Opalanga D. Pugh
55, professional storyteller, facilitator and keynote speaker since 1986, performing with a Cleo Parker Robinson dancer to “Dancing to the Story,” 8-10 p.m. April 25.
Her background: “I’m a Denver native, and so are my parents. I studied abroad in West Africa after graduating from East High School, and that’s where I came to appreciate, through African culture, how tightly woven storytelling is in the fabric of their everyday lives. They believe storytelling is the most primary condition of human learning and growth.”
On dance and storytelling: “Dance is probably the oldest form of storytelling. At the conference, we’ll involve the audience and use multimedia with video.”
About storytelling: “I’m a member of the National Association of Black Storytellers, and part of our creed says that we have to have a love for people. We should have music, and we should have dance. I love my job because one day I might be working in a school, the next day, in a corporate setting, another day, with a mental health organization.”
Higher calling: “As they grow in their craft, a storyteller can assume the role of a griot. So we hold life-cycle ceremonies. When there is a rite of passage, such as a naming ceremony, or white bird releases at funerals, we will be there to guide. Many people are spiritual but not necessarily religious, so during sacred times, we can be there. I’m doing a spiritual divorce ceremony soon. Now try that one on.”
Harry Tuft
73, vocalist, musician, owner of Denver Folklore Center. Featured performer at free evening concert Friday.
What he plays: “Everything from the piano to the ukulele. But mostly I’m a ballad singer, and ballads are stories set to music.”
How to get the message out: “Be as straightforward as possible. To me, the best thing that a performer can do is not get in the way of the story. Let the story do all the work.” His show during the conference: “One song is an old Western ballad that I love. It’s a great example of writing. The hardest thing to do with a ballad is make all the words mean something, and get rid of the ‘filler’ And use a little comic relief.”
Influences: “I love Pete Seeger, Guy Clark. And Bob Dylan is a wonderful writer. He’s a great thief, pulling together traditional themes and melodies.”
Kids these day: “One of the sad things about texting and e-mailing is the loss of letters. Think of the books we all read. But they’ll come around again, I believe. I use this analogy in music: When the player piano was invented, people said, ‘We don’t need live music anymore.’ And guess what? We still have live music. We’ll always have stories, because we will always have a great yearning to know about our past.”
Julie Davis
62, storyteller, vocalist and musician. Featured performer at free Friday-night concert.
On storytelling: “I’m a fifth-generation Coloradan who comes from a long line of storytellers. I tend to stay pretty true to the facts. I come from a family of cattle ranchers, and we’d pass the guitar around the campfire and sing. That was my start.”
About youth today: “I worry about the way kids are communicating. They’re involved with video, they text in abbreviated messages. They’re passive and don’t even know how to put together a narrative. Our hope is in music, where they still seem interested. And groups like the Spellbinders, where adults go into schools to tell stories, will help. They’re all volunteers, mostly seniors, and they have great stories to tell, stories that catch the kids’ interest.”
Telling tales: “I tell everyone to find the right format. Some people are very theatrical, for instance. For others, it’s subtle. They’re quiet, but they weave a tale, and the next thing you know, you’re drawn right into it.”
One inspiration: “Garrison Keillor has created a revival in storytelling in this country. He’s shown that it’s a way to entertain and pass on history.”
The appeal of storytelling: “It’s never boring. You’re telling a fresh story every single time. You don’t really know that story until you’ve told it 100 times.”
Want to be a better storyteller? The pros offer these tips:
Be expressive. Show emotions; use your face, your body, your hands.
Always make people curious. If they’re not thinking, “What happens next,” you’re not doing your job.
Think of the important ingredients of the story, then edit that story. Don’t memorize every word, but do memorize the introduction and maybe the end.
Let that story become something you can see with your own eyes, so you’re describing what’s in that scene. Use sensual information.
Advice from Julie Davis, Sherry Norfolk, Rosalyn Kirkel
