Continually improve their artistic practice, services, publications and research through relevant continuing education as a TLA artist and facilitator ( The Power of Words: A Transformative Language Arts Reader 282).įor me, practicing written and spoken word for my individual transformation is a necessary step in understanding the challenges the interviewee faces in telling her/his story. The first principle in the TLA Code of Ethics is: I received my graduate degree in Transformative Language Arts (TLA), a discipline that intentionally uses written, spoken, and sung word for individual and community growth, development, celebration and transformation. What does earning the right look like, for me and FamilyArchive? Competence and Practice: Telling my own story See the Oral History Association for more info.įirst, how can I get to the less-studied voices? Gerry Albarelli’s workshop posed the question: How do we, as interviewers, earn the right to hear your (the narrator’s) story? While I am hired by clients to collect their stories, I still want to earn the right to hear your stories. Note: When discussing Oral History in academic circles, the terms Oral Historian and Interviewer are interchangeable, as are the terms Narrator or Interviewee. Oral Historian as Guide: Finding Your Voice in Narratives Based on Oral Histories by teaching fellow Nyssa Chow.īoth workshops were incredibly useful in refocusing my mission for FamilyArchive: to protect the legacy of less-studied voices by collecting and preserving family history.Introduction to Oral History for Writers taught by faculty member Gerry Albarelli and.Oral history, is a branch of storytelling and oral tradition: but in addition to telling the story, oral historians focus on preserving the story (through audio recording and transcription) for future generations.īack in January, I attended two oral history workshops for writers held by Columbia University’s Oral History Master of Arts department: In Once on this Island, this is communicated by company members telling the story to a young girl, who becomes the chief narrator at the end. One function of oral tradition and storytelling is to pass down tribal history and values from the older to younger generations. As a lifelong student of mythology and storytelling, I was moved by how this staging choice mimicked the campfires of yore, where our prehistoric ancestors passed down stories about the world around us. As a recent audience member, I was thrilled with the intimacy of being so close to the action. In the current production on Broadway, the show is set in the round - that is, the audience is seated entirely around the stage. Ultimately the story shows how love and forgiveness can unite two people from different worlds. It is a fairy tale: gods who represent elements of Earth, Love, Water and Death orchestrate the story. The Broadway musical Once on this Island tells the story of a Caribbean peasant girl who falls in love with and loses a rich man from the other side of the island. Lynn Ahrens & Stephen Flaherty, “Why We Tell the Story,” Once on this Island It will help you feel the anger and the sorrow It will help your heart remember and relive So I hope that you will tell this tale tomorrow If you too would like to attend our One-Day Workshops, another event has been scheduled for this spring on May 5. In this blog post, Amanda Faye Lacson shares her thoughts after attending both Nyssa Chow's and Gerry Albarelli's classes on Oral History for writers during the January 20 One-Day Oral History Workshops at Columbia University.
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