Pippin - Spring into Summer 2017 1

Vol.21, No.1 A Grandmother's Tale: the story of Dorothea Viehmann

by Ruth Danziger If you ever get a chance to follow the fairy tale road in and around Kas- sel Germany, I recom- mend you do it. This article is a result of re- search I carried out dur- ing my recent trip to the area of Hesse- where the Grimms Brothers lived and worked in the early 18th century and where they met the storyteller Dorothea Viehmann who lived there from 1755 to 1816. I am very fortunate to have had the opportunity to trav- el in the area and re- search her life, facilitat- ed by the Anne Smythe Travel Grant awarded by Storytelling Toronto in 2016. A likeness of Dorothea Viehmann created by the artist Berahna Massoum. The bust sits in a newly built square in the village of Niederzwheren, now known as the Fairy Tale Quarter of Kassel. There are many families with children "What you receive in the area and the square can be used for outdoor storytelling. from your ancestors, use it, treasure it, enjoy it, and then scribed upon it in old German. The another over the generations and we pass it on to those who come after." writer must have meant the house seldom know much about the tellers - House inscription, 1685 but I thought to myself, "What a who gave us the stories we enjoy In a Hessian village near Kassel great description of storytelling!" It is today. Germany, I came across a frame in the nature of oral storytelling that house with the above words in- tales are passed from one person to (Continued on page 10)

A Grandmother’s Tale by Ruth Danziger ...... 1 House Concert by Sage Tyrtle ...... 7 Editorial by Dawne McFarlane ...... 2 My Kind of Storytelling by Chana Mills ...... 8 INSIDE Festival Reflections by Dawne McFarlane ...... 3 Life’s Greatest Burden a story retold by chris cavanagh ...... 9 Serious Laughs: Alan Shain Workshop by Michelle Tocher ...... 5 Breaking Spells by Michelle Tocher ...... 14 Telling True Stories by Marsha Shandur & Sage Tyrtle ...... 6 Events ...... 15 2 Pippin - Spring into Summer 2017

PIPPIN is the newsletter of Pippin Editorial—Spring 2017 Storytelling Toronto

The air has been sweetened with there has been in such abun- the fragrance of purple lilac, pale dance that many have had to The Storytellers School of Toronto is a registered, non- pink apple blossoms, and cas- seek higher ground, a stark con- profit organization that cades of honey locust. Sandy trast to the drought of last year. provides a creative home for country roadsides dotted with All the snow the winter clouds a community of storytellers, listeners, and story-explorers. Our mission white strawberry blossoms are held back has been released it is to inspire, encourage and support now harbouring tiny green ber- seems. The days are long, our storytelling for listeners, tellers and those ries, and woodlands adorned shoulders softer, and spring is who have not yet heard. Since 1979 we have been providing courses and workshops; with trillium are now carpeted unfolding beautifully into sum- holding gatherings, festivals and events to with green. Bursts of warmth mer. Storytelling will move out- celebrate and present the art of have been tempered with long doors, under the shade of trees storytelling; supporting the creative work of cool stretches, inviting the blos- and the sparkle of summer storytellers; and producing publications about storytelling and storytellers. soms to linger. The palette of nights. This editorial looks for- tender and vibrant greens is ward, while this issue reflects more splendid than an impres- back on our Toronto Storytelling Pippin Editor Dawne McFarlane sionist painter could mix. Water Festival feast. Enjoy.

Design/Layout chris cavanagh

**NOTA BENE** Listings Marylyn Peringer

Every Friday night Program Leaders Festival Director: Dan Yashinsky since 1978 storytell- Resident Teachers: Marylyn Peringer, Lynda Howes StoryFusion Cabaret: Heather Whaley and the Backseat ers and listeners Balladeers

have been gathering Website: [email protected] in downtown Toron- Board of Directors 2017 to. Each evening is Sarah Abusharar Paul Robert (President) hosted by an accom- Karen Blair Leanne Saldanha Beth Cox (Treasurer) Molly Sutkaitis plished storytell- Kelley Prendergast er. Anyone is wel- Office Director Cristina Pietropaolo come to tell a story. © Storytelling Toronto Every Friday night is (formerly Storytellers School of Toronto)

unique. Ph: 416-656-2445 Fax: 416-656-8510 www.storytellingtoronto.org

Suggested donation: $5.00 Time: 8:00 p.m. to 10:30 p.m. 601 Christie St., Suite #173 Toronto On M6G 4C7 Innis College Café 2 Sussex Street, Toronto. (corner St. George, one block south of Bloor St. www.1001fridays.org [email protected] W. St. George Subway - St. George St. exit) Pippin - Spring into Summer 2017 3 Festival Reflections by Dawne McFarlane into Karima Amin’s (Buffalo) rap for light or warmth or love. Dan Though snow swirled around us be- social justice. “You see something Yashinsky said “the more stories you fore and after the festival, spring was that needs to be changed- stand up, know, the more of a compass you surely heralded in with the great speak out, and do something about it have for navigating these times.” warmth generated at each festival - even if it’s a little bitty something.” Kung Jaadee, a Masset Haida, re- gathering. Friends new and old and Karima’s storywork in prisons has minded us “the land knows us- the remembered were greeted with gen- emphasized for her the importance land loves us unconditionally.” Her erous cheer. The richness of our of intervention language is dying. own community is always illuminated “on the front Her people were for me as we welcome artists from end,” in the almost wiped out afar. The diversity of local tellers and early grades after first contact, stories at the Gladstone Hotel made for children in from 10,000 to that clear, and many of us bemoaned traumatic situ- 500 people. She not being able to attend each other’s ations. During told us when she events when simultaneously sched- her first prison was seriously ill, uled. Nonetheless, encouragement storytelling gig she returned to rather than competition filled the she saw three Haida Gwaii and hallways, giving us all the opportunity of her former the land healed to appreciate this supportive com- students (she her. When I told munity. Hearts spilled open, sharing was a school my son about this, the unexpected catharsis and won- teacher) and he said he had der that unfolded after stories were neighbours. heard someone on told. “To deny their Karima Amin from Buffalo the radio say that The feast continued with an abun- humanity is to the epidemic of sui- dance of offerings from guests who deny ours...all stories speak of our cides among indigenous young peo- had travelled far and wide to join us. humanity and vulnerability.” ple is not a mental health issue, it is a For me it was difficult to choose the This theme continued to emerge reconciliation issue. nourishment I most needed, so here throughout the week. Heidi Ron Evans, a Metis elder and hon- are some delicious morsels from my Dahlsveen (Norway) said “telling ourary festival elder, said “the my- experiences to add to yours. Reflec- stories is giving life skills...the Norse thology is us.” He asked Jose Brown tions help me to di- mythology is depend- to sing an honouring song after his gest and integrate ent on our lives for “workshop;” her voice and the drum these gifts. Charlotte meaning.” She told us filled the chapel of Trinity St.Paul’s Blake Alston of the time when the church. Kung Jaadee’s singing and (Philadelphia) spoke gods wanted to build drumming filled the sanctuary with a of the griot as diplo- a wall around their welcoming song, and the rotunda at mat between fighting realm of Asgard, and the Royal Ontario Museum with a factions. “When you a stranger offered to song honouring salmon.The beauty personalize the expe- build it for the price with which they filled these grand rience, eyes are of “the sun and the religious and government edifices of opened in a different moon and the god- colonization was profound, as we way.” Not a dry eye dess of love.” As the gathered together on the traditional in the room when she wall was being built, land of the Mississauga people. showed us how she they realized not only Scientist Katy Payne (Ithaca) and does this with poetry would the wall keep musician Michael Pestel and song. Charlotte others out- it would (Connecticut) asked a different kind brought the beatbox keep them in, without of listening of us, as they gave voice Charlotte Blake Alston from Philadelphia 4 Pippin - Spring into Summer 2017 to humpback whales, ele- phants, and ex- tinct birds. “We live in a tiny box of our own per- ceptive abilities,” Katy said. As a girl she sang in a choir in front of a pipe organ. When the notes descended low enough she could no longer hear them but could feel their vibra- tions. This is how she “heard” the elephants calling, below the regis- ter of human hearing. How to address the con- stant threats to Kung Jaadee from Haida Gwaii the whales, the elephants, the natu- “music shimmered from his fingers.” bourfront the next day! A feast in- ral world? “Whatever you can do- And then- there was more at Har- deed. do it!” was her hopeful response. Michael’s response seems to be be- coming a bird, as he composes “Catalogue of Extinct Birds” and conjures the birds before us with his sounds and actions. “I didn’t think of them as birds,” said Michael, “I thought of them as voices- guiding me through the park, through life- ancestral voices.” He knew things as a boy that he had forgotten, and was remembering again. “The remember- ing and forgetting, along with listen- ing and feeling, never ends.” We celebrated beloved Toronto elders Celia Lottridge, Carol McGirr, and Marylyn Peringer. Celia spoke with unadorned clarity, Marylyn sang sweetly, and Carol brought the song of the world “wrapped in a cloud and pinned by a star.” Bardic per- former Nick Hennessey brought the sun and moon down to listen in a sighing spruce and pointed pine, as Celia Lottridge & Carol McGirr & Marylyn Peringer Pippin - Spring into Summer 2017 5

Serious Laughs: Alan Shain workshop

By Michelle Tocher would you like?” Alan I’m very glad I followed my instincts piped up, “Well there are to drift into Alan Shain’s humour two of us here so give us workshop at the Toronto Storytell- four!” ing Festival Camp. Shain, a standup After he told the sto- comedian and storyteller with cere- ry, Alan confessed that bral palsy, has a serious gift for flip- he didn’t think of the line ping heavy subjects on their back- in the moment. It came sides. As somebody who labours to to him later on, when he speak and has spent his life in a was thinking about what wheelchair, he finds material for he would have liked to comedy every day of his life. He gave have said. That’s how you us a few examples, like the time he work with your material, went to a restaurant with his broth- he explained. Go back er. The waiter came along, and, over the ugly stuff and without even looking at Alan, asked think of what you would have liked coughing into the tiny airspace while his brother. “How many menus to have said in that moment. Stretch the woman next to me is on her cell it out. Exaggerate. phone firing an employee. I mean, To give us a first-hand who wouldn’t want a front row seat experience, he asked us to to THAT? consider something that Somewhere in the middle of the really bugs us. Stuff we workshop it dawned on me that the tend to rant about. heaviest stuff of life has the best co- “Now,” he said, “Rant to medic potential. And that, in a nut- one another on the subject shell, is why I draw cartoons! for two minutes.” When we were done, he instructed us to do the rant again, only this time, to say it “as if the thing you hate is something you absolutely love.” Like, it’s the best thing in the world to be treated as if you don’t even ex- ist. I mean, consider the possibilities of being invisible! I expressed the joy of sitting for two hours in the doctor’s office pressed into a crowd of people 6 Pippin - Spring into Summer 2017 Telling True Stories By Marsha Shandur and Sage Marsha runs the true storytelling the end: Think of the story Little Tyrtle show True Stories Toronto and is a Red Riding Hood. Do we hear about “I throw the life preserver into the storytelling coach. Sage runs High her first day of school? The time an water,” Cybelle tells us from the Stakes Storytelling and gives seven ogre menaced her village? Her dad? front of the room. week storytelling work- No. Because none of it matters to “The little boy goes to shops. the climax or the ending. When catch it, but - it slips We were so thrilled you’re deciding what to include, al- out of his hands!" to come and speak to ways ask yourself this question. We’re all on the an audience of mostly 4. Tell your story in chronologi- edge of our plastic traditional storytellers, cal order: Only tell us what hap- seats. “I dove in, about what makes a pened to you, when it happened to grabbed him, and powerful TRUE story. you. Otherwise, you’re throwing in swam towards the The busy workshop was spoilers and you lose the tension shore. Finally, he was Sage Tyrtle energetic, full of laughs, that keeps people engaged. safe.” We breathe out a collective and - according to Dan - got rave For example, if you say, “of sigh of relief, then applaud. reviews! course, at this point, I didn’t realize It’s amazing how scared you can they’d given the job to someone get for the safety of a little boy who In case you couldn’t make it, here else” - we stop caring about how doesn’t even exist. are Marsha and Sage’s top five true the interview is going, because we In the Tell True Stories work- storytelling tips. know it won’t make a difference. shop that we ran as part of Story 5. Tell us how you FEEL: I know, Camp at the Toronto Storytelling 1 Know your ending line: A me- I know. We’re Canadians. We don’t Festival, Cybelle was doing one of andering extra five minutes at the do feelings. the exercises. We’d given her the end of a story is a very common But in storytelling? They’re essen- sentence "I saved them," and asked problem. Knowing exactly what tial. Emotions are the way that we her to create an imaginary scene. you’re going to say at can relate to ANY While it may seem strange to the end means you’re story. You could be have a made up story in a workshop much more likely to telling a story about devoted to telling true stories, Sage head there directly. running away from a explained to the room: 2 Make sure you rhino. While we “Whether it's Little Red Riding include action might not have had Hood or surviving a climb on Mount scenes: When you that experience, if Everest, the storytelling rules are watch a movie, if it you can talk about the the same. A scene with details will were all voiceover or fear you felt, we’ll be ALWAYS be more interesting than montage, you’d be so able to relate - and be narration.” bored. Think of your Marsha Shandur more engaged with One of the wonderful and unique stories as being mostly made of ac- the story and you. things about Toronto is its two tion scenes. Get granular and specif- Want to learn more? Sage and thriving storytelling scenes: one tra- ic in your descriptions. Marsha both email regular storytell- ditional and one true. But, although So, rather than “the bedroom ing tips out for free! You can also both boast strong communities, until was messy” say, “there were old find out more about how to work recently they have often run in par- milk cartons empty on the floor and with us, here: allel and rarely mingled. dirty clothes hanging of the edge of Thanks to the efforts of Toronto the bed.” Sage Tyrtle: www.tyrtle.com Storytelling Festival director Dan Worried that you’re putting in Marsha Shandur: www.yesyesmarsha.com Yashinsky, there are now a number too much detail? Here: And find our live shows, here: of us working hard to bridge that 3. Only include the information www.storieswithstakes.com www.truestoriestoronto.com gap. if it supports the climax and/or Pippin - Spring into Summer 2017 7 House Concert Sage Tyrtle find Todd, and then see Moyo stand- voice, weaving around the notes of ing waiting with his friend Natalie. I the mbira. "Mr. Sharda is very angry with me," feel a little better. Even if no one else And suddenly we could be any- says my partner Todd. "When I told shows up at least Todd and Natalie where. In a small village, in a cozy dive him that you performed a story yes- will be there to watch with Mr. Shar- bar, part of a crowd of two thousand terday he scolded me for not letting da. people in Massey Hall, anywhere - the him know beforehand." Todd leads us through the pouring living room fades away and there's Todd has been taking private Hindi rain through ever-narrowing alleyways just Moyo's voice, soaring. lessons from Mr. Sharda for three until he opens a door and we trail him The nine of us applaud wildly when years. His teacher, who is 96 years up the carpeted stairs. We take off he finishes, and he has us in stitches old, knows seven languages (Hindi, our shoes at the top of the hallway, with the folktale he tells next which Sanskrit, Urdu, Kiswahili, Gujarati, then go into the apartment. features - among other miracles - Punjabi, English, and he used to know A friend of Mr. Sharda's, a man in master storyteller Moyo making the Italian but he's forgotten a lot of it his fifties, welcomes us warmly and sounds of birds tweeting underwater because he's NINETY SIX) and still ushers us into the small living room, using nothing but his voice. teaches from his cozy Toronto apart- where we find Mr. Sharda sitting alone Mr. Sharda turns to me. "And now, ment. in a comfy chair. My heart sinks. The Sage tells us a story," which I do, and As much as I would love to see Mr. house concert starts in five minutes then he says to Natalie, "It is your Sharda in the audience of one of my and the room is empty. turn." performances, I know it's unrealistic. I feel like such a jerk; I've asked a Natalie is only here as Moyo's His mobility is limited, and travel is a master storyteller to perform for an friend, but she hops up cheerfully. challenge. audience that now totals five whole "Can I sing a song, instead?" But I suddenly think - wait, what if people. Mr. Sharda nods. the storytelling show could come to Mr. Sharda doesn't look 96, he She sits next to his chair and he him? What if I invited another story- looks about fifty, and behind him a turns to look at her. She begins to teller and we stood in his living room portrait photo of him in his mid- sing in Arabic, her pure contralto fill- and gave him a private house concert? twenties gazes languidly down. ing the room, and she and Mr. Sharda Just last week I saw Moyo Mutam- "Now," he says, beaming at us, "we - sixty years separating them - gaze ba perform for the first time. He told will go around the circle and everyone into each other's eyes as she sings. a folktale and held the audience spell- will introduce yourselves." And I watch and listen, feeling so bound. I take a deep breath and get in In the midst of the introductions privileged to be there. Understanding touch with Moyo and to my delight an artist arrives, then a moment later the magic of a house concert, an inti- Moyo immediately agrees to come. a social worker, and fast on her heels macy that can never be replicated in a But as the day gets closer I'm more a Hindi pandit (scholar) with one of theatre, a shared moment between and more nervous. What if no one his young students. strangers who may never meet again. comes? What if it's awkward and un- Mr. Sharda says to Moyo, "And you I watch Natalie and Mr. Sharda, comfortable and no one can wait to will start the performance, yes? Yes." thinking that even though Mr. Sharda leave? What if no one claps, what if Moyo shows us the small round was a teenager on the eve of World people sit checking Facebook on their instrument in his lap, called an mbira, War Two- an adult around the time phones not two feet from the per- and says in his gentle voice that he people were buying televisions for the formers? I've never done a house con- will sing us a song from Zimbabwe first time, his first memory is of his cert, I have no idea what to expect called Muroro. A prayer for comfort father coming home from work on a and I'm terrified that even Mr. Sharda in the midst of suffering. HORSE - even in his long and strange won't like it. The rain sheets against the win- life, he has never experienced any- It's pouring rain the day of the dows as this motley crew from all thing quite so entrancing as this mo- house concert. Chilly and dreary, and parts of the world, ten languages be- ment. I am late to the subway station where tween us (even if you don't count Mr. we're all meeting. I run upstairs and Sharda), fall under the spell of Moyo's 8 Pippin - Spring into Summer 2017 My Kind of Storytelling By Chana Mills, Israel tired and started new interests, and wanted a situation where one story ([email protected]) both of us were encountering some would be enough! I am an Israeli living in the south of problems. I suggested we try to work to- the country in the city of Beer She- Stephanie had become certified in gether. I would tell a story, and she va. I am retired from The Ben Guri- Neuro Linguistic Programming could carry on the thread from on University where I served as an (NLP) and she was really into it. In there, and give her Guided Imagina- Internal Auditor. My son lived in Se- this method (Guided Imagination and tion session. You wouldn’t believe attle for six years and that's how I N.L.P) the coach guides the client to it! This has become a great thing! got involved with storytelling there. change his behavior/feelings by con- We have been doing this now for My volunteer work which I speak of necting with his own subconscious three years. I believe we have found in this arti- a great way cle is of combin- here in ing two Beer Sheva. good I am a things, and member of helping the Israeli people who storytelling need it guild and while doing the Seattle so. storytelling We guild. I started as started my volunteers storytelling in a center career for cancer some ten patients. years ago in The people Australia, there were and at that reluctant, time I really but since it had no idea what it was all about. I mind. Just as an artist dreams his was volunteer work we got a "green fell in love with it. When I returned vision of his artwork and brings it to light" and started. We needed to be home I studied storytelling in Tel life, one can use imagination to innovative about how to do it. We Aviv. That by itself was a great expe- dream and create a new reality for began by meeting the day before a rience, and a lot of fun. oneself. session. I would tell her a story, and Now I was certified as a storytell- Stephanie’s problem was similar she would think of how to match it er. But what could I do with it? I just to mine. She needed some twenty to one of her structured sessions. It knew that the idea of being an enter- minutes per session for working was quite exciting. tainer was not really yet appealing to with her audience, but nobody was It took us a while and we had me. So I was listening to storytellers working a twenty minute session. some ups and downs, but we were and "sitting on the fence" as we say She said she was trying to give some consistent. We changed venues and in Hebrew, meaning not doing a explanation before and small talk kept trying to find the right place thing really. after, just to make the time longer, and way to do it. We found out that One day I met a woman I knew, and that’s where I jumped in! I want- after I told a story to the listener, it Stephanie, while riding a bus togeth- ed to tell stories, but I didn’t want was easy for Stephanie to move er. We discovered we had both re- to tell stories for a whole hour! I from there into the relaxed position (Continued on page 14) Image source: https://www.oldbookillustrations.com/illustrations/three-customers/ Pippin - Spring into Summer 2017 9

A Story Life’s Greatest Burden

Once there was an old woman and a young woman who would walk each day through the shtetl. One day the old woman would carry turnips from the field and the young woman would carry two buckets of water. On an- other day, the old woman would carry grains to make kasha and the young woman would carry cucumbers to make pickles. On another day, the old woman would carry her grandchild and the young woman would carry the clean clothes from the drying line. One day the young woman asked the old woman, “what is life’s greatest burden?” The old woman answered, “to have nothing to carry.” - a Jewish tale retold by chris cavanagh 10 Pippin - Spring into Summer 2017

(Continued from page 1) Ashenputl, The Devil's Grandmother tensely curious about her. I wanted Most people, even non- and . The Broth- to know who she was and to under- storytellers, have heard of the ers scrupulously copied them down stand more about what her life might , who famously col- word for word - indeed they praised have been like as a storyteller and as lected German folk and fairy tales in her storytelling highly, saying that a woman in those times. That is how the early 1800's . However, few peo- there was little need for editing as my journey of discovery began. ple know about Dorothea Viehmann her stories were already perfectly Many people, myself included, im- the oral storyteller who contributed constructed. The brothers were in agine Jacob and over 40 tales to the collection. For their twenties at the time, Dorothea traveling around the German coun- two years, from 1813 to 1814 she in her late fifties. tryside, collecting stories from re- visited them at their apartment in When I first heard about Dor- mote cottages and village people. the city of Kassel, telling them sto- othea in the preface to a collection Nothing could be further from the ries such as , of Grimms fairy tales, I became in- truth however as they were actually very shy, and preferred that other people provide them with written versions of oral stories. Many of their friends and acquaintances were interested in their project and were happy to be involved by sending them stories. A large proportion of these friends were young, educated, unmarried girls and young women from middle class families in Kas- sel. They were not shy to ask their cooks and nurses to tell them stories, or to point them to local Hessian oral storytellers nearby, and then to write the stories down and send them to Ja- cob and Wilhelm. And that's how the brothers came to meet Dorothea. At the time, Dorothea had fallen on hard times and was taking her produce, vegetables, potatoes and eggs, to sell in town. She lived about an hour's walk away in the nearby village of Niederzwehren. When she came to town, the house- hold of the Hugenot minis- ter in Kassel was one of her stops; and there the minis- ter's two daughters, friends The Inn near Rengershausen where Dorothea Viehmann grew up is still a well-known inn and brewery on the road from Frankfurt to Kassel. Dorothea would have had a chance to hear many stories as a child from local (Continued on page 11) travellers, tradespeople, soldiers, students and other guests that came through. Pippin - Spring into Summer 2017 11

(Continued from page 10) bright, clear eyes and had probably at the time of an oral storyteller. of the Brothers Grimm, met Dor- been beautiful in her youth. She has Dorothea was very poor, and she othea and heard her tell some sto- retained these old stories firmly in was a village woman, but she was ries. They enthusiastically recom- her memory, a gift that she says is neither a peasant nor a farmer’s mended her to Jacob and Wilhelm not granted to everyone. Indeed, wife. She came from an artisan family and before long, Dorothea started many people can't even retain any and was married to a tailor. She may to visit their apartment two or three tales, while she narrates in a manner have been able to read and write a times a week to tell them her sto- that is thoughtful, steady, and unusu- little and certainly went to the dis- ries. We hear that she would receive ally lively. Moreover, she takes great trict school for at least a year in her a few coins from them, and would pleasure in it." childhood. enjoy a cup of coffee and a glass of A third brother, Ludwig Grimm, So who was she, this prolific and wine while she was there, luxuries was a professional artist who drew a skillful storyteller, or who might she she could not otherwise have afford- portrait of Dorothea that featured have been? When I went to Germa- ed. on the cover of the second edition ny last fall, I set out to learn whatev- Jacob and Wilhelm Grimm write of their book of folk and fairy tales. er I could about her. I visited the inn about Dorothea Viehmann in the The Brothers Grimm admired Dor- where she grew up and the house preface to their second edition. othea but they also tended to ro- she lived in as an adult. I walked in "This woman, still active and not manticize her. They called her a the local area as she would have much over fifty years old .... has a peasant and a farmer's wife because done, and visited the Grimms Muse- firmly set and pleasant face with that image fit a certain ideal they had (Continued on page 12) 12 Pippin - Spring into Summer 2017

(Continued from page 11) knew, to calm or entertain the little ued to hear new ones. It could well um where I found a book all about ones or to help them fall asleep at be here that she developed her iden- her by the museum director Holger night. My guess is that her parents tity as a storyteller; something that Ehrhardt. also knew stories for children that she was well aware was a gift, ac- Dorothea was born Dorothea they would have told her and that cording to the Grimms portrayal of Katherina Pierson in November she could retell to her siblings. In any her. 1755, the eldest of 13 siblings. Her case, she must have been a wonder- By the age of 32, she and her hus- parents were innkeepers on the ful big sister! band Nikolaus moved to Nie- road to Kassel in central Germany. Dorothea lived through some dif- derzwehren, a village on the road to Her father came from a Hugenot ficult years and saw two wars in her Kassel where Nikolaus' family lived. family, French protestants who ar- lifetime. One of them was the Seven They rented a frame house there, rived in Germany as refugees after Years War when she was a child and and over the next 10 years had 5 1685. Her mother was from a local the other was the Napoleonic War more children. Two of these chil- Hessian family and had grown up in a much later on. It is said that when dren died, including her only son neighbouring inn. Dorothea's mater- she was seven years old, a French which must have been very difficult. nal grandmother seems to have been officer was staying at the inn. Dor- However, 4 of her 7 children grew an enterprising woman who was the othea could speak French because of to adulthood. Again it is not a owner of a local brewery. her Hugenot background. One day stretch to imagine that, as she and The inn where Dorothea grew up the officer came inside without clos- the other village women went about is still a well known pub and brewery ing the front door and a seven year their work doing laundry at the near the village of Rengershausen. It old Dorothea told him in perfect nearby spring or preparing food to- stands on top of a hill, with the road French that he must remember to gether, they would share stories to from Frankfurt to Kassel and to the close the door so as not to let the pass the time and that Dorothea, north beyond running alongside it, cold air in! He was apparently en- with all her stories, would have been and farmland all around. Standing in chanted by the polite but imperious a welcome addition to the group. front of her home, a young Dor- little girl speaking to him in his own Certainly, she will have told to her othea would have been able to see language, and offered her a coin own and other village children. And travelers approaching from several from his moneybag. Some say she probably, as a known storyteller, she directions. Local farmers and farm- was given a gold coin, others suggest would be asked to tell stories at the ers' wives on their way to sell goods that a penny is more likely. No one local inn on winter evenings, a set- in town, or to visit loved ones, knows if this story is true or not, but ting she would feel very comfortable would stop on their way for refresh- apparently Dorothea's grand daugh- in. ment at the inn. Local people would ter heard it from a local clergyman. The influence of the inn and an congregate there on holidays or in Dorothea was married in the lo- adult audience is evident in many of the evenings to relax and hear the cal village church at the age of 22 to the stories Dorothea told. There is news. There would also be a few Nikolaus Viehmann, a tailor from much in the way of social commen- visitors from further afield such as Niederzwehren. They had two tary; poor soldiers who are dealing tradespeople and messengers, sol- daughters almost right away. One with the reality of life in the army or diers and students. And in those baby died in infancy, but her daugh- discharged from it, highly untrust- times, while getting a bite to eat and ter Anna Katharina thrived. For a worthy kings, and misunderstood drinking some beer or brandy, peo- long time this was her only child and but independent women. Several of ple would naturally have enjoyed a Dorothea continued to live at the her stories were known in the area good exchange of stories. It is easy inn for the next 10 years, perhaps and were told by many tellers, but to imagine Dorothea, playing on the because she and her husband did not the majority of the stories she knew cobblestones at a young age, soaking yet have the means to move into a and told to the Grimms were only it all up. place of their own. Dorothea must told once, by her. As the eldest of 13 children, it have been a big help around the inn. It was when Dorothea was in her seems likely that Dorothea was soon It is not too much of a leap to as- forties that the Napoleonic Wars enlisted to help take care of the sume that, as a young woman in her arrived in the area of Hesse-Kassel. younger ones. Perhaps this is when twenties, she began to enjoy telling Local rebels fought against the she began to share the stories she stories to the guests as she contin- (Continued on page 13) Pippin - Spring into Summer 2017 13

(Continued from page 12) and her surviving children. She did lack of material power. Of course French occupation within sight of not have an easy life, but you can see most of the stories gave them a her parents' inn, just a couple of from her stories that Dorothea was good laugh as well, and in doing so years before she met the Brothers an optimist. It is always the character put the universe back into balance. Grimm. Napoleon's brother Jerome who remains hopeful and dwells not At the end of her life Dorothea went to live in Kassel and he was on what they have lost, but on what was living in a very crowded house, determined to live off the fat of the they can still do about it, who pre- shared with her husband's parents land, which for the villagers meant vails in the end. Her female charac- who had lost their own house, and new taxes, levies and seizures. For ters certainly don't have fortune land another family living downstairs. Her example, all the cows in the area in their laps, but they are resourceful oldest daughter came back home were taken as Jerome's property, and persistent and justice returns in too, along with her 6 children, when undermining a source of livelihood the end. her own husband died. Dorothea for many people. There was mass One can see how important sto- herself became ill and died before conscription, so the men were often ries and storytellers would have the effects of the Napoleonic Wars not there to provide for their fami- been to people in such difficult were over. However, her daughters lies. Women and children like Dor- times. The folktales must have been and grandchildren were able to othea and her family were hard hit. a welcome break from the hardship thrive in more stable times and we Any possessions she and her fami- and unpredictability of life; a place of know that there are many of her ly once had were slowly eroded. By magic, wonder and beauty as well as descendants alive today. the time she was in her fifties, Dor- a source of hope. Stories allowed I like to think of Dorothea during othea was selling eggs from her own people to express the hardships they the two years she visited the Broth- chickens and produce from her gar- could relate to and to see justice ers Grimm, sitting comfortably with den in order to take care of herself served, despite their poverty and her fine china cup of coffee and tell- ing them stories. She would never have imagined that this would hap- pen. Apart from the few coins she made, I think it must have been enormously gratifying to have these two earnest and erudite young men hanging on to every word she said, collecting material to be published in a book. She must have taught them by example much of what they came to know about oral storytelling. The Brothers Grimm would have lent the gravitas of their scholarship to her life's calling, to the person she had become, and to the art that she had always loved. It must have been a highlight of her life and an experi- ence which she richly deserved. For us now, it is fascinating to reclaim her from history; to look at the stories she told in the light of her times, to celebrate her life, and let it stand in for all the multitude of oral storytellers who have enjoyed and told stories since time immemo- rial and passed them along the line to us. May we do the same. 14 Pippin - Spring into Summer 2017

(Continued from page 8) have the relaxation part, even clude some of my personal stories! and mood that she needed for her though they can't lay down and can't What a pleasure when I ask them to session. Usually my stories had some do some of the physical things repeat my whole story, and they do moral or general idea that Stephanie Stephanie suggests in order to relax it by heart! They can't wait to get to used to weave into her own session. better. But believe me- they try in the relaxation part. It is so impres- Now we can really see how the sto- their own way! sive to see these girls just relax and ry helps to move from daily con- The other place we volunteer at even fall asleep sometimes, with sciousness to a relaxed position, so is a home for girls. These are abused Stephanie talking to their imagination the conscious and unconscious can girls between the ages of thirteen to and hopefully helping them find their work together to enable a deeper twenty three. They choose to go to own voices. change. this place, of their own will, and stay That is my experience and that is We have been involved for more there up to three months and not what I wanted you people to know than two years with two different more. During that time they are about. I think storytelling is a power- types of audiences. Once a week we taken care of, physically and mental- ful tool and could be used in a lot of meet with a group at a rehabilitation ly. By the end of that period, they ways. Stephanie and I volunteer, but center. These are mostly older peo- choose to go to a permanent home, I believe the same thing could be ple who are handicapped in different or back to their own home. In this done for a fee. Just as you go to a ways, often as a result of strokes. place our satisfaction and joy are counselor you could go to a session Most of them can't walk, some can't greater as the girls express their en- of NLP combined with storytelling! talk, and some have more problems. thusiasm and love to us. The girls Maybe there are more combina- They love my stories and do wait to are eager to hear stories and I in- tions….why not? Breaking Spells

Michelle Tocher

The Interview Series is Now Available! In April, Toronto storyteller Michelle Tocher joined Hannah Custis of the Immanence Journal to dis- cuss the subject of spells. In three interviews, Michelle discusses three questions. What can fairy tales tell us about how we come under spells in life? How do we become aware that we're under one? And how are spells broken? The Immanence Journal was founded in 2015 by depth psychologist and graduate mythology teacher Craig Chalquist, PhD to provide a forum for exploring myth, leg- end, and folklore in modern life.The first program is freely available here: https://www.youtube.com/watch?v=IASY_Fr8dCg&feature=youtu.be The other two programs can be accessed by subscribing to the Immanence Journal for a nominal fee. http://immanencejournal.com/subscribe-to-immanence/ Pippin - Spring into Summer 2017 15

EVENTS — Summer 2017

Every effort has been made to present current information. Sometimes the completion and delivery of Pippin is subject to the volunteer hours available to produce it.

1,000 Friday Nights of Storytelling continues écoutant contes, legendes et bonnes histoires. GATHERINGS every Friday evening at 8pm at the Innis Col- Entrée libre. Contribution volontaire suggérée. lege Café, Sussex Ave. and St. George St., Informations: Laurent Glaude, (613) 859-1978, Toronto. Cost $5. Open to all who wish to listen [email protected] or tell. (416) 656-2445, www.1001fridays.org The Hamilton Storytelling Circle meets at Storytelling Circle meets every Tuesday at Temple Anshe Sholom, 221 Cline Ave N., 2:15pm at #6 St. Joseph Street, an artistic re- Hamilton. Info: Barry Rosen, barrythestorytell- source centre for people at a crossroads in life. [email protected] All are welcome. Info: Molly Sutkaitis, (416) 239-1345 The Montreal Storytellers Guild meets the 4th Tuesday. of the month at the Westmount The 1000 Islands Yarnspinners host Stories Stories Aloud meets on the 2nd Friday of the Library. Info: Christine Mayr, christine- at the Spitfire Café on the second Tuesday of month at the Waterloo Community Arts Centre, [email protected] the month, 7pm, 10 Victoria Avenue, Brockville. 25 Regina St. S. Waterloo. 8pm. Info: Open Bring a story, song or poem. Excellent coffee storytelling, cost $5. Info: Derek Brisland, ba- PERFORMANCES and sweets. Info: Deborah Dunleavy, (613) 926 [email protected], (519) 634-9128 -5510, or [email protected] The Baden Storytellers Guild meets on the Due to long-term renovations in their usual 4th Friday of the month, at the Waterloo Com- venue, The Peterborough Storytellers are munity Centre, 25 Regina St. S., Waterloo. Info: presently an itinerant band who still gather to Derek Brisland, (519) 634-9128. badenstorytell- share stories in meetings, workshops and [email protected] house concerts. www.facebook.com/ peterboroughstorytellers The Ottawa Storytellers meet for their Story The Durham Storytellers will be sharing sto- Swap on the first Thursday of the month, 7pm ries on July 5, 4 pm as part of the Weave-a- The Guelph Guild of Storytellers meets at at Library and Archives Canada, 395 Welling- 7pm on the second Wednesday of each month Story Wednesdays series, at the 4th Line ton St, Room 156, free admission.. Info: in- Theatre, 779 Zion Line, Millbrook. Info: at the main branch of the Guelph Public Li- [email protected] brary, 100 Norfolk St. Open mike for 5-minute www.durhamfolklorestorytellers.ca stories. Experienced tellers with longer stories The Dufferin Circle of Storytellers meets the As part of the Oshawa Celebration of the Arts, are encouraged to contact us in advance for a 1st Thursday of the month, 7:30pm. Info: Nan- The Durham Storytellers are performing Sat- spot on the program. Info: Sandy Schoen, (519) cy Woods, (519)925-0966 urday evening, October 28 at the Holiday Inn, 767-0017, [email protected], 67 Simcoe St. N. Info: www.guelpharts.ca/storytellers The Brant Taletellers Guild, welcomes tellers and listeners to its monthly gatherings Septem- www.durhamfolklorestorytellers.ca On Friday evenings from June 30 to September ber to June, 7 – 8:45pm, on the first Wednes- 1, The Guelph Guild of Storytellers will host day at the Station Coffee House and Gallery, STORYTELLING TORONTO Tea 'N Tales at the Guelph Recycling Garden. besides the Brantford VIA Station. Visitors Info: [email protected] welcome. Fair Trade.coffee, Steam Whistle COURSES beer, wine and snacks can be purchased dur- st Belleville Storytellers meet on the 1 Thurs- ing meetings. Info: [email protected] day of each month at the Belleville Public Li- Info: (416) 656-2445 or brary, 254 Pinnacle St, at 6:30 pm. Info: Micki On September 21 The Durham Folklore Sto- www.storytellingtoronto.org Beck, [email protected] rytellers recommence their regular 3rd Thurs- Summer Intensive course open to both begin- day Thursday meetings, 7:30-9:30pm in the A roster of Toronto storytellers host Bread and ning and experienced storytellers, Church of St. Seniors Day Activity Room, Northview Commu- July 13 - 16. Thursday, Friday and Saturday, Stories alternate Saturday mornings 11am - nity Centre, 150 Beatrice St. E., Oshawa. Info: 1pm at the Artscape Wychwood Barns, 601 10 am - 5 pm; Sunday, 1 - 5 pm. At The Kathleen Smyth, [email protected] Church of St. George the Martyr, 250 John St. Christie St. In winter we’re indoors at the Story- or www.durhamfolklorestorytellers.ca telling Toronto office, Suite 173.. Open to story- Toronto. Instructor: Marylyn Peringer. Fee: tellers, listeners and those who like to “talk” Cercle de conteurs et conteuses de l’Est de $415/$391 early bird until July 6. story. Come and be mentored as you try out l’Ontario se réunit pour une soirée de contes Family Stories, October 20 and 21. Friday, 7 - new or familiar stories. Info: Donna Dudinsky, décontractée style “Café” au Salon Richelieu 9:30 pm; Saturday, 9:30 am - 5 pm. At The [email protected] du MIFO, 6600, rue Carrière, Orléans. Venez faire plaisir à vos oreilles en partageant et en 16 Pippin - Spring into Summer 2017

Story Room, Toronto. Instructor: Celia Telling Stories Bilingually, Saturday Lottridge. October 14 and Saturday October 28, 1:30 - 4 pm. At the Storytelling Toronto office, First Steps Into the Art of Storytelling, Artscape Wychwood Barns, 601 Christie November 17 - 19. Friday, 7 - 10 pm; Sat- St. Instructor: Marylyn Peringer. urday and Sunday, 10 - 4:30 pm. At the Lillian H. Smith Branch of the Toronto Master Class, Thursdays November 2, 9, Public Library, 239 College St., Toronto. 16, 23, 30, 2017, continuing January 11, Instructors: Lynda Howes, Marylyn Per- 18, 25 and February 1, 2018. At a private inger. home. Teacher: Celia Lottridge.

The Storytellers School of Toronto gratefully acknowledges the support of the following government agencies:

This newsletter is made possible in part by a grant from the Ontario Arts Council’s Literary Festivals and Organizations Operating Funding.