Learn Curve for Girls

Tag: book-review

  • Rare music for rarer narration – Interview with Deepa Kiran, International Storyteller

    About your background?

    My background in education is a Masters in English Literature. Before that I did a Bachelors in Nutrition. Since 2000, I have been in the field of English Language Teaching. I have been teaching English in different schools. And I started using stories and storytelling for English Language Teaching. My background to storytelling is that I am trained in Bharatnatyam, Kuchipudi and in Rabinder Sangeet. I have worked in the All India Radio. I was a part of an oration club in Secunderabad. I learnt the flute and the violin. My parents put me in Chinmaya Mission at an early age and here I learnt to chant the Bhagvat Geeta. There was an environment and culture of stories, music and dance here. Formally I started telling stories to my students in 2000.

    I grew up living in 13 states in the country. Everyone in my family speaks 4 to 5 languages, extended family included. I have had a multilingual and multicultural upbringing.

    On your journey as a storyteller?

    I loved telling stories. In 2000, as an English teacher I realised that narrating stories was very useful for schools and children. I had done stories before in the All India Radio. I had recorded Alice in Wonderland as a series there. But this was chosen by my boss. But in 2000, I chose to tell stories in the classroom because I thought it was beneficial. Children could relate to the stories better, be more enthusiastic about the language, talk in English and turn in homework. In 2005, I studied teaching English in the English and Foreign Languages University. I could connect the dots back. I could see what I was doing with storytelling in the classroom was working. And I could connect the dots forward. What I did at EFLU I could use as a teller and in the classroom.

    Another milestone was, in 2010 I started singing songs in my stories. In 2011, I got a project for Dasaavatram for children of NRI. I sat with my Kuchipudi teacher and composed the story in English and also with Sanskrit and in other Indian languages. The performance included narrating the story with music and dance – a style I continued since then.

    In 2017, I founded the Story Arts Foundation as a trust to work with the Government and NGOs. Starting 2016, I started travelling internationally for my work to do stories from the Indian culture and perform them for a global audience. My focus has been on stories found in the Indian culture.

    Your favourite story?

    This was one that my father told me. He was my first storyteller at home. He would often narrate the story of Yellaam Nanmaikku. There was King and he had a trusted minister and he would keep saying Yellaam Nanmaikku Yellaam Nanmaikku. The king would find this irritating some times to hear Yellaam Nanmaikku – everything was good. One day the King ate a lot of Brinjal and got a little ill. Physicians were called in. And still all the Minister could say was ‘Yellaam Nanmaikku’. The King was furious and threw the Minster in jail. Still all the Minister could say was ‘Yellaam Nanmaikku’. The next day the King and his troop went on a trip to the jungle. A thorn pierced the King’s hand and he ended up with a bandage. Meanwhile, without the minister, the King and his band got lost in the jungle. They reach a place where there are jungle dwellers who are going to make a sacrifice. The King realised he was going to be sacrificed. The drum rolls started for the sacrificial ceremony. But the sacrificers soon realised that the King was an imperfect sacrifice as his hand was bandaged. The king was released and he and his troop reach the palace safely and realised that Yellaam Nanmaikku, all was good. The King had his minster released. The Minster was still in a cheerful state of mind. The King asked how come the Minister said Yellaam Nanmaikku to being thrown in jail. The minster said, ‘They didn’t sacrifice you because your hand was bandaged but if I had joint the troop and they would seen I have no bandage and sacrificed me. The King agreed – Yellaam Nanmaikku.

    I had heard this story from my father and narrated it frequently to my children. Once when I was disappointed with something my younger son said Yellaam Nanmaikku. So, the story came back to me. My father, me, my children and from my child to me – that’s how the story travelled.

    Your favourite Indian story collection?

    Stories from the folklore of India and our Itihasa Puranas. I feel deeply connected to stories of our land. It has something to do with my style of narration – which is very Indian. I like narrating stories from the Ramayana for children. For myself, i like reading the Upanishadic stories.

    Any world geographies, whose stories you enjoy?

    I enjoy listening to all narratives – Norwegian stories, African Stories, Australian Aboriginal stories. I find that stories from Africa have a lot of music and are extremely lyrical. They have a special quality of language and orality in them. When I had been invited by the University of South Africa to visit six schools in the municipality I realised that reciting African poetry was a part of the African culture and tradition. This was apparent as child after child recited African poetry in a particular manner. They have a tradition of oral poetry recitation. Even if you don’t understand the language, you will feel the power of the cadence.

    How would describe your connection to storytelling?

    Just like some people like cooking and specifically cooking for others. Storytelling for me is like that. I like to cook a story and share it with others. With storytelling, we sit down, share a story and listen to it together.

    You use a lot of rare musical instruments in your narrations, could you talk about these?

    I look for instruments whenever I travel. They are not new in my life. I started playing a palm sized piano when I was 10 years old. I learnt the flute for one year. I learnt musical instruments at Bal Vihar and Bal Vikas, the majeeram, harmonium, cynabal are all used in Indian bhajans. I have a very interesting musical collection. Many of my musical instruments are from distant and far off places. This bird made from clay is hollow inside. You have to fill this water inside. With the water, the bird will make a chirping sound. I got the Xutuli from Assam.

    From the Haridasus, who are Harikatha performers in the state of Andra Pradesh, i got this musical instrument the Alandu. My friend came from Australia and was attending a Haridasu performance and got this for me from them. These are not available commercially in shops.

    I got the Dapu from Malayasia, it is made from monitor lizard skin. I soundscape my stories. I am a storyteller and not a musician. While narrating stories my focus is on the storytelling not a musical or dance performance.

    I used a rattle in the Banyan and the Sparrow story. Rattles are common for children and are available everywhere. My focus is in getting the right music for the storytelling. I have the damaru. It is played with the rope, not the hand or the stick. I got this Shaker from Pondicherry. It is made of dried seeds. All cultures have such musical instruments. I got cymbals from Dharmashala with typical Tibetan patterns embossed on them. From Bengal, I got the Duitara – which has two strings. Baul storytellers use this instrument. I got this from Baul singers when I was attending a children’s writing residency in Bholpur, Shantineketan. In Nepal I got a meditation bowl that has a nice resonance. In Kolkata, I got the ocean drum, which creates sounds of water. From Northeast Thailand, I got the flute. I was visiting a music department of University where I had been invited. The flute has to be rotated to create the sound – a sense of sadness or happiness depending on what you want for the story.

  • Storytelling Video Review  – How a young poor girl became a snake-doctor! Folklore from Kerala by Deepa Kiran

    Of some of the treasures Youtube has to offer, there is the storytelling channel of Deepa Kiran. And within this channel you can find this gem of a story – How a young poor girl became a snake doctor. Deepa Kiran starts us on the storytelling journey with a musical introduction. A custodian of the rare folk instruments of India, Deepa Kiran plays them with ease and finesse. Starting the story by inviting the musical storytelling spirits Deepa Kiran slowly leads our way into the story. Deepa’s storytelling style is filled with musical notes and pauses. She doesn’t rush us into the story as if she is in a speeding hurry to narrate the story and be done with it. Instead, she takes her time. She welcomes us in with a song and hasta mudras. There is a slowing down of time in Deepa Kiran’s narration. As if the space time continuum itself bends to hear her words. Time is an attribute of causation (and what are folktales if not causation). Space is created and expanded in this folktale through the use of an exquisite setting, music from rare instrument collected no doubt with difficulty and a spontaneity of telling. As Deepa Kiran starts you know you listening to teller with unique voice and a uniquer story. Deepa Kiran narrates a story that is so Indian in its ethos and motifs – use of mantras for healing snake bites, the well revered snakebite vaidyan and then makes us reflect on power and hierarchies within the folds, the encasement of a very powerful and positive story that encompasses the triumph of the young nayika Kamala. A story about perseverance and enthusiasm, a story of triumphs. What the story teaches us is that mantra Kamala uses may be useless but powers accrue to her because of her sincere belief in the act of what she is doing. This story about mantras, a fake one that becomes a real source of healing and power, makes thing about the logic of mantras and how they work. Are they a string of sounds in a particular order and of an particular inference or are they invested with the enthusiasm of the sadhaka alone and therein lies their power. This storytelling video is on the whole a meditation on sound and meaning making. Meaning making because this is a story about who makes most meaning of a particular wish – healing and curing others of snake bites. Is it Nambodari Vaidyan who as the guardian of the sacred mantra, and the revered snake doctor, bearer of a tradition that can save from venom, or is it the young girl Kamala who turns a venomous string of sounds into healing source for herself and the whole kingdom?

  • Of Forests and Faeries – Interview with Srivalli Rekha

    Could you talk about your writing career pathway?

    I have done an MBA full time and then did an MA in English Literature by distance mode. I was more into science or physics. So, the MBA appealed to my analytical side. I could not adjust in the corporate world and I did the MA in English and a career in literature looked appealing to me. I started sending my writing to people. I gathered a lot of feedback. I worked with Artoonsinn and Writer’s Workout. Now I am a published writer.

    What genres do you prefer?

    I read a lot of mysteries. I try writing mysteries. I enjoy writing horror. I like writing the strange pace of events in horror. I like the supernatural and the paranormal. I enjoy magic realism too. This collection Forests and Fairies was a collection for children and is middle grade stories.

    Your writing has a lot of references to the world of folklore and fairy tales, could you talk about this?

    I have a soft corner for fairies. I look for inspiration in the Panchatantra Tales and Jataka Tales. I like weaving stories around forests. We all as children read the folk tales and fairytales and this becomes a part of you since its a part of our childhood. Many of my stories find inspiration in fairytales and folklore. I used really like the Little Mermaid as a child, though it was a sad story. I think my love for fairies goes to barbie movies. Mariposa and barbies became an inspiration for my fairy worlds. I associate the barbie movies and also fairies with a sense of safety. You can rely on fairies when things go wrong. The fairies try to help you and even you can’t see them.

    Your journey of writing Forests and Faeries?

    I have been writing the different stories in this collection for children over four to five years. The writing was done for different publications. But the editing was what took attention. When we decided to publish the collection, I had a chance to read a lot of middle grade fiction and children’s books. In this book, there are a lot of pagan people and people who are close to nature. The stories retain a sense of globalness. The stories can be retold in any other context – African or South American.

    Could you talk about your interest in sustainability?

    Forests have been central to my writing. I create spaces with the presence of trees, animals, calmness, a brook on the side etc. It makes me carefree. Another location I like setting my story is in the ruins of a temple. In Shared Roots I had set my story in the ruins of a temple.

    Could you talk about motifs in your writing?

    I see forests as a safe place. I see them as a non-venomous space. These forests are home, and they are where I believe magic happens. Forests have everything I ask for as a home. Another motif in my writing is Faeries – the little helpers, guardian angels, giving us help and hope. We all need help and hope. We are always stepping on shadows. Fairies give us hope. As a writer, I also have characters in the story who read books and like books. This is a given.

    Could you talk about your idea of magic?

    Being a Hindu, magic is a part of our lives. The Ramayana, the Mahabharata with Sita Haran or War Scenes. There are different types of arrows, causing rain, using fire. The ties are close by. As a child you read a lot of folktales and fairytales – it becomes a part of who you are. I see magic as a kind of help when you need it. When you need help and get it – it is form of magic. It comes in varied forms. It depends on how much magic we want to believe in. The flower turning into fruit – there is magic in science. As a child, I believed in magic.

    Could you talk about writing as a dialogue?

    When I write the first draft. I write for myself. I don’t think of the reader. Then there is dialogue with me and what I have read so far. When I start editing that’s when I have a dialogue with the audience. Some of the stories had to be edited to make them suitable for children. The story Perfect Paradise has a hopeful ending for instance.

  • The Pachyderm Tales Writing Roundtable – 2

    Usha: We were just scribbling on social media. Once Uma Aparna asked us, “if we would like to write?” Today she is saying, “you have gone ahead.”

    Vanaja: I have written on facebook. Now, I have got an award for a story I published with Pachyderm tales. I have got the friendship of Uma Aparna – it is a great friendship.

    Usha: Writing has been a great help to us.

    Vanaja: I, Ruckmani and Usha, we are publishing some books together. We will release 8 books in the next 2-3 months.

    Usha : We want to read to children. We want them to read the Thirukural. We are presenting the Thirukural in story format.

    Vanaja: We want to get together stories for children. We are doing it as a friendship also. We are writing about friendship also.

    Usha: We used the Thirukural couplets to create easy content for children. We are creating nondetailed texts. We are also writing stories about elephants. Children like elephants a lot. How do elephants live? What does an elephant eat? Elephants are harmless and loved by children. To make children sleep all parents in Tamil Nadu will sing, ‘Annai Annai Ayaghar Annai.’

    Usha: One of our stories goes – a small elephant saved and becomes a temple elephant. The stories of the child and the elephant as they grow up is parallelly traced.

    We are documenting the stories of those who do good in society – celebrities, social workers, including Uma Aparna. We are covering stories of people in social service, education and healthcare.

    People want these books. Parents want to read these books to children. Nondetailed books help children read.

    Vanaja: These books are easy to carry and can be read in school. It reaches many people – school libraries, book fairs, reading for book fairs.

    Usha: We are doing a book which contains writing from every continent. I wrote on Europe.

    Usha: We are moving away from fiction towards children’s writing. Writing is very useful in making us feel productive.

    We research and check google to ensure we no one has brought out books and content on the people we are writing about.

    Rukmani: We are writing to take books to children. We want the Thirukural stories to reach small children.

    Ruckmani: We want to write about how girls have come up and how they help society. We have written about their stories. We have written about Uma Aparna.