Tuesday, March 20, 2018

The Amazing Case of Dr Ward and Other Stories

The Amazing Case of Dr Ward and Other Stories is a show developed by me and my wonderful collaborator, Sarah Depasquale.

Wandering through our local botanic gardens (the Williamstown Botanic Gardens), we asked ourselves the question, 'Where did all these exotic plants originally come from and how did they get to Australia?'

We discovered that part of the answer was 'the Wardian case', or as we like to say: 'The Amazing Case of Dr Ward!'

The problem of carrying botanical specimens on board ships had been ongoing for centuries. Then in 1833, Dr Ward (a plant enthusiast) experimented with sending some plants in a sealed glass and wooden case from London to Sydney and back again. The experiment was success and the transportation of plants was revolutionized (and the terrarium craze was also sparked).

Sarah and I have found our delight in this story to be infectious. Our local Men's Shed (Hobsons Bay Men's Shed) made us a couple of scaled down replica cases.
Neil Davidson, Mick Linsay, Philip Frisina Colin Dyall from Hobsons Bay Men's Shed

Jackie helping Loraine oil the cases at the Williamstown Botanic Gardens

Loraine Callow (who works part time at the Williamstown Botanic Gardens managed by the Hobsons Bay City Council) created a glorious set of illustrations for us to use in a Kamishibai (Japansese wooden storytelling box).

Dr Luke Keogh (environmental historian and curator with a special interest in the global movement of plants in the 19th and 20th century) offered advice and ecouragment and Nan McNab (editor and author) kept a close eye on us as we developed the story.

Sarah and I were invited to the 2018 Port Fairy Folk Festival and as part of a packed program of storytelling, we finally launched our new show into the universe.

I made a little video of Sarah and me at the Port Fairy Folk Festival. It will give you a glimpse into the kind of fun we have when out and about with stories.

The Amazing Case of Dr Ward and Other Stories
(suitable for an inter-generational audience and ideal for festivals)

When you bite into a mango and the juice dribbles down your chin, spread a picnic rug under a shady elm, or pop a fuschia bud, do you ever ask the question: how did these plants come to be in Australia? It is quite possible that the answer lies in a simple invention made of glass and wood. 

In London, in the early 1800s, a doctor and enthusiastic amateur naturalist, accidentally discovered a plant growing inside a glass container.  Aware of the difficulties of transporting live botanical specimens aboard ships, Dr Nathaniel Bagshaw Ward concluded that plants needed to be sealed in transparent cases, protected from salt spray, rats and clumsy sailors. The Wardian case (as it became known) revolutionized the transportation of plants and were in use up until 1962.

Sarah and I begin with the ripping tale of how Dr Ward developed his idea, and we follow with two stories dedicated to specific trees (the golden elm and the weeping rosebud cherry) and a story dedicated to the gardeners.

The Amazing Case of Dr Ward and Other Stories is inspired by the Williamstown Botanic Gardens, designed by Edward La Trobe Bateman and opened in 1860.

45 - 50 minutes

For audiences under 80 people:
  • 4 metre x 3 metre space – preferably raised if the seating is flat
  • no amplification required
For audiences over 80 people we need:
  • 4 metre x 3 metre space – preferably raised if the seating is flat
  • Digital projector for images
  • Radio mike for Jackie and a mike on a stand for Sarah
Cost available on enquiry
Visit Jackie's website HERE
0412 210 098
Sarah Depasquale and Jackie Kerin
Sarah Depasquale is a classically trained violinist, librarian, birdwatcher an gardener.
Jackie Kerin is a classically trained actress, storyteller in the oral tradition and author of several award-winning children's picture books, bird watcher and gardener.  Learn more here.

Port Fairy Folk Festival 2018

Every couple of years I get an invitation to be part of the spoken word  program at the Port Fairy Folk Festival. And in recent times I've had the fun of traveling with my musician colleague Sarah Depasquale.

Our program was packed with two shows: Tales from the Flyway (our piece that shines a light on migratory shore birds) and The Amazing Case of Dr Ward and other stories (a light-hearted look at how plants were transported around the world on board ships in the1800s), as well as a children's show, author presentation and judging the Pat Glover Storytelling Award!

We felt a bit daunted by the task, but Sarah and I ploughed through and enjoyed every moment.
The Children's Tent was huge and I'd be lying if I said I wasn't a little intimidated at the thought of all these energetic young ones. But it was a wonderful 45 mins of hilarity and the children were fantastic.

Port Fairy has a terrific bookshop Blarney Books and Art and offers a program throughout the festival. I was delighted to be asked to do an author talk. Always fun to switch from storyteller hat to author hat. And selling books and seeing children smile ... well nothing beats it really!

Huge thanks to Jim Haynes who manages the spoken word program and the Festival and township  that organises the  weekend. Its a privilege and joy to be invited to be part of the fun.

Saturday, January 13, 2018


The tangible and intangible
My storytelling tools are both intangible and tangible. The intangible are the tools that are inseparable from me: my body, voice, memory and my imagination. And the tangible are the tools I can hold and use when telling, like puppets and musical instruments. And of course, there are the books.

The intangible ‘me tools’ are getting on in years. I get tired more easily; I think more about how far I am prepared to travel and how many sessions I will do in a day. But there are countless good things about being older. My repertoire is vast and mature, I’m calm (the self doubt has faded), I relish dipping into deep experience and I have much to share and enjoy doing so. My voice is strong and can withstand hours of use (I sing in a choir to keep it in shape), my body still serves me well (I visit a gym) and I’m comfortable in my skin and no longer stare at the wardrobe and wonder who I am when I head off to tell stories. I know the value of what I do, and feel buoyed by life lived so far. My ability to quickly establish a relationship with my listeners is finely honed.

The tangible tools can be found on the book shelves, in my study and in a sturdy cane basket neatly packed with props. It was woven by a company that also makes ballooning baskets and is strong enough for me to sit on and flat enough to be a table. The lid has discreet leather straps with buckles, a deterrent when working with children who have not learned to respect boundaries. A foldable trolley leans against the basket, ready to wheel it out to the car. Stacked on top of the basket are two kamishibai stages and the stand. (I have three but the third is nearly always out on loan.)

Let’s begin with, the books …
Increasingly I use the Internet as my research tool but I still have a bookcase of anthologies and guides. If I could only keep three books, these are the ones I would choose:
·      Twenty Tellable Tales by Margaret Read MacDonald
·      Favourite Folktales from Around the World edited by Jane Yolen
·      The Kamishibai Classroom by Tara M. McGowan

Twenty Tellable Tales
What I appreciate in Margaret Read MacDonald’s collections are the detailed notes at the back, references and sources for the stories included. For those of us who like to dig a little deeper and research other versions of tales, think about who collected Indigenous stories and when, these notes are a beginning. I like to dig around a story before I commit to including it in my repertoire. Twenty Tellable Tales is also an example of stories written in oral language – language for telling. And of course, if you are not the inquisitive kind, you can simply tell the stories.

Favourite Folktales from Around the World
Jane Yolen begins Favorite Folktales from Around the World with an acknowledgement of the people who helped with the book. It’s worth researching these names, as many are fine folklorists. And from there, read the Introduction. I go back and reread this every few years. There is much food for thought in the way Jane Yolen writes of the oral, transcribed and literary tale.

The Kamishibai Classroom
I’m hooked on kamishibai storytelling and have successfully infected others with the passion. I find The Kamishibai Classroom by Tara M. McGowan to be a generous guide including history, the mechanics of making and doing, application in the classroom and so on. So far I know of no better book to get started.

And now a peek inside the basket …
When I started telling stories I was certain that props were unnecessary and that all a storyteller needed was good a repertoire and communication skills.  But when I found myself in kindergartens with children speaking English for the first time, I began to rethink. Years later, I worked in a specialist school, in a language enrichment program, telling stories with children who were learning to cope with a range of learning and behavioral problems caused by trauma, abuse, alcohol fetal syndrome, Asperger’s … In these environments, I’ve found that puppets and felts work magic. Props can underscore meaning and give a focus away from the storyteller. I’ve observed many times that some children are sometimes more able to connect with stories via a puppet or some other object.

I think of myself as an artist; my practice enhanced by hand-crafted props. Most I have made myself, some I have commissioned or been given, and a few have been bought. I’m fortunate to have a partner, John Kean, who is a skilled painter.

I could write at length about the props I use when working with young children but I think it best if I direct you to my DIY video where you can see me working with small children and using props. 

The following are some of my favorites
·      Bollard puppets
·      Felts
·      Australian hand and finger puppets

The Bollard puppets are cylindrical figures: the ‘Old Woman who swallowed a Fly’ and the ‘Old Sailor who swallowed a Krill’. (The story for Old Sailor is by author friend Claire Saxby). I started with a shop-bought Old Woman, she was like a small rag doll. One day I was working at a kindergarten and a boy with Cerebral Palsy wanted to have a go at putting the animals into her mouth but his compromised fine motor skills frustrated his attempts. When I came home, I put her away. I decide to make my own Old Woman with a big mouth and then I sourced big animals that were easy to hold. The Old Woman and Old Sailor are made from large postal cylinders, paper mache, cardboard (hats) and tennis balls (feet). They were inspired by the Geelong bollard people. Geelong is a seaside city to the west of Melbourne (Australia). Many years ago, artist Jan Mitchell created these wonderful characters that are dotted throughout the municipality. I dedicate my bollard people to Harry who I never met again, but I learned from him. 

 Felts: I’ve made my own felts to illustrate the stories of my choosing. The board is a piece of light plywood covered in polyfleece. I use my fish felts to set the theme for fishy stories. I have several boxes of felts that I carry in my story basket. Depending on the children, I may or may not use them. Felts are so simple, but they never fail to delight; they have a permanent place in the toolkit.

Australian hand and finger puppets: these are bought of course. It never ceases to amaze me that children born in Australia are commonly unable to identify our unique animals. Newly arrived children are generally experts. I feel deeply about the importance of connecting children to nature and much of my repertoire reflects this. I have acquired these puppets opportunistically at airports, conferences and toy suppliers. I’m fussy and look for puppets that are realistic as possible. I don’t have a taste for cute.

And Kamishibai …
Kamishibai (kami – paper, shibai – theatre) is a Japanese mode of storytelling. It employs a small narrow stage with an opening on one side so viewers can see a succession of cards revealed as the story is narrated. I won’t say more about the history of kamishibai as a quick search on the Internet will lead you to detailed sites with all you need to know. Kamishibai is the only prop I use when telling stories to adults audiences.

I have three Kamishibai stages.

K1 is made by a skilled carpenter friend, Ted Smith, from recycled Eucalyptus. Beautifully crafted, it’s the one I use the most. I am indebted to my storytelling, camera operator, props maker friend Alex Kharnam, for a stand adapted from a heavy-duty camera tripod that can be raised and lowered and packed away in a suitcases for easy travel.

K2 was bought online from Germany, KreaShibai, and has an echidna painted on it. You buy them plain. This one I lend to friends. 


K3 was made by me from cardboard. This one I can strap to my bike and literally pedal/peddle stories. You will find instructions on my website so you can build your own if you wish. 

Having a stage is only part way to getting up and running with kamishibai. The acquisition of stories that you want to tell is a whole other thing. Stories can be bought on line, but I like to make my own and trade with other makers. Currently I only tell one ‘off the shelf story’; the majority I tell, have been painstakingly drawn, painted or cut from colored paper by me. I’m not an artist and it takes weeks to make a story and my illustrations are not brilliant however it’s important to me that I am the maker. 

 I could share more photos and write more about my toolkit but this would turn into a very long article. For now this is glimpse. I haven’t mentioned the ukulele, nesting dolls, shells, pad of coloured paper for folding and tearing, spindle and bells. Another time …

Monday, October 16, 2017

More storytelling in tents: Whitehorse Spring Festival

I do have a thing for tents and for taking stories outside of controlled spaces and having a crack at delivering tales at festivals, in parks and gardens and on footpaths.

Yesterday I accepted the challenge of telling stories in a tent, 5 x 20 minute sessions, for the Whitehorse Spring Festival.

And it is a challenge as children are dragged away mid-story because there is something on somewhere else, and others come back for every session and I don't want to repeat myself.

People come for stories from many different language backgrounds with good and sometimes limited understanding of English (my only language). And I always meet people who cannot hear, who sign or who rely on hearing aids or both.

Yesterday I went armed with my kamishibai as I know from experience, kamishibai storytelling leaps over all the obstacles.

I was employed by The Dreaming Space for the festival and they had erected a very sweet tent which comfortably fits 40 or so. No photos of me as I was working alone and had no one to ask but I can share with you some images. You can see my kamishibai and I have erected my story brolly and decorated it with bunting and and my comics. They sold like hot cakes!

Sunday, August 27, 2017

Melton Word Fest with the Story Peddler

Its been a while since I've had an adventure with the Story Peddler aka Patrick Verdon.
I get to do some wonderful things, well things that suit me and that I enjoy. One of my favourite requests is to accompany Patrick to festivals and fill his tent with stories.

Patrick conceived the idea of a small tent, without an internal post (that's important). It comfortably accommodates 60 +  and is a joy to work in.

While I try to be useful in setting up, I'm mostly asked to go and source large cafe lattes. I know I have posted many pictures of the tent but well .. I love it, so here are some more.

Saturday, August 26, 2017

Children's Book Week at Museum Victoria

Proud to be published by Museum Victoria and excited to have been invited to lead the Book Week Parade through the Forest Gallery, past the dinosaurs, under the train tunnel and into the story space.
Honoured to be alongside authors Diane Jackson Hill and Melanie Raymond (publisher).

Hearty congratulations to Diane whose book, Chooks in Dinner Suits, is accumulating awards and all sorts of well deserved attention. You can check out more winners at the Children's Book Council of Australia (CBCA) website.

Beaker Street@TMAG: The Laborastory

I've been enjoying the variety of storytelling opportunities on offer and one of my favourite kind/genre (?) of stories are those with science themes. Melbourne hosts a fabulous monthly event called The Laborastory where I can get my fix. The Laborastory is a space where storytelling meets science. The stories are usually about a person whose life and research has touched the teller in some way.

So it was an honour to be invited to Hobart to MC the inaugural Laborastory in Hobart for the inaugural Science Week event, Beaker Street@TMAG.

Beaker Street@TMAG rocked. Over 5000 people came through the doors of the Tasmanian Museum and Art Gallery over 3 evenings, all hungry to talk science. And the beauty of it is, it is accessible to folks with little science education (like me). All that is required is a curious mind. Presenters wandered the venue in glowing name tags so conversations could continue beyond the presentations and stories.

We had a healthy crowd at The Laborastory, an all women session with tales from passionate botanists from the early 1800s to  the present day. The team from L-R: self, Mary-Anne Lea, Laura Davis and Nicole Gill.


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