StoryMapping Stories

The day after my 50th birthday, I decided to treat myself to a trip to West Marin County. January in the San Francisco Bay Area can have days that explain the high cost of living. Really too warm and beautiful.

The invitation had come from Phyllis Faber, a publisher, biologist, and activist with the Marin Agricultural Land Trust, an organization that has been helping to keep West Marin a pastoral paradise, and a place for sustainable local food production, for several decades. She had asked if we could come out and do an interview with Sharon Doughty, a dairy farmer whose family had been involved in farming in Point Reyes for a hundred years.

We were joined by a new friend of CDS, Amir Terkel, who volunteered to assist with shooting some video of our planned interview. It turned into a wonderful tour of West Marin agricultural history, current issues, and future prospects. We created a film from the interview. (View Film)

What we learned from our talks with Phyllis and Sharon was that the struggle to sustain Marin Agriculture has its roots in the sixties when the county considered creating freeways across Marin and planning a town of 125,000 people at Tomales Bay. Environmentalists joined with ranchers to oppose the plans. A second crisis occurred with the creation of the Golden Gate National Recreation Area and the Point Reyes National Seashore as many ranchers faced the complete loss of their land. Lobbying efforts, including pleas from Sharon’s grandmother, led to a “lease back” arrangement with ranchers that made agriculture part of the ongoing sustainance of the Point Reyes peninsula.

Since the seventies concerns about sustaining water quality of Tomales Bay for fishing and oyster beds had forced water quality standards to be adopted that forced many ranchers out of business. As it turned out, the one’s that survived have slowly moved toward environmentally compatible practices, and for economic as well as environmental reasons, organic production.

Sharon’s courage and determination, having survived being widowed twice, and now facing a health struggle of her own, was a tremendous inspiration.

Carroll Parrott Blue is one persistent collaborator.

On my 45th birthday in 2002, I met Carroll at an event in the eastside of San Diego that was part of a project we had done with the Waitt Family Foundation and the Institute for the Future. Carroll was working on completing “The Dawn at My Back, Memoir of a Black Texas Upbringing.” One thing led to another and she ended up presenting the work at the Digital Storytelling Festival that year, and generally blowing everyone away. Within a year she was winning an award at Sundance, and moving from her long time home in San Diego to a new job as a professor at the University of Central Florida.

Carroll’s interest in Digital Storytelling sustained our collaboration and Emily Paulos and I made a couple of trips to UCF, plans were hatched, and we had hoped to make a stab at creating a local project in Orlando’s African American community. As it worked out, Carroll, who was born and raised in Houston, was considering working in her hometown of Houston, about the time we were connecting with colleagues at the University of Houston. Dr. Bernard Robin, grad student Anne Rudnicki and others had been doing educational applications of digital storytelling for several years, and were interested in collaborating with CDS.

With a bit of luck, Carroll was able to make a connection with the UH College of Education through Bernard, and found herself over the summer of 2006 working on a mapping project with the Third Ward. The project initially was manifest as a class to create an installation at Project Row House, the renowned arts organization directed by Rick Lowe, but Carroll’s interest has since led her to build her own non-profit, The Dawn Project, which will be developing a number of projects to articulate the relationships between redevelopment, social memory, personal memory, and the visioning processes necessary to sustain and expand historic communities like the Third Ward.

In the Fall, we discussed using her efforts to create a prototype Storymapping project with residents of the Third Ward. As it happens, from 1978 to 1980, I had lived in Houston and one of my efforts was working with the SHAPE Center, an activist oriented community center. I started my work in theater there. So I knew the neighborhood, and had a sense of its history.

What I proposed to Carroll was a departure from our process in Digital Storytelling, what I called the Walking Story Circle. What I believed was that instead of people sharing the stories for the first time in a room, that everyone should hear the place stories in the place the stories described. My feeling was that we might accomplish two things, capture a recording of a story in the location (similar to Murmur) using audio and video recordings, and provide the group with a context for discussing the writing of a considered narrative as we would have in our normal workshops.

The results were promising. As we drove from site to site in the Third Ward, having people tell their stories with an audience helped some folks become animated about the issues and emotions connected to the story. For others, it was a bit more pressured than a one-on-one interview might have been. But for everyone, hearing the story and being present at the site, made them seem to connect more deeply to the meaning of the story, and the next day, when we held a story circle to discuss each story, people were tremendously engaged. The re-writes benefited from people’s encouragement, and we felt this made the written stories more powerful.

In any media process there is a blance between the clarity of the considered narratives, and spontaneity of the interview. Having the option to use either seemed appropriate. As we know from on-site radio, what you do not get with the written and recorded narration is the ambiance of the recordings on site, which helps the audience place themselves in the story. We considered using ambiance from each site captured during the original recording, but that seemed a bit odd.

We still have more to learn and discuss about this process, and we look forward to the other collaborators joining in the dialogue.

When Kate Maguder and I finally met face to face in early 2004 I had come back into the country from Italy and was working a series of gigs in the U.S. to pay some bills. We met on the small front porch of the offices of Ukiah Players Theatre
it was as if two siblings were coming together after a long absence. How we had not been face-to-face is almost mysterious. Her company was founded in 1977, the year of the first People’s Theater Festival in Santa Cruz. UPT joined the People’s Theater Coalition for a period while I was managing it, and we naturally should have crossed paths.
Whether or not we did, the sense that we were working two fronts of the same long campaign was evident from our conversations. Hers had been slowly evolving an approach to local stories of residents through various creative writing workshops and stage productions, that had taken the form of several projects including, “Telling the Truth in a Small Town,” and “The Good War,” and “Of All Places.” Each of the projects involved mining story ideas in group process and transforming them into texts that were the basis of monologues that were woven into an evening performance involving the writer/actors, and shared with the local community.

Kate had discovered our work and decided that a collaboration that brought Digital Storytelling to Ukiah could be built, she chased down some money from the Irvine Foundation, and we set about capturing stories in a series of workshops. Amy Hill, Emily Paulos, Erica Cooperrider, along with Kate and myself all played a role in leading these workshops.
Writing about place comes naturally to most people, but there were still issues about how people perceived a place story. For some, people stories and place stories were inseparable, and they immediately reflected on what happened at the place involving themselves and other characters, not necessarily reflecting upon what was unique about the setting or location that made the place itself the story. Others found a way to integrate their sense of the importance of events and characters, with the meaning of the place itself.

A diverse tapestry of narratives formed through the first two workshops, and then we had to devise a stage production. The main issue was both technical and dramaturgical. How do you show the stories with the live performer, and not have the actors dominated by the projections, and how do you pace and arrange a production, to give a sense of connection and dramatic development to an evening production. We settled on using multiple performance locations on the stage, with two production screens, one a bit more intimate than the other. We reduced some pieces to only a few images to slow down the visual overload. To keep the show moving forward we created an “Our Town” like narrator, local journalist Laura Hamburg, who introduced and interrelated the pieces. And we created interstitial images to carry the transitions, and fill the opposing screen with a consistent visual material

As I had remembered from my work with Dana Atchley’s Next Exit, we also had the problem of getting a performer in sync with a projected image. Through rehearsal, most actors found the rhythm of the piece, and could closely keep up with the advance of the video. We used “rear view mirrors” down stage so they could monitor this as well. But several of the performers just couldn’t get it down, so we had to create essentially powerpoint versions of their digital stories and have the stage manager speed up or slow down with the performers pace. I was surprised we didn’t have to do it more often, but rehearsals, even as few as we had, seemed to get people used to a natural cadence that coincided with the images.

I found one of the most powerful parts of the production was a pre-show slideshow that came out of a small commission of CDS Associate Rob Kershaw. He went around Ukiah and took photographs that were delightful in their insight into the little nooks and crannies of a small town.

When that production was completed in October of 2005, we then had a second task to expand the participation to a larger number of Mendocino counties, and to make a “touring production” for the county in the summer/fall of 2006. Another workshop was organized, and then we reduced the play to a one-woman show with Laura, this time as a waitress closing down a local diner. The waitress ends up explaining why she loves the county to an offstage friend using the digital stories as points in her argument. The production toured six different venues, and following the production their were story circles to have people from the audience share their own stories.

In both productions the principle viewpoint was about the importance of sustaining the unique character of a place, through these wonderful stories, in order to resist the homengenizing influences of industrial redevelopment, in terms of commercial, residential, civic, and agricultural identities.  This viewpoint actually served to galvanize more discussions about Smart Growth, and a deeper commitment to sustainable and thoughful planning in these communities, and in this way the project has amplified way beyond the audience of several hundred that were fortunate to see the productions.
It was all quite magical.

Where we go from here is to take the stories and map them, which we have done here on the Storymapping website, and then develop an expanded project to create a working story-capturing booth, a la Storycorps, and a local cel phone story tour, a la Murmur, which they are calling Hear Here.  We hope to see these projects emerge in 2007.