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Showing posts with label Australian folklore. Show all posts
Showing posts with label Australian folklore. Show all posts

Friday, April 19, 2024

Parker - The Gwineeboos The Redbreasts - Keeping The Public in Public Domain

Monday is Earth Day and while I have tons of Creation or Pourquois tales, none of them seemed to call out to me until I went to K. Langloh Parker's Australian Legendary TalesI've included Parker's book from colonial Australia retelling Australian aboriginal tales twice before here and strongly recommend going to them for background material on her and to understand more about the stories.

Today's story is about sharing, for Earth Day is indeed about learning how to share the earth.  It's also a tale about the robin, but the Australian robin is not the same as the robin most of us, living outside Australasia, know.  There are 51 species of Australasian robins, but like the robins of the rest of the world, today's story is about the red breasted ones that led colonizers to call them robins, but Parker preserved their original name of Gwineeboo.  Gwineeboo's friend, Goomai, is a water rat.  The other characters named in the story, Quarrian and Gidgereegah, are only described as hunters, but the book's glossary tells us they are parrots for that's what they became.

Aside from this being a story pitting two females (plus their noisy hungry baby) against two hunters, it's a great story for audience participation.  Teach the audience to chant like the baby, "Gwineeboo, Gwineeboo. I want kangaroo. I want kangaroo. Gwineeboo. Gwineeboo." They will have a blast, but be sure to teach them to silence when you hold up your hand!  Beyond that I suggest putting the later chant that causes the storm on a card as it's more difficult to remember.  "Moogaray, Moogaray, May, May, Eehu, Eehu, Doongarah."  Then give the translation.  You can say that fortunately the audience aren't birds, so - you hope -the chant only works in the story.

The only other needed explanation, again from the glossary, is that a dardurr is a type of hut.

The scarlet robin, an Australasian robin

THE GWINEEBOOS THE REDBREASTS

Gwineeboo and Goomai, the water rat, were down at the creek one day, getting mussels for food, when, to their astonishment, a kangaroo hopped right into the water beside them. Well they knew that he must be escaping from hunters, who were probably pressing him close. So Gwineeboo quickly seized her yam stick, and knocked the kangaroo on the head; he was caught fast in the weeds in the creek, so could not escape. When the two old women had killed the kangaroo they hid its body under the weeds in the creek, fearing to take it out and cook it straight away, lest the hunters should come up and claim it. The little son of Gwineeboo watched them from the bank. After having hidden the kangaroo, the women picked up their mussels and started for their camp, when up came the hunters, Quarrian and Gidgereegah, who had tracked the kangaroo right to the creek.

Seeing the women they said: "Did you see a kangaroo?"

The women answered: "No. We saw no kangaroo."

"That is strange, for we have tracked it right up to here."

"We have seen no kangaroo. See, we have been digging out mussels for food. Come to our camp, and we will give you some when they are cooked."

The young men, puzzled in their minds, followed the women to their camp, and when the mussels were cooked the hunters joined the old women at their dinner. The little boy would not eat the mussels; he kept crying to his mother, "Gwineeboo, Gwineeboo. I want kangaroo. I want kangaroo. Gwineeboo. Gwineeboo."

"There," said Quarrian. "Your little boy has seen the kangaroo, and wants some; it must be here somewhere."

"Oh, no. He cries for anything he thinks of, some days for kangaroo; he is only a little boy, and does not know what he wants," said old Gwineeboo. But still the child kept saying, "Gwineeboo. Gwineeboo. I want kangaroo. I want kangaroo." Goomai was so angry with little Gwineeboo for keeping on asking for kangaroo, and thereby making the young men suspicious, that she hit him so hard on the mouth to keep him quiet, that the blood came, and trickled down his breast, staining it red. When she saw this, old Gwineeboo grew angry in her turn, and hit old Goomai, who returned the blow, and so a fight began, more words than blows, so the noise was great, the women fighting, little Gwineeboo crying, not quite knowing whether he was crying because Goomai had hit him, because his mother was fighting, or because he still wanted kangaroo.

Quarrian said to Gidgereegah. "They have the kangaroo somewhere hidden; let us slip away now in the confusion. We will only hide, then come back in a little while, and surprise them."

They went quietly away, and as soon as the two women noticed they had gone, they ceased fighting, and determined to cook the kangaroo. They watched the two young men out of sight, and waited some time so as to be sure that they were safe. Then down they hurried to get the kangaroo. They dragged it out, and were just making a big fire on which to cook it, when up came Quarrian and Gidgereegah, saying:

"Ah! we thought so. You had our kangaroo all the time; little Gwineeboo was right."

"But we killed it," said the women.

"But we hunted it here," said the men, and so saying caught hold of the kangaroo and dragged it away to some distance, where they made a fire and cooked it. Goomai, Gwineeboo, and her little boy went over to Quarrian and Gidgereegah, and begged for some of the meat, but the young men would give them none, though little Gwineeboo cried piteously for some. But no; they said they would rather throw what they did not want to the hawks than give it to the women or child. At last, seeing that there was no hope of their getting any, the women went away. They built a big dardurr for themselves, shutting themselves and the little boy up in it. Then they began singing a song which was to invoke a storm to destroy their enemies, for so now they considered Quarrian and Gidgereegah. For some time they chanted:

"Moogaray, Moogaray, May, May, Eehu, Eehu, Doongarah."

First they would begin very slowly and softly, gradually getting quicker and louder, until at length they almost shrieked it out. The words they said meant, "Come hailstones; come wind; come rain; come lightning."

While they were chanting, little Gwineeboo kept crying, and would not be comforted. Soon came a few big drops of rain, then a big wind, and as that lulled, more rain. Then came thunder and lightning, the air grew bitterly cold, and there came a pitiless hailstorm, hailstones bigger than a duck's egg fell, cutting the leaves from the trees and bruising their bark. Gidgereegah and Quarrian came running over to the dardurr and begged the women to let them in.

"No," shrieked Gwineeboo above the storm, "there was no kangaroo meat for us: there is no dardurr shelter for you. Ask shelter of the hawks whom ye fed." The men begged to be let in, said they would hunt again and get kangaroo for the women, not one but many. "No," again shrieked the women. "You would not even listen to the crying of a little child; it is better such as you should perish." And fiercer raged the storm and louder sang the women:

"Moogaray, Moogaray, May, May,
Eehu, Eehu, Doongarah."

So long and so fierce was the storm that the young men must have perished had they not been changed into birds. First they were changed into birds and afterwards into stars in the sky, where they now are, Gidgereegah and Ouarrian with the kangaroo between them, still bearing the names that they bore on the earth. 

***

This story convinced me to add it to my "Storytelling Cruise Around the World."  The "cruise" is one my most popular programs and fits well with this year's Summer Reading theme of "Adventure Begins at Your Library." Stories sometimes just have a way of calling out to be told. . . sort of like that baby calling "Gwineeboo, Gwineeboo. I want kangaroo. I want kangaroo. Gwineeboo. Gwineeboo."

*****************

This is part of a series of postings of stories under the category, "Keeping the Public in Public Domain."  The idea behind Public Domain was to preserve our cultural heritage after the authors and their immediate heirs were compensated.  I feel strongly current copyright law delays this intent on works of the 20th century.  My own library of folklore includes so many books within the Public Domain I decided to share stories from them.  I hope you enjoy discovering new stories.  


At the same time, my own involvement in storytelling regularly creates projects requiring research as part of my sharing stories with an audience.  Whenever that research needs to be shown here, the publishing of Public Domain stories will not occur that week.  This is a return to my regular posting of a research project here.  (Don't worry, this isn't dry research, my research is always geared towards future storytelling to an audience.)  Response has convinced me that "Keeping the Public in Public Domain" should continue along with my other postings as often as I can manage it.

Other Public Domain story resources I recommend-

  • There are many online resources for Public Domain stories, maybe none for folklore is as ambitious as fellow storyteller, Yoel Perez's database, Yashpeh, the International Folktales Collection.  I have long recommended it and continue to do so.  He has loaded Stith Thompson's Motif Index into his server as a database so you can search the whole 6 volumes for whatever word or expression you like by pressing one key. http://folkmasa.org/motiv/motif.htm

  • You may have noticed I'm no longer certain Dr. Perez has the largest database, although his offering the Motif Index certainly qualifies for those of us seeking specific types of stories.  There's another site, FairyTalez claiming to be the largest, with "over 2000 fairy tales, folktales, and fables" and they are "fully optimized for phones, tablets, and PCs", free and presented without ads.
    Between those two sites, there is much for story-lovers, but as they say in infomercials, "Wait, there's more!"

The email list for storytellers, Storytell, discussed Online Story Sources and came up with these additional suggestions:        

         - David K. Brown - http://people.ucalgary.ca/~dkbrown/stories.html

         - Richard Martin - http://www.tellatale.eu/tales_page.html

         - Spirit of Trees - http://spiritoftrees.org/featured-folktales

         - Story-Lovers - http://www.story-lovers.com/ is now only accessible through the Wayback Machine, described below, but the late Jackie Baldwin's wonderful site lives on there, fully searchable manually (the Google search doesn't work), at https://archive.org/ .  It's not easy, but go to Story-lovers.com snapshot for December 22 2016  and you can click on SOS: Searching Out Stories to scroll down through the many story topics and click on the story topic that interests you.

       - World of Tales - http://www.worldoftales.com/ 

 
           - Zalka Csenge Virag - http://multicoloreddiary.blogspot.com doesn't give the actual stories, but her recommendations, working her way through each country on a continent, give excellent ideas for finding new books and stories to love and tell.

     
You're going to find many of the links on these sites have gone down, BUT go to the Internet Archive Wayback Machine to find some of these old links.  Tim's site, for example, is so huge probably updating it would be a full-time job.  In the case of Story-Lovers, it's great that Jackie Baldwin set it up to stay online as long as it did after she could no longer maintain it.  Possibly searches maintained it.  Unfortunately Storytell list member, Papa Joe is on both Tim Sheppard's site and Story-Lovers, but he no longer maintains his old Papa Joe's Traveling Storytelling Show website and his Library (something you want to see!) is now only on the Wayback Machine.  It took some patience working back through claims of snapshots but finally in December of 2006 it appears!

    Somebody as of this writing whose stories can still be found by his website is the late Chuck Larkin - http://chucklarkin.com/stories.html.  I prefer to list these sites by their complete address so they can be found by the Wayback Machine, a.k.a. Archive.org, when that becomes the only way to find them.

You can see why I recommend these to you. 

Have fun discovering even more stories

Saturday, January 25, 2020

Parker - The Rainmaker Wirinun - Keeping the Public in Public Domain


'Entire Species Are Being Wiped Out' Ecologists Say Half a Billion May Have Been Killed
As of January 23, 2020 when a crash killed three Americans battling the Australian wildfires, CBS News reported:
The tragedy brings the death toll from the blazes to at least 31 since September. The wildfires have also destroyed more than 2,600 homes and razed more than 25 million acres, an area bigger than Indiana. 
(New South Wales Premier Gladys) Berejiklian said there were more than 1,700 volunteers and personnel in the field, and five fires were being described at an "emergency warning" level - the most dangerous on a three-tier scale - across the state and on the fringes of the nation's capital, Canberra.
The Reuters news service said the wildfires have killed an estimated billion animals.
On my Facebook page (open for viewing to the public) I've posted about the matching funds being raised by the American Veterinary Medical Association to help Australian veterinarians helping animals in the fire.  I featured that because the species in Australia are unique and in danger of extinction from the wildfires.  Food is also being airdropped for animals surviving the fire but losing their natural food supplies.

Yes, people help and they need help too.  You can guarantee assistance through religious relief groups, including the Salvation Army of Australia (nicknamed the Salvos in Australian English), who are doing an excellent job of detailing the ongoing work of their Disaster Relief Team, or the international Red Cross is an option through Australian Red Cross' Disaster Relief and Recovery



The classic Public Domain Australian Aboriginal stories are found in the 1896 collection by K. Langloh Parker in Australian Legendary Tales.  That link to the Wikipedia article on it does a good job of reviewing the book's Victorian colonial shortcomings and its more favorable view of her methods which she defended by saying:
I am very careful to get them as truly as I can—first I get an old black to tell it in his own language—he probably has little English—I get a younger one to tell it back to him in his language he corrects what is wrong—then I get the other one to tell it to me in English—I write it down, read it and tell it back again to the old fellow with the help of the medium, for though I have a fair grasp of their language I could not in a thing like this trust to my knowledge entirely.
Parker grew up on a northern New South Wales station (prime territory for the current fires although they are widespread throughout the continent) and she is believed to have developed an early affection and interest in Aboriginal culture after being saved from drowning at age six by an Aboriginal girl.


The Euahlayi people, of whom Parker writes have their own language and names for things and people.  At the risk of delaying their story, I will give this "glossary", but you may use it later or when you wish.  Because the language at the time Parker wrote was taken from oral language without a standardized written spelling, occasionally an alternative is given parenthetically.  Parker sometimes also inserts the meaning within the story.  The chant within the story is not explained.  I'll let the pronunciation guide wait until the end.

Glossary in order the words appear in the story as given by Parker

wirinun (wirreenun): literal meaning "clever-man"; medicine man; sorcerer; a fully initiated man; a learned person
dardur(r): bark humpy or shelter
humpies: not defined in the glossary, but the previous word explains it's a shelter
Noonga(h)-burra(h): tribe of blacks on the Narran River; belonging to the Nooga(h) country
Narran (Narrin): name of river
wilgu-wilgu (willgoo-willgoo, wilgoo-wilgoo): painted stick with feathers on top
gubbera(h): clear magic stone; crystal
waywa(h): belts worn by men, consisting of a waistband of opossum's sinews, with bunches of strips of paddymelon skins hanging from them
corroboree (corrobboree): aborigines' dance
Bora (Borah, Boorah): sacred initiation rites and ceremonies
Baiame (Byamee): literal meaning, "Great One"; culture hero or god; creator
goodoo: codfish
murree: species of fish; the swift-to-hunt-game
tukki (tucki): fish, a species of bream
bunmilla(h): a fish


Certainly rain is needed to help, but the drought preceding the wildfires was frequently set ablaze by lightning.  The high volatility of the oil in Australia's Eucalyptus, which forms three quarters of its forests, also has an adaptation to fire, regenerating from buds deep inside its thick bark.

Since eucalyptus leaves form the bulk of a koala's diet, I'm hopeful especially after reading how places that had the fires back in September have already begun to rejuvenate.

If you wish to read even more from Australian Legendary Tales it's available at Project Gutenberg because it's Public Domain.  By the way, when re-published in 1953, it was chosen by the Children's Book Council of Australia as "Book of the Year" for 1954.
************************
This is part of a series of postings of stories under the category, "Keeping the Public in Public Domain."  The idea behind Public Domain was to preserve our cultural heritage after the authors and their immediate heirs were compensated.  I feel strongly current copyright law delays this intent on works of the 20th century.  My own library of folklore includes so many books within the Public Domain I decided to share stories from them.  I hope you enjoy discovering new stories.  



At the same time, my own involvement in storytelling regularly creates projects requiring research as part of my sharing stories with an audience.  Whenever that research needs to be shown here, the publishing of Public Domain stories will not occur that week.  This is a return to my regular posting of a research project here.  (Don't worry, this isn't dry research, my research is always geared towards future storytelling to an audience.)  Response has convinced me that "Keeping the Public in Public Domain" should continue along with my other postings as often as I can manage it.
Other Public Domain story resources I recommend-
  • There are many online resources for Public Domain stories, maybe none for folklore is as ambitious as fellow storyteller, Yoel Perez's database, Yashpeh, the International Folktales Collection.  I have long recommended it and continue to do so.  He has loaded Stith Thompson's Motif Index into his server as a database so you can search the whole 6 volumes for whatever word or expression you like by pressing one key. http://folkmasa.org/motiv/motif.htm
  • You may have noticed I'm no longer certain Dr. Perez has the largest database, although his offering the Motif Index certainly qualifies for those of us seeking specific types of stories.  There's another site, FairyTalez claiming to be the largest, with "over 2000 fairy tales, folktales, and fables" and they are "fully optimized for phones, tablets, and PCs", free and presented without ads.

    Between those two sites, there is much for story-lovers, but as they say in infomercials, "Wait, there's more!"
The email list for storytellers, Storytell, discussed Online Story Sources and came up with these additional suggestions:            
         - David K. Brown - http://people.ucalgary.ca/~dkbrown/stories.html
         - Richard Martin - http://www.tellatale.eu/tales_page.html
         - Spirit of Trees - http://spiritoftrees.org/featured-folktales
         - Story-Lovers - http://www.story-lovers.com/ is now only accessible through the Wayback Machine, described below, but Jackie Baldwin's wonderful site lives on there, fully searchable manually (the Google search doesn't work), at https://archive.org/ .  It's not easy, but go to Story-lovers.com snapshot for October 22 2016  and you can click on SOS: Searching Out Stories to scroll down through the many story topics and click on the story topic that interests you.
       - World of Tales - http://www.worldoftales.com/ 
           - Zalka Csenge Virag - http://multicoloreddiary.blogspot.com doesn't give the actual stories, but her recommendations, working her way through each country on a continent, give excellent ideas for finding new books and stories to love and tell.
     
You're going to find many of the links on these sites have gone down, BUT go to the Internet Archive Wayback Machine to find some of these old links.  Tim's site, for example, is so huge probably updating it would be a full-time job.  In the case of Story-Lovers, it's great that Jackie Baldwin set it up to stay online as long as it did after she could no longer maintain it.  Possibly searches maintained it.  Unfortunately Storytell list member, Papa Joe is on both Tim Sheppard's site and Story-Lovers, but he no longer maintains his old Papa Joe's Traveling Storytelling Show website and his Library (something you want to see!) is now only on the Wayback Machine.  It took some patience working back through claims of snapshots but finally in December of 2006 it appears!
    Somebody as of this writing whose stories can still be found by his website is the late Chuck Larkin - http://chucklarkin.com/stories.html.  I prefer to list these sites by their complete address so they can be found by the Wayback Machine, a.k.a. Archive.org, when that becomes the only way to find them.
You can see why I recommend these to you. Have fun discovering even more stories!

Saturday, March 2, 2019

Parker - How the Sun Was Made - Keeping the Public in Public Domain

This is the blue-winged Kookaburra from the Northern Territory
Do you remember the song about the Kookaburra?   Surprisingly it's still under copyright, so I'll not give it here, but Girl Scouts and others around the globe enjoy it and it fits today's story.  (I also saw that various YouTube videos offer it, if you don't already know about the bird who "sits in the old gum tree.")

There are so many stories about how things came to be the way they are, called "pourquois tales."  Many fit this summer's reading theme of "A Universe of Stories" and will often come from the native or aboriginal people.  Today's story comes from the native people of Australia's New South Wales as collected right before the end of the nineteenth century by K. Langloh Parker.

Years ago I began to study Australian folklore, but worried that Ms. Parker's work might be flawed and come from the colonialist view.  Her work in this century has been reevaluated.  I'll let her own methods and some of that recent view follow today's story which includes the bird now known as the Kookaburra and just how its song fits into a Pourquois tale of the making of the sun.  But before Kookaburra (or  Gougourgahgah) we must meet two other birds, Brolga and Emu.
Brolga, formerly called the native companion


Emu
 




 How the Sun Was Made

For a long time there was no sun, only a moon and stars. That was before there were men on the earth, only birds and beasts, all of which were many sizes larger than they are now.

One day, Dinewan, the emu, and Brälgah, the native companion, were on a large plain near the Murrumbidgee. There they were quarrelling and fighting. Brälgah, in her rage, rushed to the nest of Dinewan, seized from it one of the huge eggs in it, which she threw with all her force up to the sky. There it broke on a heap of firewood, which burst into a flame as the yellow yolk spilt all over it, which flame lit up the world below, to the astonishment of everything on it. They had only been used to the semi-darkness, and were dazzled by such brightness.

A good spirit who lived in the sky saw how bright and beautiful the earth looked when lit up by this blaze. He thought it would be a good thing to make a fire every day, which from that time he has done. All night he and his attendant spirits collect wood, and heap it up. When the heap is nearly big enough they send out the morning star to warn those on earth that the fire will soon be lit.

They, however, found this warning was not sufficient, for those who slept saw it not. Then they thought they must have some noise made at dawn of day to herald the coming of the sun and waken the sleepers. But they could not decide upon to whom should be given this office for a long time.

At last one evening they heard the laughter of Gougourgahgah, the laughing jackass, ringing through the air. "That is the noise we want," they said. Then they told Gougourgahgah that as the morning star faded and the day dawned he was every morning to laugh his loudest, that his laughter might awaken all sleepers before sunrise. If he would not agree to do this then no more would they light the sun-fire, but let the earth be ever in twilight again.

But Gougourgahgah saved the light for the world, and agreed to laugh his loudest at every dawn of day, which he has done ever since, making the air ring with his loud cackling "gou-gour-gah-gah, gou-gour-gah-gah, gou-gour-gah-gah."

When the spirits first light the fire it does not throw out much heat. But in the middle of the day when the whole heap of firewood is in a blaze, the heat is fierce. After that it begins to die gradually away until only the red coals are left at sunset, and they quickly die out, except a few the spirits cover up with clouds, and save to light the heap of wood they get ready for the next day.

Children are not allowed to imitate the laughter of Gougourgahgah, lest he should hear them and cease his morning cry. If children do laugh as he does, an extra tooth grows above their eye-tooth, so that they carry a mark of their mockery in punishment for it, for well do the good spirits know that if ever a time comes wherein the Gougourgahgahs cease laughing to herald the sun, then the time will have come when no more Daens are seen in the land, and darkness will reign once more.

***
I mentioned the well-known song is still covered under Australian copyright law, but Sesame Street wrote its own song about the Kookaburra and shows in this YouTube video the brown Kookaburra more likely to have been the one in the story since it originated in the territory of New South Wales.

Talking about location reminds me that one view of Australian Aboriginal tales was they shouldn't be told outside the area where it was originally told.  I do understand the feeling that away from there we won't understand all the original meaning.  That may be true any time we tell beyond a community where we grew up.  Another Aboriginal concern is robbing their culture.  This is clearly a story from the time often called the Dreamtime, a sacred era for the Australian Aboriginal.  As a storyteller my hope is a respect for a story already released into the world and now deserving to be shared with those of us trying to understand. 

originally published in 1898
This brings us to evaluating Ms. Parker's work.  She was somewhat fluent in the language of the Ualarai, but wanted to be sure to get an accurate version of the stories she collected.  She explained her methods involved eliciting material on a legend from an elder, then getting the English version re-translated back by a native more fluent in English than the elders, in order to enable the latter to correct any errors that might have arisen. The interpreter would then translate the revised version, which she would write down, and then have the written account read back to the elderly informant for final confirmation of its accuracy.

Her dedication page says
DEDICATED
TO
THE EUAHLAYI-SPEAKING PEOPLE
IN GRATEFUL RECOGNITION OF THEIR
EVER-WILLING ASSISTANCE IN MY FOLK-LORE QUEST
Her own personal views seem to be omitted in recording a story, but probably influenced her selection and certainly any personal comments made.

You can read More Australian Legendary Tales and its predecessor, Australian Legendary Tales online.  Her work was thought highly enough when published that Andrew Lang wrote the introduction to each volume.

For more online stories, try this slightly enlarged list of suggestions.  (Can you spot the change?)
********************************
This is part of a series of postings of stories under the category, "Keeping the Public in Public Domain."  The idea behind Public Domain was to preserve our cultural heritage after the authors and their immediate heirs were compensated.  I feel strongly current copyright law delays this intent on works of the 20th century.  My own library of folklore includes so many books within the Public Domain I decided to share stories from them.  I hope you enjoy discovering new stories.  



At the same time, my own involvement in storytelling regularly creates projects requiring research as part of my sharing stories with an audience.  Whenever that research needs to be shown here, the publishing of Public Domain stories will not occur that week.  This is a return to my regular posting of a research project here.  (Don't worry, this isn't dry research, my research is always geared towards future storytelling to an audience.)  Response has convinced me that "Keeping the Public in Public Domain" should continue along with my other postings as often as I can manage it.
Other Public Domain story resources I recommend-
  • There are many online resources for Public Domain stories, maybe none for folklore is as ambitious as fellow storyteller, Yoel Perez's database, Yashpeh, the International Folktales Collection.  I have long recommended it and continue to do so.  He has loaded Stith Thompson's Motif Index into his server as a database so you can search the whole 6 volumes for whatever word or expression you like by pressing one key. http://folkmasa.org/motiv/motif.htm
  • You may have noticed I'm no longer certain Dr. Perez has the largest database, although his offering the Motif Index certainly qualifies for those of us seeking specific types of stories.  There's another site, FairyTalez claiming to be the largest, with "over 2000 fairy tales, folktales, and fables" and they are "fully optimized for phones, tablets, and PCs", free and presented without ads.

    Between those two sites, there is much for story-lovers, but as they say in infomercials, "Wait, there's more!"
The email list for storytellers, Storytell, discussed Online Story Sources and came up with these additional suggestions:            
         - David K. Brown - http://people.ucalgary.ca/~dkbrown/stories.html
         - Richard Martin - http://www.tellatale.eu/tales_page.html
         - Spirit of Trees - http://spiritoftrees.org/featured-folktales
         - Story-Lovers - http://www.story-lovers.com/ is now only accessible through the Wayback Machine, described below, but Jackie Baldwin's wonderful site lives on there, fully searchable manually (the Google search doesn't work), at https://archive.org/ .  It's not easy, but go to Story-lovers.com snapshot for October 22 2016  and you can click on SOS: Searching Out Stories to scroll down through the many story topics and click on the story topic that interests you.
       - World of Tales - http://www.worldoftales.com/ 
           - Zalka Csenge Virag - http://multicoloreddiary.blogspot.com doesn't give the actual stories, but her recommendations, working her way through each country on a continent, give excellent ideas for finding new books and stories to love and tell.
     
You're going to find many of the links on these sites have gone down, BUT go to the Internet Archive Wayback Machine to find some of these old links.  Tim's site, for example, is so huge probably updating it would be a full-time job.  In the case of Story-Lovers, it's great that Jackie Baldwin set it up to stay online as long as it did after she could no longer maintain it.  Possibly searches maintained it.  Unfortunately Storytell list member, Papa Joe is on both Tim Sheppard's site and Story-Lovers, but he no longer maintains his old Papa Joe's Traveling Storytelling Show website and his Library (something you want to see!) is now only on the Wayback Machine.  It took some patience working back through claims of snapshots but finally in December of 2006 it appears!
    Somebody as of this writing whose stories can still be found by his website is the late Chuck Larkin - http://chucklarkin.com/stories.html.  I prefer to list these sites by their complete address so they can be found by the Wayback Machine, a.k.a. Archive.org, when that becomes the only way to find them.
You can see why I recommend these to you. Have fun discovering even more stories!

Saturday, November 3, 2018

Jacobs - The Hobyahs continued - Keeping the Public in Public Domain

There is a certain degree of follow-up needed on The Hobyahs.  

I was a bit rushed on posting June Barnes-Rowley and Marilyn Kinsella's information about the Hobyahs.  

Marilyn was a bit late in responding and said what I posted from her website deserves a bit more credit to January Kiefer as they used to perform it in tandem for several years.  



As Marilyn described the story:
Very powerful....FUN...story to tell. When I read one of the original stories
I thought - yeesh! 
But, January thought of the humor. Thanks for asking.
June, of necessity, had to be contacted too close to my posting it.  She responded:
A fantastic blog, Lois. You’ve broadened my knowledge of *The Hobyahs *and you’ve reminded me of one of the things I loved most about the traditional tales – the stories behind/around the tales. Papa Joe does a great rendition of *Hobyahs*. I’m honoured that you have included my videoed telling of the story – and even enhanced it. :)
As for different versions of the story, I think the version in the Victorian Second Grade Reader is excellent for young children. They identify with Little Dog Dingo who, like them, is vulnerable in the power of adults and unable to articulate why he is behaving the way he is. The animal character provides just enough distance whereas if the character were a child the identification would be much stronger, and therefore extremely unsettling.
Because the children have empathy for Little Dog Dingo, they feel the suspense of wondering whether he will survive. They share his frustration at not being able to make himself understood. They rejoice when he is finally taken seriously by his significant adult and, as a result, saves the day. At the end of the story, when the terror is over, the child’s world is restored to harmony – Little Dog Dingo is put back together and the Hobyahs are no more.
I believe Bruno Bettleheim said something along the lines of a scary story being a safe place for children to work through their fears. I think*Hobyahs* is a good example of that.
Of course, young children in the second grade in Australia ‘back in the day’ were tough kids and most had a connection to the land where life is brutal so, although they would be concerned for Little Dog Dingo, they wouldn’t necessarily fall over in a swoon on reading the story as today’s shielded children might.
As for the origins of the story, I’m inclined to think they are more likely to be Scottish than Australian. For one thing, when Jacobs was working on *More English Fairy Tales*, he was living in the United Kingdom.
The fact that he doesn’t identify which Perth he is talking about suggests he assumes the reader will know he is talking about the only Perth in the UK. If he’d been talking about the Australian Perth from his base in the UK, he would probably have identified it as Perth, Australia.
Also, when the Victorian Readers were compiled Australia was still joined at the hip to Britain and, although there was some concern to have stories that reflected Australia, most of the stories provided to schoolchildren were sourced from the UK. I think *The Hobyahs* is unattributed in the Victorian Reader but it is possible it was sourced from Jacobs’ publication then reworked.
And as for ‘swag of yarns’, I’m afraid it is no more. Yes, priorities and time. But it is nice to know it is missed.
Nice talkin' to ya, Lois. 

JB :)
From time to time I mention the email list, Storytell, hosted by the National Storytelling Network.  Of course spooky stories and their options  are a popular topic in October, so I did a "heads up" about this blog discussing The Hobyahs.  Two storytellers discussed their experiences with it.  (Blogger took my pasting their comments plus those of June and Marilyn and made some strange formatting.  My apologies.)

MaryGrace Walrath said:
When I tell "Hobyahs" I use "exaggerated" facial reactions as I describe how the Hobyahs look.
I do the same thing every time I say, "Poor Little Dog Turpy".
I end the story with "The hunter took the little girl to the remains of the house where she used to live. They gathered Little Dog Turpy's body parts and took them to a veterinarian and, because I like dogs, the vet sewed Little Dog Turpy back together as good as new."
While discussing it a bit further, she told me about a workshop she attended ages ago on telling spooky stories that advised, for young children, letting out a giggle and a smile to let the children know it really wasn't as spooky as it might seem.

Additionally fellow Missourian, (but she stayed, while I moved to Michigan), Mary Garrett said on Storytell:
That was one of the first stories I learned to tell, in a workshop with Lynn Rubright.   
Then I told it to children at the pre-school, who were not scared because I'm just not scary.  

I've seen others tell it successfully, softening with humor, "tasted like chicken," and finding a 

happy ending in the child's real parents coming to the rescue at the end.  I've since learned other 

stories I like better, but it is a classic.
That safe ending is key. Jackie Torrence's line was often, "and no one ever saw that . . . . again. And that's the end of that."
Mary was told afterwards she probably told it with a smile and she agreed!
May you keep a smile on your face with or without those Hobyahs.
******************************** 

Saturday, March 26, 2016

Bauer - Mr. Easter Hare - Keeping the Public in Public Domain

This comes with wishes for the best possible
  for you!

I promised an Easter story in the Keeping the Public in Public Domain series and it comes from the tellable works of  Carolyn Sherwin Bailey (October 25, 1875 – December 23, 1961).  Six times before this I've posted stories from Bailey's anthologies because they are so easy to tell exactly as she writes it.

I'll say more after the story, along with suggesting a story that would partner well with it by yet another author, Madge Bigham, also mentioned here before with two stories from her Stories of Mother Goose Village.

O.k. I won't give away the rest of the story, but the title of this German legend gives a clue that the Easter Bunny might play a major role.


































































































Before giving a bit of further information about the author and suggesting a story that might easily partner with it, I'd like to add a look at the symbolism of the Easter egg and possibly that rabbit.

While the egg was associated with new life in pagan festivals, Christian symbolism points to the resurrection and Christ's coming out of the tomb.  It's also said that the rabbit is a symbol of fertility, as in the phrase "breed like rabbits."  Having raised rabbits long ago I'd say that's not very accurate.  My Australian friends might disagree.  The introduction of rabbits long ago for hunting went drastically wrong and they became an ecological nightmare.  Instead Aussies point to a different long-eared beloved native creature, the endangered bilby, and have the Easter Bilby.  I remember my friend, the late Aussie storyteller, Mabel Kaplan, first made me aware of it.  There's one book already and now there's an Easter Bilby website hoping to make yet another.

Online I found History.com offered this look at Easter Symbols and Traditions, which mentions the German origin of the Easter egg as well as egg hunts, egg rolling, candy, and Easter parades.

Returning to today's story, I recently learned a bit more about Carolyn Sherwin Bailey's long career from the language arts teacher's site, Book Rags. In their brief eight page study guide to Bailey's Newbery award winning, Miss Hickory, the author's biography points out her homeschooling for elementary school and how, even before she could write, she dictated stories to her mother.  She published all her long life beginning at age 19.  In earlier articles I attributed her background as a teacher, principal, and life-long writer to her dependably telling stories in a way that works with an audience.

To my surprise I was able to update her Wikipedia article which said:
She wrote For the Children's Hour (1906) in collaboration.[who?]
I was able to name Clara M. Lewis from the book's cover. That article also points out Bailey contributed to the Ladies' Home Journal and other magazines. Her writing career included volumes of stories for children, methods of storytelling, teaching children, and other related subjects

Another popular book of hers sometimes thought of at Easter is The Little Rabbit Who Wanted Red Wings.  Its publishing date is usually listed as 1945, but the current version from Viking's Penguin Group also lists a 1931 edition.  It was originally published by Grosset and Dunlap, founded in 1898.  Apparently either they or Ms. Bailey's heirs never renewed the copyright, letting it fall into Public Domain, unlike the 1946 Newbery medal winner Miss Hickory which was renewed in 1974 by Rebecca Davies Ryan.  Grosset and Dunlap was purchased by G. P. Putnam's Sons in 1982 and today is part of Penguin Random House through its subsidiary Penguin Group.  The text of her popular picture book, The Little Rabbit Who Wanted Red Wings, as published by Penguin can be found with new illustrations.  Because the text is now Public Domain, you can find translations into Spanish, Russian, Chinese, Italian, and Croatian through the Rosetta Project at Children's Books Online


You could pair "Mr. Easter Hare" with the final story from Madge Bigham's Stories of Mother Goose Village, "Cinderella's Egg Hunt."  Maybe some other year I'll give it, but the link above to the title at the Internet Archive, will let you read it now and decide for yourself.  Earlier I posted two of Bigham's tales from Stories of Mother Goose Village, but will hold off for now as I thought audiences would snicker at some of the character names.  She was welcome to name the children even if they didn't appear in a nursery rhyme, but I had reservations about Little Tee Wee, Curly Locks, Jumping Joan, Willy Boy, and Patchy Dolly.  Then I looked at the back of the book where she lists the Mother Goose rhymes that inspired her.  Didn't find any about the others, but I did find one I never knew about Little Tee Wee. Some of the characters are familiar names, like Jack-Be-Nimble and I love her inclusion of a young and slimmer child named Humpty Dumpty!  Beyond the children there's Cinderella and I confess I wasn't sure about how yet again, like many stories in the book, Bigham sneaks her into the story.  She gives a brief introduction to the princess, who in this story, with Mother Goose, sponsors the Egg Hunt.  I was overlooking Bigham's use of Cinderella as a recurring character in the book.  Earlier in the book her presence is explained as "Cinderella did not live in Mother Goose Village, though she often went there."  Still, unlike today's stand-alone legend, all of this makes for a certain amount of handling on the part of the storyteller.

I hope you often come here and even to my own storytelling, which is able to draw upon both folklore and history "as seen by the 'average' person."  Whether from the Public Domain or not, this little known Mother Goose rhyme about Little Tee Wee will close this Egg-stravaganza.  It's possibly sad, but good for concluding a session of Mother Goose rhymes. 
Little Tee Wee,
He went to sea
In an open boat;
And while afloat
The little boat bended --
My story's ended.
*******************
This is part of a series of postings of stories under the category, "Keeping the Public in Public Domain."  The idea behind Public Domain was to preserve our cultural heritage after the authors and their immediate heirs were compensated.  I feel strongly current copyright law delays this intent on works of the 20th century.  My own library of folklore includes so many books within the Public Domain I decided to share stories from them.  I hope you enjoy discovering new stories.  


At the same time, my own involvement in storytelling regularly creates projects requiring research as part of my sharing stories with an audience.  Whenever that research needs to be shown here, the publishing of Public Domain stories will not occur that week.  This is a return to my regular posting of a research project here.  (Don't worry, this isn't dry research, my research is always geared towards future storytelling to an audience.)  Response has convinced me that "Keeping the Public in Public Domain" should continue along with my other postings as often as I can manage it.  
 


There are many online resources for Public Domain stories, none for folklore is as ambitious as fellow storyteller, Yoel Perez's database, Yashpeh, the International Folktales Collection.  I recommended it earlier and want to continue to do so.  He has loaded Stith Thompson's Motif Index into his server as a database so one can search the whole 6 volumes for whatever word or expression he likes by pressing one key. http://folkmasa.org/motiv/motif.htm

He also loaded to his server the doctorate thesis of Prof. Dov Noy (Neunan) "Motif-index of Talmudic-Midrahic literature" Indiana University, 1954, as a PDF file.
in the hope that some of you would make use of it.

You can see why that is a site I recommend to you.

Have fun discovering even more stories!