Tell the Tale by Tripti Pareek

STORIES MADE TO STICK

success story

Let Your Children Write Their Own Story

SIMPLE UNEXPECTED CONCRETE CREDIBLE EMOTIONAL STORIES

TELL THE

STICK For More Information Website: https://triptipareek.com/ | Email: mayotripti2016@gmail.com

www.mayocollege.com

Tale With Tripti Pareek Master Trainer : Geeta Ramanujam (Master Storyteller)

triptipareek1982

triptipareek1982

Pareek.Tripti

Great Stories happen to those who can tell them - Ira Glass Project submission for Diploma Course in Storytelling from Kathalaya’s International Academy of Storytelling

To be a person is to have a story to tell. - Isak Dinesen

www.Kathalaya.org

Dedicated to Late Mr Moolshaker Pareek Stories are light. Light is precious in a world so dark.

Begin at the beginning. Tell me a story. Make some light. ~ Kate DiCamillo

TABLE OF CONTENTS 1.

The Kahani

3

2.

Bonafide certificate

4

3.

Abstract

5

4.

Introduction: Geeta Ramanujam

6

5.

Introduction: Tripti Pareek

7

6.

Message from the Director Lt Gen Surendra Kulkarni (Retd)

8

7.

Message from the College Captain Apoorv Agarwal

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8.

Introduction to the Scrapbook (The Storytelling Stone)

10

9.

Whispers through time: Embracing the course of oral narratives

12

10. How the act of story telling impacts me?

14

11.

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Who is the storytelling teacher

12. The Art ful essence of storytelling (Storytelling etiquette)

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13. Listening

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14. How storytellers evolved

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15. Let's start a journey: Live sessions

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*Storytelling sessions at Junior School

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*Storytelling in the Classroom

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*Storytelling in Senior School

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*Storytelling sessions with Administrative Staff

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*Storytelling experience with Educators

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*Session with Family and Friends

27

*Storytelling at NGOs

28

*Storytelling at different schools

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*Storytelling in school events

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16. Scrollytelling

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17. ‘Etihas ke panno se’ Storytelling Through Objects

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17.

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Virtual story telling collaborative project with IIT Mumbai

18. The story of objects: Class of 2004

41

19. Kavad Katha (Traditional Media Forms of India)

42

20. Narrative Art

46

21. The Open Window My Experience with The Artist and Storytellers

48

22. Interaction with Dushyant

52

23. Interaction with Satyajit Padye

53

24. Letter of appreciation from Ebrahim Salimikochi

54

25. Letter of appreciation from Sapna Goyal

55

26. Evaluation forms

56

27. Invitation letters

61

28. Recommendation letter from kathalaya

62

29. Remarks and records

63

30. Acknowledgment

65

31. Story is social: esjh viuh dgkuh gS!

66

32. Pledge of a storyteller

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33. Storytellers are everywhere: The poem

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ABSTRACT BONAFIDE CERTIFICATE Certified that this Diploma titled

The aim of the project is to assess and enhance the understanding of the process of storytelling. This documents my journey of making storytelling as an integral part of the teaching and learning process. It serves as a guide for me to understand how to communicate effectively through stories, help make topics and learning interesting for

“Project submission for Diploma course in Storytelling”

children through various channels like stories, puppets, pictures, charts, worksheets, lessons plans, etc. I hope to be able to facilitate a healthy and enjoyable environment for children to learn varied life and moral skills, as well asculture and other fundamental learning required to enable a child to grow up as a good human being. This book

is the bonafide work of Tripti Pareek

documents my journey as a storyteller from here forth and henceforth.

who carried out the Project under the aegis of Kathalaya's Academy of storytelling.

Certified further that to the best of my knowledge the work reported herein does

Disclaimers : ?

Not everything work work for all audiences. ?

Not a comprehensive set of tools.

not form part of any other document dissertation.

?

The idea : Improve odds

Name of the diploma candidate Tripti Pareek Signature Date submitted on

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Adapting to effective teaching strategies is a critical necessity, not only for academic success but for nurturing the future

Geeta Ramanujam is injecting new life into Indian

prospects of each child.

classrooms by reviving the art of storytelling–a cultural tradition forgotten by modern

Teachers who use effective teaching strategies can

education–and making it part of the primary school

significantly impact their students' educational journey.

curriculum.

This Project explores storytelling as the most potent and effective teaching strategy. It identifies best storytelling

INTRODUCTION

GEETA RAMANUJAN

Geeta Ramanujam is a master storyteller, trainer,

practices and links storytelling and the learning process. The

founder and executive director of Kathalaya's

Project forms a strong connection between the impact of

International Academy of Storytelling and the

storytelling and the development of 21st-century skills. The

Kathalaya Trust. She is also an academician and

INTRODUCTION

integrate storytelling into their teaching programs. As a result

administrator with twenty-three years of experience

of conducting the sessions for the students and participants

in storytelling. A pioneer of the storytelling

in this Project, several themes were discovered that pointed

movement in India, Geeta has defined and evolved

out key factors in best storytelling practices. Some key

the ancient art of storytelling through workshops and certified courses, engaging over 93,491 adults and 5,00,000 children so far. Geeta has travelled to fortythree countries and twenty-seven states in India to

TRIPTI PAREEK

of storytelling around the world for the last forty years.

Kathalaya's International Academy of Storytelling is the only globally recognized academy for storytelling in the world with accredited courses affiliated to USA, Scotland and Sweden. Geeta has trained 174 batches of the certified beginners and diploma courses as of December 2023. Geeta is an Ashoka Fellow and has

findings comprise storytelling to foster critical thinking skills, heighten self-awareness, and evoke an emotional connection to subject matters among students. The data collected during the Project will serve as a compass and contribute to the effectiveness of future storytellers who wish to leverage storytelling as an effective teaching strategy in their

groom professional tellers, all the while sowing seeds

Master Storyteller, Trainer, Founder & Executive Director of Kathalaya's International Academy

Project is expected to empower teachers who want to

Educator and Performance Storyteller

leadership endeavours.

Through diverse storytelling mediums like Kavad Katha, Kamishibai, Scrolls, pictures, visual aids and object-based storytelling, this project highlights the enhancement stories bring to education. It emphasizes how using story props and costumes, Chitrkathas elevate the classroom experience and create an engaging & interactive environment.

This Project was made possible by my mentor, Master storyteller Geeta Ramanujam, and the Director, Mayo College

won several accolades for storytelling, including the

Lt Gen SH Kulkarni, who fuelled me to work harder towards

Best Story Narrator award from the Governor of Tamil

my passion for storytelling.

Nadu and the Boca do Céu-Encontro Internacional de

My extended gratitude to my students, whose attentive ears

Contadores de Histórias Storyteller Award in Brazil.

gave me ample opportunities to refine and enhance my

Kathalaya was also listed in the Limca Book of

storytelling skills.

Records for having organized the first international

I am deeply grateful to my colleagues, friends, educators, and

storytelling festival in India in 2005.

storytellers whose belief in my vision shaped this project.

Dr Ashutosh and Master Adheeyaan Pareek dedicated their

Geeta has written The Wise Monkey and Other Animal Stories, which was published in 2002 by Puffin Books. Tales from the World is her second offering.

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time to experiencing the magic of this storytelling.

Happy Storytelling!

Tripti Pareek

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As Mayo College, Ajmer's College Captain, I have had the honor of

Lt Gen SH Kulkarni

seeing Ms. Tripti Pareek in action as she enthusiastically and imaginatively teaches my juniors and other classmates.

PVSM, AVSM, VSM **(RETD)

When I first met Ms. Pareek in eighth grade, her engaging and

DIRECTOR

creative teaching strategies made an impression on me that has

MAYO COLLEGE, AJMER

lasted to this day. Through her talent of storytelling, she has continually shown that she has an extraordinary ability to engage and inspire students.

Her storytelling reaches beyond the traditional confines of textbooks and notebooks, capturing students' attention and fostering an extraordinary love of learning in them.

I have known Ms Tripti Pareek for over seven years now. A diligent employee having a creative bent of mind, she has worked closely with me on several projets and events in the school. As the

In addition to being a skilled storyteller, Ms. Pareek is a passionate supporter of active learning.

coordinator for SPIC MACAY at Mayo College, she has exhibited her interpersonal and

Her dedication to encouraging students to participate in active learning is demonstrated by the

organizational skills.

workshops she arranges, where she pushes them to learn more about dramatics and storytelling.

It was during the pandemic that she discovered her talent for storytelling. Since then, there has been no looking back for her. Over the past three years, she has worked with utmost dedication and curiosity to hone her storytelling skills. From conducting sessions in the boarding houses to

Our school's cultural landscape has been enhanced by her active promotion of Spic Macay, a society she is involved with.

participating in various storytelling workshops, Mrs Pareek has carved a niche for herself in this

Ms. Pareek's commitment to getting us students ready for street plays is one of her most notable

creative art form. It comes naturally to her, and the testimony thereof is her lesson planning,

accomplishments. These performances take place around the city of Ajmer and are not limited to

wherein she frequently integrates storytelling as a pedagogy.

our school's grounds, offering students a one-of-a-kind and priceless educational experience.

Her most recent collaboration with The Technical Skills Development Centre of Mayo College introduced the art of Kavad storytelling, an art indigenous to Rajasthan, to many students. Her shows at the German festival and the Mayo Middles Round Square conference drew young minds towards this awe-inspiring art form. It’s not surprising that she is emerging as a fine storyteller who inspires her students to explore this art form. Furthermore, she has the vision and mission to promote it among students and adults.

Students gain confidence as they explore and address societal concerns in their performances, in addition to honing their theatrical skills through these experiences.

Having observed Ms. Pareek over the years, I can attest to her unwavering dedication to fostering a holistic learning environment. Her passion for education, combined with her creativity and commitment, has left an unforgettable mark on all students. I am confident that her unique teaching approach and tireless efforts make her an exceptional candidate for any recognition or

I wish her all the best for the Storytelling project that she has undertaken under the able guidance of Master storyteller Ms Geeta Ramanujam.

I’m sure the hard work she has put in for the Course, despite the busy and demanding schedule at school, will be evident in the final outcome.

opportunity that celebrates outstanding educators.

I heartily endorse Ms. Pareek and think that her ongoing efforts on behalf of our school's pupils will surely have a beneficial and enduring effect.

Sincerely,

Director

Apoorv Agrawal

Lt Gen Surendra Kulkarni (Retd)

College Captain Mayo College, Ajmer 8

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Introduction to the Scrap Book The Story Telling Stone The Storm - A story from India

Her grandfather told her, “Don’t give up, just keep driving!”

Now the storm was terrible, but she never stopped driving and soon she could see a little more clearly. After a couple of miles she was again on dry land and the sun came out.

Her grandfather said, “Now you can pull over and get out.”

Young Lady said, “But why now?”

Grandfather said, “When you get out, look back at all the people that gave up and are still in the storm, because you never gave up your storm is now over.”

This is a testimony for anyone who is going through “hard times.” Just because everyone else, even the strongest, gives up. You don’t have to ... if you keep going, soon "your storm will be over and the Sun will shine upon your face again.

In the classroom, stories like these can be used to encourage students to continue working hard although they may have a tough year ahead in learning. In sharing such a story with students, teachers would be performing an act of compassion, making a

Photo credit : Ebrahim Salimikouchi

connection with students and tapping into their emotions. Indeed, storytelling is one of the many ways teachers can impact the lives of students. A teacher’s impact on their

The objective of this phenomenological course work was to explore best practices of

students is crucial because it can lead to a change in future earnings.

storytelling leaders as effective teaching strategies for the current teachers and future teachers who could use storytelling as an effective teaching strategy.

The following story will illustrate the intent of the course work: One day a young lady was driving along with her grandfather. They came upon a storm and the young lady asked her grandfather, “What should I do?” grandfather said, “Keep

The purpose of the storyteller is not to tell you how to think, but to give you question

driving.” Cars began to pull over to the side, the storm was getting worse.

to think upon.

“What should I do?” The young lady asked?

“Keep driving,” her grandfather replied.

On up a few feet, she noticed that eighteen-wheelers were also pulling over. She told her grandfather, “I must pull over, I can barely see ahead. It is terrible and everyone is pulling over!”

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Whispers Through Time Embracing the Echoes of Oral Narratives

This knowledge is passed on, within cultural groups through words and language.

Storytelling is the modern terminology for 'oral tradition', which has been historically responsible for passing on knowledge and values across the word.

The tradition of storytelling in India dates back to the Vedic times when the Vedic scriptures and great epics were composed.

There were communities of professional storytellers known as kathakars who wandered up anddown the country and narrated stories from the great epics, while incorporating elements

The storytelling session Soi Patano @ Mayo College

fromolder traditions.

Since ancient times, human beings have depended on the word of mouth for transmission of

These wandering storytellers were employed by the temples to narrate stories. To make the art of

culture and cultural phenomena from one generation to another.

storytelling more interesting and attractive music and dance was added to the narration.

"Words' began to assume meaning when they began to be transmitted from one person to

These dancers were known as or 'those who tell a story.

another through different 'telling' styles, languages and methodologies.

These methodologies became the pillars, which formed the basis of language development andeffective communication among human beings.

For tribal communities, the word is more than a sound released from the mouth. It includes agamut of meanings, expressions, and experiences. For them it is the connection between humanbeings and the universe.

Using words, communities have built myths concerning the origin of the universe, the five elements, ceremonies and rituals that position man in the 'web of life'.In cohesive communities,

Legends, traditional narratives and folktales have been popular means of entertainment all overIndia. At the end of each day, people especially from the village communities, met and exchangedinteresting information and experiences of the day.

Some events became so popular that they were repeated many times through mime and stylizedmovements making the narrative more interesting.

This way the presentation became a source of exciting dramatic entertainment. Stories relating to magic and the supernatural, concerning spirits, demons, and fairies were told and retold.

this storytelling gets crystallized and consolidated as oral tradition,embodying proverbs, songs

Poetry, drama, dance and music were slowly blended into the narrative presentations.

and tales.

Sometellers of tales mastered storytelling skills of professional standards and this art was passed

The popularity of the oral tradition stems from the amusement and education it provides to children and adults alike.

onfrom generation to generation.

These storytellers were renowned for creating a happy and relaxing atmosphere in their

The oral tradition in such communities becomes the system for acquiring, storing, and retrieving

communities. In return, in villages the storytellers received a small share of the crops at the time

cultural articulations and a primary source of shared understanding and wisdom.

of harvest, and in the cities cash.

The oral tradition for most part, lodged in the mind and memory of people and operative without

We are our stories. We compress years of experience, thought and emotion into a few

conscious effort, is encapsulated folk knowledge.

compact narratives that we convey to others and to tell ourselves. - Daniel Pink

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How the Act of Storytelling impacts me?

The Real me!

I find that part of me that is truly authentic

Confident to be Different learn to use my voice and lead with my opinion.

In charge of my Narrative Once you're a storyteller you are in better control of your everyday actions

Fearless & innovative Stories challenge us to think differently

Growth-minded & Adventurous Reveal differences and commonalties of cultural around the world 14

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The Artful Essence of Storytelling

cultural sensitivity. ?

In the pursuit of diverse stories, invest time in researching and understanding the cultural

context of narratives.

Purposeful Storytelling: ?

Reflect on your motivation for storytelling. If driven solely by financial gain, remember that art

and morals should not be compromised. ?

Consider storytelling as a bridge between cultures, fostering understanding and breaking

down prejudices. ?

Embrace the responsibility that comes with the title 'Storyteller' and align your storytelling

with the values it represents.

Audience Engagement and Challenges: ?

Tailor your performance to captivate both large and small audiences, recognizing the unique

dynamics of each. ?

Handle disruptive behavior with subtlety, maintaining the enchantment of the narrative

The Art of Storytelling Etiquette

without resorting to stern admonishments.

In the vibrant landscape of India, storytellers abound. As we celebrate the tradition of sharing

Outdoor Storytelling:

narratives, let us uphold a code of respect within our community. Every tale is a treasure, and

?

Choose a tranquil spot, away from noise, and consider seating arrangements for optimal

acknowledging its origin is not just a matter of ethics but a gesture of humility and gratitude.

Crediting Sources and Seeking Permission:

engagement. ?

Adapt your storytelling techniques to the outdoor setting, possibly using a microphone for

?

When weaving a story, it is respectful to acknowledge the source and give due credit to the

storyteller or author.

clarity. ?

Be mindful of the diverse audience in outdoor settings and incorporate various forms of

?

Although not mandated by law, this practice reflects humility and aids the audience in

entertainment to enhance the storytelling experience.

discovering more tales from the same author. ?

In training sessions or workshops, recognizing the source of your knowledge, be it an

organization or an individual, fosters a culture of appreciation. ?

Seek permission before narrating anecdotes or personal experiences, demonstrating a

In the realm of storytelling, the gift is innate, but style is honed through observation, listening, reading, and practice. As you embark on the journey of storytelling, may your tales be not only captivating but also a testament to the respect and sensitivity you bring to this age-old tradition.

commitment to respecting others' stories.

The story gift is innate: one has it or one doesn’t. But style is at partly a learned thing one

The Storytellers' Etiquette Statement: "Stories are meant to be shared, but let us share them with respect. Your tales are your own, and

refines it by looking and listening and reading and practice. - Donna Tartt

others' stories are their copyrighted property. Obtain permission before sharing personal narratives. When venturing into the realm of published tales, be mindful of copyright laws, and always credit the source of your story."

Cultural Sensitivity in Storytelling: ?

Examine your repertoire to ensure cultural representation is respectful and avoids

perpetuating stereotypes. ?

Seek feedback from individuals within the culture you depict to ensure authenticity and

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How Storytellers Evolved LISTENING Listening is learning. Because when you listen silently, the whole existence starts speaking with you."

Anybody who has ears can hear, but it is not necessary that he will be able to listen. For listening, something more is necessary than just having ears: a certain kind of silence, a serenity, a peace the heart standing behind the ears, not the mind.

Mind has no eyes; it simply lives in a dark hole - groping, inventing, believing, but never coming to know anything."

Best storytelling happens when listeners are in the mood of right-listening. It has nothing to do with the object of listening. It has everything to do with the quality of listening."

"To listen stories, listeners will have to drop their thinking. With thoughts, listening is not possible.

Listening is used as a device to drop thoughts."

"The art of listening is based on silence in the mind, so that the mind does not interfere during

Course work with Master Storyteller Geeta Ramanujam

storytelling process, it simply allows whatever is coming to you. Listening does not mean that you have to agree with the stories, neither does it mean that you have to disagree with the narratives.

The art of listening is just pure listening, factual, undistorted." listen,” means relaxed, open; become a sponge. Soak it up. Let it sink into you."

Let all the attention be on listening. Be just listening, doing nothing else.

Listen… the birds are singing, the winds are shaking the trees – whatever sounds may come, listen to them silently, listen to stories of streets, markets and school children , young adults and babies.

Listen… and by and by, within you, a humming of silence will begin."

"Once you start listening, the whole of existence starts telling stories to you."

Happy storytelling & listening!

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Let ’s Start a Journey ‘The cat sat on the mat’ is not the beginning of a story, but ‘the cat sat on the god’s mat’ is.

John le Carré

Folk tales from China, India and Korea

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J S U C N H I O O O R L

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The Power of Stories

The Connected

STORYTELLING in the Classroom

STORYTELLING in the Classroom

Way

‘Storied Classrooms in Mayo College’

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‘Storied Classrooms in Mayo College’

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S T O R Y I N P R O G R E S S

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STORYTELLING for Imapct

Mythology & Legends

with administrative Staff @ Mayo

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Share Storytelling experience with educators

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Storytelling with Family & Friends

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The Palace School, Jaipur

Stroytelling for Pre-Primary and Primary

Little Rabbits @ Ajmer

Bal Prakash Ashram @Ajmer

Nest Play @ Ajmer

Storytelling at NGOs

Little Rabbits @ Ajmer

Witty International School, Udaipur

Storytelling at Different Schools Bal Prakash Ashram @Ajmer

Aryan Public School, Ajmer

Bal Prakash Ashram @Ajmer

Government Senior Secondary School, Kayad Hitkarani Women’s College of Eduaction, Jabalpur

Rajkumar College, Rajkot

Government Senior Secondary School,Rajakothi 28

Government Senior Secondary School, Kayad 29

MMRSC@Mayo

A Story Scroll

Myth and Legends DeutschUtsav@Mayo

Jodhpur House Storytelling Session on Gandhi Jayanti

Scrollytelling A story rich with graphics an interactive content draws listeners in deeper, exciting them with the prospect of what will be reveled and discussed next. Audience doesn’t have to sit idly by and navigate lengthy blocks of text. As the name suggests, scrollytelling lends itself to telling an immersive telling making. One can apply scrollytelling techniques to breathe instant life and personality into any digital story telling project, blogs articles and for any advertisement.

Befriending Fables 30

For Digital scrollytelling experience : https://youtu.be/egAmM64Hedk?feature=shared 31

Danmal Mathur Museum, Mayo College, Ajmer

14th December, 2023

Letter of Appreciation

Dear Ms Tripti Pareek, On behalf of the Danmal Mathur Museum, Mayo College, Ajmer, I wish to congratulate you for your

Itihaas ke panno se Storytelling Sessions by Tripti Pareek

wonderful initiative of promoting the art of storytelling among young children through our museum's real objects and resources. This is benefitting our young learners in numerous ways. We can observe a change in their behavior as they are becoming better listeners, able to articulate stories using various objects from the museum, can narrate these stories and speak in public with heightened confidence. Simultaneously, they are indirectly learning to appreciate heritage and museums at large with their wealth of resources. Your sessions are not only being loved by the students but also by the various subject teachers who happen to accompany them. We believe that your passion and dedication shall go a long way in preserving the art of storytelling.

We wish you good luck and success for all your future endeavors.

Best wishes,

Dr Kanika Mondal The Danmal Mathur Museum situated in Mayo College, Ajmer, is one exemplary example of a school museum in India. Established in 1948-49, the museum celebrates its unique attributes by inducing modern teaching and learning

Collection Manager and Archivist Danmal Mathur Museum Mayo College Ajmer

pedagogies in all its offerings.

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Stroytelling Through Objects

Objects can tell many tales and are subject to different interpretations The Story of Sawai

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Object-Based Storytelling

Best Practices Regarding Object Based Storytelling When it comes to object-based storytelling in museums, there are a few best practices to

In Reference to Museology Object-based storytelling is an approach in museology that focuses on using objects as the primary means of communicating a narrative or theme to the visitors. Instead of just providing descriptive text or labels, object-based storytelling seeks to engage visitors on a more emotional level, by using the objects themselves to create a compelling and immersive experience. Object-based storytelling involves highlighting the unique features, properties, and historical context of each object on display in a museum. This can be achieved through

consider to ensure an engaging and meaningful experience for visitors. Here are some key recommendations: 1. Curate a compelling narrative: Start by developing a clear and compelling story or theme that connects the artifacts in a meaningful way. The narrative should have a strong beginning, middle, and end, capturing visitors' attention and guiding them through the exhibition.

2. Select relevant and diverse artifacts: Carefully choose artifacts that are relevant to the

techniques such as careful curation, object interpretation, and contextualization, which help

story being told and that offer a diverse range of perspectives. Remember to consider the

to bring the objects and their stories to life. In practical terms, object-based storytelling might

sensory and emotional impact of the objects, as well as their historical or cultural significance.

involve grouping objects together based on their theme or historical period, using

3. Provide context and interpretation: Help visitors understand the significance of each

interactive displays or multimedia experiences to enhance visitors' understanding and

artifact by providing contextual information. This can be achieved through labels,

engagement with the objects, and creating spaces within the museum that are specifically

multimedia presentations, audio guides, or interactive elements. Consider using multiple

designed to showcase and contextualize the objects on display. Overall, object-based

modes of interpretation to accommodate various learning styles.

storytelling in museology is seen as an effective way to create a more immersive and

4. Engage multiple senses: Create a multi-sensory experience that goes beyond visual

engaging visitor experience, while also reinforcing the educational and cultural value of

engagement. Incorporate audio, hands-on activities, scents, or even taste if appropriate, to

museums as repositories of knowledge and history.

deepen visitors' connections to the artifacts and stimulate their curiosity.

5. Encourage interaction and exploration: Design interactive elements that encourage

Object Based Storytelling and the use of Artefact in Museum Object-based storytelling is closely linked to the use of artefacts in museums as the primary means of communicating information to visitors. Artefacts, which are objects that have a cultural or historical significance, can be used to tell a story or convey a message in a more tangible and memorable way than simple textual descriptions. In museums, artefacts are often used to create a narrative or theme that visitors can engage with and understand. This can be achieved by creating exhibits that highlight the unique features and historical context of each artefact, and by using multimedia and interactive displays to enhance

visitors to actively engage with the artifacts. This can be through touchscreens, hands-on displays, or participatory activities. Interactive elements should enhance the narrative and provide visitors with opportunities to delve deeper into the content.

6. Foster emotional connections: Aim to evoke emotional responses from visitors by sharing personal stories, testimonials, or immersive experiences. This can help visitors connect with the human stories behind the artefacts and create a more profound impact.

7. Consider accessibility and inclusivity: Ensure

visitors' understanding and engagement. Through object-based storytelling, museum

that the exhibition is accessible and inclusive for a

curators can use artefacts to help visitors connect to the past, by immersing them in a rich,

wide range of visitors, including those with

multi-sensory experience that combines visual, auditory, and interactive elements. This can

disabilities or different language backgrounds.

help visitors to understand historical events or cultural practices in a way that is much more

Provide clear signage, tactile elements, audio descriptions, and translations to make the

powerful than simply reading about them in a book or on a screen. Ultimately, the use of

content accessible to all.

artefacts in museums is an important part of the preservation and dissemination of cultural

8. Continually assess and iterate: Regularly evaluate visitor feedback and conduct visitor

heritage, and object-based storytelling is an effective technique for making this heritage

studies to assess the effectiveness of the object-based storytelling approach. Use this

accessible and engaging to a wider audience. By using artefacts to tell stories, museums can

feedback to refine and improve the exhibition over time. By following these best practices,

help to preserve the past for future generations while inspiring visitors to learn more and

museums can create rich and engaging experiences that captivate visitors, foster learning,

engage with the world around them.

and leave a lasting impact.

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Virtual Storytelling Project through Artefact In collabration with IIT Mumbai and Mayo College, Ajmer

it and they soon became quite close. This was the second moment in his 15year-old life when he realised what love and affection are. He took it home with him and soon, they started to live and do everything together.

The sculptures' astonishing beauty turned faces all across Main Street.

People loved them, especially the Bodhisattva Buddha, made out of grey sandstone, that perhaps no other artist in the whole kingdom could have

Name of the Artefact : Bust of Bodhisattva, Gandhara, 2nd Century AD. Location : Danmal Mathur Museum Mayo College, Ajmer The Narrative "The Artist from Peshawar"

carved it perfectly and gorgeously. The king heard the news spreading around like fire about these statues and he wanted to look at this by himself.

And so, Agastya was summoned to the court. He displayed some of his best works, and the king was truly impressed.

After a week, came the news that Agastya was appointed as the Royal Sculptor and he was getting paid a huge fortune along with a huge mansion for the orphan to live in, which flourished with servants and the best of materials.

During the great Mauryan empire, in the capital of the Gandhara kingdom,

Whenever he touched the raw stones which were to be smoothened and carved, he always felt his

Peshawar, lived a young and small boy who had always dreamed of becoming

mother around him, watching his every step in life. Whenever he would pick up the carving tools, he

an artisan. He was, unfortunately quite very poor and was also an orphan. Since

would reminisce his fondly remembered memories of his mother. They became clearer every single day

childhood, he had no one to call his own. He had mere memories of himself and

he carved. This divine art connected him to his late mother. That is what made him so determined for

his mother. All he knew was, that she had named him Agastya and that she died

this job and he achieved all that was there to be achieved. It was as if his mother had destined him to be

when he was 3 years old. Died, of a disease, nobody could cure during that time

an artisan. As if she had always desired for her child to express all his feelings from learning this detailed

due to the lack of advancements in biological sciences. Since then, he has been

exquisite, intricately-detailed form of art. As if it was her last request.

living all by himself.

Full of fortunes, he never had to sleep empty stomach on the side of the pathways anymore. He had all Some kind people were humble enough to always hire him up for a small job so he was able to afford a

this fortune now, and his loyal pet dog to share it with him.

living. Spared, from the best thing in the world, a mother's unconditional love, since childhood, he lived a

Extremely grateful to Saahab Ji, for raising him to this level, he helped him expand his business

toiling life. Nothing was served to him on silver platters. He didn't have a permanent job, he would go

throughout the vast kingdom and made him the best and the richest artist in the kingdom. In the end,

around and do different work every day.

he and his dog lived a happy and hearty life for a long time.

One hot sunny day, just like any other in the main street market of Peshawar, he moved ahead looking

Conclusion

for some work to do. That's when he got to know about an artist who was ready to hire someone who

The journey of the artefact, from the artisan's workshop 1800 years ago to the different locations it went

could give him a helping hand in his work. Agastya readily agreed. After working there for weeks on end,

after being found at archaeological sites, every single part of it has been quite intriguing and

he finally realised that he was naturally a good sculptor. Under the guidance of the artist, whom he

researching and learning more about this made us realise and understand many more things. It sure

called "Saahab Ji", He was able to do more than he could ever imagine. It felt to him as if he had finally

was a great opportunity working with the IIT-B team and our mentor Ms Tripti Pareek changing the

found the lost part of his life, and now he was complete with himself and his hand-crafted clay statues.

perspective of how we see museums and ancient history through the lense of different narratives.

Saahab Ji would teach him new techniques every day, which he was grasping quickly and portraying practically as beautifully too. Soon, he started earning loads of money. With his help, Saahab Ji's

RESOURCES USED TO CREATE VIRTUAL MUSEUM

business steadily grew and both of them made big bucks. Agastya then soon was able to buy new clean

STORYTELLING EXPERIENCE:

clothes for himself and afford a roof to stay under.

Photogrammetry Tools: Camera, Tripod

The team who prepared the narrative

Photo Editing Tools: Lightroom One day, when he was working hard as ever, sculpting the most beautiful statues ever, he saw a stray

3D Modelling Tools: Blender

dog roaming around in the busy main street. Its face showed that it was frightened to the grave, seeing

Documentation: Word, Poster, PPT

all of these humans around. Agastya didn't think another second, he left the shop, and ran to get the dog

Research: Online sources, PDFs, E-books, Museum

to safety. He showed affection towards the dog, and the dog too did the same. He shared his lunch with

Curator and Storytellers

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Mentor : Ms Tripti Pareek

‘My Experiment with the Objects’: The Class of 2004 “From Crayons to Concepts: Bridging the Gap with Stories and Objects."

Once upon a time in 2004, I embarked on my journey as a Hindi language teacher in Maharaja Sawai Mansingh vidyalaya,Jaipur armed with the passion to ignite young minds with the beauty of words. Little did I know that a seemingly simple lesson on nouns would unveil profound insights about the art of teaching.

In the midst of a vibrant classroom, I challenged my students to draw images related to noun words from their text book.

A curious voice piped up, "How can I draw feelings m'aam... Hkko Hkh laKk gS] mudks dSls cuk,a ? I can't see feelings...

About The Project

I collaborated on a project to digitalise artefacts in a 3D museum with IIT Bombay. The project included researching a lot about these artefacts and learning about the stories behind them. Under the guidance of Ms. Tripti Pareek, we read so many stories and learned so much about the olden times and the setting where these artefacts originated from. This included diverse cultures, traditions, different timelines and scenarios. Every story we read weaved a newer pathway, a newer perspective to the artefact. This experience was so worthwhile and fun to see a new narrative uncover. The success of my project must be credited to Ms. Tripti Pareek and the numerous days she spent with me helping me delve into the pile of stories.

" It was a pivotal moment – a student's question that echoed beyond the walls of my classroom. In that moment, I realized two crucial things.

First, I needed a mentor to guide me through the intricate dance of teaching and learning. Second, I recognized the necessity to craft strategic and skillful lesson plans that bridge the gap between the tangible and the abstract.

Fast forward to today, as I weave stories and language lessons with the aid of props, I can't help but reminisce about that inquisitive student from my class of second grade. It was their innocent question that spurred my quest to learn the art of teaching.

From this journey emerged a fundamental principle – "Concrete to Abstract." Teaching concepts through the tangible, using objects as stepping stones to abstract ideas, became my guiding light. This philosophy not only transformed my teaching style but also laid the foundation for my Object Based Storytelling on the profound impact of concrete learning experiences in language education.

As I delved into the world of educational padagogies, the story of that curious second grader remained etched in my memory.

In this journey of teaching- learning 'The Danmal Mathur Museum' in Mayo College,Ajmer and The Diploma in Storytelling from Kathalaya Academy of Storytelling highlighted the power of using objects to impart abstract concepts, emphasizing the importance of engaging students through a multi-sensory approach.

And so, armed with this knowledge and a heart full of gratitude for that student who unknowingly set me on this path, I continue to share the magic of language through stories and props.

Darsh Lakhan Student of Mayo College Ajmer

Now every lesson is a testament to the idea that teaching is an evolving art, and sometimes, the best lessons arise from the curious minds of our students.

In the end, my teaching philosophy can be summarized in a catchy tagline: "From Crayons to Concepts: Bridging the Gap with Stories and Objects."

After all, every stroke of a crayon, every tangible object, is a bridge that connects the concrete to the abstract, paving the way for a journey of discovery in the realm of language and learning.

Thank you all my Mentors, Friends, Colleuges, Students and my 'OBJECTS'.

Tripti Pareek Tell the Tale 40

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TRADITIONAL MEDIA FORMS OF INDIA

KAVAD KATHA

Hearing ‘once upon a time’ from our grandparents was the favorite part of our childhood, isn’t it? Stories have always fascinated us. It kept us entertained, initiated our imagination, made us look beyond ourselves, connected us with the world- it is one of the oldest means of communication, when progressive practices of communication

The Kavad is a storytelling cupboard, which is usually bright red in colour and

such as written text did not exist. Yes, the idea of telling stories is that old!

contains many panels as you begin to open the box. It is like opening Panadora’s box

Historians found evidence that stories came from the cave drawings

and you will discover the Indian Epics completely contained in that little cupboards of

which date as far back as 30,000 years ago, depicting animals, humans

stories. The teller tells the tale as he unfolds the panels, first on one side, then the other.

and other objects. Some of them appeared to represent visual stories.

After each set of side panels is fully opened, two smaller doors remain in the center. At

Stories can be conveyed through different forms and mediums, but oral

last they are opened and the story ends with an image of a main character or deity at

storytelling is one of the most famous form- it’s telling the story through

the center. You could recall the story and close them back one by one.

voice and gesture. The oral tradition can take many forms: epics, poems, chants, rhymes, songs and more. But the purpose of every story is the same, no matter the country, community or medium- it is to teach morals, lessons and to entertain people.

India’s storytelling culture can be traced to it’s rich history and heritage. Each state of India has it’s own unique idea of storytelling, here are some of the popular traditional storytelling techniques.

Pandavani is popular in Chhattisgarh and in it’s neighboring states. It involves narrative singing of the ancient Indian epic Mahabharata. Each singer adds his or her unique style to the singing, sometimes by adding local words, improvising and evaluating on current happenings and insights through the story. As the story progresses, the performance becomes more intense with the addition of dance movements. The lead singer is usually supported by a group of musicians, who ask questions, give commentary, provide backing vocals- enhancing the dramatic effect of the performance.

KAVAD For centuries, traditional storytellers in Rajasthan have used the Kavad to narrate religious stories. Kavad- is a wooden toy like box, painted with the scenes of the story, it is actually a portable shrine with many panels and compartment. Kavad includes stories from epics, local folk tales and caste genealogies.

It is a gallery of art itself, a Kavad is a fascinating blend of carpentry, painting, storytelling and of course faith. A synergy exist between the maker, the storyteller and the listener which has kept the tradition alive.

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Yakshagana is another folk form of telling stories in the coastal Karnataka district. It dates back more than 1600 years old. Yakshagana has a rare combination of dance, music, songs, vibrant and colorful costumes, the elaborate makeup, head-dress and the masks. This is a night-long event with elaborately adorned performers dancing to the drum beats and telling stories of gods, goddesses and other beings, in open-air theater- usually in the village paddy fields after the harvesting of winter crops.

Kalamkari originated from Andhra Pradesh, this is also centuries old folk art tradition of telling stories. Kalamkari is a style of natural dyed hand-painting or block-printing of textile. It’s making involves 23 steps, from bleaching the fabric, softening it, sun drying, preparing natural dyes, hand painting to the processes of air drying and washing.

Mostly earthy colors such as yellow, rust, green, indigo, etc are used for Kalamkari. It is considered a pure form of devotion to the gods by using old traditional methods.

The Kavad Katha

Today, of course, stories can be told orally, in printed or handwritten

text,

through

recorded sound, etc. But regardless of the media we all are consumers of stories and have been. Stories let us see and feel what others think, it help us to empathize with others, it also allows us to share information in a memorable way. Much of our life is devoted to telling stories and we will likely to continue to do so for the rest of our life.

‘Circle time’ with stories at Mayo College

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What Is Narrative Art & How Does It Draw the Listener In?

An Ancient Narrative of the Warli Tribe

I wish her the success in her art of

The Story Of Berlin Airlift Candy Bomber!

1948-49

‘story-telling’, collecting narratives from different and diverse niches and present them to her listeners of the

N A R R A T I V E

Once upon a time…

Those first words of so many stories conjure up a kaleidoscope of images. The damsel in distress.

The dragon’s fiery breath. The warrior’s glistening armor. The Amazon’s fierce arrows.

They also ignite the storyteller’s imagination to just soar with ideas—ideas that we can see. When your imagination creates those stories and expresses them with pigment on canvas, we call it narrative art.

Narrative painting is art that tells a story, a visual story. It causes the viewer to ask a question, to want to know more.

The “story” isn’t bound by the four sides of the canvas. It expands and moves beyond, leaving the viewer wanting to know more. It ignites the imagination of the viewer. Think of it as if you’re capturing only one frame from a full-length movie. Just a moment of time out of the entire storyline. This perspective allows each viewer to add their own interpretation of the rest of the

present and future.

story. Things that happened before and those that will happen after this one scene before them.

A R T

Kaushik Kundu H.O.D. Fine Art & Crafts Mayo College Ajmer

You, as the artist, create that scene—the scene that captures the viewers attention and stirs their own creativity.

How to Paint a Narrative Painting Do you want to learn how to create narrative in art? The answer to this is simple. You ask questions. Questions are the key to painting a narrative piece.

You are the artist—the director of this movie. You begin with asking yourself question, like: ?

What story are you telling? ?

What specific scene will you be painting? ?

What happens before and after? ?

Which characters will you include? ?

What will they be doing? ?

What’s your focal point? The place you want the viewer to focus on at first glance. ?

How, then, will you direct their eye to move throughout your painting?

Once you know where you’re going, you need to make sure you’re painting is open-ended. That it doesn’t become specific where you are the only one who knows the true story.

Create your story. Be expressive. Show action and emotion in your work.

Your characters have a story to tell, but they only reveal one scene in your painting. Be sure to

The Scroll Candy Bomber

leave it open-ended so the viewer can ask questions and feel free to imagine their own story.

Happy Storytelling, Tell the tale!

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The Open Window My Experiences with the Artists and Storytellers Theater The Play Rashmi Rathi

Theater Workshop with Abhishek Mudgal

A Performance of a Play @ Ajmer Amphitheater

Thamal Kanti Razak Group Semi Indian Classical Folk Chhau Dance

Some things are to big to be seen, some emotion are too huge to be felt

Grammy Awardee Pt Vishwa Mohan Bhatt

-Neil Gaiman

Best Storyteller in the world - The students

Padita Shama Bhate Khatak Dancer

Prabha Atre Indian Classical vocalist

Folk Singer of Kabir Gyan Mr Prahlad Tipinia

Visionary Leader and educationist Lt. Gen SH Kulkarni Director Mayo College

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Ms Meghna Gandhi Drama Teacher at Jordan

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Hindustani Vocalist Tabla Player Ruchika Kedar and Savni Talvalker

Dr. Kiran Seth Founder of Spic Macay

Interaction with Actor Rajit Kapur

My Rescue My Energy My Empowerment My Own Stories

Puppetry Workshop with Dadi Pudumjee

Traditional Folk Art Warli :Anil Vangad

Satyajati Padhye : Ventriloquist

Rajasthani Scroll Folk Painting ‘Phad’ : Shri Gopal Joshi 50

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Interaction With

r`fIr ikjhd ds loky] nq";Ur ds tokc 1& ys[kd O;fä dks vius dFkkdkj gksus dk irk dSls pyrk gS\ & dgkfu;ka lqurs gq, cpiu thrs gSa] fQj dgkfu;ka dgus Hkh yxrs gSa fd tc eka cki Ldwy ls ykSVrs gh iwNrs gSa fd Ldwy dSlk jgk] D;k fd;kA bldk tokc dgkuh gh gksrk gSA fdlh fdlh esa dgkuh dgus& lquus dh vtZ T;knk gksrh gS] os mls lhfj;lyh ysrs gSa] ;k [kqn dh ;g dgrs gq, lhfj;lyh ysrs gSa fd eSa dgkfu;ka lqukus& dgus esa FkksM+k vyx gw¡] t~;knk gwaA blh vglkl ls tUe ysrk gS gekjs Hkhrj ,d LVksjhVsyjA 2& dFkkdkj dh pqukSfr;ka dFkk dgrs gq,\ & fdldks lacksf/kr djuk gS] dkSu lqusxk\ lquus i<+us okys fjysV djsaxs ;k ugha] ;k cksj gks tk,axs FkksM+h nsj esaA fQj pqukSrh vkrh gS lks'ky& iksfyfVdy & ,fFkdy pSysatsl dhA D;k dg ldrs gSa] dSls dg ldrs gSa! ,d pqukSrh ;g gS fd ,ojst f'k{kk dk tulkaf[;dh; vk/kkj c<+us ls ys[kd ds fy, vyx pqukSfr;ka cuh gSa fd igys ys[kd ,ojst ikBd ls T;knk i<k fy[kk gksrk Fkk rks ikBd dks cgqr dqN u;k] vuns[kk nsrk FkkA 3& dFkkdkj ds :i esa fdu ys[kdksa ls çHkkfor gSa\ otgsa Hkh crkb,A & ilan cnyrh jgh gSA chloha lnh ds iwokZ/kZ ds caxkyh ys[kdksa us cpiu ls çHkkfor fd;k] fQj fcTth us cgqrA bUgksaus uSjs'ku] ekuoh;rk] Hkkoqdrk fl[kkbZA fQj if'pe ds vks gsujh] eksikalk rks fny esa LFkk;h ?kj cukdj cSB x,] bUgksaus Øk¶V fl[kk;kA eaVks tSls mnwZ dFkkdkjksa us ys[ku esa vyx /kkj nhA ek[ksZt ls dkSu ugha çHkkfor gksrk--- tkiku ds ;klqukjh dkokckrk --- phu ds eks ;ku--- fdrus gh uke gSa ftuls lh[krk jgk gwaA 4&fMftVy] v‚uykbu IysVQ‚eZ~l lc ij dgkfu;ka gSa] ,sls esa flusek dgkuh dguk dk csgrj ek/;e yxrk gS\ gka rks D;ksa\ & gj balku dks dgkuh ilan vkrh gS ij dgkuh dks gj balku vyx IysVQ‚eZ ;k Q‚eZ ls vPNh yxrh gSA flusek esa dgkuh dguk fiNyh ,d lnh ls lcls rkdroj rjhds ls mHkjk gS] egaxk ehfM;e gS ij jhp cgqr gSA jhp dk lq[k vikj gSA ckdh VsfDudy lq[k rks gSa ghA 5& vkids ikBd ds :i esa vki r`fIr ikjhd dks dSls ns[krs gSa\ & r`fIr th dh ikBd ds :i esa lrr ltxrk vkSj lfØ;rk eq>s çHkkfor djrh gSA mUgsa ^ikBd^ ls vf/kd ^v/;O;olk;h^ dguk Bhd jgsxk] os Kku vkSj dgkfu;ksa dh vuar ftKklq O;fä gSa] ;gh mudk Mh,u, tku iM+rk gS] ;g mUgsa csgrj f'k{kd vkSj csgrj euq"; cukrk gksxk] blesa eq>s dksbZ lansg ugha gSA

Satyajit Padhye What is your view about Puppetry in the contemporary world?

Puppetry in the contemporary worldThe puppet theatre in the contemporary world faces great difficulties and great opportunities. The audiences for the traditional folk theatres have almost disappeared. Punch and Judy on the English beaches and Guignol in the parks of Paris still draw a crowd, but the indoor theatres that once attracted humble audiences survive with difficulty, usually with the aid of a sympathetic town council or a local museum. Puppets are increasingly regarded as an entertainment only for children.

They certainly do provide a kind of theatre to which children respond with enthusiasm, and, in the general development of children’s theatre, the puppet theatre has a part to play.

You talked about black theatre,” mask theatre, and other storytelling techniques in your show. How you compare with these techniques with puppetry?

I would say, the best of these theatres would seem to feel a lack of confidence in their medium by their restless searching for new methods of presentation.

Now days Puppet making in schools are quiet popular craft activity. What is your views on it?

A great feature of education during the 20th century was the introduction of puppet making into schools as a craft activity. puppet performance can synthesize many of the arts and skills of a group of children in making, costuming, and manipulating puppets, in writing plays for them, and in acting them. Today the tendency is to create puppets quickly from scrap materials or from natural objects and to perform them impromptu, without rehearsal, as a form of dramatic self-expression.

How do you change your voice as a ventriloquist?

To change your voice, you must speak from a different area, such as your nose or throat. One excellent way to change your voice is to force air through your nose instead of your mouth when you speak. Think about whether your puppet’s character would have an accent or a different way of speaking than you do. If your puppet is smart and witty, have them speak eloquently, without stuttering. If they are unintelligent or slow, have them speak in a low, slow voice.

Alternatively, you could choose a relaxed, French accent to complement your own mid western way of speech.

How do you choose your partner during your shows?

You can choose a person or an animal as your partner. However, you must always make sure that the puppet’s personality is different from your own, to give the illusion that you are not the same person. For instance, if you are a kind, responsible person, make your partner a mischievous jokester.

Thank you Satyajit for your interview.

Best Wishes Tripti for your Storytelling Efforts...

Best regards,

Best regards, Dushyant Writer & Lyricist Satyajit Padhye Satyajit is a Chartered Accountant by education, but is full time into Ventriloquism & Puppetry and it is his Profession.Satyajit was Dushyant writes lyrics and scripts for Hindi cinema. His first collection of short stories July ki Ek Raat was published by Penguin in

in the Finals of India's Got Talent and his talent was appreciated by Shekhar Kapur, renowned Director. He was also invited to

2013. His first novel Via Gurgaon was published by Juggernaut in 2016. Rajkamal Prakashan published his doctoral thesis in

perform on Kaun Banega Crorepati and his talent was appreciated by Mr.Amitabh Bachchan.

History in 2012.

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Letter of Appreciation I have known Tripti Pareek for more than a decade. Through this time I have had the chance to observe her in many roles - As my children’s teacher, as a colleague, as a

Letter of Appreciation

budding new story teller who through her dedication to the art became an expert in the field and a dear friend. In every role Tripti plays, she brings commitment and enthusiasm and a desire to do her best.

Tripti’s journey as a story teller has been inspiring and an example of what is possible to

Tripti Pareek can be seen as a studious and creative teacher with a manifested humane and moral approach. She can be praised also as an exemplary mother, a hospitable wife, and a listening and compassionate colleague or friend. She is all these and above all, she is a born storyteller.

The earth, nature, man, spirituality, and other macro-categories of existence for her, are meaningful with stories. She breathes in the universe of stories, wakes up with them, endures the boredom of daily life and falls asleep with them.

In 2022, I had the honor of being invited by the prestigious Mayo College in Ajmer to teach the principles of fiction writing. I met her there. She was one of the popular, prolific, and creative teachers of the Hindi Department and played an effective role in many literary and artistic activities and events of the college.

She cooperated with me in holding my creative writing workshops as well as the exhibition of my photos from the city of Ajmer with the title “Listen to their eyes”, which attracted the attention of many people. From that time until today, we have cooperated in many joint projects, and I have often appreciated her deep fascination with the birthplace of stories, with the evolution they have found over time, and with the roles they play in the approximation of cultures and civilizations.

achieve when one sets one’s mind to a goal. Tripti has always been creative in the classroom. When she took up Story Telling, she used it prolifically in the classroom, with excellent results. This would have been enough usage of the art for any teacher. But Tripti would not be stopped till she acquired the art completely.

She explored various forms of the art. Experimenting in different settings and with diverse audience. I have seen her take story telling sessions with our own students in senior school and junior school. She sought out students in government schools and in NGOs for these sessions.

I have had the pleasure of attending several of her sessions. What I have observed is that Tripti has immense ability to captivate her audience and transport them to a world that she has created. She uses her words, her expertly modulated voice and creative props to draw in her audience and enthral them. She uses every session not only to tell a story but very often to convey a message that is appropriate to the audience. I have attended a session with her on women’s day where she got forty women to share their emotions leaving them feeling lighter and stronger.

She has used the art to get students to speak of the problems they are facing , the issues they believe in or simply to express their emotions. Teenage boys who hardly respond to any interventions hang on to every word of her stories and

It's true that the richest and most productive and adoring moments of her life are spent with stories. Sometimes she travels hundreds of kilometers to hear just one small pure story from the people of a certain village.

She is generous in retelling these stories and making others share in the joy that can be gained from hearing or reading them. She believes in the constructive effect of storytelling in reducing human suffering and hoping for a more peaceful world. I think that these qualities of a teacher like her, are very valuable in our times, in a world that is severely suffering from conflicts, misunderstandings, loneliness, and injustices.

I am very happy that Tripti Pareek is a patient listener and a passionate narrator of Indian stories, and she does not neglect research to find and study common human themes in the heritage of other nations' literature. I deeply praise her efforts in the field of storytelling and folkloric literature, and I hope that she will continue to live in the fascinating universe of stories.

respond to them. I am lucky to have been a part of Tripti’s inspiring journey. It has taught me how much one can accomplish with determination and hard work.

In the last few years Tripti has sought out avenues to chisel herself as a story teller, enrolling in programs and courses inspite of the busy schedule of a residential school. She has enthusiastically embraced the challenges of working with new audience and constantly acquired new methods to create an impressive repertoire of tools that she uses expertly in all her story telling sessions. Not only has she focused on growing herself in the art but she has also contributed to the growth of ‘storytelling’ as an art in our city. She has created forums for other story tellers to come to Ajmer and share their art with the audience here. I have also participated in events spearheaded by her where she was instrumental in collecting writers and poets of the city together to share their creations with each other. She has acknowledged other artists , giving them public recognition and used her reach to bring them an audience.

Best regards,

I admire Tripti immensely for her incredible desire to grow in her art form and tenacity. I believe that there will come a time when she will become a house hold name as a storyteller and bring recognition not only to Mayo College and Ajmer but also to our country. I wish her the best in this incredible journey.

Ebrahim Salimikouchi Lausanne, Switzerland

Associate Professor of Comparative Literature Science Award of IKSAD (Outstanding Researcher in Humanities- 2022) Member of the Evaluation Board of “Science Publishing Group”. USA. Last Novel : Seul mais debout (Paris : Éditions PUBLIWIZ- 2023) 54

Sapna Goel Career Guidance Counselor and behavioral Counseling consultant at Mayo College, Ajmer 55

EVALUATION FORM MY GUIDING LIGHT MY EVALUATORS

EVALUATION FORM MY GUIDING LIGHT MY EVALUATORS

Mr. Vikas Sharma Mayo College

Ms. Preeti Joshi Mayo College

Ms. Aayushi Gautam The Palace School Jaipur

Ms. Kanika Mondal Mayo College

Ms. Kanika Mondal Mayo College

Mr. Paresh Mahawar Mayo College

Ms. Kanika Mondal Mayo College

Ms. Gazara Salani The Palace School Jaipur

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EVALUATION FORM MY GUIDING LIGHT MY EVALUATORS

EVALUATION FORM MY GUIDING LIGHT MY EVALUATORS

Ms. Tanvi Sharma Mayo College

Mr. Anil Kumar Mayo College

Mr. Manoj Kumar Pareek Mayo College

Mr. Ujjwal Mukherjee Mayo College

Dr. Achaldeep Dubey Mayo College

Mr. Kamlesh Kumar Mayo College

Ms. Ritu Nautiyal Mayo College

Ms. Rakhee Mayo College

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INVITATION LETTERS

EVALUATION FORM MY GUIDING LIGHT MY EVALUATORS Ms. Karuna Sinh Mayo College

Mr. Gaurav Kumar Mayo College

Mr. Rajesh Soni Mayo College

The Rajkumar College Rajkot

Witty International School Udaipur

Hitkarini Women’s College of Education, Jabalpur

Aryan Public School Ajmer

Official Notice Mayo College

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Remarks and Records

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Acknowledgment "I am because you are.”

I express my gratitude to Kathalaya International Academy of Storytelling and Mayo College, Ajmer for their encouraging and creative support.

Special thanks to all individuals and organizations collaborating on this Storytelling Diploma

Tripti Pareek is a skilled Performance Storyteller and theatre-in-education Practitioner who combines her diverse

Project. I appreciate the evaluators for their valuable inputs throughout the project, enhancing its

passions and professional experience in Theatre, Social work, and an interdisciplinary academic background. She

quality with expertise and contributions.

creates compelling performances that entertain, address social issues, and foster learning experiences.

A heartfelt thank you to my creative students who worked alongside me, sharing original inputs and fresh ideas, our collaboration fostered a creative and productive environment, leading to the

Tripti Pareek is known for using objects as props and visual aids to enhance the storytelling experience and create a deeper connection with the audience.

She is a story coach who uses storytelling as a powerful medium to engage and educate audiences, particularly in the

successful completion of this project.

context of theatre in education.

Acknowledgment goes to Director Mayo College Lt Gen SH Kulkarni for providing necessary

Presently, she is pursuing International Diploma in Storytelling from Kathalaya International Academy of Storytelling,

resources and encouragement, enabling the development of this storytelling diploma course.

Bengaluru.

I credit the elements of nature, storytellers, writers, thinkers, individuals, and intellectuals who

She has been a speaker at multiple sessions, highlighting the significance of storytelling in various contexts and

weave stories impacting cross-cultures, giving me strength and liberty to modify as needed.

Thanks to everyone who listened to my stories, providing courage to share more.

emphasising its ability to inspire, educate, and entertain people of all ages.

Tripti Pareek strongly believes in the power of storytelling as a medium of conversation that draws inspiration from nature, human relationships, folklore, inclusion, ecology, museology, history, mythology, and heritage. Her stories are

A special appreciation to colleagues for ideas and, most importantly, smiles and pats on the

deeply rooted and influenced by various communities of the soil and homelands. By embracing a "desi" (indigenous or

shoulder, assuring me to move forward in my journey. Lastly, gratitude to ancestors, friends, and

local) approach to storytelling, Tripti aims to connect with her audience profoundly, invoking a sense of cultural

dear family members watching over me from the sky, reflecting in my confidence to move forward.

identity, environmental consciousness, and a rich tapestry of traditions and narratives.

Tripti Pareek is presently working with Mayo College in Ajmer, Rajasthan. Her roles at Mayo College include being a Hindi language teacher, In charge of the Debating Society, a member of the Drama Society, the Pastoral Care in charge

Big thanks to Master storyteller Geeta Ramanujam for her mentor ship and guidance.

in a residential setting, and the Coordinator of the SPIC MACAY Heritage Club.

Academic Qualification and work experience :

"I am because you all are.”

1. Master's in Hindi language.

2. Bachelor's in Education

Sincerely Yours

3. Certification in Early Childhood Education.

4. Coordinated International Project-based learning Star Talk Hindi Programme from 2012- 2015

Tripti Pareek

with Kean University New Jersey, USA

Tell the Tale

5. She is a certified Innovation Ambassador by India's Department of Education government.

6.0ne of the Finalist of teacher innovation award by IIT Delhi in 2020 7. She achieved level 1 of Toastmasters' dynamic leadership.

8. She is A+ certified in Academic writing from the teaching-learning centre at Ramanujan College, University of New Delhi.

Experience: 2004-2009 -Hindi language teacher in Maharaja Sawai Mansingh Vidyalaya, Jaipur.

2009-2016 - Hindi language teacher /Theatre club in charge and Coordinator in Mayoor School, Ajmer.

64

65

lcdh viuh dgkuh gS] tks fn[krk ugha og fn[kkuh gS n kyu bad banu Mai

Main kyu jaagu

in Ma

kyon Chhota rah

Main

un

n kyun Goa jaun Mai

kyun Hansu

Pledge of a Storyteller

e dhundh lo Mujh

I pledge that I don’t have to become a storyteller, because there is a storyteller hidden inside me. I understand that my students not always appreciate my experiments with storytelling, but I will persevere till I get it right. I also pledge to support my colleagues in their storytelling efforts. padhai K aru in kyu Ma

Main

un adhoori ra in ky hu a M

kyu ruii banu

in ky Ma

on kaam a

Amen!

au

Tripti Pareek Tell the Tale 66

67

'Storytellers are everywhere Just listen to their vibrations’ There are people who cannot say good-bye They are born this way , this is how they die They are the keepers of promises ,what moves them does not wear out Their loyalty will tear apart your clocks These are the people who can hear the music in songs They are the Vow carriers The grandmothers who always leave the porchlight on No one is lost to the one who sees .

These are the women widowed by men they never married.

These are the girls who wait even when you don't come.

These are the mothers of orphans , they can turn a fake into an original They will hear the prayer in your self-contempt.

As distance is measured ,people do not end It is one of those stories that cannot be written down except across a lifetime of open doors .

There is a holding on beyond the letting go There is a reunion in everybody's chest This is how we come to make a family from strangers This is how we light candles These are people who will remember you when you meet them These are the people you can always call at night They are humans turned angels by your asking With each separation they go to seed again These are the men who carried you on their shoulders This is the one you are lonely for the one who begins and ends your hunger This is the man who said "Always" There is something that does not wear out It is the third part of any two people who join .

It opens and closes.

There are people who are alone who are not apart This is why we listen to the madman when he speaks People change but they do not stop This is how we learn "Forever" There are people you can count on They are the keepers of promises They are candles lit from each other They can teach us eternity We can get what we can give This is the instruction There are people who do not say goodbye As distance is measured You are one of them. ~Merrit Malloy, 'The people who didn't say goodbye’ 68