New Year, New Start - getting there

Ho ho ho

Many things have happened this year and a few challenges and changes have come and gone.

Dwali, Halloween, Hanukkah, have passed by and Christmas and Kwanzaa are fast approaching. I have moved a lot of my website, blogging and email services around after having issues and find myself dancing between the old and the new as I try out these newer services. I have performed at the National Storytelling Festival in Jonesborough, TN and been invited, as a result, to two other large festivals! Under the Oaken Bough was published and released by Parkhurst Brothers in April, and my Gilgamesh CD won a gold awards from Parent's Choice the same month. One of my children went off to college, the other is getting through the last year of middle school (yikes)! A lot has been happening.
I guest hosted a few podcast episodes for Rachel Ann Harding's StoryStory Podcast, a wonderful show featuring some of the best traditional storytellers in the world. I have followed Ann's work for a while and have been to her workshop on podcasts and been working on my own. Her work is top notch.
http://storystorypodcast.com/

Working on the podcast!

A number of years ago we lost Brother Blue, then Diane Wolkstein, Sid Leiberman and some other storytellers and friends I have a great deal of respect for. Thinking on these losses, I wanted to create a podcast of interviews with some of the tellers who were part of the 1970's and early 1980's storytelling revival of the traditional art form. I am not interviewing those who tell personal stories, but instead those people who tell the old folk and fairy tales, myths, legends and yes, fractured fairy tales too. I interviewed the legendary Jay O'Callahan who really tells tales he has created himself, but I see these as fairy tales of a similar vein as Hans Christian Anderson. Jay is a master storyteller, a storytellers storyteller. As I have asked "who inspired you?" of some of the guests, it is more than once people have said - Jay!
Why do this, I have been asked by a few? 'There is such a small audience who might be interested in this what's the point?' The point is, for me, these people are walking libraries of folk tales. When they are gone we might have books and CDs, obituaries, reminisces, but no real idea of who these people are, what made them tick. I wanted to talk to these people and get their story in their own words and voices. To hear them laugh, and share thoughts and memories, ideals, wishes even. I know some of these people, some better than others. Some are my friends and mentors. Others I have only talked to via email - until the privilege of talking to them for these interviews. This will be a finite series. I have a list of people I want to talk to. I have already recorded Elizabeth Ellis, the Godmother of storytelling. Laura Simms, who some have called a shaman. Jay, Donna Washington, Megan Hicks and Papa Joe Gaudet. Bobby Norfolk and Odds Bodkin have said 'yes' to being interviewed, I am talking with Jim May and Tim Jennings, Diane Edgecombe and Elisa Pearmain in hopes to get their stories. All of these folks are "famous" or at least well-known and respected deeply in the world of storytelling. My list is much longer than here.

Performing at Jonesborough

I am creating this podcast through Buzzsprout and Patreon. Keep an ear out for it and let me know what you think. It's called "Conversations with Storytellers:  Wisdom, folk and fairy tales from our elders. A meeting with professional storytellers."
In this ever changing world there is and hopefully always will be great stories told by great people. My guests are some of our pioneers.

As the year winds down, I want to thank you all your support over the years, for reading, listening, booking me, sending me ideas and requests. Thanks for following me, sending me corrections for my website (I am very thankful for that!), and being one of my fans. All is greatly appreciated.

I hope this year has been as productive and exciting for you as it has been for me. And I hope great things happen for you in 2019, when it gets here!
Peace,
Simon

Random Acts in Story - For the Love of Art

As someone who has and does paint and art-work recreationally, photographs for recreation and professionally (https://simonbrooksstoryteller.wordpress.com/), played in bands trying to make a living, as well as making a living as a storyteller currently, I do these things, these art forms for the love of the art itself. For me, and this is not the same for everyone I am guessing, a lot of randomness comes about when creating. All of the following is how I come about an end result. With song and music, especially working with another, there is a bouncing of ideas, you play a piece, and one person might go in one direction,which sparks a random idea in someone else, and so on. With art, I sometimes let the pen or brush run around and something comes from it, sometimes it does not. I might make a scribble, or add an element from someone else's work to see what happens.

Bird in bush of blue blobs

With stories, there is much randomness in how I work and present. Some might call it sloppy, but it really isn't. I play around a lot with my tales - having done all the research I want to do (usually way more than I would EVER need). I goof with them. I give the characters body shapes, ways of walking, speaking, how they scratch their face, or lean to one side when talking. I play out scenarios with the characters which are not in the story. I put them in odd, current, and traditional situations, or add another character from another story to see what happens to them all. Sometimes, during a performance, something random will happen, a sound or noise, a distraction, a kids comment, the way an adult is looking at me, someone walks in late and a thought pops into my mind, and I will play off it. I am not trained in improv, I simply goof around. Sometimes an ending might change. Usually not, but it has happened. Sometimes a story that might be 10 minutes long in a 'normal' situation suddenly takes 5 minutes, or 15-20 minutes to tell, because of what is going on around me. It is the way I am. I can be polished and refined, but I love to goof around.

Show at summer camp, 2015

Try finding a copy of Elvis Presley performing in Vegas, doing Suspicious Minds - the movie is called Elvis: That's The Way It Is. He has rehearsed, and practiced, but there is such freedom in what he does, not too choreographed, there is some looseness and randomness - play.

Not everyone does that, or can do that, or maybe more accurately: chooses to do that. Compare Frank Sinatra to Dean Martin, or Elvis! And it is not about drugs or booze, at least for me it's not. It's playfulness. For me it is opening myself up to what might happen. Taking a tale to the edge, holding it over the edge, and then bringing it back - to see what happens, what random things may occur.

For me, it's not the time one spends on writing a song, or album's worth of material, it is not the research which goes into writing (fiction and non-fiction), or the time it takes to put layer upon layer of paint, or paper, or other media together, or the versions we read (or I read) of stories, what research into the culture I do when working on a story, (even if I never use any of it) - it is done for the finished product. I read or hear something, and think about what I can do, what I would add, do differently, to create something new and then work towards it. I hope it will come out, and if it fails, try other tricks, acts of randomness, to see what I need to do to make it better, or to get closer to how I want it, or envisioned it.

 And sometimes it just happens. But isn't that just totally random too?

Same place, this year - 2016!

Not sure if this is a right way of doing things, really these are just some thoughts. It works for me! I hope the thoughts inspire you!

Simon
© 2016

Is Older Better?

Raven, artwork by Simon Brooks
 © 2016

I'm not talking about me here! I'm talking stories!
There is much stress is made on the Greek Myths in education.  I suppose there is very good cause for this.  Many of the places in these tales are real places and can be traced and taught. But there are so many other cultures whose myths and stories we should be exploring and sharing.  After my own cultural mythology of the Norse Gods, I discovered the Native American stories. They really spoke to me on a deep, deep level.  And I have found the same with Chinese and Indian (Asia) tales.  Much of this I want to explore and research more.

The Old Tales were for grown ups, not children. Let's face it, Grimm's stories contain infanticide, murder, theft, cannibalism, and yet more murder, as do many folktales from other cultures.  Look at the Baba Yaga stories, and some of Australia's traditional stories. In Australia there are tales where babies are eaten, of people setting fire to each other and the animals killing each other in horrific ways.  Many European stories have been watered down over the years, more recently and heavy-handedly in the last 40 years.

I think the stories from former Eastern Block countries were able to keep their strength and power, as they were less touched, as it were, by the French Romanticism and the Victorian era idea of cleaning everything up prim and proper! Some of these are not tales to tell or read to children, at bedtime or other times! But they are great for adults. It irks me a little that the Norse and Germanic pantheon of myths are often overlooked.  Huge units are taught on the Greek Myths, why not the Norse Myths and Sagas? Why not the Indian and Buddhist, Hindu tales too?  I have nothing against the Greek myths, although if children were taught the full story of Zeus and his philandering, the tricks he played in spite, and fear of wrath from his wife Hera, they may have a little less respect for these gods. And Hera always took out her revenge on the innocent, who Zeus had already mistreated!  The Norse gods always held themselves accountable, they seem like real people - "oops, messed up there!"  Very human.


I love the older versions of the Old Stories and take great pleasure from sharing them.  They are so strong. The messages strike harder and deeper.  I love telling these stories.  With all the personal stories being told and being listened to on The Moth and the like, there seem to be few kindred spirits in telling folk tales for adults.  I think if people took the time to sit and listen to the Old Stories we would find a medium in storytelling that is more intimate than theatre, more powerful than the movies and just as healing at times as a much needed call to your parents, trip to the therapist, or a snuggle with your Gran!  As Cassandra Cushing put it in the Bay Express on-line: "...part of the appeal of these stories is how they provide more concrete and straightforward ways for thinking about life's complications."

If you want to explore some of these tales, check out my beginners list of books on folk and fairy tales, myths and legends by clicking here: http://www.diamondscree.com/Booklist.htm
Enjoy!
Simon

Review - Elisa Pearmain’s “Forgiveness”

Elisa Pearmain’s “Forgiveness” – Collection of folk tales, workshop, or counseling?

Cover of CD

We all need forgiveness, or to forgive, even ourselves. ElisaPearmain’s double CD set “Forgiveness” is a must-have on many different levels. First there are the stories themselves. But this is not simply a collection of good folk tales, well told.  This is a collection of stories and knowledge which has been put together, very thoughtfully, as a program which uses stories to teach and to heal.

There is the glimpse at Pearmain’s skills, and gifts, as a counselor.  She brings to the front of the CD the forgiveness which is inherent in the stories Elisa has chosen and shares with us on the 2 CDs.  She teaches, through these stories, how we can learn to forgive (ourselves and others), exploring what we need to do first to be able to forgive and/or receive forgiveness.  Pearmain allows us to look at ourselves in a new light through these tales, and from that spring board, how we can grow.  The way the stories and narrative between the tales is presented, is not preachy or cloying.  Pearmain’s voice is guiding, gentle and strong.

“Forgiveness” also gives us the treat to discover, if we have not already done so, Elisa the storyteller, and what a strong storyteller she is.  Her delivery is natural, pacing immaculate, and her voice and style makes it wonderful to listen to.  She invokes sadness and joy in her telling, and each tale is given a power that few can deliver as well as Pearmain; more so, in the context of which she shares the stories.

The 15 tales (and the 8 sections they share) themselves come from many different cultures, traditions and countries. Two are personal stories: one of Pearmain’s own, and one from another primary source, and shared with permission.  These stories add to the power of the program, proving that one is ‘not alone’ in suffering or grief. There are also teachings, ritual, and meditation included to help understand, travel through, and learn.  The eight sections take us from ‘Getting Started’, and ‘Empathy’ through to ‘Letting Go of Anger’ concluding with ‘The Forgiving Stance’. Each section contains at least one story with a reflection or exercise to aid the listener “and those they serve to heal…[to] live more joyfully in the present”.

One could buy the 2 CD set for the tales alone: they are worth ever penny.  One could also buy the CDs for therapy work, or as a gift for those close to us who may be in need of such a program.  15 stories, plus the teachings included on the 2 CD program are very much worth the $22.50.  For more details on the stories, where the stories come from (there are very good sources here), and details on how to purchase Elsia Pearmain’s recorded “Forgiveness” program, please visit: http://www.wisdomtales.com/forgiveness.html

If Elisa Pearmain ever offered a workshop which is based around this program, or brought out a book, to explore and expand this program, I for one would be on board.

Artwork by Simon Brooks, copyright 2013

Growing Stories

A friend of mine, Marek Bennett, who is an artist, musician and teacher, wrote a blog about his forthcoming graphic (comic) travelog of his visit to Slovakia.  It gave me pause for thought about stories and how they grow. In his blog, Marek likens his book like transplanting cabbage! Read it, it is interesting.

In the vein of nothing now is truly original, and with Marek's permission, his blog inspired me to think about stories in a similar way.  Personal stories more so, because they are, well - personal.  Something happens to us, we see or hear something and a seed is planted inside us - the seed of a story.  If we ignore it, it will die and be lost.  Some stories we want to lose and forget, but sometimes those are the stories we should keep, nurture and try to explore and find meaning in.  Sometimes our hardest work is our most valuable.

So here are my thoughts on stories beginning as seeds:

1/. Choose a seed

Heirloom seeds could be considered our family stories, or historical stories.  But there are also our personal stories as mentioned above like those heard on The Moth, traditional folk and faerie stories, myths, legends, sacred stories, the list can go on forever.

2/. Seeds need to be planted in fertile soil
Our minds need to hold these stories, collect them, and store them, recall them.  We need to be creative for the stories to become strong.  We need imagination.  We need to be able to place ourselves IN the story to feel and see, hear and touch those things in the story

3/. Seeds need the right nutrients to grow
For a story to grow (and by that I do not mean add lies for embellishment) you need to work on it. Going back to school, you need to make sure that you have all the who's, what's, why's, where's, when's which's and the how's! Without these the listener might get lost, find the story confusing, not understand what is happening.  The who, what, why, when, when, which and how are the nutrients of the story and without these the story will become stilted, awkward or stunted.  Sue Black has a great resource for these nutrients on her website (which has a number of other teacher resources).

4/. Keep the seedlings indoors until chance of frost has gone
Stories can trick you and trip you, and likewise if a story is brought outdoors before it is strong enough, you could damage or kill the story.  Tell the stories; at first to yourself, to a voice recorder, a pet, a stuffy, the mirror, on a car ride!  This is keeping those seedlings safe until they have grown stronger. Then tell to a practice audience to get the real feeling of the story.  This is like bringing the plants out during the day, but back in at night.  In Laura Packer's recent blog "Eight Things I Learned From the Kansas City Fringe Festival" she says of working with a practice audience: "Because I am a storyteller and not confined to a word-for-word script, the story shifted each time. I loved hearing how some bits rose to the surface and others fell away as I danced with the audience." Personally I like to find those bits that rise in case this indicates something else I need to bring to the story, and not be surprised, although that is fun too, and how stories grow!

5/. Once frost has passed, plant outside in a steady light
Many traditional cultures say that stories are living things - something I strongly believe - and that they only live, or become alive, when told.  If you have never told a story and been In The Story you are telling, then try it.  Not reciting a story, but telling it. When you do, you will understand what I mean by stories are living things.  By now the story you have been growing and nurturing is strong enough to go outside and into the light of day.  Telling the story truly gives the story strength to grow more.  It's roots will go down deeper, the shoots will become thicker and longer, the flowers more radiant.

6/. It doesn't hurt to learn more about your plant as it grows
Long after I have been telling a tale, I have uncovered older versions, or variants, and by reading, listening or looking over these I might find things that were missing - maybe there was another who, what, why, when, when, which or how that I was unaware of and has been brought to light.  I can choose to add that nutrient to the story, or make the decision that the story is strong enough and the right shape and form, and has the right type and number of flowers for me to make it without those extra bits.

7/. Take care of your plant and: Enjoy!

The story has become itself. It has grown from a small seed, and you have nurtured it, but it is it's own being - I believe - and it will continue to grow and change.  It will stay strong if you keep telling it, and will grow weak if you leave it alone with no nourishment at all.  Just like a plant the story will need watering, take it out and tell it once in a while as you learn new stories.  You will never forget it; the story will not die if you have tended it well and look after it well.  And over time your mind will contain a beautiful garden filled with tales and stories to share.  Some will be family stories, some will be personal stories, and some will be the folk and faerie tales we all love so well.

To hear some of my stories, visit my website and go to Free Stuff! And if you are looking for other resources on my website you can find them at: Resources and in the Teacher's Room.

Marek's book is called Slovakia, Fall in the Heart of Europe and you can read some of it and see it's growth on one if his many working websites: http://marekslovakia.wordpress.com

Music and Story

One of my favourite albums!

I have just finished reading a book by Nick Hornby (High Fidelity, About a Boy, Fever Pitch and A Long Way Down amongst others) called Songbook.  Although it is primarily about his top favourite pop songs, it talks about the importance of music and in particular pop music.  He defines pop as most things which have a three verses and a chorus and comes in at around 3 or 4 minutes, with the occasional exception.  I also have a friend called Stevens Blanchard who has his very own pop group called Conniption Fits, as many in the Upper Valley of NH and VT will know.  He is also a D.J. (an acronym for disc jockey, someone who jockeys discs - nowadays CDs! I resent the words deejay and emcee.  Is a deejay a type of bird?  I have no idea what an emcee is, but I know that M.C. stands for Master of Ceremonies)! He says that country is the new pop! Anyway! Hornby writes about there was only 'one type of pop', but now there are many sub-divisions of pop - such as heavy metal, hip-hop, death metal, punk, R&B, soul, etc and even country and western (both kinds!), but it got me thinking about storytelling.

So, my thoughts: classical music was the 'pop' of the age, then came along those flappers listening to Gershwin, Armstrong and Bessie Smith and later: Crosby, Sinatra, Connif, and Streisand who shocked everyone at the time.  And ?!  And then they became pop. Then rock & roll came to be and everyone had to lock up their daughters, and ban r 'n' r as devils music.  Then rock & roll turned into pop.  Rock & rock became heavy or hard rock, and then heavy metal and daughters were again locked up. Then punk arrived and all children were kept safely at home, but that too turned into pop. Get the idea?

So here was aural storytelling, which began trying to explain the universe, then along came the legends, stories of real people which merged with other people and became surreal and mixed with magic.  And like the first pop, that stayed around for a long time.  A shake up was overdue, like an old library book, and people (I believe mostly Americans) 'launched' the personal story genre into the arena of public storytelling.  Once personal stories were added to the cache of storytelling genres, a punk movement (which in England was regarded as a political movement) was needed and we got story slams.  Or maybe slams are a story version of a combined punk and rap movement. Big stories made short with great economy of words, but with none of the passion lost.

And another of my faves.

All of this, of course, does not take in account that the original political advisers to the kingdom rulers were the poets and singers of the pre-Christian era.  The first Romans to Britain found schools larger than any today and wrote about these colleges as being filled with budding bards, so were the stories were first sung? In John Matthews' Taliesin, he quotes that a bard had to learn in their first year 'fifty oghams or alphabets. Elementary grammar. Twenty tales.'  In their sixth year, they learned 'the secret language of the poets. Forty-eight poems of the species called Nuath. Seventy or eighty tales.'  In their twelfth, yes I said twelfth year they go on to learn '120 Cetals or orations. The Four Acts of Poetry. During the three years to master 175 tales [in their ninth year!] in all, along with the 175 Anruth, 350 Tales in all.'  As Matthews says: 'R.A.S. Macalister writes: Suppose ... [we] keep them in school 300 working days in a solar year ...they learn no more than ten lines of poetry in a day, they will have acquired a total of 3,000 by the end of the year, and in twenty years they will be masters of 60,000 lines.  This is considerably more than twice the length of the two Homeric epics.'  I am assuming here he is saying that those epics would be memorized word for word!

Can you imagine a pop star doing this?  Granted there are some storytellers who do tell the Odessesy, and Gilgamesh, and other epics, but the rest of us?  I try hard to learn at least ten new stories a year.  It usually ends up being five or six, but still!

Taliesin - my logo

So what is my point?  As Nick Hornby says in his book, he needed the Clash in his teens, and all other music to his ears was sappy, or spineless, but now he looks for more in music than what the Clash has, now, to offer him.  As a huge Clash fan myself I feel a little resentment to his words, but the sentiment I agree with.  He has not 'gone over to jazz' yet, but then I was into jazz in my teens.  As a storyteller I am finding that the tales I tell have become deeper, that they are tales I tell are less for entertainment, but for the stories themselves.  As more and more slams happen, and they loose their punk/rap/hip-hop counter culture status and become pop, will these listeners begin to seek out the storytellers who are the Orffs, Bachs and Elgars, or the Fitzgeralds, Silvers, and Monks?  This was not quite what Hornby was saying, but it is what he inspired in my own mind and made me wonder the reflection of pop songs to storytelling.

Maybe I should look at that course at East Tennessee on storytelling and folk lore!  Maybe I would find my inner Clash storyteller, or might I find that I am now more Mingus or Mozart? Only time will tell!

Tiz the season

Crow II by Simon Brooks, (c) 2012

Recently I have spent a lot of time working on voice over work and learning new stories and rehearsing some of my old favourites.  Last night I told some of these tales for teens and grown-ups in Amherst, NH.  There was a wonderfully warm crowd there and the atmosphere was cozy, I thought.  I was telling Winter Holiday stories. Although I am not a practicing Christian, I am Spiritual and my upbringing was Christian.  So most of the stories reflected that.  I always feel a little odd telling Jewish tales, not being Jewish! Almost all of the stories were folktales, although I also told the true story of the unofficial truce on Christmas eve, December 1914.  Although the Pope himself could not stop the war or get a cease fire, and although the suffragettes could not petition for the war to end, the fighting soldiers themselves began truce. On Christmas Eve the Germans set up trees they had been sent, and lit candles along the trenches and  when the Germans sangs hymns and carols the British sang their own, not to be outdone! It had been raining up to Christmas Eve and on Christmas Day the weather was good.  Together, on Christmas, they swapped gifts and buttons, exchanged cigarettes and rations, and played football (soccer), in some places along the front, as many as 50 soldiers on each side.  No-mans-land being the pitch (field) they played on.

Raven by Simon Brooks, (c) 2012

All of the stories I told, although featuring Christmas, have a strong message in their own right.  The message is about sharing, looking after each other as well ourselves, of giving to those in need - because no matter how badly off we might find ourselves, there are always people worse off than yourself.  The stories are about fairness and caring and most of those I told were about family.  These things are not ties to any religion, but are tied to all.  And you do not need to be religious or spiritual to practice these traits!  So whilst we are shopping for those we know and love, do a little shopping for those you don't know and give to those in less than comfortable circumstances, and please consider dropping food off at food banks.  If you can't afford to do this, then maybe volunteer somewhere.

I will be telling more winter stories at a couple of other venues before the year is out, and one of the stories I will be telling will be a Siberian version of this tale: http://youtu.be/3xhWWdGm8fE.  I remember watching a lot of Canadian short films growing up (it's the Commonwealth thing!), but never saw this one!  I love it though, and wanted to share it.  The differences between the version I found in James Riordan's Siberian Folktales and the one above on YouTube told by the Native speakers themselves, is the Siberian Raven paints Owl with ash from a fire and not oil as in the Inuit tale.  And the reason Raven gets painted black is slightly different, although both tales blame Owl for one thing or another - lack of patience, or vanity, although in the Inuit tale Raven is being his usual bouncy self which don't help Owl!  What are YOUR favourite winter/holiday tales? Tell me in the comments, or shoot me an email!  I would love to hear from you.

One last thing before I go!  Over this season folks often try to get together with family.  This would be a great time to record tales our parents and grandparents tell, either personal stories about themselves and a time and place all but forgotten, or their favourite stories from childhood.  If you need help coming up with ideas to start a 'story time', there are some great resources at: storycorps.org  and there is a wonderful PDF here: http://nationaldayoflistening.org/downloads/DIY-Instruction-Guide.pdf that StoryCorp have put out.  And here is a link to why we should be recording stories our families tell from an earlier date on my blog: http://worldofstories.blogspot.com/2011/10/recording-family-stories.html

None of us are going to be around forever, so catch those stories for our later generations and give them a piece of your own family history.

Peace,

Simon
www.SimonBrooksStoryteller.com
which is the same site as: www.DiamondScree.com!

PS, the images used in this blog are original art done by myself.  Please do not copy, cut and paste, or redistribute in any manner or form. It is not cool, AND it's illegal!

Giving back with stories

How often do you give back to your community or to an organization?  I am not talking about giving money, popping a check in the mail; I am talking about giving your time and energy to something you care about, or have strong feelings about.

Every summer for something like seven or eight years I have been going to a single week long camp held in Fairlee, Vermont. It is run by volunteers mostly and is only available to under-served kids from Vermont.   It is called CAMP! (if you were to say it out loud – or want to Google it, it would be Camp Exclamation Point).  The Aloha Foundation give them space to hold the camp at the last week of summer, when most other camps are over and done with.  The children have plenty of challenges in their lives, but CAMP! gives them a week to get away from it all and share, play, create, explore and have fun in a healthy and safe environment.  The camp is like most any other camp, but these kids are not as well off as most camp kids.  CAMP! serves those who have limited opportunities for such an experience because of a lack of financial resources, rural isolation, and disruption of life and education. Yet these kids are just like other camp kids – they are kids!

There is a sense of love for the children at CAMP! which goes beyond the ‘call of duty’.  CAMP! is a vocation, a passion; the councilors have a desire that these kids get some amazing experiences that they would never normally be able to have. Let me stress that, never normally be able to have.  Most of us have the opportunity to send our kids to a camp of some sort – be it a day camp for a few days or a week camp, fortnight or summer camp.  We have that choice.  But this camp is set up for those who do not have that choice, but CAMP! make it possible.  They get funds so even the most economically challenged family can send their children to paint, write, read, sing, act, sculpt, experience archery, learn to swim, do woodwork, learn about plants and nature, make new friends, know that they are not the only ones who have such difficulties, and of course make their own tie-dye tee shirts!

Each year I go to CAMP! to tell stories and volunteer my services. It is not much, I feel, but it is what I can do and this is how I give back to my community: when I go to CAMP!. For one afternoon, or evening, I perform there and spend extra time with the kids when I am able – and I try to make it so I am able.  Last night with a voice almost gone after a busy summer, I, along with colleague and friend Angela Klingler told stories to the entire camp before the kids were spilt into groups for individual camp fire stories based on age.  It is always fun to work with Angela as she is the consummate professional and has this magic about her when she tells the deep stories, which she did for the entire camp.  I have also worked with Angela around Halloween and know she knows some great campfire stories for all ages.  This is the second time she has volunteered to make the 2 /2 hour drive to CAMP! to tell tales.

I got to walk the hill with the eldest of the CAMP! kids and their councilors to a favourite quiet spot in the woods to tell tales and got to bring out some really fun and creepy tales for the ‘tweens and teens.  There is something about the darkness and the flames that can make a not-so-scary story seem quite spectacularly creepy.

This was in 2008, but feels like a few months ago!

These kids are great.  They are so appreciative of everyone.  I only appear for one day in one week in the year, but the kids remember me.  There are some kids who jump up and run over to give me a hug, there are those who jump out of seats to high-five me, and there are even more who simply grin at me or shout a loud ‘hi Simon storyteller guy’ when I arrive knowing that Wednesday night is story night.  And those hugs, high-fives shouts and smiles, and the stories I have to share are all I need.

A world away

When my family decided to book a vacation in Costa Rica I thought I could find a native storyteller or two, but that, sadly, did not happen.  There was not enough time and this was a family vacation.  But I have come home with a desire to return to Costa Rica and learn Spanish. Not in that order!

We read up a fair amount before taking off for these foreign climes, so we might understand the culture we were about to explore.  We read and were told that there is a thing called Tico-Time!  People of Costa Rica are very friendly and laid back.  We were told that if you want someone to show up, they may not be on time (at least not Western time, but on Tico-Time).  We never found this, everyone was very punctual.  However, whilst waiting for a ferry as we traveled from Curu to San Jose, I was in a line with a bunch of people from all over and learned another part of Tico-Time.  This was my second time in the line, getting a second cup of Costa Rican coffee (in my mind, the best coffee on the planet - even the bad ferry port coffee was really good).  The line was not moving fast due to some of the none Spanish speaking tourists who panic and look blankly at the Costa Rican's with wide eyes!  One guy was getting really up-set.  The ferry was close to leaving, but I watched the three folk in front of me fuddle their way through their breakfast order and get to the check out. Meanwhile the other guy, Mr. Upset, was getting more and more agitated.  In the end he leaned between the group of men and me, jumping the line in quite a major way, ordered a soda, paid and left.  On the ferry I saw him and discovered he was not a native, but an American!  He was the only one NOT chilled out and NOT on Tico-Time.  I guess he was starting his vacation, or had lost some surfing contest!

This really is a land to watch and listen to.  We traveled by taxi, micro-bus and regular bus with a backpack on myself, a backpack on my wife, and with the kids carrying day packs; traveling light.  Walking through forests, or sitting on beaches, and even climbing up volcano's or sitting by the pool, if you stopped and watched and listened, you saw and heard so much.  As I sat alone one morning, on the beach at the Curu Refuge I noticed a hermit crab climbing over the rocks and stones.  As I sat still and watched this little fellow make his way along the shore, I noticed another, and another.  Then, as I broadened my view, I realized the rocks were a hive of activity with hundreds of hermit crabs moving around almost invisible blending into the rocks and stones they traveled over.

In the forest we heard rustling. Turning around to our sides we saw a very different crab.  These crabs were blue or purple in their bodies, with bright orange or red legs - not water crabs, but forest crabs - congrejo.  They rattled over the dry forest leaves and fallen palm fronds.  Hundreds of them, running and hiding or bolting back into the holes they lived in.  We realized that first evening there that the holes around our cabina were not lizard holes, but homes for these crab.  We came back to find the concrete floored porch, and screen door covered in the congrejos.  It was like a sci-fi movie or Hitchcock film as we chased them away and they rattled and clattered back to their burrows.

Volcan Chato

I imagine the first Europeans to visit Costa Rica thought that the forests there were filled with demons: the eery screams and barking that come from deep between the trees.  Well there might be demons but we only saw, and heard, howler monkeys.  From the noise they make you would think they were giant monsters, with frighteningly sharp teeth.  But no!  Over-sized if they were large dogs, shy and those who are not shy, very friendly!  We were so lucky to have many howler encounters.  We watched as they danced from tree to tree, in a way Ananzi would be proud!  We saw a mother carrying, with great care and agility, her young one.  And they watched us too.

The sounds, once you got used to them, were like songs, the sites like a dance.  The scuttling crabs, the howlers had their language and at first we were wide-eyed. But the more we listened, the more we heard the songs and understood the language: the songs of the birds, the songs of the fish, the dance of the incredible flora and exotic birds, the songs of the forests and the songs of the people and the beautiful dances their joyful faces made. I have a desire to return to Costa Rica and learn Spanish. Not in that order!