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More than just a book, Storytelling in Northern Zambia lets you watch videos of the storytellers while you read. Storytelling plays an important part in the vibrant cultural life of Zambia and in many other communities across Africa. This innovative book provides a collection and analysis of oral narrative traditions as practiced by five Bemba-speaking ethnic groups in Zambia. The integration of newly digitalised audio and video recordings into the text enables the reader to encounter the storytellers themselves and hear their narratives as they were recounted during Robert Cancel's research trips to Zambia. Robert Cancel's thorough critical interpretation, combined with these newly digitalised audio and video materials, makes Storytelling in Northern Zambia a much needed addition to the slender corpus of African folklore studies that deal with storytelling performance. Cancel threads his way between the complex demands of African fieldwork studies, folklore theory, narrative modes, reflexive description and simple documentation and succeeds in bringing to the reader a set of performers and their performances that are vivid, varied and instructive. He illustrates this living narrative tradition with a wide range of examples, and highlights the social status of narrators and the complex local identities that are at play. Cancel's innovative study tells us not only about storytelling but sheds light on the study of oral literatures throughout Africa and beyond. Its innovative format, meanwhile, explores new directions in the integration of primary source material into scholarly texts. This book is part of our World Oral Literature Series in conjunction with the World Oral Literature Project.

Oral traditions have played and continue to play a critical role in the lives of African peoples albeit changes in context and usage. In this article, I discuss the development of what I term the African Oral Traditional Storytelling (AOTS) Framework as an ethical and culturally centered approach to studying with African peoples. Akin to narrative inquiry methodology, the AOTS Framework is developed as an alternative approach to studying or working with African peoples by centering African oral storytelling, African philosophies and worldviews, languages, and cultures as relevant and essential to understanding the experiences of African peoples. The collaborative philosophical underpinnings of the AOTS Framework rest on the communal and the collaborators' engagement in the study not just as people who provide information but as co-creators in the narratives, meanings, and understandings that are brought to bear.

PurposeIn this paper the authors share, and reflect critically on, the experience of using digital storytelling (DS) methods in a South African township. We interrogate the innovations prompted as we operationalized DS in a context that has historically prized collectivist values and that experiences chronic resource constraints.Design/methodology/approachThe authors ask: How can DS be optimally used to understand youth resilience in a collectivist, developing context? The authors worked with 18 older adolescents (aged 18–24) during two day-long events. The authors provide detailed descriptions of the method used, and offer reflections focusing on narrative, visuals and technology-mediation.FindingsThis study concludes by sharing four key lessons learned during the project. First, revisit the definition of "story" for your context, participant group and time. Second, a slower process yields more meaningful product. Third, facilitator competence matters. Finally, advance and deeper thinking about the ways in which technology will be used leads to richer research outcomes.Originality/valueThe paper reflects on the interplay between the transactional nature of contemporary digitally-mediated methods in a low-resource setting and with a seldom-heard population, and it's relationship with the ancient local traditions of story-making and audiencing.

Migration from the rural to urban areas has a negative impact on the preservation of Bapedi cultural heritage and identity. Within Bapedi people's cultural context, storytelling has been passed down from generation to generation, for ages. The transmission process takes place in social environment that provides authentic social cues about how knowledge is to be applied. Bapedi culture is characterized by ideas, customs, taboos, and social behaviour of Bapedi society. Due to the movement of people from rural to urban areas, children are in desperate need of new ideas and concepts regarding everyday life. The primary objective of this study was to investigate what is gained and what is lost in the process of migration. The main questions the study addressed are: a) how effectively can storytelling from Bapedi cultural perspective be taught in the urban areas? b) what are the attitudes of Bapedi children in both urban and rural areas regarding storytelling? c) what is gained and what is lost in the process of migration? d) what is the relevance of storytelling within Bapedi people's historical context, and e) what is the transmission process of storytelling within Bapedi people's cultural context? To achieve the objectives of this study, contextual approach was employed, and data was collected through observations and interviews. Relevant sources to the context of this study in the form of published journal articles, book chapters, books and theses were also consulted to compare and complement data collected from the field research. Closer investigation has revealed that prolonged separation following migration often disrupt parent-child relationships and has a negative impact on the transmission of values and knowledge as well as the preservation of Bapedi cultural heritage and identity. It was concluded that losing contact with elderly people, children might miss the opportunity of psychological and educational benefits, such as enhanced imagination to help visualize spoken words, improved vocabulary, and more refined communication skills, as well as indigenous knowledge about morals and cultural values.

This review aims to investigate the link between narrative identity, generativity, and storytelling in African American elders. Storytelling has been a method of intergenerational communication and connection for a number of years in the African American community. Storytelling has also strengthened generative ties and intergenerational relationships. Erikson's eight stages of psychological development are used to examine narrative identity and generativity. Research exploring the life experiences of African American elders is also presented. This article examines the current research on narrative identity and generativity and the African American experience, and makes suggestions for future endeavors in the field. It is recommended that future research consider the three—narrative identity, generativity, and storytelling—to better understand the experience of older African Americans.

Tell Me Your Story' starts with the Harlem Renaissance. Harlem in the 1920s saw a flurry of activity by African American authors, musicians and theatre makers, resulting in a vibrant visual arts scene. Black culture is currently enjoying another renaissance, and African American artists are more visible than ever in the United States. The exhibition places contemporary artists in the context of their predecessors.00'Tell Me Your Story' focuses on five chronological periods: the Harlem Renaissance, Post Harlem Renaissance, Civil Rights, Black Renaissance and the Bloom Generation. The artists in each of these distinct periods shared one common characteristic: the need to express themselves and safeguard the vital African tradition of storytelling.00The exhibition is being organised as part of Kunsthal KAdE's 2020 trilogy on the United States, inspired by the upcoming presidential election on 3 November. This is a key moment in a politically and socially polarised nation. Over the course of the elections KAdE will be holding a presentation exploring the role of artists in the current US environment. The summer period will see the launch of an exhibition on Art Activism in New York during the 1980s, another decade shaped by politically engaged artists.00Exhibition: Kunsthal KAdE, Amersfoort, The Netherlands (08.02.-17.05.2020)

Saving Shoshana : an introduction to sentimental political storytelling -- Incidents in the life of a (volunteer) slave girl : the specter of slavery and escapes from history -- The reading cure : Oprah Winfrey, Toni Morrison, and sentimental identification -- Salvation in his arms : rape, race, and intimacy's salve -- In the shadow of Anarcha : race, pain, and medical storytelling -- The abduction will not be televised : suffering hierarchies, simple stories, and the logic of child protection in the United States -- Coda : lifetime, anyone? : a meditation on victims

Telling true stories : creative approaches to bringing nonfiction to life / Dean Jobb -- "I like to give things a story" : one teacher's view of teaching mathematics / Laurinda Brown and Maria Dolores Lozano (Lolis) -- Learning to play : stories of learning mathematics, language and music / Sarah Eagle -- "Where are you going? Where have you been?" : foundations and methods for revitalising story reading for children / Phyllis Hastings -- Oral history and storytelling : reflection on an alternative approach of teaching history / Wai-ling Wong -- Storytelling as a research tool in a user-centred design process / Denise Dantas -- Digital storytelling on life-cycle websites / Rasa Raciunaite-Pauzuoliene -- Digital storytelling : possible applications in an open distance e-learning environment / Leona Ungerer -- A new horizon of non-fiction storytelling : the use of virtual reality and gaming techniques / Nina Dvorko -- Visual storytelling of Japaneseness in manga, anime and Japanese film / Shunichi Ueno -- Stories from different sides : reflections on narrative-based dialogues in addressing the legacies of apartheid wars / Theresa Edlmann -- Invisible stories : loss, recovery and the rhetoric of war / Welby Ings -- The place of story and storytelling in clinical contexts / Elizabeth Mary Cummings -- Singing the world : narrative medicine and storied existence / Sarah Garvey and Rachel Chung -- Can TV and film help us to understand suicide better? / Gavin Fairbairn -- "People insult me - oh my!" : reflections on Jola women's story-songs in rural West Africa / Joanna Davidson -- East African stories of love : challenging perspectives / Brendon Briggs -- Cultural appropriation and the telling of wisdom stories / Keven Fletcher -- Eventually all of the citrus trees died : stories of love and loss from a village in Cyprus / Stephanie Elisabeth Jacobs -- Interactive/transmedia storytelling as cultural narrative : stories of family, place and identity / Melissa Lee Price and Michael R. Ogden -- Sharing, saving and studying life stories : diverse perspectives / Cheryl Svensson, Paulette Stevens, Sarah White, Mary O'Brien Tyrrell and Valerie Perry -- Telling it as it is : women as protagonists in autobiographies / Anthonia Makwemoisa Yakubu -- Mothering on kibbutz : a personal/communal story / Nancy Peled -- Narrativisation of identity in the poetry as life writing of Lithuanian women emigres / Irena Ragaisiene -- Sharing stories : an interactive, interdisciplinary approach / Tracy Ann Hayes -- Years of crossing the Atlantic : a nineteenth-century British travel writing scholar dialogues with her travellers / Caroline M. Kisiel -- Representations of time and space in advertising stories / Madalina Moraru -- Narration as a source for studies in ethic systems : an historical, psychological perspective / Szymon Czerkawski -- Reinstating narrative : the role of stories in Claudio Magris's post-postmodernist historical novels / Remko Smid -- "I so regret the barograph..." as we make and use objects, so they form and mould us / Prue Bramwell-Davis -- Looking towards the future and continuing the conversations / Tracy Ann Hayes, Theresa Edlmann and Laurinda Brown.

There is a Kiswahili phrase that goes "intelligence/the mind is like hair, everyone has their own'. Following that logic, how Kenyan women relate to their hair is unique to the individual yet there remains collective and shared experiences. The questions that I raise throughout the paper explore: 1) how images and narratives of hair throughout Kenyan history have influenced the way women today understand how they interact with their hair, 2) the ways Kenyan women are taught about hair grooming and the journey of learning to care for their hair, and 3) Kenyan women's understanding of their hair and how it relates to ideas of beauty, presentability, and naturalness. Whether a person's hair is worn in its natural state, chemically or temporarily straightened, loc'ed, or in a protective style, carries implications for how they may be read or treated by others depending on the setting. This paper also examines how hair carries meaning, messages, and simultaneously is a site where meaning is construed. By utilising an autoethnographic approach and drawing from various archival resources, I weave my experiences with that of the various interlocutors I interviewed to present an exploration of the continuing politics of hair within Kenya and how it affects Black women.

On September 23, 2020, the New York Post reported that "President Trump had signed an executive order expanding a ban on government agencies receiving sensitivity training involving critical race theory to federal contractors" (Moore). By the time this executive order passed, I had already planned to teach a course titled "Rhetoric of Storytelling" that included a Critical Race Theory (CRT) reading from Aja Martinez advocating for counterstory. In response to the murder of George Floyd and subsequent protests during the summer of 2020, my academic department, like many institutions nationwide, issued a statement in support of Black Lives Matter. In addition, my department formed a reading group and working group on anti-racist pedagogy that discussed texts and strategies for incorporating more voices of color into curriculum. Still, when my department met at the beginning of the quarter, I was in a breakout session with a white, male colleague, who expressed confusion as to how he might incorporate non-white voices into his first-year and advanced writing courses. With all the shade intended, I told him that the first week alone of first-year writing featured three women of color, Gloria Anzaldúa, Michelle Obama, and Amy Tan. While "Rhetoric of Storytelling" was not labeled a "diversity" course within my university's core curriculum, the course meets the advanced writing requirement for all students at my institution, and the inclusion of BIPOC writers and scholars in such a course demonstrates how courses can avoid upholding white supremacist practices that center white voices as authoritative and necessary. Through the inclusion of voices of color, we can recognize authors from diverse backgrounds as holders and creators of knowledge, too. "Rhetoric of Storytelling" looks at the purposes of storytelling across different rhetorical traditions, beginning with Ancient Greek and Roman traditions and traversing African American, Indigenous Latin American, American Indian, feminist, and Latinx rhetorical traditions. The course operates from the assumption that storytelling is an epistemic practice, and that storytelling and narration serve similar, if not the same, purpose as academic writing, drawing on the lived experiences of the writer. In fulfilling the course's goals, the students are to: 1) formulate and articulate the significance, role and purpose of storytelling based on course material; 2) participate actively and responsibly as a member of a small learning community to build knowledge on writing, rhetoric, and storytelling; 3) effectively analyze, interpret, and evaluate literary, critical, and theoretical texts; 4) recognize commonplace arguments about storytelling and articulate counterarguments; and 5) design and complete a substantial and original research or writing project.