{"id":5676,"date":"2024-03-27T12:01:35","date_gmt":"2024-03-27T10:01:35","guid":{"rendered":"https:\/\/ch.jfdi.cc\/?p=5676"},"modified":"2024-03-27T12:01:35","modified_gmt":"2024-03-27T10:01:35","slug":"three-act-life-of-a-professional-storyteller","status":"publish","type":"post","link":"https:\/\/ch.jfdi.cc\/?p=5676","title":{"rendered":"Three-act life of a professional storyteller"},"content":{"rendered":"

In a roving storyteller, THEO PANAYIDES finds a woman who has lived through drama \u2013 stepping over dead bodies on the way to school \u2013 but finds medicine in stories<\/strong><\/p>\n

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It\u2019s a three-act structure, as in any good story \u2013 though that\u2019s not always true, stories are different across different cultures. Juliana Mar\u00edn Fryling knows the score: not only is she a storyteller by profession \u2013 piling up a repertoire of hundreds of stories from the folklore, mythology and literature of her native Colombia \u2013 but she\u2019s also been travelling the world for the past two years as \u2018Achira Stories\u2019, matching her stories to different audiences and trying to heal some deep-seated trauma in her own life.
\nShe sits across the table, flanked by her partner Julian, her freckled face sandwiched between a mop of blue-streaked hair at the top and a toothy smile at the bottom. The smile is impressively dazzling, beamed out apparently at will; I suspect it functions as a kind of social lubricant, for someone who travels a lot and meets a lot of people. She\u2019s articulate, the flow of words effortless (did we mention she\u2019s a storyteller?), her English that of a near-native speaker; Juliana\u2019s mother is American (that\u2019s the Fryling in her name), the daughter of Christian missionaries who settled in Colombia.
\nJuliana herself is 35 \u2013 which means she was five years old when drug lord Pablo Escobar was killed by police. This was in Medellin, the city Escobar ran \u201con the model of \u2018silver or lead\u2019: you take the bribe, or you take the bullets\u201d, the most dangerous city in the world for many years, even after his death \u2013 but also Juliana\u2019s own city (she pronounces it in the Colombian way, something like \u2018Mevezhin\u2019), the city of her birth and what you might call Act One (\u2018Childhood\u2019) of her three-act life.
\n\"profileMedellin improved after the departure of the Narcos man (Juliana is scathing about TV shows like Narcos making Escobar look cool: \u201cHe was essentially Hitler for Colombia\u201d), but not by much. \u201cI still remember bombs, shoot-outs, dead bodies on the street on the way to school. Eh, of course,\u201d she shrugs, noting my shocked expression \u2013 \u201cI mean, there\u2019s not a single person in Medellin, ourselves included, who have not lost friends and family because of the drug violence there.\u201d She and the family actually fled to the US for a while to escape the violence, when Juliana was 12. \u201cIn one of the break-ins to our house, my grandfather was murdered. I\u2019ve been held hostage twice\u2026 I mean, it\u2019s only been a few years since I stopped sleeping with a knife under my pillow.\u201d
\n\u201cGrowing up, death was not something completely foreign,\u201d she muses. \u201cIt was something that you kind of knew was going to get you eventually.\u201d Juliana comes from an artistic family, and grew up surrounded by music, painting and sculpture. Her grandfather (not the one who was killed) was a noted sculptor; her childhood home was a kind of museum, filled with works of art \u2013 but that also made it a target. \u201cMy house was broken into 28 times when I was growing up.\u201d
\nOne of those times occurred when she was 17; two armed men burst in and herded Juliana, her mum and her two younger brothers into one of the rooms. \u201cI was staring hard at one of them,\u201d she recalls, thinking he looked familiar. Whether because of this \u2013 or because they were paranoid, or high on drugs \u2013 the men grew agitated, \u201cand they told us to face the wall. And I knew they were going to execute us. I knew they were just going to shoot us in the head. And I refused to face the wall. I was not afraid at that moment\u2026 I remember looking at the guys and just grinning madly \u2013 and thinking \u2018No. If you\u2019re going to shoot me, you look me in the eye\u2019.\u201d
\nThe robbers eventually backed off (obviously, or she wouldn\u2019t be here); still, life was cheap in those days. One of her teachers at storytelling school \u2013 the Vivapalabra in Medellin, which she graduated from in 2015 \u2013 witnessed a literal illustration of that phrase one day, when a local drug lord and his friends were lunching at a hot-dog stand. Two teenage urchins, taking advantage of the hubbub, bought hot dogs and tried to sneak off without paying \u2013 \u201cand the hot dogs cost 2,000 pesos, which is like 50 cents\u201d. The drug boss calmly took out his gun and shot both youngsters in the back as they were fleeing, \u201cthen he goes over to the hot-dog seller and says \u2018How much did they owe you?\u2019\u201d. He paid the man, the gang all finished eating like nothing had happened \u2013 even with the teens lying in the road, their blood puddling \u2013 \u201cand eventually the guy rolls his cart away, so it doesn\u2019t get dirty with 50-cent blood\u201d.
\n\u2018But how?\u2019 I ask, befuddled. How can people live in a place like that?
\n\u201cYou\u2019ll get used to anything,\u201d she shrugs \u2013 then gestures vaguely at the tables and chairs around us. \u201cI mean, you get used to a divided city.\u201d
\nHer point is well taken; we\u2019re at Hoi Polloi in north Nicosia, minutes away from the checkpoint. Juliana was actually supposed to perform here last night \u2013 having already done a show at Prozak in the south \u2013 but had to cancel due to a problem with her voice. (She\u2019s coughing a bit even now, but isn\u2019t too worried; there are no more performances lined up until Morocco in April.) I\u2019m a bit surprised to learn she\u2019s been in Cyprus before, seven years ago \u2013 during Act Two of her life, what you might call \u2018Discovery and Depression\u2019.
\nStorytelling came into her life fairly late. She\u2019d always loved words, and the original plan was to be a writer \u2013 \u201cbut writing is very lonely, and I\u2019ve always been very much of a people person. So when I discovered storytelling I was like: \u2018This is it. This is what I was born for\u2019.\u201d
\nIt might seem an unorthodox choice of profession \u2013 but in fact Colombia, and Latin America generally, has a great storytelling culture, the oral tradition of travelling bards revived in the 70s as a subversive response to the various dictatorships bedevilling the region, using stories to say the unsayable. \u201cWhereas in most countries people think of storytelling as something for children, in Colombia nobody tells stories for children. In Colombia, storytelling is a thing of the young and the angry\u2026 You come together to listen carefully, because they\u2019re always saying something underneath.\u201d
\n\"thumbnailStorytelling in Colombia isn\u2019t just political, it\u2019s also intense and flamboyant; \u201cThe intention,\u201d she explains, \u201cis to make an impact\u201d. Most storytellers have a background in theatre, \u201cso they\u2019re very expressive, and the storytelling there is very much like a show\u201d. Juliana keeps the intensity \u2013 \u201cMy point is to move people\u201d \u2013 but she also spent a year after graduation travelling the world (including Cyprus), finding out that stories feed different hungers in different countries.
\nIn the US, for instance, storytelling was \u201cvery family-friendly and kid-oriented\u201d. Britain is similar, as she\u2019s discovered on the current trip; British audiences \u201cdidn\u2019t like controversial stories\u201d, and were \u201coutraged, absolutely outraged\u201d when she told a love story \u2013 the romance between a tadpole and a caterpillar \u2013 with an unhappy ending. (Spoiler: a frog eats the butterfly.) Maybe it\u2019s part of a general infantilisation \u2013 stories expected to be cuddly, like bedtime stories, and reconnect the listener with their \u2018inner child\u2019.
\n\u201cI always try to find what people are hungry for,\u201d explains Juliana. \u201cAnd it does change.\u201d When she performed in northern Cyprus, for instance, she recalls being swarmed by students telling her, \u201cI want to be like you, I want to be able to travel \u2013 but I can\u2019t disappoint my parents\u201d. Family expectations weighed heavily (the isolated status of the north may also have contributed), \u201cand the hunger there was for freedom\u201d. In western Europe, on the other hand, there\u2019s no real hunger for freedom \u2013 but \u201cthere\u2019s a lot of hunger for connection. Because people are lonely, people don\u2019t know how to relate anymore. In Colombia, there\u2019s hunger for inspiration\u201d. The country was stifled for so long, \u201cyou couldn\u2019t see beyond that oppressiveness of violence that just blanketed everything\u201d \u2013 but now things are better, and people look to stories to inspire them and push them forward.
\nShe herself thought she was over her first-act trauma \u2013 especially when tourists started flocking to Medellin and she started working as a tour guide, telling stories of her city. (\u201cI would say that stories have always been my medicine.\u201d) But PTSD \u2013 which is basically what she was suffering from \u2013 is seldom so simple.
\nShe travelled after graduation, as already mentioned; when she returned to Colombia, however, it was like all the bad memories had caught up with her \u2013 \u201cand I suddenly found that I lost my capacity to tell stories\u201d. She could still do it, mechanically speaking \u2013 but there was no joy, no spark. For years, recalls Juliana, she\u2019d had \u201can almost mystical capacity\u2026 I\u2019d see a person and a story would jump into my mind, and it was like \u2018This is the story this person needs to hear\u2019. And I\u2019d tell them the story, and so many times the person would just suddenly start crying\u201d. Now, inexplicably, that gift was gone. She stopped telling stories altogether for about four years, getting increasingly depressed \u2013 then Covid hit and, as she puts it on her website (achirastories.com), \u201cI went to live alone in a cabin in the woods, with the intention to heal my soul or die trying\u201d.
\nThus begins Act Three (call it \u2018Healing\u2019) \u2013 a journey into self, not just telling stories to an audience but telling herself her own story. \u201cJust close your eyes, ask [yourself] a question, and follow the story,\u201d is how she describes her technique, though I suspect it\u2019s one of those things that can\u2019t be described, just experienced. \u201cThe cabin planted all the seeds,\u201d she tells me now, sitting at Hoi Polloi with Julian beside her \u2013 but it took some fertile soil to nurture the seeds, the tour around the world (29 countries and counting) that\u2019s allowed that new self to grow.
\nIn early 2022, an invitation arrived for a storytelling festival in Morocco. \u201cI hadn\u2019t travelled for about five years \u2013 and I thought \u2018Well, maybe I\u2019ve healed enough. Maybe it\u2019s time to bring the travelling storyteller back\u2019.\u201d Julian had just finished military service in Colombia (he appears to be a few years younger); she invited him along, as a friend and companion \u2013 but then something unexpected happened, they fell in love and decided to keep going.
\n\"profileIt\u2019s now been two years since the couple went on the road, living cheap and travelling light, slowly trying to work their way east. Any bad experiences? Not really, shrugs Juliana. She\u2019s an extrovert anyway, and suited to the life (\u201cI like to talk to people. I make friends anywhere\u201d) \u2013 but it\u2019s also just that \u201ctravelling is so much safer than people think. I mean, people are so afraid of the Other, but \u2013 honestly, there is so much more good in the world than they realise. And when you travel open to what the world provides, you really see that first-hand\u201d.
\nFrom fear and hidden darkness in the violent city of her childhood to travelling \u201copen\u201d, trusting in the goodness of the world. The storyteller smiles, her three acts winding down to a happy ending. \u201cSo, it\u2019s been amazing. It\u2019s been magical\u2026 These have been definitely the best years of my life. For sure. By far.\u201d
\nIt\u2019s not actually the end, of course \u2013 and indeed she\u2019s brimming with ideas, including some surprising ones: \u201cI\u2019ve started moving towards motivational speaking\u201d. Juliana actually comes off as much entrepreneurial as artistic, mentioning in passing that the storytelling world is rather niche and \u201cbad at marketing\u201d. It makes sense to use her knowledge of how stories work to motivate people, and hopefully make some money doing it; \u201cThis trip,\u201d she enthuses, \u201chas challenged and inspired me to dream bigger than I ever have\u201d.
\nIn the end, it was stories that healed her: memories of Medellin told to curious tourists, stories from Colombia (ghosts, shamans, love stories, a tadpole and a caterpillar) which she\u2019s shared with the world, but also just the process of giving shape to life \u2013 understanding life \u2013 through a story. To gain perspective, explains Juliana, \u201cand to step outside of your story, and become your own storyteller. Because if you\u2019re in a story, you\u2019re just being carried along. But the storyteller can make anything happen\u201d. Stories have always been her medicine. She beams the toothy smile \u2013 a sign of joy or a shield against the darkness, who can say? \u2013 and strides into Act Four, and beyond.<\/p>\n","protected":false},"excerpt":{"rendered":"

Fact: Juliana Mar\u00edn Fryling is a storyteller who has traveled the world for the past two years, matching her stories to different audiences and trying to heal some deep-seated trauma in her own 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