In Malay, pengiluar lara, ‘Dispeller of Worries’, is the praise-name for the storyteller who possesses the art of enthralling his listeners. In the course of centuries, the Malay storyteller developed and refined his art until it became the very expression of the swift movement of the prince’s horse; the snake’s winding coils; the heavenly nymph flying through the sky, bright and golden. Inimitable are the images that are strewn across Malay tales.
Jan Knappert, Mythology and Folklore in South-East Asia, Oxford University Press, 1999 p. 195
Drawing inspired by a rock art painting of Kakadu, Australia
[In Iran] whether a man comes to storytelling through formal training or whether he trains himself, he will list the same things as significant for succeeding as a storyteller. A good storyteller is described by storytellers and audience alike as well versed (vared) in his material. He feels that he must be in possession of a full and complete knowledge both of the literary source and of the tumar. A storyteller also prides himself on having in his memory a considerable body of lyric poetry.
»The audience is familiar with the storyteller’s repertoire, and a storyteller will not perform material which is unknown to his audience. The audience, he fells, will never come back every day and pay to hear a story it has never heard before (balad nistand). In short, the valued aspects of being a good storyteller are those which are most reflected in the training to become a professional storyteller – memorization of texts and command of familiar material.
Mary Ellen Page, “Professional storytelling in Iran: Transmission and practice”, Iranian Studies, vol. 12, 1979, pp. 199-200.
Illustration inspired by the drawings of MinaLima for the book by J.K. Rowling Fantastic Beasts and where to find them.