Tag Archives: oral tradition

Wolves in Sheep’s Clothing

As an oral storyteller, I’m committed to gathering old tales from all over the world and retelling them because they contain blueprints for life. Each story is a teacher, a small piece of code, a seed, a fragment of wisdom, a snippet of DNA. Stories speak to us about who we are, who we have been and who we might yet be. They speak in the voices of place, people, history and culture.

Photo by Alan Chen on Unsplash

Story does not exist without storytellers. Literacy is not necessary, as long as people remain connected enough to pass story on orally. A culture which unravels and frays in its ability to form healthy connections and bonds and at the same time stifles the acquisition and sharing of knowledge is in grave danger of losing stories, and when old stories are lost much of the collective wisdom of our ancestors is lost with them. We become crippled and impoverished. We lose our way in the world and we have to spend time and energy reinventing wheels we learned how to make hundreds of years ago.

As a storyteller, then, I come to you this fine spring week when the snow is ebbing in Maine, leaving behind rich, greasy mud, with the old story of the wolf in sheep’s clothing.

Every old story is in fact many stories. A piece of oral tradition is like a many-limbed tree. As it grows and matures it branches out over and over. Every teller who passes on the tale adds or takes away a piece of it, reshaping it according to the teller’s context in history and place. Still, the skeleton of the story remains recognizable, because the bones contain the wisdom, the old truth, the regenerative pieces that are reanimated over and over by those of us who share them.

The essential truth contained in the idiom “a wolf in sheep’s clothing” is evident to any investigator, because it has appeared in so many times and places. According to my research, the first time it appeared was in the Bible, in the Gospel of Matthew, as a warning against false prophets. The sermon goes on to suggest that actions speak louder than words. Thereafter, the phrase was repeated in other Christian religious writing and from there entered into European vernacular. A Latin proverb arose: “Under a sheep’s skin often hides a wolfish mind.”

A 12th century Greek wrote a fable about a wolf who changed his appearance in order to get access to ample food. He put on a sheepskin and mingled with a flock of sheep, fooling the shepherd. The disguised wolf was shut up with the sheep for the night. The shepherd decided he wanted mutton for his supper, so he took his knife and killed the deceitful wolf, mistaking it for a sheep. Here is a branch in the story tree. The Gospel reference warns against deceitful teachers. The Greek fable warns that evil-doing carries a penalty. The bones of the story — the consequences of a wolf disguising itself as a sheep — are the same. The story is now two-dimensional. Such a pretence is dangerous for both wolf and sheep.

Another iteration occurs three centuries later in the writing of a 15th century Italian professor. A wolf dresses himself in a sheepskin and every day kills one of the flock. The shepherd catches on and hangs the wolf, still wearing the sheepskin, from a tree. When the other shepherds ask why he hung a sheep in a tree, the shepherd replies that the skin was of a sheep, but the actions were of a wolf. There it is again: Actions speak louder than words.

Aesop wrote two fables having to do with wolves gaining the trust of a shepherd and killing sheep, but the wolf is undisguised in these cases. Even so, the common theme is clear. A wolf is a wolf, and cannot be trusted with the sheep.

In the 16th, 17th and 18th centuries, Italian, French and English writers adopted versions similar to the early 15th century Italian tale, in which the wolf pretends he is not a threat to the sheep.

Most of us know the tale of Little Red Riding Hood, whose origins can be traced back to 10th century European folk and fairy tales. In the familiar modern version, a wolf disguises itself as Red Riding Hood’s grandmother and the innocent too-sweet maiden is fooled and subsequently eaten.

My favorite story of wolves and, in this case, goats, comes from my own childhood, the tale of the wolf and the seven kids (young goats). The mother goat must leave the house and warns her seven children about the wily wolf who might try to gobble them up. She says they will recognize her by her sweet voice and white feet, and they mustn’t open the door to anyone else. I was mightily amused by the wolf’s machinations in trying to fool the kids: Swallowing honey to make his rough voice sweet, whitening his black feet with flour. Of course, he does fool the kids and they are eaten, but, much like Little Red Riding Hood, the kids are saved from the wolf’s stomach in the end.

As an adult, this tale doesn’t seem nearly so amusing.

Lastly, modern zoology makes use of the term “aggressive mimicry,” which describes a method of deception by an animal so it appears to either predator or prey as something else.

I’m deeply troubled by what I see going on around me in the world. It appears as though many millions of people are no longer able to discern the difference between wolves and sheep, and this is creating dire consequences for all life on Planet Earth.

How did this happen? Why did this happen? When did this happen? How are we producing college graduates who don’t recognize wolves in sheep’s clothing? What kind of a so-called educational system, public or private, produces such myopia? For two thousand years we’ve understood the dangers of failing to clearly see the difference between sheep and wolves. Such a failure of judgement is bad for the wolves as well as the sheep. Tracing this old tale through time (when most of the world’s population was largely illiterate and uneducated), clearly shows us this is a learned skill. Little Red Riding Hood, the seven kids and several confused shepherds, all innocent, naive and inexperienced, had to learn to recognize a wolf when they saw one, or starve or be eaten. Critical thinking is not an innate skill. Parents, teachers and leaders must actively teach it.

Photo by Michael LaRosa on Unsplash

Here is a wolf. It’s an apex predator; intelligent, flexible and canny. The wolf is evolved to survive and pass on its DNA. It’s not confused about what it eats or the meaning of its life. Its job is to do whatever is necessary to survive and successfully reproduce. As a predator, wolves are an essential part of the complex system we call life. A healthy population of wolves benefits both the land and prey animals.

Photo by Jamie Morris on Unsplash

Here is a sheep. It’s an herbivore, a prey animal. It’s evolved to produce milk, meat and wool, survive and pass on its DNA. It eats grass. It too is an essential part of the web of predator (including humans), prey and plants. Its presence, properly managed, benefits the land and predators.

One can certainly throw a wolfskin over a sheep and say it’s a wolf, but that doesn’t make it so. Now we have a sheep in the throes of a nervous breakdown, but the animal is still a sheep. It still needs to eat grass. We cannot change a sheep into a wolf.

Likewise, a wolf wearing a sheepskin does not begin to crop grass. Wolves eat meat, no matter what kind of a skin they’re wearing. A simple shepherd might be fooled by a single glance in the dusk if the disguised wolf mills among the sheep, but five minutes of observation will quickly reveal the truth. Sheep do not tear out one another’s throats. A wolf cannot be changed into a sheep.

The wolves of the world, those who prey on others, naturally have a large inventory of successful speeches and manipulations. They study their prey and learn quickly how to take advantage of it. They are everywhere, in politics, religious organizations, schools and cults. They’re athletic coaches and businessmen, people of influence and power. They disguise themselves and mingle freely with their prey and pick them off, one by one.

In the natural world, an overpopulation of wolves eventually runs out of prey animals. At that point, the wolf population goes down dramatically while prey animal populations recover. Nature seeks a balance of life, and if we create endless flocks of fat, stupid, blindfolded sheep, the grass will run out, wolves will increase, and slaughter will commence as the sheep begin to starve for want of food.

That’s a lot of destroyed land, dead sheep, fat and happy wolves and then, in the next generation, a lot of young wolves starving to death and, (one hopes) a few smarter and wiser sheep and shepherds.

People say we’re a superior species to wolves and sheep. I don’t see much evidence of that recently. We can’t seem to remember what we once knew well. We teach our children how to press buttons and look at a screen and pass a standardized state test, but they can’t tell a wolf from a sheep, and neither can we. The wolves are not confused, but the sheep are milling around aimlessly like … well, like sheep, ripe and ready for slaughter. We’ve allowed ourselves to be brainwashed into believing our true nature is expressed by appearance, words and socioeconomics. Actions don’t count, and neither does DNA. Off we skip to the slaughterhouse, following honey-tongued wolves dusted with flour, who praise us for our compassion, compliance, inclusivity and political correctness while they drool at the prospect of all that food. Meanwhile, our planet degrades so that no one else is properly fed and natural checks and balances are destroyed. Even the noncompliant, troublemaking sheep who manage to escape slaughter will starve. So will the wolves, eventually, after they’ve devoured everyone else.

Maybe then the complex system of life can begin to heal. I hope so.

In the meantime, I’ll be separating the wolves from the sheep and telling stories.

My daily crime.

All content on this site ©2018
Jennifer Rose
except where otherwise noted

Cultural Appropriation

This week I want to explore the idea of cultural appropriation . In the linked article, cultural appropriation is defined as “Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else’s culture without permission. This can include unauthorized use of another culture’s dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc.” This definition provides a useful starting point, but it begs a couple of important questions I want to address.

I intend to approach cultural appropriation from two different directions. I begin with a story I wrote years ago for oral telling. The story was inspired by the wonderful children’s author and illustrator Eric Carle . He wrote and illustrated several books, among them ‘Draw Me a Star’. As a parent and librarian, I’ve bought, recommended and read aloud his books hundreds of times. You can look at ‘Draw Me a Star’ here .

The Artist

“Sing me a star …”
And the Artist sang a star.
It was a shining star.
“Color me a sun,” said the star.
And the Artist colored a glowing sun, a golden lion, a hillside of orange poppies, a burning fire, and a feather.
It was a red feather.
“Weave me a tree,” said the feather.
And the Artist wove branches and leaves and pieces of sky into a tree, and She wove fields and forests and deep, invisible roots, and a spider’s web.
“Build me a fence,” said the spider.
And the Artist built a fence and sculpted rocks and ice and sand and snow into a world.
It was a glorious world.
“Tell me a story,” said the world.
And the Artist began, “Once upon a time …”
It was a wonderful story.
“Tell me some more!”
So the Artist made all kinds of people to share all kinds of stories.
They were strong people.
The people said, “Teach us what love is.”
And the Artist said,
“Sing me a star …”

Now set your burdens down for an hour and dance with me. Here’s the sound track I made for our community dance last Monday evening.

Symphony of the Forest and Mysterious Island, by Kitaro ,a Japanese artist.
Maryam, by Hamza Shakkur, from the soundtrack to the movie Bab’ Aziz , a Tunisian foreign film.
Aye Lon Lon Vadjro, by Angelique Kidjo , an African artist.
Kozuma, by Professor Trance and the Energizers , who perform multicultural Trance Dance music.
Stars Align, by Lindsey Stirling , an American violinist.
Mwari, from the album World of Rhythm.
Pinguli Pinguli Giuvaccinu, by Savina Yannatou , a Greek artist.
Barcelona Nights, by Ottmar Liebert, a German guitarist.
Symphony of Dreams and A Drop of Silence by Kitaro.

I wouldn’t steal a pencil or a nickel. It’s easy to make a distinction between concrete objects that belong to me and those that don’t. Trying to define intellectual and cultural property, however, is another thing. Part of my integrity as a storyteller includes rigorously reporting the origins of my material to my audience. Part of my integrity as a librarian and a researcher includes investigating roots and versions of old stories and communicating that information to my audience so they get a glimpse of the amazing historical journey of human creativity and experience. Part of my integrity as a writer is to be open to the world of human beings around me in all its rich history, language, symbol, tradition, spirituality, expression, art, ideas and feelings.

Anyone who creates art or delves into old oral traditions realizes that cultures are not so easy to distinguish from one another, and the farther back we trace certain artifacts, oral material, symbols and traditions, the more blurred the boundaries between cultures become. Part of my motivation in becoming a storyteller is to become a link in a long, long chain of humanity that reanimates old stories. Oral tradition survives because it speaks to the culture of human beings. Themes of love, birth, death, war, change and power engage everyone. The repeating horrors of colonization, genocide, slavery, plague and pestilence, massacre and religious persecution are embedded in the history of every culture on every continent.

It would be convenient to simplify the history of mankind into good/bad, victim/oppressor and black/white literally, as well as figuratively, but that’s an intellectually lazy and ignorant point of view. The fact is that science teaches us life is a complex, nonlinear, dynamic, holistic system, and every culture changes every other culture just by existing. Every species impacts every other species. Every organism impacts every other organism. It’s inescapable.

Culture is defined geographically, ethnically, politically, by religious belief, by shared history, by language and by physical types. All these factors and many others weave cultural definition. I define some of my cultural aspects and others also define me, sometimes accurately, sometimes ridiculously. Defining culture is like trying to catch fish with your bare hands.

Who is authorized to speak for their culture, and what gives them that authority? Who controls the sharing or withholding of cultural information? At what point do we qualify for inclusion in a culture? My own ancestry is a polyglot of Irish, Norwegian and German, at least. Am I Irish enough to be allowed to tell an Irish traditional tale? Does the fact that my skin is white prohibit me from dancing to African music and introducing others to artists like Anquelique Kidjo?

We have ample evidence that cultural purity is a fast track to cultural death. It doesn’t work in breeding animals, it doesn’t work in the plant world and it doesn’t work any better with humans. Life is not about maintaining divisions and isolated islands of purity. It never has been about that. Successful life that persists is about biodiversity, cooperation, adaptation and hybridization. The attempt to maintain cultural purity is an attempt to restrain change, which is an attempt to harness life itself. Human beings, thank goodness and all the manifestations of divinity, are not that powerful.

What human beings are is creative. We are sensual. We thrive on expression and ritual. We hunger for spiritual nourishment. At our best, we’re observers, recorders, problem solvers, explorers and synthesists. We’re curious. As in the old stories, we go out into the world and seek our fortunes, our mates, our place, our families, our passion, our destinies and ourselves. Yes, there are plenty of madmen/women, megalomaniacs, destroyers and other pitiless, power-hungry, dangerous, destructive people out there. Entire human cultures have disappeared, leaving behind nothing but artifacts and fragments of language. Many, many other kinds of life have vanished as well, and many more are at risk. Yes, there are people who steal real property as well as intellectual property. There are people who would gladly wipe out whole groups of humans and other life, given the power. It’s happened before and it will no doubt happen again.

Have you noticed, though? Life–human, animal, plant–goes on. No one can really steal our heritage or our identity, because those things reside within us. Plagiarism and duplication are sterile things. Culture persists. It might go underground for generations in order to survive, but it persists and eventually shows itself to the world again. Stories, music, traditional arts and crafts, religious rites, dance, clothing, jewelry, language and tools are all seeds of culture. When someone with cultural seeds in their pockets reaches across boundaries to another culture, powerful, life-sustaining, magnificent collaboration happens, the kind of collaboration that allows an ordinary person like me to create a multicultural dance track and lead a small group of people (all kinds of people) in dance, which is a human cultural tradition from the dawn of man/womankind. The mingling of cultures creates new cultures, as well as sustaining the original parent cultures. If one person reading this discovers new music to add to their lives and pass on, a long history of cultural tradition goes with it and is preserved. I’ve succeeded as a link in the chain that goes right back to the first humans.

Eric Carle has had a hand in shaping my life, along with hundreds of other authors and illustrators. His books were read to me when I was a child, and in turn I read him to other children, including my own. He’s a unique and beautiful artist. My appreciation for his work inspired my own creativity. I was also inspired by my brother, who is a gifted musician, and I dedicate ‘The Artist’ to him, out loud, every time I tell it. I take my copy of ‘Draw Me a Star’ to every telling to pass around. I’ve told ‘The Artist’ dozens and dozens of times to all kinds of audiences, children as well as adults.

The story tells my truth. The act of creation is an act of love, appreciation and respect. Creation never happens in isolation. It’s never pure. It’s always a maelstrom of conscious and unconscious influence, memory, and inspiration from things seen, heard, read, felt and experienced. Culture is not static. It adapts, adjusts, persists, learns, discards, incorporates, borrows and contributes, or it dies.

Last week I wrote about making ourselves small. Cultural eradication makes the family of man smaller. Plagiarism kills creativity. Appropriation shrivels our souls. The threat of tribal shaming limits our joy in discovery and exploration outside our cultural boundaries. Choosing rigidity, hoarding and withholding our beautiful languages, our nourishing spiritual wisdom, our rapturous music, our skills and traditions, impoverishes us. Refusing to experience, explore and appreciate other cultures and their richness also impoverishes us. Sterility and isolation in, sterility and isolation out.

The greatest honor I can give the countless musicians, authors, artists, dancers, storytellers, photographers, sculptors, weavers, gardeners, mystics, filmmakers and all the other creators who grace the world is to see, to listen, to be touched, to weep, to laugh, to dance, to receive, to learn from, to be inspired by, and to commit the daily crime of adding myself to the culture of humanity and passing it on.

All content on this site ©2017
Jennifer Rose
except where otherwise noted