Wicca 201 -- Oral Tradition

	Stone Dragon Press speculative fiction — science fiction — horror — fantasy

	Table of ContentsOral Tradition


	Oral Tradition - 12 / 18 / 2004 why revert to an oral tradition? written word great for recording what exactly was said but it too easily degenerates into dogma intellectual laziness followers the easy way out rule of justice vs the rule of law and tyranny fundamentalism the "book" over-rules direct experience print is not dynamic, flexible, adaptable print rigidifies and fossilizes economic considerations lack of interaction and feedback the internet is not print oral cultures elders as repositories debate haggling dynamic value Judaism the Talmud has weight but not inertia Icelandic AlThing recite the law - 1/3 each year consensus the measure of time act slower decisions made with future generations in mind seven generations storytelling interactive between storyteller & audience dynamic exists only in the act flexible tailored to the moment [based on audiences' needs and responses] feedback storyline determined by audience importance of place, fire and ritual elasticity of time controlling time and space phyical representation of time line total time, planet time, species time, and lifetime being in the moment [see Tao and Zen] memory and images imagination guided imagery active daydreaming voice, motion and gesture facial expressions & eye contact characterizations journeying within projection into story basic storytelling skills memorization mnemonics long period of training focus / concentration recitation an opportunity to enact oral tradition first hand acting dancing drumming (playing an instrument) language in tales is simple high interest level appeals to the imagination applys to audiences of all levels reading how oral stories have been preserved functions validation validates certain aspects of culture and justifies its rituals and institutions explanatory tale or a moral animal tale, myth or legend validate doubted pattern warn of subsequent consequences when accepted practices are violated provides rationalizations when institutions and conventions are challenged maintaining conformity or control group cohesion group feeling express social approval of those who conform can act as an icebreaker to let outsiders into group escape compensation for something lacking in reality from frustrations and repressions from geographical environment and biological limitations education teach the history of a people cultural norms, diligence, respect, perseverance, etc dangers and how to avoid them entertainment story told to interest provide fun or excitement stimulation of the imagination functions of legends are not fixed and may change as context changes when and where tale was told events which took place before narration began was legend told verbatim or not gestures and facial expression relationship of narrator and audience amount and type of audience reaction and participation age, occupation, ethnic background, etc. of both teller and audience folklore / folkways form is relatively stable folklore is not a static phenomena product of individual tradition bearer's constant reworking retelling acceptance or rejection adaptation content folklore represents what storyteller feels to be a true reflection real relationships between members in a class, ethnic, racial or sex group folktales lack of any claim that what happened in tale is real animal tales / fables jokes & anecdotes formula tales folk legends religious legends traditional stories about miracles revelations answers to prayers marvelous icons supernatural legends vampires, werewolves, trolls, fairies, little people, zombies and ghost stories many of which are European in origin personal legends poor child who makes good good child gone wrong child that is too good or bad to be true local legends associated with specific places their names their geographic features their histories heroic legends associated with specific people and the events of their lives "historical" genealogical inventories formulaic fairytales / wonder tales The Uses of Enchantment: The Meaning and Importance of Fairy Tales - Bruno Bettelheim Freudian fairytales carry important messages to conscious mind to preconscious mind to unconscious mind on whatever level each is functioning at the time Vladimir Propp – form and structure of fairy tales suggest images to child by which he can structure his daydreams gives better direction to their life fairytales present positive solutions to difficult problems they also give form to formless, nameless anxieties to chaotic, angry, and sometimes violent fantasies underside of fairytales that appeals to adolescents struggles in life are unavoidable if one perseveres against unexpected and unjust hardships, they can be a winner characters are unusually very clearly drawn are typical rather than unique are not ambivalent either all good or all bad either all beautiful or all ugly either all stupid or all smart polarization makes qualities clear for child are often in isolation or forced out process of finding one's way step by step through unknown terrifying circumstances leads to a successful end Awakening the Hidden Storyteller - Robin Moore The European Folktale: Form and Nature - Max Luthi Morphology of the Folktale - Vladimir Propp The Storyteller's Start-up Book - Margaret Read MacDonald The Uses of Enchantment: The Meaning and Importance of Fairy Tales - Bruno Bettelheim