vol.20, no.1 storytelling outside the...

Pippin - Winter 2016 1

INSIDE Storytelling Outside the Box by Deborah Dunleavy ........................ 1 A Note from the Editor ................................................................. 2 Nota Bene ......................................................................................... 2 Were It Not for Hope by Brian Hetherington ................................... 3

An Icelandic Storytelling Adventure by Kathy Jessup ..................... 5 Summer at the Story Barn by Beth Breen ...................................... 6 Events ................................................................................................. 9

Vol.20, No.1

Storytelling Outside the Box by Deborah Dunleavy Storytelling performances definitely attract storytellers. And sometimes the curious will attend. And then, of course, there are friends and family of the tellers who fill some of the seats. But what about the broader, bigger population - why don't they come out to storytelling? This quandary was be-coming more and more frustrating to me as one who adores the power of the spoken word and I couldn't understand why others "just didn't get it" the same way I did. Finally I decided if the audience was-n't going to come out to storytelling I would bring storytelling to the audience. This desire to get the story art-form to grow be-yond its cozy box of story-telling fans meant exploring new ways of telling stories and exposing them to a wider audience. Before becoming a sto-ryteller I had a career in music and theatre. How, I asked myself, could I com-bine these creative aspects while still calling it storytell-ing? Then it hit me light a neon light on a Broadway Billboard - turn true stories into a play!

While Storyteller-in-Residence at the Arthur Child Heritage Museum I collected and recorded over forty hours of stories

from twelve seniors who remembered the years before 1945. This became part of a photo/audio/video exhibit in the museum.

Their stories inspired me to write a one-woman play called "At The Canoe Club Dance". To bring the stories to the stage I created the character Bea Tompkins, an elderly woman adjusting to living in a retirement home. As she speaks to the audience it is revealed that she had been a singer fronting a big band in the years leading up to the Second World War. Bea trav-els through time. Sometimes she is the singer - I had a de-lightful trio of musicians on piano, bass and drums. Some-times Bea is a child, a teen, and a young woman in love with her childhood sweetheart. Each night for three nights the play drew capacity audi-ences of 100 people from all walks of life. Some had actually attended the dances at the Canoe Club in the old days. Some had come from as far away as 70 kilometers to see the performance. There was laughter, applause and even tears. The stories danced in their hearts and minds. What more could a storyteller ask for? In promoting "At The Ca-noe Club Dance" I made a

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2 Pippin - Winter 2016

**NOTA BENE**

PIPPIN is the newsletter of Storytelling Toronto

The Storytellers School of Toronto is a registered, non-profit organization that provides a creative home for a community of storytellers,

listeners, and story-explorers. Our mission is to inspire, encourage and support storytelling for listeners, tellers and those who have not yet heard. Since 1979 we have been providing courses and workshops; holding gatherings, festivals and events to celebrate and present the art of storytelling; supporting the creative work of storytellers; and producing publications about storytelling and storytellers.

Pippin Editor Dawne McFarlane

Design/Layout chris cavanagh

Listings Marylyn Peringer

Program Leaders Festival Director: Dan Yashinsky

Resident Teachers: Marylyn Peringer, Lynda Howes StoryFusion Cabaret: Heather Whaley and the Backseat

Balladeers

Website: [email protected]

Board of Directors 2015

Office Director Dian Marie Bridge

© Storytelling Toronto

(formerly Storytellers School of Toronto)

Ph: 416-656-2445 Fax: 416-656-8510 www.storytellingtoronto.org

601 Christie St., Suite #173 Toronto On M6G 4C7

[email protected]

Summer was breathed in deeply, the harvest has been gathered and celebrated with thanks, and now we nestle in for the winter. How appropriate that this collec-tion of stories should gather to-gether in Pippin. A reminder of summer on the Bruce Peninsula, and a glimpse of the northern landscapes of Iceland and Scot-land. Here are invitations to stretch your storytelling beyond

“the box,” seeds of hope to heal heartbreak, shoestrings and abundance, and cosy couches to sink into. Kindle a fire in the woodstove, light a candle, make a cup of tea. And curl up with these stories as the snowflakes begin to whirl around outside. Dream of the landscape of story and how you are exploring it, with your footsteps and your im-agination. Enjoy.

A Note From the Editor

Karen Blair Joanna Chapman-Smith Beth Cox Carol Farkas Angela Hansen

Chryslyn Pais Paul Robert (President) Qaid Silk (Treasurer) Hildy Stollery Molly Sutkaitis

Every Friday night

since 1978 storytell-

ers and listeners

have been gather-ing in downtown

Toronto. Each

evening is hosted

by an accomplished

storyteller. Anyone

is welcome to tell a

story. Every Friday

night is unique.

Time: 8:00 p.m. to 10:30 p.m. 2 Sussex Street, Toronto. www.1001fridays.org

Suggested donation: $5.00 Innis College Café

(corner St. George, one block south of Bloor St. W. St. George Subway - St. George St. exit)


by Brian Hetherington I usually tell stories connect-ed to a specific place. Now I know all stories have a setting, but the stories that I tell have a stronger than usual connection to place. For example, several times I have been in a place – the Bay of Martyrs on Iona in the Scottish Hebrides; the Neo-lithic village of Skara Brae in Orkney, Scotland; or in a park on the Laugavegur Road in Rey-kjavik, Iceland – and have real-ized that there was a story there, a story in my psyche or wherever, a story waiting to emerge. A year later, perhaps, that story comes to me, set in that place that so captured my imagination. Because I have been to that place and have tak-en photographs and notes, it is relatively easy for me to create a story around that place. The trouble comes in conveying that place to someone who hasn’t been there. Once, before I wrote the grant, I told one such story set in Skara Brae and those who had been there understood the geography of the story, but those who hadn’t struggled with it. It was this kernel of an idea that led me to apply and receive a Canada Council for the Arts grant to put on my two hour storytelling multimedia show, Were It Not for Hope,(the Heart Would Break). The title is based on a Scottish proverb and the performance is a cycle of frame sto-ries, traditional folktales and my own his-torical fiction stories set in a variety of locations and times. The basic idea was this: use Powerpoint to create a montage of photographs from the settings of the stories, add music, and use this montage

to introduce the stories. I decided to show the montage and music before I told the stories as I did not wish the stories to compete with the audiovisual. I luckily found people with the expertise to help me: Reinier de Smit, an Oshawa multime-dia designer, to do the visuals; Howard Alexander, a Brockville composer to do the original score; and Deborah Dunleavy to be my Artistic Director. The perfor-mance took place at Unitarian Place, 206 Concession St., Kingston on May 29, 2015. The titles, dates and locations of the stories were:

The Journey, Highlands of Scotland,

Ireland, Ottawa Valley - c. 1850

Forbidden Love, Iceland, A folktale,

time unknown

The Caves, Mas D’Azil, near Tou-

louse, c. 1209-1229

The Mists of Skara Brae, Skara

Brae, Orkney, Scotland, Neolithic times It was wonderful to have a budget for professional services and not have to try to do this on a shoestring! Because of this funding, I now have a modern show that appeals to both a traditional storytelling audience and a younger, media-savvy one; photographs that explain these rather obscure settings to the many who have not visited them; and music that conveys the mood of the story. Even though sto-rytelling may have been unfamiliar to many, the audiovisuals expanded the ap-peal of traditional storytelling. Ultimately, it may have been this vision of expanding

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Were It Not for Hope: From the Kernel of an Idea, to a Grant, to a Performance

Brian at Skálholtsskóli, the Conference Centre of the Lutheran Church of Iceland and the historical episcopal seat, southern Iceland


Entrance to the prehistoric cave at Mas D'Azil, France. This cave served as a refuge three times in history: during the Cathar war with the Catholics in the 13thC, during the Catholic and Protestant wars in France in the 17thC, and in the Second World War where resistance fighters hid from the Nazis.

the appeal of traditional storytelling that got me the grant. Storytelling is not well understood by non-storytellers/storylisteners and articulating a more modern vision of storytelling is appealing to them and to funders. It struck me that, as storytellers, we don’t have the same opportunities to hone our craft as other artists: working with a director is essential in theatre, but a paid director for a storytelling perfor-mance is unusual; collaborating with other artists does happen but rarely with full funding; working with technology, other than a microphone, is also unusual and for me, a considerable source of anxiety! I could apply for a second grant to tour this performance and that would provide an-

other unusual opportunity for storytellers, the ability to do a show multiple times and perfect it through performance. There’s something about performing a piece in a real show that gives insight into it that cannot be discovered any other way. My advice for those who might apply for their own grant: Don’t flesh out the idea for the grant be-fore reading the terms of the grant thor-oughly. Granters are unlikely unable to change the terms of the grant even if the proposal is stellar. Fit the project to the grant, not the other way around. This is difficult because often we have a strong conviction about how things should work and those convictions may not fit the grant criteria. Remember that the Canada Council aims

to support modern, professional projects of artistic merit. Applying to create a CD (now dated technology); or for a project with a social justice not an artistic goal (e.g, using storytelling with street-involved youth) are unlikely to be funded. Take pity on the poor jurors who have a hundred proposals or so to read: cue the recordings and make them of professional quality, make the proposal as short and clearly-written as possible. In the past jurors have had one area of expertise and so only one, perhaps, is a storyteller: don’t assume they understand storytelling lingo e.g. a frame story. Write with a non-storyteller in mind. Above all, try! Your heart may not break if you don’t get the grant, but there is always hope that you will! Try!

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The en-trance to a

below ground

dwelling at Skara Brae,

Orkney

Gunnar's Farm from Njal's Saga, where Gun-nar banished from Iceland for life decid-ed to kill him-self rather than leave his beloved Iceland


by Kathy Jessup Strange as it may seem, the roots of my Icelandic adventure began in Scotland. In the Fall of 2013 I was invited to per-form at the Scottish International Story-telling Festival. While there, I met Iceland-ic Teller Sigurbjorg (Sibba) Karlsdottir. We chatted...and as often happens when you put two storytellers together--a friendship was quickly forged. This past July, Sibba invited me to Ice-land where her group was hosting the Nordic Storytelling Seminar, an annual conference of about fifty Tellers from all the Scandinavian countries. We gathered in the scenic little town of Grundarfjordur on the Snaefellsnes peninusla in west Ice-land. I had the amazing opportunity to spend six days in this setting, telling sto-ries and presenting my workshop Crafting Original Stories for Children. It was a real challenge for me to work with storytellers whose first language was not English--although luckily they were all quite fluent. My session's participants included Tellers from Iceland, Sweden, Norway and Den-mark. They were all so warm and wel-coming, we quickly established a strong group rapport and I was very proud of the stories they created. I felt a bit like a birthing coach! Seminar course work happened during the day, with leisurely breaks for eating and visiting. This annual event is often the only opportunity these folks have to see storytelling friends from other Nordic coun-tries, so they like to make the most of it! Every evening we gathered in the beautiful home of Seminar hosts Sigurborg Hannesdottir and Ingi Hans for a story circle. Their house features a "great room" large enough to hold the entire group, and it was the perfect artistic set-ting in which to relax and listen to stories. During the nightly circle, Tellers shared tales (mostly) in their native tongue, and the mix of languages was impressive. Although I couldn't understand the words, it was amazing to me how much I could pick up, just from their voices and body language. It was a fasci-

nating story experience. Prior to the start of the Nordic Semi-nar, I spent ten days touring the country: visiting museums, heritage sites, and natu-ral wonders (of which Iceland has many)! I learned about Vikings and Sagas, whales and herring, settlement and emigration... but my goal was to go even deeper. I wanted to absorb as much "real" culture and history as I could by physically experi-encing the land--from accidentally scratch-ing my skin on the ancient rough lava rock, to the ecstasy of soaking in Iceland's many geothermic hot pools. I eaves-dropped on conversations until my ears were tired, trying to decipher the unfamil-iar sounds of another language. I ate eve-rything from rotten shark to the Icelandic Christmas treat Laufabraud. Meanwhile, my eyes feasted on a never-ending series of waterfalls, glaciers, steaming volcanic fissures, and gorgeous coastline vistas. This trip was a series of memorable expe-riences, some big and some small, but each one like a gift with a story attached. By far, the best gift I received was the friendship of three Icelandic Storytellers: Sibba,(who invited me on this journey to

begin with), Dilla Skjoldal Ingimarsdottir and Helga Hallgrimsdottir. These generous women hosted me in their homes, toured me around their regions making sure I had an insider's view of all the important sites, and told me their stories of growing up and living in Iceland. We had discussions about family, and cooking, and politics and gardening and history and...They answered my endless questions with patience and good humour. We laughed a lot! Iceland is indeed a small but mighty country. Despite historical status as the land of legendary Sagas, its official story-telling community is relatively small. How-ever, the Tellers I met are a proud, dedi-cated, and talented group. I hope to con-tinue to build storytelling bridges and op-portunities between us. Alberta has a thriving population of Icelandic emigrants who would welcome such an exchange, and I know our own storytellers would benefit greatly as well. I am deeply grateful to Storytelling Toronto and the Anne Smythe travel grant for helping me with my trip's travel costs. I look forward to seeing where all of this will lead as I take the next steps on my storytelling journey.

An Icelandic Storytelling Adventure


by Beth Breen, Tobermory When you sink into one of the old ches-terfields at the Story Barn in Dyers Bay you might feel that you will never be able to get out again. Then you might feel that you are OK with that. After a few minutes of Ron Baker’s storytelling, there is no problem at all. You have fallen un-der the spell of story. The air in the old restyled barn becomes charged with the enchantment of original stories, borrowed stories, and traditional tales. And the chesterfields are filled with rows of happily immobile listeners. Images of a blue faience hippopotamus, a dancing skeleton, a theological mime debate, a hungry Ty-rannosaurus Rex and a whole lot of some-thing from nothing swirl about the room and swish into the ears and dance through the minds of all present. You are en-thralled. Master storyteller Ron Baker and his “stage manager” wife Rita Baker pre-sented another season of storytelling in June, July and August. Every Monday evening, an audience of about 25 people of all ages gathered to hear stories brought to life. And the stories in turn brought the audience to life with giggles and sighs

and nostalgia and laughter. Some of the stories were old favourites. Some were re-peats of new favourites. Sometimes listeners could chime in and participate in the telling. Of the ten or so sto-ries in one evening, there were also some stories that are heard less often, drawn from Ron’s current repertoire of over forty tales. After a few stories the spellbound audience is re-leased for a break. Cookies and juice are passed around, people who need help rising from the comfy couches are offered friendly lifts, and the gathered crowd visits with Ron and Rita and one another. After break, Ron stands up to resume storytelling. Once again casting his spell, his movements become quicker and more fluid, his voice becomes more resonant, and his contact with the listen-ers intensifies as he warms to each tale. The storyteller himself becomes enrap-

tured. Sometimes just after a story comes to an end, a serious, quiet mood momen-tarily descends upon the rapt audience as they realize that their imaginations have been filled with a fine fantasy, and also with a fine truth. Then a round of appre-ciative applause erupts. On the second Monday of each month, there was a story swap. Mem-bers of the audience were invited to tell a story themselves. These stories ranged from casual accounts of events of the day to prepared and practised presentations. All of the storytellers succeeded in con-veying something of significance. All of the storytellers encountered the challenges of telling a tale well. It is fun to try. It’s just not as easy and natural to wield enchant-ment as Ron makes it look. Audiences were made up of visitors to the Bruce Peninsula, as well as seasonal and permanent residents of the area. They were free to sit on chairs and bench-es if they liked. They were not charged an admission fee. They sometimes purchased one of Ron or Rita’s books offered for sale. At the end of the evening, however, they were invited to make a donation to the Stephen Lewis Foundation. $1,100 was collected this way for the season.

Summer At The Story Barn, Dyer’s Bay On The Bruce Peninsula

Ron Baker

The Story Barn


Storytelling Outside the Box cont-d

poster that resembled the vintage era of the 1930's and I did not put "storytelling" in the top header. I didn't want the public to assume that it was intended for chil-dren or that it might be boring. Instead I used the title of the performance, "At The Canoe Club Dance" with a subtext in smaller print: "Storytelling At Its Best". In 2014, thanks to sup-port from the Alice Kane Award, over 500 people turned out at Christmastime to hear "La Befana's Gifts". The oratorio is based on the Italian folktale of the old woman who brings gifts to children on the Epiphany. In collaboration with my hus-band, composer Howard Alexander, I adapted the traditional story for teller, chamber orchestra and choir. As an artist I am always exploring new avenues for expressing my creative vi-sions. For a number of years I had been fascinated with the true story of Isobel Gunn, a woman from the Orkney Islands who, in 1805, disguised herself as a man and sailed away to Ru-pert's Land with the Hudson Bay Company. Imagine my delight when I was awarded a Canada Council Grant to write an oratorio with How-ard. Over a six month period I researched many things including the Hudson Bay Company, the truth, lies and conjecture surrounding the life of Isobel Gunn, customs, beliefs and habits during the early 1800's, and details on the Marsh Cree who resided at Fort Albany. Uncov-ering the folklore, fairy tales and supersti-tions also helped shape the story I wrote. Howard and I collaborated on the mu-sic to accompany the telling. This was most exhilarating. Mood, tempo, dynam-ics, instrumentation were designed to complement the telling and not overpow-

er it. We meticulously worked out the bar counts so that the conductor of the work would know where to cue the storytelling lines. The result is a work for teller and orchestra. I have been having great fun shopping it around to symphonies in Canada and Scotland. While we have a few possible

leads nothing has been firmed up as of yet. Our fingers and toes are crossed. In between all of these projects I was quietly writing a novel. And not a work for children. Instead I gave my muse the freedom to write an uncensored work of fiction. The first chapter has a couple mak-ing love under the protection of an oak tree. I jokingly call it .005 shades of grey. Thomas King says, "All we are is sto-ries." How true. The novel works on two

storylines for the same character, Grace Ferguson. Grace is diagnosed with termi-nal cancer. Since she knows she will not live long, she decides to take matters into her own hands. One story line is about her journey to her final resting place; the other story line is made up of her memo-ries where events and encounters shape

the essence of her life. In writing the book there were many moments when I found myself using a turn of phrase or a motif that I know now was influenced by my many years of telling stories. Even the ending has shades of an old traditional ballad. At the same time I was cautious. I had to remind myself that a story told, is meant for the ear; a story read, is meant for the eye; and both should lead di-rectly to the heart. I look forward to hosting two launches for my novel, one in Toronto on October 3, and one in Brockville on October 6. This will be an opportunity to tell the story of how I came to write the "Truth About Trees." What's next for the story-teller reaching outside the box? Who knows? I will listen. I will follow the vision and chase the dream. A little secret - there is another book in the sidelines waiting to be written and I look forward to doing it during the winter months while the snow falls and the fire flickers in the woodstove. My wish for all of my teller friends is that each of you fol-low your storytelling heart's

desire and tell that which rings true for you. If it means stepping outside the box of your comfort zone, you have my bless-ing. More people need to hear what we have to share. Deborah Dunleavy is a Word Artist living in Eastern Ontario. Her book, "The Truth About Trees" is available from Deb-orah at [email protected] or from Amazon.com and Kindle.

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The 1000 Islands Yarnspinners is a collective of storytellers living along the St.Lawrence river from Kingston to Cornwall, dedicated to the promotion of storytelling in eastern Ontario. Info: Deborah Dunleavy, [email protected] or Bill Lalonde, [email protected]

The Guelph Guild of Storytellers meets at 7 – 8:30pm on the second Wednesday of each month in the Community Room of The Book-shelf, 41 Quebec St, Guelph. Open mike for 5-minute stories. Experienced tellers with longer stories are encouraged to contact us in ad-vance for a spot on the program. Info: Sandy Schoen, (519) 767-0017, [email protected], www.guelphstorytellers.wordpress.com

Belleville Storytellers meet on the 1st Thurs-day of each month at the Belleville Public Li-brary, 254 Pinnacle St, at 6:30 pm. Info: Micki Beck, [email protected]

StoryTent is hosted by a variety of tellers most Saturdays, mornings 11am – 1pm at the Artscape Wychwood Barns, 601 Christie St. In winter we’re indoors at the Storytelling Toronto office, Suite 173.. Open to storytellers, listeners and those who like to “talk” story. Come and be mentored as you try out new or familiar stories. Info: Donna Dudinsky, [email protected]

1,000 Friday Nights of Storytelling con-tinues every Friday evening at 8pm at the Innis College Café, Sussex Ave. and St.George St., Toronto. Cost $5. Open to all who wish to listen or tell. (416) 656-2445, www.1001fridays.org

Storytelling Circle meets every Tuesday at 2:15pm at #6 St. Joseph Street, an artistic re-source centre for people at a crossroads in life.

All are welcome. Info: Molly Sutkaitis, (416) 239-1345, [email protected]

Stories Aloud meets on the 2nd Friday of the month at the Waterloo Community Arts Centre, 25 Regina St. S. Waterloo. 8pm. Info: Open storytelling, cost $5. Info: Derek Brisland, [email protected], (519) 634-9128

The Baden Storytellers Guild meets on the 4th Friday of the month, at the Water-loo Community Centre, 25 Regina St. S., Waterloo. Info: Derek Brisland, (519) 634-9128. [email protected]

The Ottawa Storytellers meet for their Story Swap on the first Thursday of the month, 7pm At Library and Archives Cana-da, 395 Wellington St, Room 156, free ad-mission.. Info: [email protected]

The Ottawa Storytellers also sponsor Stories and Tea every 2nd and 4th Tuesday of the month at The Tea Party, 119 York St., Ottawa, 7pm. Suggested donation: $8 or pay what you can. Info: [email protected]

The Dufferin Circle of Storytellers meets the 1st Thursday of the month, 7:30pm. Info: Nancy Woods, (519)925-0966

The Brant Taletellers Guild, welcomes tellers and listeners to its monthly gather-ings September to June, 7 – 8:45pm, on the first Wednesday of the month at the Station Coffee House and Gallery, besides the Brantford VIA Station. Visitors wel-come. Fair Trade.coffee, Steam Whistle beer, wine and snacks can be purchased during meetings . Info: [email protected], (519) 756-0727

The Durham Folklore Storytellers (formerly Durham Folklore Society) meets every 3rd Thursday, 7:30-9:30pm in the Seniors Day Activity Room, Northview

Community Centre, 150 Beatrice St. E., Oshawa. Info: Kathleen Smyth, [email protected] or www.durhamfolklorestorytellers.ca

Cercle de conteurs et conteuses de l’Est de l’Ontario se réunit pour une soi-rée de contes décontractée style “Café” au Salon Richelieu du MIFO, 6600, rue Car-rière, Orléans. Venez faire plaisir à vos oreilles en partageant et en écoutant contes, legendes et bonnes histoires. En-trée libre. Dates: les 20 février, 19 mars, 23 avril. Contribution volontaire suggérée. Informations: Laurent Glaude, (613) 859-1978, [email protected]

The Hamilton Storytelling Circle meets at Temple Anshe Sholom, 221 Cline Ave N., Hamilton. Info:BarryRosen, [email protected]

The Montreal Storytellers Guild meets the 4th Tuesday. of the month at the West-mount Library. Info: Christine Mayr, [email protected]

Upcoming:

The Ottawa Storytellers present the first in the Speaking Out/Speaking In series, A Winter Tale: The Story of the Blind Harper, based on the life of Turlough O’Carolan. Thursday, De-cember 17 7:30pm at the National Arts Centre. $22, seniors $18. Info: www.ottawastorytellers/4th-stage- at-the-nac/

Past and Noteworthy:

The Ottawa Storytellers special feature series offered BEST OF…a storytelling face-off with a prize! Wednesday, October 21, 8pm at Black

EVENTS — Winter 2016

Every effort has been made to present current information. Sometimes the completion and delivery of Pippin is subject to the volunteer hours available to produce it.

GATHERINGS

PERFORMANCES


Box Studio of Arts Court, 2 Daly Avenue, Otta-wa. Info: www.untoldottawa.ca

Celia Lottridge gave the annual Stubbs Me-morial Lecture for the Friends of the Osborne Collection, Thursday November 5, 8pm at the Lillian H. Smith Branch of the Toronto Public Library, 289 College St. Toronto. Celia ex-plored how the family stories told by her par-ents have given her material for her novels.

Ottawa Storytellers’ Children’s Storytelling Festival, Saturday November 7, 10am – 4pm, at Nepean Centrepoint Library, 101 Centrepoint Drive, Nepean. Storytellers, puppets, musi-cians. Free admission. Info: www.ottawastorytellers.ca

The Parent-Child Mother Goose Program announces two of its Teacher Training Work-

shops for 2016: 1) January 22-23, a two-day workshop led by Celia Lottridge. Fee: $330/$290 if registered by Dec.22. 2) February 19, Your Grandma and My Grandma: Connecting Cultures, led by Ruth Danziger. $170/$155 if registered by Jan.19. Both workshops at The Centre for Social Innovation, 720 Bathurst St., Toronto: Info: [email protected], 416-588-5234.

STORYTELLING TORONTO COURSES

Info: (416) 656-2445 or www.storytellingtoronto.org

Storytelling I: First Steps Into the Art of Sto-rytelling (Fall) November 20-22, 2015 at the Lillian H. Smith Branch of the Toronto Public Library. Instructors: Lynda Howes, Joan Bailey. Fee: $270/$244 early bird before Nov. 13

Telling Stories Bilingually, Nov. 14 and 21, 1:30 – 4pm, at Storytelling Toronto, Wychwood Barns. Instructor: Marylyn Peringer. Fee: $70/$60 before Nov. 7

Threads (Spring 2016) Saturday April 9 (10am-4pm), Sunday April 10 (1-4pm) at the Textile Museum. Instructor: Michelle Tocher. Fee: $150/$134 before April 2

Finding and Telling Family Stories (Spring 2016) Four Thursday evenings April 28-May 19 (7-9.30pm) Instructor: Celia Lottridge. Fee: $165/$150 before April 21

STORYTELLING TORONTO

COURSES

This newsletter is made possible in part by a grant from the Ontario Arts Coun-cil’s Literary Festivals and Organizations Operating Funding.

The Storytellers School of Toronto gratefully acknowledges the support of the following government agencies:

WORKSHOPS

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