Building Storytelling Competences: A Competence Level Framework for Storytelling
The competence level framework for storytelling is a breakdown of the competences from the main domains of Storytelling in 8 Colours.
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Storytelling in times of COVID-19
Due to Corona the cultural & storytelling sector, where human gathering & interaction are inherent to its practice, is facing a major crisis. In the national strategies to fight the virus we were the first to be closed down and will be the last to start back up. The last month however we also saw creative solutions emerging as storytellers review their roles and are creative with their working methods.
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A Competence Model for Oral Storytelling
Competence Model for Oral Storytelling About the Research Toolbox Authors & Publishers Links & Downloads A competence model? A competence model is a set of competences that together define successful performance in a certain professional field. Although a competence model can form the basis for a training program, it is not a curriculum. It is a frame of reference. This competence model for oral storytelling does not want to impose anything either. It wants to invite, inspire or challenge storytellers to discover, improve, or expand their competences! Domains? In this competence model for oral storytelling, there are eight competence domains. Together, these domains form the field of oral storytelling. Those domains are research, craftsmanship, art, performance, training, applied storytelling, tradition, entrepreneurship. Each domain is ‘managed by a supervisor’. They approach storytelling from a specific angle, from a certain viewpoint. So, the different competence domains can be related to different functions of the oral storyteller. We speak of the researcher, the craftsman, the artist, the performer, the trainer, the applier, the tradition bearer, the entrepreneur. All these different roles should not be viewed separately. They hold hands. They often walk together. Sometimes, one sets the other in motion. They form the entirety of you as a storyteller. But according to the situation, one of them can come to the foreground and take the lead or disappear into the background again. You can compare this to different roles in daily life, being a partner, a parent, a friend, a storyteller, a teacher, a neighbour… You can be all of them at the same time, but you don’t perform all of them at once. Good to know: not all domains are exploited by every narrator, or not all functions are executed by every storyteller. That is why we speak of main domains and additional domains. 4 Main Competence Domains RESEARCHER He is curious and interested, he likes to search and research, broaden his horizon, analyse and reflect CRAFTSMAN He wants to prepare his material, master his tools or instruments, apply his techniques, have a way of working ARTIST He likes to experiment and create from an inner drive, and wants to express himself in a personal way PERFORMER He wants to communicate with and move an audience, and is confident and prepared to do this 4 Additional Competence Domains TRAINER He likes to initiate, train and coach others in his own field of expertise APPLIER He does not set storytelling as a goal, but uses it as a means to help develop something else TRADITION BEARERHe carries on the oral tradition of a culture or community, keeping it alive and passing it on with respect for the past and a view of the future. ENTREPRENEUR He knows how to promote, manage and develop his business The competence domains are each divided into competences, which together cover the domain. There are countless definitions for competences. What they have in common are a set of related knowledge, skills and attitudes. After all, it is the combination of ‘knowing’, ‘being able’ and ‘willing’, that enables someone to contribute to the realization of something. Competences are always […]
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Applied storytelling in education
A Survey report about the use of storytelling in teacher training and in education in Europe today. Through a survey we detected needs, opportunities and collect good practice. Our findings are made available the report Applied Storytelling in education.
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Storytelling in Heritage Contexts
Storytelling in Heritage Contexts About the Research Authors & Publishers Links & Downloads Heritage may have different interpretations and meanings to various people however, at its core it represents a thread that runs from the past to the present. It provides a sense of belonging and continuity through the continuing development of historical items and stories. Heritage management secures the significance and development of cultural wealth for future generations. Most cultures around the world have historically made use of oral storytelling to retain, accumulate and transmit information and cultural wealth. Beyond the pure entertainment factor, this mode can be used to convey important information and even for education purposes. The narrative surrounding heritage sites or items is often interpreted narrowly with a strong adherence to scientific research structure. This approach usually only caters to the single user and lacks emotion which in turn fails to resonate and create impact with intended audiences. Adopting a storytelling approach which employs dramatic and emotive communication methods provides an opportunity to deepen interaction and knowledge transfer The Survey A survey was distributed to storytelling professionals and organizations in order to gather information on the current state of Heritage storytelling. The questions required participants to describe their role or different roles within the context of storytelling and also attempted to identify best practice. Federation of European Storytelling Autored by: Jade van Blerk Download full report View all research
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Storytellers in Europe: A progress report – Indepth interviews
One of the main goals of the Federation for European Storytelling is to secure the professional development of storytellers in Europe. FEST pursues raising the quality of the storyteller in several ways: the analysis of training needs, the development of a curriculum for training, residencies and performance opportunities for young storytellers and continued professional development for established storytellers.
Since 2017, strand 3 has conducted several actions to increase the knowledge about the European storyteller of today. This document refers to the following actions: an electronic survey, document research, theoretical overview and 20 in-depth interviews with storytellers from all over Europe. This report will mainly concentrate on the in-depth interviews.
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Research reports on the Storytelling Revival
Contributions to a Theoretical Bibliography In this report we offer a contribution to a theoretical bibliography on contemporary Oral Storytelling. It tries to cover a wide range of resources, from the Instruction Manuals of the beginning of the last Century to the Academic works of the 21th, including other theoretical works and collected essays. This is a Critical Bibliography offering resources for further research on oral storytelling performance in the context of the Storytelling Revival. Report written by Luis Correia Carmelo Contributions to a Cultural and Historical Contextualisation It’s hard to define the artistic practices arising within the context of the Storytelling Revival. This may well be down to an apparent paradox: if, on the one hand, the ubiquity of the act of telling stories tells us that we are all storytellers, or in other words, homo narrans, on the other hand it enables the “storyteller” archetype, meaning, an almost mystified series of skills, to be appropriated by a large variety of artistic languages. In this report we try to overcome these obstacles and help to clarify who are the contemporary artists of the Storytelling Revival, their performances and context. Report written by Luis Correia Carmelo
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Long term training in storytelling: Report on Curricula and Good Practices
FEST commissioned a research on long term training in storytelling based on desk/internet research, a survey and interviews with FEST member organisations and universities.
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Survey: Storytelling in Europe Today
Survey: Storytelling in Europe Today As part of the European network grant the Federation for European Storytelling (FEST), the federation is to secure the professional development of storytellers in Europe. FEST pursues raising the quality of the storyteller in several ways: the analysis of training needs, the development of a curriculum for training, residencies and performance opportunities for young storytellers and continued professional development for established storytelling artists. The Survey “Storytelling in Europe today” is one of several actions taken by FEST to identify needs and articulate requirements of how to professionalize storytellers of Europe. Based on the outcome of the survey, FEST is to create a pilot curriculum, which will be tested and evaluated. The survey was organised by a project-group representing “Strand 3: Professional development of storytellers”. From September 2017 to June 2018, the members of Strand 3 were: Luis Correia Carmelo (Portugal), Mimesis Heidi Dahlsveen (Norway), Veva Gerard (Belgium), Ragnhild A. Mørch (Germany) and Abbi Patrix (France).
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Storytelling and Newcomers: A European progress report
FEST promotes and supports the use of stories and storytelling techniques in different sectors of society. An overwhelming number of storytellers, trainers and organisers voice their support for storytelling projects involving migrants and refugees. Storytellers, trainers and organisers from a wide range of European states agree about the positive effects of storytelling on newcomers and recognise a bright future for applied storytelling catering towards this group. In the past, storytellers have already taken on the challenges that comes with an audience of migrants. Echoes of past experiences are found throughout the European world of storytelling, yet little documentation can be found online in this digital age. Although storytellers, often independent pioneers, have been working with newcomers for decades, few have formalised their work into documented projects. Because of this, new performers and organisers interested in working with migrants face difficulties and problems long overcome by others. FEST wants to support this work and share good practices in the work with newcomers, therefor FEST launched an on-line survey to analyse the needs related the use of applied storytelling in community work and in working with migrants, newcomers & refugees. A video on the use of storytelling with migrants, newcomers & refugees. With great thanks to the Village Storytelling Center Glasgow: http://www.villagestorytelling.org.uk/ FEST launched an on-line survey to analyse the needs related the use of applied storytelling in community work and in working with migrants, newcomers & refugees. DOWNLOAD: Report Survey Storytelling and Newcomers
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