often harder
to integrate intoa tourwith direct
relevance to yourcollection. Heightening the Meaning andPlot
Todevelop the right stories, look
10. Tell the story in three sentences.
atthe tours you already give. Do they
contain abiographical sketch ofan 11. What universalelementdoes this storygrapple with? (The rewards of
artist, a historical anecdote, the daily perseverance; theconfusionofadolescence; thedifficultyofmoving toa
adventuresofan animal, ora new place.)
description ofa scientific discovery? 12. Identify the mostimportantmoment in the story andtell thatoutloud
Each ofthese contains the germ ofa very, very slowly. Ex—perimentwithadding as—ound, orsilence, or
goodstory. With alittle elaboration contrasting rhythms e.g. fastandthen slow to accentuate the
and shaping, they can become your dramaofthemoment.
own, powerful teaching tools.
For Further Reading
on Storytelling --
Baker, Augusta and Ellin Greene.
Storytelling: ArtandTechnique.
R. R. BowkerCo., 1977
Barton, Bob. TellMeAnother:
Stoiylelling andReadingAloudat
Home, atSchool, andinthe
Conununity. Heineman Educational
Books, 1986,
Caduto, MichaelandJoseph
Bruchac. KeepersoftheEarth:
NativeAmericanStoriesand
EnvironmentalActivitiesfor
Children. Fulcrum, Inc., 1986.
MonelAbayomi-Cole. docentattheNationalMuseumofAfricanArt. shares Egan, Kieran. Teaching as
storieswithheryoungaudience. photo: Smithsonian Institution Sloiytelling: AnAlternative
Approach to Teaching and
Storytelling Resources Curricultmi in the Elementaty
School. UniversityofChicagoPress,
1986.
TheNational Association for the Preservation and Perpetuation ofStorytelling
(NAPPS) has the mostcomprehensive offerings: a large annual festival held in Tuchman, Barbara. Practicing
early October, a quarterlyjournal and a monthly newsletter, a catalogue listing ail Histoiy: SelectedEssays. Ballantine
the professional storytellers and festivals across the country, and a mail-order Books, 1982.
catalogue filled with audio, video, and print duplications ofstories.
Welty, Eudora. One Writer's
Call or write: NAPPS, P.O. Box 309, Jonesborough, TN 37659; Beginnings. HarvardUniversity
1-800-525-4514 Press, 1984.
Yellow Moon Press has the most completemail-order catalogue foraudio Zeitlin, Steven J., AmyJ. Kotkin,
and HollyCutting Baker. A
recordingsofstorytellers, includingMtAraditional ones. Call or write: YellowMoon Celebration ofAmericanFamily
Press, P.O. Box 1316, Cambridge, 02238; 1-617-776-2230 EoIkIoreandTraditionsfromthe
Smithsonian Collection. Pantheon
Don'toverlook yourfellow docents. Those who want todevelop stories for Books, 1983.
the gallery could share the research time and serve as valuable practice audiences
and coaches.
Clare Cuddyisthe Coordinatorof
TeacherSenicesfortheSmithsonian
Institution's OfficeofElementaryand
SecondaryEducation. Priortothis, she
servedas CoordinatorofGallery
InterpretationattheBaltimoreMuseumof
Art, asa ProgramDeveloperforthe
PacificScience Center, andasa
StorytellingInstructorinthePacific
Northwestforover10years. Since 1985.
shehas been Vice-Chairpersonforthe
BoardofDirectorsoftheNational
AssociationforthePreservationand
PerpetuationofStorytelling.
TheNAPPSsponsorsanationalstotytellingandswappingfestivaleachEall.