Storylines isthemagazineof TheSocietyforStorytelling. Thisissuewaseditedby SimonHeywood.Tosubmit articlesandreviewsfor futureeditions,pleaseemail storylines@sfs.org.uk
DesignedbyMikeCarter www.mikesplace.org.uk
Directors
ChristineWillison(Chair) chair@sfs.org.uk MikeForbes(Treasurer) finance@sfs.org.uk
Allenquiriesshouldbesent byemailto admin@sfs.org.uk orbypostto: TheSocietyforStorytelling TheMorganLibrary ActonStreet Wem Shropshire,SY45AU Tel:01939235500 Mob:07969541552
ChipColquhoun(CompanySecretary) secretary@sfs.org.uk LizBerg Administrator AliQuarréll admin@sfs.org.uk Publications SimonHeywood EmailNewsBulletin(MembersOnly) KevinBlackburn SfS@fairbruk.demon.co.uk SpecialInterestGroupsforHealth
StoryoftheSeason
ExcerptfromHuldredrøm:DreamoftheHid-Folk5 Features
I'mdelightedtoannounce(somewhatbelatedly)that I'mtakingontheeditorshipof Storylines.Assome memberswillhaveseenalready,oneortwonew articleshavealreadyappearedontheStorylines website(inaccordancewithournewpublishing policy)andtherearemoreinthepipeline. Meanwhile,here'ssomerealpaper-forthefirsttime inalongtime,sowefeelit'smaybetimetostrikea reflectivenote.Wearetakingalookbacktowards recenthistorywithMartinManasse'shistoryofthe FederationforEuropeanStorytelling,andSue CharmanandSamWernham'sstoryoftheir adventureswiththeRedTentandtheWoodsisters. It'sreallyexciting,too,thatwe'regettingachanceto lookslightlyfurtherback-towardstheCold-Warera HungarianfolktalestranslatedbyRobertHudson, givingarareandground-breakingglimpseinto storytellingandchildren'sliteratureinacommunist country,inanerawhichalreadyseemsremoteto some,buttoothersisamemorystillrelativelyfresh. Amagazinecan'texistwithoutitswriters,sodoplease getintouchifyouhaveanarticleoranideaforan article,areviewofabook,filmorlivestorytelling,orif youwanttocontributeinanyotherway.
OnapersonalnoteI'dliketothanktheboardofthe SfSfortheirsupportsofar-it'sagreatprivilegetobe involvedin Storylines asitgearsupforthenextstage ofdevelopment,andIhopewecancountonyour companygoingforward. Withthanksandbestwishes
Simon
ThedullroaroftheJutulfossen waterfallechoedthroughthe moonlitcanyon,poundingout itseternalhymnonthe immovablerockofthe mountainside.Atthebaseof thefalls,alargepoolhadbeen carvedoutoftherockbythe crashingtorrent.Vitholf watchedtheturbulentwaterin silenceashewaited. Veslefrikk’sfiddlelayinhislap ashesatastridea greatboulder. Longago,ahunterfrom Gudbrandsdalhadbeen wanderingthroughthe mountainswhenhehadfound thefalls.Thecanyonhe discoveredwaslongand rounded,havingbeenmadein antiquitybythebootofa passinggiant.Itwasashe approachedthefallsthathe noticedafairmermaidsitting atopalargeangularboulder nexttothepool,peacefully runningagoldencomb throughherequallygolden hair.Nooneknowswhatdrove thefarmertodoit;perhapshe wasafraid,orperhapshewas greedyforpossessionofthe finecombofgold.Whatever thereasons,heleveledhisgun andtookaimatthemermaid. Thesoundoftheblastechoed throughtherockygorge, startlingthewatersprite.The
bullethadgoneastray.Angered,the mermaidlookedatthemanand cursedhim,sayingthatforhiscruelty hisfamilywouldfailandthatwithin thespanoffourgenerationsthey wouldnolongerliveinGudbrandsdal butbescatteredthroughoutthe county.“NolongershallIbeseenby men,”themermaidvowed,“Never moreshallNoah’ssonsmarvelatmy beauty.”Withthatshedoveoffof therockwithsuchforcethathertail madeagreatangledgougeinthe rockwhereshehadbeensitting.She thensankintothewaterwithouta ripple,nevertobeseenagain.
Thehunterhadthoughthercurse wasmerelyangeredbabbling,but withinfourgenerations,thelastof hisfamilyleftGudbrandsdalforever andwerenownothingmorethana memorythatpassedthroughthe mindsofallwholookedonthefalls ofJutulfossen.
Itwasuponthatsamescarredrock thatVitholfnowsat,staringdrearily atthefoamingwatersofthepool.He hadaproblemanddidn’tknowhow tocontinue.Itwasforthatreason thathesatherenow,waiting patientlyforJerrun,thespiritof thefalls.
Heperkedupslightlyasthewater roiledneartheedgeofthepool,and amomentlater,afairheadrose abovethesurfaceofthetroubled waters.“Whydoyousitthere,kinof theking,allsullenandglum?”she asked.Hervoicewassmooth andhypnotic.
VitholflovedspeakingtoJerrun.Her mesmerizingvoiceandpoeticspeech senttinglesdownhisspine.“Surely youofallpeopleunderstandmy problem,”Vitholfrepliedina flatteringtone,“justasyou understandallthings.”
AslightsmileplayedonJerrun’slips. “Yourflatteryamusesme,butbefore onecanseekananswer,theymust firstknowaquestion.”
Vitholfthoughtforamoment,“If onewishestomakeanotherhappy yettodosowouldmeandoing somethingfoolish,wouldthefoolish thenbewise?”
Jerrun’seyesgleamedwithdelight. “Youarefinallylearningtospeak, youngone,yetyourriddleIfindmost plain.Foolishthingscanattimesbe wisewhenwisdomtheypursue.”
Vitholffrowned.“Butifakingthinks anactionfolly,yetthisfollyofone wouldbringjoytoanother,whocan saywhichiswise?”
“Eventhewisestmancanactafool,” Jerrunreplied,“andthestrongest kingasajester.Donotfretover thosegreaterthanyourself,foroften thegreatestinmightaretheleast inmercy.”
“Idonotunderstand,”Vitholfsaid, perplexed,“Yourriddlemakesnosense. Arethemercilessnottobefeared?”
Jerrunsmiled.“Youwillyet understand,forthoughyouare brandedbyyourenemy,themark youbearshallbeyoursalvation.”
Vitholfshookhishead.“Iamnow moreconfusedthanever.”
“Doyounotknowthatwithbeauty comesmystification?”Jerrun laughed.“Donotbeafraid,your troubleswillendthewaytheyshould havestarted.Nowplaymeatuneto payformyaid.”
Vitholfsmiled.Eventhoughhedidn’t understandthewaterfallsprite,he knewthatshehadtoldhim everythingheneededtoknow. “Withpleasure,”hesaidasheplaced hisfiddletohischin.Heplayed“The Mill-Sprite,”adroning,magicaltune,
whilstJerrunsangthesirensongthat enchantedbraveOdysseuswhen oncehesailedthroughMessina’s dreadedstraits.
Huldredrømispublishedby TatePublishing, ISBN978-1-61346-191-4. Forourmember’sreview,turnto page16.
Ifirstcameacross NeboBezOblaka ("CloudlessSkies"),Mara Stevanović's1977collectionoffortyninechildren’sstories(priče)andfolk tales(pripovetke),whilstonan exchangevisittoHungaryasapostgraduatestudentin1979.Thisvisit hadfollowedcloselyontheheelsofa post-graduatefellowshipfromthe Yugoslavgovernmenttostudy Serbo-Croatandhistoryatthe UniversityofSarajevoin1977-78. DuringmyvisittoHungary,I encounteredmembersoftheSouth SlavcommunityinPécs,Estergom andSzentendre,andwasabletotalk withtheminalanguagethatwas thenreferredtoasSerbo-Croat.It wasatthistimethatIboughtMara Stevanović’sbookinabookshopin Pécs,littlerealisingtheeffectit wouldhaveonmeovertheyears. Theideaoriginallyhadbeentouse thebookasaSerbo-Croatianreader, andwhenIreturnedtomyresearch ontheculturalpoliticsofthe Yugoslavsuccessorstatesintheearly 1990s,Iwouldoccasionallydipinto herbookforabitoflanguage revisionalongsideVeraJavarekand MiroslavaSudjić’sexcellent SerboCroat (1963). Butitwasmuchlater,towardsthe endofayear-longreturntostudying SerbianattheUnversityof Nottinghamin2009,thatIdecidedto translateoneoftheforty-ninestories containedinthebookasan additionalpieceof"homework."It wasadelightfultale,entitled Mamin
prvoškolac ("Mummy’sLittle Schoolboy"),whichrecountedthe taleofalittleboystartinghisfirstday atschool.Ireadthistomytwo children,thenagedfourandsix. Indeedmysonhadonlythatyear transferredfromhispre-school settingtoyearoneinhisschool,so thetaleseemedhighlyrelevanttohis owneducationalexperience.Both mychildrenweredelightedwiththe tale,andthisspurredmeonto translatemoreofStevanović’swork, asreadingaloudtothemhad becomeoneofthegreatdelightsof fatherhoodthatIhadhappilyslipped into.Iwasalsodrivenbythesense thattranslatingthesestoriesformy childrenwasaraceagainsttime. And,asIcontinuedwithmy translations,mostlyintheholiday periodsoverthenextfouryears,I becameonlytooawareoftheroleof culturalpoliticsinsomeofthese tales,astheyreflectedtheeverchangingconditionofaminority cultureusingalesser-usedlanguage inJánosKádár’ssocialistHungaryof the1970s.Itsoonbecameclear,from thedifferentnarrativestyles employedineachofthetales,that theauthorhadcollectedmanyof thesefolktalesfromthesouthSlav community-ratherinthetraditionof collectingfolktalesandfolksongs,as practisedinCentralandEastern Europeinthenineteenthcentury.So throughoutthebookthereisa sprinklingofmagicalrealism,as witnessedbythenumberoftalking
animals,andconversational encountersbetweentheseasons, thewind,thesunandtheclouds; taleswhichattimesreflectthe machinationsofthegodsinthe Greekepictales.Thesefolklorictales areinterspersedbystorieswhichare clearlypennedbytheauthorfrom herownexperienceofworkingwith childreninbothBudapestandthe largelyruralSouthSlavcommunity. Thentherearestorieswhichmight needfurtherexplanationforthe averageBritishchildoftoday,asthey reflectontheexperienceofthe SocialistperiodinHungary,suchas:a grandfatherexplainingtohis inquisitivelittlegranddaughterthe significanceofthe1949Hungarian Constitutionanditsarticleson MinorityRights;theimplicationsofa childcontinuinghereducationinthe Serbo-Croatiangrammarschoolin Budapest;or,theeveryday practicalityofstudyingaminority languageinschoolinabi-lingual setting.Otherwise,therearetalesof school,pioneercamps,theschool holidaysandeverydaylifeandsociety inasocialistcountry.Thereisonly oneovertlypropagandistictale, CrvenaZvezda (TheRedStar),which isanabsolutegemofMarxistLeninistmythologyinits representationofthe1905and1917 Revolutions,withitsevilTsar,and theheroicleadershipofVladimirIlich Lenin.Hereisashortabstract: Andthemanwhotooktheredstarin hishandsandraisedittounattainable
heightswascalledVladimirIlichLenin. Hisnameiscelebratednotonlybythe peopleinthatvastcountry[theSoviet Union],butbyallworkingpeopleof theworld.Hisredstarcontinuedto shineandtospreaditsrays throughoutthebigcountryinthe east,butitsraysalsoshoneinour homelandandinmanyothercountries andtheirpeopleswereunitedinavast communityofwhichthereisnothing strongerinthewholeworld.Forall thepeoplestheredstarshowedthe roadtofreedomandlitupforthem theroadofcreativityandprogress. However,thosepeoplewhowerestill oppressedbyslaveryalsolookedwith loveatthebeautifullightofthered star,becauseitembodiedfreedom andjoyforthem,too.Andthus,from daytoday,thelightoftheredstar grewstrongerandstrongerandone dayitwillshinethroughoutthewhole ofourglobeandthenallthepeoples willbefreeandhappy.
Again,itmustbeemphasisedthat thisprosestyleisquiteoutoftune withtherestofStevanović’sbook, andperhapsservesmoreasan exampleoftheauthorhavingtotoe thePartylineaccordingtothe dictatesofthesocialistrealismofthe 1960sand1970s.Furthermore,the SouthSlavcommunityinHungary alwaysseemedtobeaffectedbythe state’sexternalrelations.For exampletheMagyarisationofthe Slavminoritieshadbeenparticularly encouragedaftertheTito-Stalinsplit of1948,whenteachinginthe
Hungarianlanguageincreasedinthe minorityschoolsasminoritycultural groupswentintosharpdecline (Crowe,1988,p.23).AftertheSoviet invasionin1956,so-called"unreliable elements"werepurgedfrom nationalminorityorganisations, whichwerethemselvesviewedas "atomsofpluralism"intheearly yearsofJánosKádár’sleadershipof theParty.Stevanović,inherearlier yearsasachildren’seditorofthe Serbo-Croatianlanguagenewspaper NarodneNovine,wouldhavehadto havenavigatedcarefullythrough fairlytreacherouswaters.However, itshouldbeacknowledgedthatby the1970s,theKádárregimewas goingtogreatlengthstosupport minoritylanguageeducationat elementary,secondaryandhigher levels,asa"BridgeBetween Countries"-tocitethenewpolicy introducedbytheIXCongressofthe CommunistParty’sCentral Committee.Thisistheperiodin which CloudlessSkies wasbeing writtenandpreparedforpublication, soitisonlynaturalthatsomeof Stevanović’staleswouldreflectthe changesinPartypolitics.Indeed,itis mysuppositionthatsomeofthe talesthatappearin CloudlessSkies weregatheredorwrittenatdifferent periodspre-datingthe1970s. Similarly,Idonotbelievethatthey arepresentedinthesame chronologicalorderofwritinginthe finalpublicationofthebook.The BridgeBetweenCountriespolicywas alsointhespiritoftheFinalActof
theConferenceonSecurityand CooperationthatwasheldinHelsinki thatsameyear.Onapersonalnote,it hadbeenthissamespiritofHelsinki, andtheBridgeBetweenCountries thatenabledmetobecomea memberoftheexchange programmebetweentheUniversity ofExeter(St.Lukes)andthe Foïskole ofEger,BudapestandPécsin1979.
Hungarywouldbecomearolemodel foritstreatmentofethnicminority groupsforCzechoslovakia,Romania andYugoslavia,aninfluencethathas continuedlongafterthefallof Communismin1989,andinmany waystheperiod1971-1989cametobe representedasagoldenageforthe SouthSlavcommunity.Stevanović’s bookisafineexampleofthis. Indeed,thefactthat CloudlessSkies wasallowedtobewrittenand publishedatallisareflectionofit.It shouldcomeasnosurprisetothe readerthatStevanovićhadtomake theoccasionalnodtowardsthe socialistestablishment. Letusturntotheauthor.Little informationisactuallyavailableon thelifeoftheauthorof Cloudless Skies,apartfromthedetailsprovided ontheflyleafofherbook.Weknow thatshewastheeditorofthe children’ssupplementof Narodne Novine (the"People’sPaper")ofthe DemocraticAssociationoftheSouth SlavsinHungary.
Tent,andithasbeeninvitedbackto QuestFestivaltofunctionasa sanctuary,andaspacefora programmeofworkshops, storytellingandcrafts.
Buttherehasalwaysbeenmoreto theWoodSisters'workthantheRed Tent.Weoriginallysetuptheschoolin 2010,aftertwoyearsonDartmoor withMartinShawandhisbandof piratesattheWestcountrySchoolof Myth.Wetookournamefroma versionofawell-knownwonder-tale, TheHandlessMaiden,citedbyMarieLouisevonFranz,inwhichtheMaiden andtheKingspendsevenyearsatthe InnoftheWoodSistersandtheInnof theWoodBrothersrespectively beforetheyarereadytomarrya secondtime.Ourfoundingvisionwas todigup,dustdownandbreathelife intopre-patriarchalstoriesandmyths wherethefemalecharactersare strongandcentral,fromInannatoIsis andBabaYaga,totheHandless Maidenherself.
Andsowehavedone.Regularly, everyyear,wehavegatheredforthe eightCelticFestivals,totellstories thatstartbackinpre-history,andhave travelledthroughSumeria,Canaan, Egypt,Greece,Rome,theoldforests ofEurope,Russia,theNorsecountry, andthelandsoftheCeltsasfaras ArthurianBritain,tracingthepathof theWesternMysteryTraditionfrom itsrootstothepresentday.Making thispilgrimageannually,withdifferent stories,hasbeenentertaining, enchantingandaneducationinwhat
liesbeneaththesurfaceofourcurrent culture,andthewisdomthatour ancestorsencodedintheiroraland spiritualtraditions.
Forcollectivewisdomliesattheheart ofwhattheWoodSistersdo,and storiesareimbuedwiththiswisdom, havingbeentoldbydifferentpeople indifferentplacesatdifferenttimes.
Byhearingwhatmotifsinthestory havestruckothers,andresonatedin
Aswithsomanyprojects,itbeganwith thetellingofastory-thestoryoftheRed Tent,fromthebookofthesamename. AnitaDiamant's1997novelviewsthe biblicalbookofGenesisthroughwomen's eyes,andtheredtentofthetitleisa women'sspace,aplaceofretreatand refugeandmutualsupport.In2012, encouragedbytheidea,weembarkedon acommunitybuildofa21' alachigh,a NorthIraniannomads'tent,asa sanctuaryandspaceforexploration throughstorytelling.
Creatingsacredspacesandcycles ofpilgrimageandfestival...Sue CharmanandSamWernhamof Devon'sWoodSistersintroduce theirmodernmystery schoolforwomen
Seed-fundingwasraisedthroughthe WoodSistersWinterStorytellingFestival inDartington,Devon,supportedbythen UKStorytellingLaureateKatriceHorsley; poetAliceOswald;playwright,actorand storytellerPeterOswaldandstorytellers MartinShaw,ChrisSalisburyandClive Fairweather.ThemodernRedTentwas completedin2012andtouredtotwo festivalsinitsfirstyear,withanexciting andvariedprogramme.AtQuestFestival andtheWestcountryStorytellingFestival, mythandstorywereexploredindepth throughdiscussionandancient approachesincludingtrance-telling, guidedvisualisation,creativity,crafts,and simple,naturalceremony.Women storytellerswerefeatured,including Shonaleigh,CaitlinMatthews,Rachel RoseReidand TarteNoire Playback Theatre.In2013theRedTentwas nominatedfortheBASEOutstanding CommunityProject,takingwomen’stales totheDevonShowandExeterRespect Festival.Thisyear,bothShonaleighand JaneFloodaretellingtalesagaininthe
theirinnerworlds,listenersgetan enriched,roundedpictureofthe depthsofastoryandnoticethelinks inthewebandthevastnessof possibility.
Atthesametime,tellingstoriesas partofasacredtraditionisnotabout tellingreligiousorevenserious stories.Thespacethatisheldis sacred,butvariedstories-playful, modern,irreverent-canbetoldwithin it.ManyofthestoriestoldinWood SistersCirclesandintheRedTentare personalstories,foritiseasier,ina sacredspace,toentertheworldof thesoul,theworldofthe unconscious,theOtherworld,andfor theseworldstoco-existwithour everydayrealitysothatwisdomfrom bothsidescanbeabsorbed.
Sometimes,overthisyearsafew WoodBothershavegotinontheact, too.ThisisaRedTentforourtimes. Themediafeedusdailystoriesofthe plightofwomenworld-wide,and therearemenaswellaswomenwho areawarethatthesuppressionofthe divinefeminineinstoriesisas importantanindicatorofoutdated patriarchalvaluesaswomen’softendisregardedrighttoeducation andrespect.
AndthatacknowledgingtheGoddess backintotheinvisiblerealmswill impactthetangibleworld.
TheWoodSisterswillbeat EmbercombeinAugustandSeptember thisyearforaRedTentResidency, includingacourseinHoldingSacred Space. Formoreinformationontheworkof theWoodSistersandtheirRedTent, visit: www.woodsisters.co.uk www.thewoodsistersredtent.moonfrui t.com www.woodsisterswinterfestival.co.uk
TowardstheendofSeptember,two roomsupstairsattheMuseumofLondon Docklandswerebuzzingwithexcitement, worry,hope...andanoverwhelming amountoftalent.Authors,storytellers andartistsgatheredalongsidecraftsmen, musiciansandfolkloriststodiscussa matterclosetoallourhearts:the importanceofthatwhichcan'tbeheld, andyetisresponsibleforeverythingheld –namely,skills.
ICOMOS–theInternationalCouncilon MuseumsandSites–beganrunning globalconferencesonthissubject followingUNESCO's"Conventionforthe SafeguardingofIntangibleCultural Heritage"in2003.Theconvention's definition(seebox)wascarefullyput togethertoincludeallmannerof practicesthatarepassedonalmost exclusivelybytransmission.
Anexampleweheardattheconference waswoodturning.Yes,youmaytryto describethiswithaninstructionmanual, andyes,wenowhavemachinesdesigned tofashionwoodintointricateshapesfor us–buttoreallygetintothepractice,it wasargued,youneedtobeshown.
Or...doyou?RobinWood,theChairofthe HeritageCraftsAssociationwhogaveus thisexample,precededitbyexplaining howtheartofwoodturninghadalready beenlost.But,uponfindingaspindle,he setaboutworkingouthowtouseit,and thusbroughttheskillback.Without beingshown.
Similarly,thedaygotofftoagreatstart withpoetPatienceAgbabidelivering
readingsfromherreinterpretationsof Chaucer's"CanterburyTales". Entertainingthoughthesewere,they againinadvertentlyemphasisedthat intangibleculturalheritagecanbe transmittedentirelytangibly.Infact, whenIaskedPatienceafterhertalk abouthowmuchofherpoetrywas developedorallybeforeshecommits ittothepage,herresponsewas, "Noneatall.I'mverybadatthat.I needtoseethewordsinfrontofme asI'mplayingwiththem."
Buttherealnuboftheconference wasonethat'salltoocommoninour time:funding.Itisverydifficulttoget fundingtopracticeskillsandtransmit ideas,thoughit'scomparativelyeasy togetfundingtoproduceaproduct (suchasaperformance,aworkofart, orevenamuseumtoholdsuch works).Andgivenhowchallenging fundingcanbetogetthoseproducts, we'reessentiallysayingthatfunding forintangiblecultureisnonexistent.
It'smadeharder,perhaps,bythefact thattherewerehighlynotable abstentionsfromsigningtheUNESCO convention–includingtheUKandthe USA.Theirchieffear,itseems,was theeffecttheconventionmighthave onhumanrights.Minoritygroups abouttobeexpungedfromanarea becauseofprogressmighttrytorely ontheconventionincourttocreatea "freedomtoremain"inspaces regardedas"culturalspaces".The conventionalsohasthepotentialto impactuponcopyrightlaw,patents, andtrademarks.
Oralstorytelling,however,isalmost entirelyintangible.Storytellersdo havearightinUKlawtoprevent othersfromreplicatingtheir performancesexactly,buttherecan benorealownershipinastoryitself. Oncetold,it'sintheheadsofits audience–anditbecomestheirs.Soif theyretellitanotherway–eitherasa laymanorasaprofessional–they
havebecomepartoftheintangible butveryrealtransmissionattheheart ofourart.
Soinaway,storytellingcanbeseento underpineveryotheraspectofICH–beitthestoryofhowtoplayacertain instrument,skinacertainanimal,turn acertaintypeofwood...Infact,itwas theriseofspeechandstorytellingthat allowedhomosapienstocomeout laughingwhilsttheneanderthals ebbedaway.Ourabilitytoimagine–tousethepasttoplanforthefuture–isultimatelythecorereasonour speciessurvived.AphraseIcoinedin myaddressattheconference,and whichbecameseenbymanyas"the phraseoftheday",was"Intangible CulturalHeritageshouldbe safeguarded,becauseitispartof whatmakesushuman."
Evenastheconferencedrewtoa close,though,opinionwasstilldivided astowhetherthiscouldbestbe achievedbytheUKsigninguptothe convention.Optimismwasmaintained thankstoanumberofindividuals representinghighprofile organisations–includingtheHeritage LotteryFund,EdinburghNapier University,andthechairofICOMOS UKherself–committingtoregroup soon,andthereafterregularly,tosee whatcanbedonetotacklethe problem.
Andwhentheymeet,Ishallbe delightedtocontinuerepresenting theSocietyforStorytellingontheir committee.
"IntangibleCulturalHeritagemeansthepractices,representations, expressions,knowledge,skills–aswellastheinstruments,objects,artifacts andculturalspacesassociatedtherewith–thatcommunities,groupsand, insomecases,individualsrecognizeaspartoftheirculturalheritage.This intangibleculturalheritage,transmittedfromgenerationtogeneration,is constantlyrecreatedbycommunitiesandgroupsinresponsetotheir environment,theirinteractionwithnatureandtheirhistory,andprovides themwithasenseofidentityandcontinuity."
Hereisasmallselectionoftheplethoraofstorytellingeventstakingplaceinthe nexttwomonths.ForamorecomprehensivelistgototheSfSwebsite: www.sfs.org.uk/events
Wednesday,21January, 19:30to22:00
Boxtext:SaulJaffekicksofftheBirmingham StorytellingCaféNewYearwiththetaleof twoRomanRepublicfounders–twogods walkingtheearthinhumanform.One representstheoldworld,onethenew.Itisa timeoftortuoustransition,thepointat whichourhistorypivots.Perfectlypoisedto capturethisperiodoftransformationthere standsawitness,astoryteller:Ovid...
Tickets:£7
KitchenGardenCafe,Birmingham Phone:01214434725 Online:wegottickets.com
Boxtitle:TheRightStory attheRightTime,withRoi Gal-OrandJulieNeale
Sunday,25January, 18:00toFriday,6March,12:30
Thisisaninvitationforyoutodiscover thewisdom,joyandpowerofusing storytellingtoengage,inspireand educatethechildrenandteenagersof ourworldtoday.Folktales,wonder talesandmythsfromeverycultureon earthspeaktotheinnercoreofeach
ofus.Growingupinaworldofmass mediawithfastandefficientdigital communicationallaroundus,children andteensarehungrytolistentosome goodstoriesspokenwiththeintegrity andwarmthofthehumanvoice.
£1,975-boardandlodgingnotincluded EmersonCollege,ForestRow–Phone: 01342822563 TheGratefulandtheDead Friday,30January, 19:30to21:30
AllowworldclassstorytellerBen Haggartytolureyouintotherichly metaphoricalworldofafull-blooded fairytaleforgrown-ups.PLUSBen HaggartyinconversationwithKevin Crossley-Holland–twogiantsofthe storytellingworldtalkabouttheir stories,theircommoninfluences,and whyweneedstoriestostayalive! £12/£9
BCambridgeJunction–Online: www.junction.co.uk/artist/6860
Friday,6February,18:00 toSunday,8February,12:30
Inthisweekendcourse,LouiseCoigley willintroduceyoutosomecore techniquesforliveinclusive storytellingforchildren.Louiseisa speechandlanguagetherapistand storytellerrenownedforherunique approachtospeech,language, communicationandsocialskills development.Shehasbeeninvitedto trainparents,teachers,speechand languagetherapistsandstorytellersin Canada,Greece,Ireland,Australia, MaltaandtheUK.Hercollaborative storytellingperformancewas nominatedinthetopfiveHitlistof children'sperformancesofthe EdinburghFringeFestival. £169-boardandlodgingnotincluded EmersonCollege,ForestRow–Phone: 01342822563
Sunday,15February,16:00to Thursday,19February,21:00
Providesyoungpeoplewiththe chancetocreate,exploreandexpress themselvesacrossfourdaysof traditionalartsworkshops, culminatinginanend-of-weekshow thatisopentothepublic.Witha programmeoffourworkshopsevery day,taughtbyprofessionalyoung
tutors,youwilldeviseandwork towardsyourfinalshowthrough theatre,dance,musicandcraft.All abilitiesandexperiencewelcome, whetheryouarelookingtoshareyour talentsordiscoveranewone! £160all-inclusive(accommodation, catering(3mealsaday),activitiesand workshopmaterialsareprovided)
HalswayManor–Phone:01984618274
Chandelier–Storiesthat soundfamiliar,but...
Wednesday,18February, 19:30to22:00
LettheBirminghamStorytellingCafé Tellers,withspecialguestJohn SullivanBlakeney,takeyouona journeythroughwell-knownandless well-knownstoriesthatseem strangelyfamiliar...Likethestoryof CinderellaastoldintheoldEnglish taleofTattercoats.Followthetraces tostory-landscapeswherethe innermostsecretsoflove,deathand fatewillbelaidbare.Letus,thetale tellers,laughinyourears,breathe magicintotheatmosphereand bewilderyourheart.Enjoyirresistible storiesthatwillstaywithyoulong afteryourjourneyhome. £7
KitchenGardenCafé–Phone:0121443 4725–Online:wegottickets.com
Friday,27February,19:00to Sunday,1March,12:30
Howcanweprepareforspontaneous storytelling?Whenandwhereare spontaneousstoriessharedandwhat happensifwedryuporwejustdon’t feelourstoriesaregoodenough? Thereisanendlessstreamofstories, theyareeverywhere,comingtouson thebreeze,fromthesea,from grandmotherearthandaswesit togetheraroundthefire.Ifwestop foramomentandtrustwillwehear them,callingtooursenses?During thisweekendwewillexplore spontaneousstorytelling,howto createstoriesfromourimaginations andourenvironments £169
EmersonCollege,ForestRow–Phone: 01342822563
Ifyouarerunninganeventorfestival featuringtheartoforalstorytelling–beitapublicperformance,workshop oracademiclecture–thenitshould begettingpromotedherein Storylines!
Aguaranteedadcostsjust£5–email admin@sfs.org.ukfordetails.
Alternatively,postyoureventat www.sfs.org.uk–anditmaybe includedinarandomselectionof eventschosentoappearhereforfree.
When LondonFolk Tales dropped throughmy letterbox,Iwasin themiddleof preparingasetof storiesfrom AncientEgypt. Steepedinancient textsandstrugglingwithonly fragmentsofsomeofthetales,I lookedforwardtotakingabreak. Immersingmyselfinamorefamiliar geography,narrativeandhistorical contextwastheperfectantidote. Iwasn'tdisappointedeither.The chronologicalpresentationappealed tothehistorianinme,andthestories drewmeinsoeffectivelythatIthen foundmyselfmakinganothercupof teaandreading"justacouplemore, thenbacktoAncientEgypt...!"
Theillustrationsareallartifactsfrom churchesandsculpturesaround London.Theyseembothfamiliarand yetdifferent,astheypopupin monochromeonthepages.Steve Roudprovidesasuccinctandtelling
Forewordtothebookwhichgivesa clearpictureoftherangeofstories withinthissignificanthistoricarea.
IfyouhaveheardHelenEasttelling stories,youwillbeawareofher distinctive,charmingvoice.Reading thetalesaloud,Ifoundtheywere evenmoremagical.Icouldimagine Helenherselftellingthese,foritis clearlyhervoiceandherwords. Equally"Boudicca",thestory contributedbyXantheGresham, exemplifieshervoicetoo. Itwouldn’tbeabookofstories aboutLondonifitdidn’tfeature LondonBridgeanditsantiquarian demolitionandrepair.Chapter4tells thisnarrativeinaveryhumanand compellingway,usingthepeople andtheirstoriestomovethrough time.ReadingaboutJohnOverthe Ferrymanfakinghisowndeath,and hisdaughter’sillicitloveaffair,makes youlaughoutloud.Othertalesinthe collectionintriguinglycapturefurther historicaldetails,suchastheghost storyofBeckyofBedlam–which givesusapottedhistoryofthe treatmentofmentalpatients alongsidethetragedyofalovelorn servinggirl.
Someofthesetalescontainwithin themexamplesofthepowerof storytelling.Amir'sdaughter,for instance,fallsinlovewithGilbert Becketafterhesingsheratraditional Englishsong.Helen'sproseensures youfeel‘thepalelacygreenofan EnglishSpring’.
Well-knowntalescanbefoundhere too.In"TheLambethPedlar",Helen deftlyweavestwofolktalestogether. AmanfollowshisdreamtoLondon Bridge,wherehemeetsamanwho hasadreamhedoesn’twantto follow.
Whetheryoureadthisbookinorder, dipinatrandom,orchooseastory youknow,youwillenjoyit.The illustrationsarefascinatingand, alongwiththetales,makeyouwant totuckthebookunderyourarm whenexploringLondonandseekout theplace-namesandlandmarks. Sobuythisbook,retreattoyour favouritespot,andread LondonFolk Tales outloud.
IknowIwillbereturningtothisbook foragoodstoryandsome inspiration.Oh–andIdidgetthe Egyptianstoriesdonetoo... LondonFolkTalesispublishedbyThe HistoryPress, ISBN978-0752461854.
byChristopherRKnutson ChipColquhoun
Knutson'sromantictale oftrolls,changelingsand Norwegianfolkhighup intheRondane mountainsisabeautiful deviceforrecording someoftheancient folkloreoftheregion. Whilethemainplotisa fairlypredictablere-renderingof Romeo andJuliet,Knutsonpaintsitwithdetailed imagesofhisNorwegianheritage, recountingoraltraditioninawaythatis bothalluringandsatisfying.
Itishardtoknowhowmuchofthebook isindeedKnutson'sowninvention,since hisblurbstatesthathehas"recordedthe eternal DreamoftheHid-folk"–suggestingthemainplotitselfcould perhapsbeinspiredbyanoraldiatribe. Extensiveendnotesidentifysomeofthe mythsthathavebeenusedtoinfluence thenarrative,whilstdirectingthereader tofurthersourcesofinformationon thesetraditions.
Butthewritingitselfisanotherdeep attractionofthisnovel.Knutson describeshissceneswithalltheflowof
casualspeech,andseamlesslysegues intonaturaldialogue.Bydoingso,even themostfantasticalofscenes–suchas theKingoftheTrollsangrilythrowinghis minionsabout–appearastrueasthose ofthevillagefolkfarmingandfeasting. Theauthor'svoiceisnowheretobeseen, and–althoughitiseasytorecognise earlyontheusualtaleofstar-crossed lovers–plottwistsarecleverlydisguised. Assuch,insteadofgroaningattheend thatIhadexpectedallthe"revelations", Ifeltupliftedforhavingbeenright allalong.
Thedramaticfinaleisalsowellworththe effort.Talesofthiskindhaveamultitude ofendingsperceivedtobetraditional, andtheyeachhavetheirdangersand theirattractions.Knutsonplumpsforone oftheriskieroptions,butpullsitoffwith greataplomb–whichhecouldnothave donewithoutfirstwritinginsuchaway astohelpyouseethetwomain charactersasthoroughlyreal,and cajolingyoutorootforeachoftheir separate,andattimesconflicting,causes. Ultimately, Huldredrøm isalightandfun read,butalsoonethatishighly recommendedtoanyoneinterestedin theoraltraditionsofNorway,andtheir possibleimpactupontheliteratureand societyoftoday.
Huldredrøm isavailableonAmazonand ontheauthor'swebsite, www.christopherknutson.tateauthor.co m.Purchasingacopyofthetextalso entitlesthereadertodownloadafree audioversionofthebookfrom TatePublishing.
Mainbody:So, Vortigern...Who's he?Therecanbe fewpeopleinthis scepter'dislewho don’tknow somethingofthe legendaryexploitsof KingArthur.But Vortigern?Youmightjuststruggleto identifyhimasa5thcenturyBritish warlord.Perhapsyouknowhim simplyasoneofthebadguys.
It’swithtremendouspleasure,then, thatwecannowrediscoverhislegend throughSimonHeywood’sexcellent newvolumeintheAncientLegends Retoldseries,publishedbyTheHistory Press.Simonproposesthatthis warriorkingmightbeavictimof historybeingwrittenbythewinners, histaletwistedbyhisenemies.
Soheredressestheinjusticewith sensitivity,madeallthemorepowerful byafirstpersonnarrative.Thisis Vortigern’sstorytoldbytheman himself,wartsandall,andmakesfora grippingread–fromhisriseto ultimatefallandexileinthemountains ofErin.
Thisisataleofloveandbattle,loyalty andbetrayal.Dragonsandmagicians playtheirpart,kings,queensandprinces, andpriests,oldandyoung.Ithasallthe ingredientsofathrillerfromtheDark Ages,setinthewar-tornworldofpostRomanBritainwherePicts,Gauls,Saxans andmanyanothertribesdobattleacross theislandsfromCaerleontoLondon, fromGloucestertoBrittany.
Astobeexpected,Simonhasdonehis homeworkwell.Hehasstudiedthe originsofVortigern’sstoryfromGildasin the5thcenturythroughBede,thenfrom ananonymousWelshauthorofthe9th century,toGeoffreyofMonmouth’s retellinginhis12thcentury Historyofthe KingsofBritain.Itisthislastaccount whichformsthemajorinspirationfor Simon’sbook.
Inspirationis,indeed,therightterm,for thebookisnoslavishrepetitionof Monmouth’sversion.Simonhas,byhis ownadmission,"partedcompanywith himinlookingformorethanasimple villainbehindthemysteriousname." Hehasmorethanaccomplishedthisaim. Whatwehaveisanimmenselyreadable storywithahumanhero,sometimes heroic,atothertimesacruelopportunist, nownoblenowtragic.Rushoutand orderonetorediscoveroneofthegreat, neglectedtalesofthisisland’shistory–andexpecttofindacombinationofthe workofaserioushistorianwiththatofa verygiftedstoryteller.Arippingread!
TheLegendofVortigernispublishedby TheHistoryPress,ISBN978-0752490045.
KirstyHartsiotis hasputtogether theideal collectionfora Suffolk storyteller.Her fascinationwith thecountyand itsfolkloreshines throughhersimpletellingsofa widevarietyoftales.Thecontents havebeenjudiciouslychosen,and whilethestoriesyoumightexpect areincluded–theGreenChildren andthetaleofStEdmund,for example–thewriterhasfound roomforsomequirkiersurprises alongtheway.
Briefnotesattheendofeachstory addapersonaltouch,bringing authenticityandabitof backgroundtothetales,though tantalisinglymanagingnotto breaktheatmosphereofthestory –thenoteaboutClarePriorymade meshiver!
It’sgoodtoseetellingsthatareso faithfultothelandscape–infact, thestorycalled"TheKingofallthe Angles"inspiredavisittoSutton Hoo,wherewenoticedhow
accuratelytheviewfromMayPretty’s bedroomwindowhadbeendescribed.
Forthemostpart,asparsestyleleaves plentyofroomforimaginationonthe partofthereader,andelaborationon thepartofateller;buttheauthor’s ownstorymakingskillisevident, particularlywhensheassemblesgroups oftalesabouttheDevilandpullsthem intooneamusingnarrativethattakes thereaderonatouroftheSuffolk landscape.Apairofstoriesabout dragonsreceivessimilartreatment, makingtwohistoricalcuriositiesintoa singletalewithatwist.
Hartsiotisshowsanobviousenjoyment ofsomeofthetales,too,bringingthem tolifewithhumourandrhythmthatis notsoobviousinothers–itgivesthe impressionthatshehaspreviously performedsomeofthem,like"The DauntlessGirl",whileothersaremerely areportoncollectedresearch.
Thesimpleandunadornedstylemakes thestoriesveryreadableandagood length,butIfoundmyselfwishingfor Hartsiotis’ownvoicetoaddalittle colourmoreoftenthanitdid;andI longedtohearthedistinctiveSuffolk accent,whichwassadlyabsentfrom thecadenceofthewriting,evenin mostofthedirectspeech. Nonetheless,thiscollectionisagiftto anytelleroflocaltales,andessential readingforanyloveroftherichhistory ofEastAnglia.
SuffolkFolkTalesispublishedbyThe HistoryPress,ISBN978-0752467474.
MartinManassesurveystheshort butlivelyhistoryoftheFederation forEuropeanStorytelling.
In2008,whileIwasChairofthe SocietyforStorytelling,Ilearned thatMarithaNielsen,astoryteller fromStavanger,Norway,had obtainedfundingforaconference withaviewtoestablishingaEuropewidefederationofstorytellers. Someofthebest-knownnamesin Europeanstorytellingwereinvolved -amongothers,AbbiPatrix (France),MatsRehnman(Sweden), HeidiDahlsveenofOsloUniversity College,andDonaldSmithofthe ScottishStorytellingCentre.Ihad barelybeguntofilloutthe applicationformswhenIlearned thatlocalauthorityfundinghad beenabruptlywithdrawn.The wholeideaseemeddestinedto failure,butHeidiDahlsveenstepped in,persuadedOsloUniversity Collegetodonateconference facilities,andtookontheformidable
taskoforganisingeating,sleeping, workingandsocialspaceforsome60 delegatesfrom19countries.
Andso,inOsloinAugust2008,the FederationforEuropeanStorytelling wasborn.Fortwodayswedebated anddiscussedstorytellingfestivals, comparedtheculturalandfunding environmentsinvariousdifferent countries,anddiscussedwaysof supportingyounganddeveloping storytellers,multilingualtelling, umbrellaorganisations,repertoire development,andmanyotherthings. Finally,adatewassetforFEST2009in Lausanne,Switzerland.Arrangements wereentrustedtoaninternational workinggroup,ledbyDeirdreFoster andincludingGrahamLangley (England),RagnhildMorch (Norway/Germany)andRegina Sommer(Germany).
Themainachievementofthesecond conferencewasthepainstakingone ofdrafting,redrafting,agreeingand signingafoundingdocumentfora permanentFederation-linebyline andparagraphbyparagraph.Ittook mostoftheweekendtoagreeatext
fromDonaldSmith'sdraft Memorandum.Butwedidit.ACouncil andsteeringgroupwereestablished andFEST2010and2011wereslated respectivelyforReadingandToledo. TheworkinggroupforReading comprisedMartinManasse(England), RaghnildMorch(Norway/Germany), ClareMuireannMurphy(Ireland), CasildaRegueiro(Switzerland/Spain) andGiorgosEvgenikos(Greece). Relyingheavily(andgratefully)on Skype,theworkinggroupplannedthe Readingconferencearoundproposed amendmentstotheMemorandum. Therewerealsodiscussionson storytellingfortheTransition movement(GeorgianaKeable);the UKStorytellingLaureateProject (AdrianJohnson);andbilingual storytelling;workshopsand showcasesforsharingandtelling specificstories.AtToledoin2011,we experimentedwithcompetitivestory slamsandgavesomepublic performancesinasmallbutbeautiful localtheatre.Wealsolaidthe foundationsforaprojecttomarkthe 200thanniversaryofthe1812 publicationoftheGrimms'original
Kinder-undHausmärchen [KHM] ("Children'sandHouseholdTales"). FESTfinallyadoptedthestatutesand becomeanInternationalnon-profit organisation(INPO).Sincethiswas donethroughtheofficesofGuyTilkin ofAldenBiesen(Belgium),itwas underBelgianlaw,withthe consequencethatthefinalStatutes hadtobesignedbykingAlbert ofBelgium!
GuyTilkinofferedAldenBiesenasa venueforFEST2012,wherewe reportedonprogresswithProject Grimm.Participatingstorytellershad selectedtalesfromtheGrimms' collectionandundertakentodevelop themforpublictelling,withAV recording,inordertocreateanonline storytellingarchiveofeverytalein thecollection.
FEST2013inRomeexaminedvoice workandstagecraft,marketingand publicprofile-raisingofstorytellingas anart.TheworkoftheFederationis ongoing,andithasservedmainlyasa forumfordiscussionamong storytellers.Ithascomeintobeingat atimeofgrowthinEuropean storytelling.In2008inOslo,Paola Balbiwasdescribingherselfasthe lone(andunfunded)voiceofItalian storytelling.WhenIwenttoRomein 2010,Paolahadanorganisation, Raccontamiunastoria ("TellMeA Story!"),andalivelygroupof associatesandyoungstorytellers,and wasalreadyhostinghersecond internationalfestival.Thereisalso nowanItaliannationalstorytelling
organisation,FIST(ItalianFederation forStorytelling).Phenomenal progress!
In2013,Raccontamiunastoriawere hostsoftheFESTconference, followedbythefifthinternational festival.Clearly,FESThasaroleto serveasaforumfordialogue,mutual support,andcollaborationamong storytellersacrossEurope.
InitsheydayNarodneNovinewas describedasbeingoneofthefour mainnationalitypapersinHungary, servinganeverexpandingreadership; anditscirculationinthe1980swas about2,800.PublishedinBudapest,it appearedinSerbo-Croatand Slovenian,undertheleadershipofits chiefeditor,MarkoMarković.Its precursorwasNašeNovine("Our Newspaper"),whichranfrom20 October1946until3October1951,and wasstronglycontrolledbythe CommunistParty.
WealsolearnthatStevanovićhadset outtoprovideaSerbo-Croatian readerforchildrenfromtheSouth Slavnationalminorityandthat Thisisthefirstliteraryproseactinour countrysincetheliberation,whichhas beencarriedoutintheSerbo-Croatian language,therebypresentingan exceptionaltasknotonlyformembers oftheSerbianandCroatiannational minorities,butalsofortheentire publishingindustryinourhomeland. Theflyleafonherbookalso commentsontheauthorhaving produced: Threebouquetsofbeautifultales intendedforchildrenoftheyoungest age,inadditiontochildrenwhohave alreadystudiedalotinschoolbut… listenhappilywhengrannyor granddadtellthemtales,andlastly childrenwhoaresayinggoodbyeto theirchildhood,andwhowill,todayor tomorrowbetakingthefirststeps intoworkinglife.
Assuch,thearchitectureof Cloudless Skies isasfollows:Thefirstseven shortstoriesareentitled"Stories aboutLittleMira"(PričeoMalojMiri) andthesestoriesareclearlyaimedat theyoungerchild.Thesecondpartof thebook,"ARedBalloonforAllthe ChildrenoftheWorld"(CrveniBalon SveDeceSveta),isforsixtoeight yearolds,andthethirdpart,"ASmall butSelectBand"(ČetaMala Odabrane),isaimedatolderchildren, whowouldperhapsbeinyeareight atschool.
Furthermore,tomyknowledge, CloudlessSkies wastobetheonly children’sbookofshortstoriesinthe Serbo-Croatianlanguagetobe publishedinsocialistHungary(19481989),beforetheSouthSlav communityfracturedintotwo distinctSerbianandCroatian communities,in1991,followingthe onsetofinter-ethnicconflicttothe southoftheborder,intheformer Yugoslaviaanditssuccessorstatestherebydemonstratingonceagain thatwhathappedoutsideHungary, oftenreflectedontheminority communitieswithinthecountry.
ReadingthroughStevanović’swork, thereisthesensethatsheis discribingadisappearingworld:that ofruralfamilytraditions,juxtaposed againsttheonsetofurban modernity.So,therearetalesoflife inthecountryside,inthevillageand ofextendedfamiliesthatincluded grannyandgranddad,workingon
thefarm,orhuntingrabbits,nature andthedifferentseasonsoftheyear figurethroughoutthebook,andhow thechildrenspendtheirholidays,are affectedbyfloods,experiencethe firstdayofspringorwaitforthefirst snow.Thisisreflectedinthetitlesof thetales,suchas PrviPutUSelo ("TheFirstTimeintheVillage"), Trešnje ("Cherries"), ProlećeiZorica (ZoricaandtheSpring),and Sneg StigaoUNašKraj ("TheSnowArrived DownOurWay").
Thereisevenahintofamore troubledpastwithtalessuchas MaminaLutka ("Mummy’sDoll"),or BožićnaPriča ("AChristmasStory"), thefirstreferringbacktotheSecond WorldWarandrecountingthe poignanttaleofafathermortally woundedinactionandofhislast Christmaspresentsdeliveredbyone ofhisregimentalpalstohiswifeand youngdaughter;andthesecondtale, justhintingatconditionsinthe AdmiralHorthyperiodinHungary, beforetheintroductionofuniversal healthcareinpost-warsocialist Hungary.
GiventhequalityofStevanović’s work,herethnicCroatianorigin,and thefactthatshehadwrittenthis booktoprovidechildrenintheSouth Slavcommunitywithaliteraryreader writtenintheirownlesser-usedlanguage,whatisreallystrikingis thatithasnotbeenincludedinthe currentcurriculumfortheteaching ofCroatianlanguageandliteraturein bilingualschoolsinHungary,asis
demonstratedbyreadingtheGeneral ProgrammeofCroatianLanguage andLiteratureforBilingualSchools.
Thismightseemevenmoreironic, giventhatoneofthewriters,Marko Dekić,whosepoetryfeaturedinone ofStevanović’sstories, ČetaMalaAli Odabrana ("ASmallbutSelect Band"),andwhowasaco-worker, journalistandeditoronthe Narodne Novine,hasbecomestandard teachingmaterialinHungarytoday, asindeedhisworkhadbeeninthe SocialistHungaryofthe1970s;yet,of Stevanović,thereisnothing.
Furthermore,althoughStevanovićis nowdescribedasaCroatianwriterratherthanasawriteroftheSouth Slavcommunity,asshewashitherto categorisedinthe1970s-thereisnot ahintofthisCroatianidentityinher bookastheworkiswritteninthe standardSerbo-Croatoftheeastern ekavski variant,andthereareno Croatianneologisms,archaismsor typicallyCroatianusageswhatsoever, suchaswouldbefoundinamore recentpublishedcollectionofstories fromthepresent-dayCroatian communityinHungary.Nor,indeed arethereanyborrowingsfrom Hungarian.
Attheendoftheday,weare confrontedwiththeconundrumofa narrativeofshiftinglocationsand changingidentities.Inmyown opinion,theprobablereasonfor Stevanović’sapparentdisappearance fromtheliteraryrecordisthather workisjusttoomuchofareflection
ofthesocialistperiodandthattime hassimplypassedherby.Dekić’s work,bycontrasthassurvived, becauseheseemedtoconcentrate moreonthefolkloricelement,so thatinhiswork,thereareno referencestopioneercamps,red stars,Lenin,theLiberationof1945,or the1949Constitution.Stevanović’s workbycontrasthasdatedbyhaving toomanyreferencestosocialism.I alsopositasecondreasonfor Stevanović’sliterarydisappearance, thatalthoughsheisreferredtoasa Croatianwritertoday,sheisnot overtlyCroatian.Thereisnotasingle referencetospecificallyCroatian cultureorlinguisticvariety throughouttheentiretyofherbook. Shesimplywritesinthestandard Serbo-Croat,eastern ekavski variant, normallyassociatedwiththeSerbsof Serbia.Forme,itisthisfactor,and theuseofwhatare,bynow,jaded referencestoacommunistpast,that accountsforherlackofpopularity amongsttheCroatiancommunityof Hungarytoday.Yet,itisbecauseof theveryqualityofherworkthatI havetranslatedallherstoriesand nowintendtohavethempublished, sothatIcanbringStevanović’swork totheattentionofanEnglishspeakingpublic.
ProfessorRobertHudsonisDirectorofthe Identity,Conflict&Representation ResearchCentreattheUniversityofDerby. FurtherReading
Bell,Imogen(ed.) CentralandSouthEasternEurope2004,EuropaPublications, London,2003.
Crowe,David,‘MinoritiesinHungarysince 1948,’ NationalitiesPapers,Vol.16,part1, 1988.
Blažetin,Stjepan, Sjajnaigra,Budapest, 2010.
OkvirniProgramHrvatskogJezikai KnjiževnostizaDvojjezičneŠkole, Budapest,nodateofpublicationgiven.
Javarek,Vera&Sudjić,Miroslava, SerboCroat,HodderandStoughton,London, 1963.
Rady,Martyn,‘MinoritiesandMinority ProtectioninEasternEurope’inHudson, RobertandRéno,Fred, PoliticsofIdentity: MigrantsandMinoritiesinMulticultural States,Palgrave/Macmillan,Basingstoke, 2000.
Stevanović,Mara, Nebobezoblaka:price, Preduzećezaizdavanjeudžbekika, Budapest,1977.
Vago,R., HungarianStudiesReview,Vol.II, No.1,Spring1984.
www.Worldcat.org
TheSocietyforStorytellingneeds morevolunteersifwearetocarry outouraimsofpromotingand preservingstorytellingtobest effect.Sowearehopingtobring togethersmall,focusedteamsto helpussupportstorytellingand storytellers.Ifyouareinterestedin joiningoneoftheseteams,please getintouchbyemailing admin@sfs.org.uk
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