#a cultural history of communal storytelling

[grandapplewit]

As we’ve moved father into the post-modern era (about 1970 onwards), which is defined by the increased social emphasis on individualism, communal storytelling has become something… shunned. Past methods of communal storytelling (theatre, music, folktales) have been increasingly privatized since 1970. Because of this, we’ve seen the emergence of fanfiction (specifically slash fiction started by Star Trek fans in the 1970s) and TTRPGs (specifically Dungeons and Dragons and Pathfinder in the late 20th Century), which are both ostracized by the mainstream culture, but are also the only two sources of communal storytelling in the 21st century. TTRPGs are finding more footing in mainstream culture, but because they’ve found footing are becoming increasingly commodified. In this essay, I

[thorn-enterprises]

The Timeless Charm of Banjos

When you think of American music, certain instruments inevitably come to mind: the guitar, the piano, and, of course, the banjo. With its unique twang and lively rhythm, the banjo has captivated musicians and audiences alike for centuries.

Originating in Africa and evolving in the United States, the banjo boasts a rich and diverse history. Its distinctive sound has played a crucial role in various genres, from traditional folk and bluegrass to country and even jazz. The instrument typically features a circular body, a long neck, and four to five strings, allowing for a range of playing styles that can be both intricate and soulful.

One of the most fascinating aspects of the banjo is its role in storytelling. Whether in a lively jam session or a somber ballad, the banjo adds a layer of emotion and narrative depth that enchants listeners. Iconic artists such as Earl Scruggs and Bela Fleck have pushed the boundaries of banjo playing, illustrating its versatility and capacity for innovation.

Moreover, the banjo is more than just an instrument; it's a symbol of American cultural heritage. Its presence in Appalachian music speaks to the region's history and traditions, while its resurgence in contemporary music showcases the instrument's ability to adapt and thrive.

Today, more musicians are picking up the banjo, drawn by its playful spirit and the warm community that surrounds it. With a blend of traditional techniques and modern influences, the banjo continues to evolve, proving that while music may change, the joy it brings remains timeless.

So the next time you hear that unmistakable pluck and strum, take a moment to appreciate the banjo's rich history and the vibrant musical landscape it helps create. Whether you're a seasoned player or just a curious listener, the banjo has something magical to offer us all.

[destinyandcoins]

bruh idk what's the damage on all those spiteful writers who have to have a twist ending and change shit at the last minute when people guess what's going on. when someone speculates about an upcoming twist or catches on to what I've been doing I light up like the fucking vegas strip at dusk

[subtlesolitude-tailoredtaste]

It's Sh*te Being Scottish

When we decided Scotland’s first men’s tournament in 23 years was the story of this summers Euro’s everyone told us to expect the unexpected. But even we couldn’t have foreseen the absurdity, the madness and the highs and the heartbreak. Scotland is arguably the football nation when you look into their history and relationship with the game. If you look at the very fabric of their society, for good or for bad, football is interwoven into it. This is a story as fascinating as any we have ever told.

#Scotland #WeCanBoogie #Euros

Welcome to COPA90 Stories, a channel exploring the greatest footballing stories from across the planet.For more info and content: https://www.copa90.com/stories

[screamingeyepress]

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Pick up a copy: https://www.amazon.com/dp/B0DM6JGXN9/

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[lifeinacartoon]

CREATING AUTHENTIC DEAF AND HARD OF HEARING CHARACTERS: A WRITER'S JOURNAL

Introduction

Creating authentic characters in your writing is essential for engaging storytelling, and this includes characters who are deaf or hard of hearing. To craft a character that accurately represents this community, it's crucial to do your research, gain a deep understanding of their experiences, and portray them with sensitivity and respect. In this journal, we'll explore how to write a deaf or hard-of-hearing character, including key information and preparation steps.

Understanding Deaf and Hard-of-Hearing Characters

Research: Start by researching deaf and hard-of-hearing individuals' experiences, challenges, and culture. Read books, articles, and personal stories, and watch documentaries or interviews featuring members of the Deaf community.

Consult with Experts: Reach out to members of the Deaf community or experts in Deaf studies to gain insights into their experiences. They can provide invaluable guidance and help you avoid common misconceptions.

Diversity Within the Community: Understand that the Deaf and hard-of-hearing communities are diverse. Some individuals communicate using sign language, while others rely on lip-reading, cochlear implants, or hearing aids. Be aware of these differences when creating your character.

Character Development

Backstory and Identity: Consider your character's background. Were they born deaf, or did they become deaf later in life? How do they identify within the Deaf community? Understanding their identity and experiences will shape their character.

Language and Communication: Decide how your character communicates. Are they fluent in sign language, or do they primarily rely on lip-reading and spoken language? Their communication style will influence their interactions with other characters.

Cultural Awareness: Explore the cultural aspects of the Deaf community. Understand the importance of Deaf culture, including its history, art, and values. Incorporate these elements into your character's life when relevant.

Writing Tips

Dialogue and Communication: When writing dialogue for a deaf or hard-of-hearing character, be mindful of their unique communication style. Use visual cues, body language, and facial expressions to convey emotions and context.

Access to Information: Consider the challenges your character may face in accessing information. This could involve issues with closed captioning, subtitles, or accommodations in educational or work settings.

Social Interactions: Depict social interactions realistically. Show how your character navigates conversations, group dynamics, and social events within their community and with hearing individuals.

Preparation

Sensitivity Readers: Consider hiring sensitivity readers who are part of the Deaf or hard-of-hearing community to review your work and provide feedback. Their insights can help you avoid stereotypes and inaccuracies.

Learn Sign Language: If your character uses sign language, take the time to learn at least basic signs. This will not only enrich your writing but also demonstrate your commitment to accuracy.

Beta Readers: Seek feedback from a diverse group of beta readers who can assess the authenticity of your character and offer constructive criticism.

Engage with the Community: Attend Deaf community events, workshops, or online forums to immerse yourself in the culture and better understand the perspectives and experiences of deaf and hard-of-hearing individuals.

Creating a deaf or hard-of-hearing character that resonates with readers requires dedication, empathy, and thorough research. By following these steps and embracing the rich culture and diversity of the Deaf community, you can create a character that is not only authentic but also promotes understanding and inclusivity in your writing. In addition, when writing dialogue for your deaf or hard-of-hearing character, remember:

It's important to clarify why, when writing dialogue for a deaf character, you should continue to use structured English grammar and not sign language structured grammar.

Maintaining Structured English Grammar:

Readability: Writing in structured English grammar ensures that the text remains accessible and comprehensible to all readers, including those who may not be familiar with sign language or Deaf culture. It avoids potential confusion that could arise from using sign language grammar in written text.

Universal Understanding: English is a global language, and adhering to its grammar rules allows for a wider audience to understand and engage with your story. Sign language grammar varies between different sign languages, making it less universally applicable in written form.

Respect for the Medium: While sign language is a rich and expressive mode of communication, it is primarily a visual and gestural language. Attempting to replicate sign language grammar in written text can be cumbersome and may not fully capture the nuances of sign language communication.

Balance of Realism and Readability: Striking a balance between authenticity and readability is crucial in storytelling. Maintaining structured English grammar while depicting a deaf character's interactions helps convey the character's experience without compromising the reader's ability to follow the narrative.

As an illustration, consider the following text: Dialogues with Descriptive Sign Language:

Sarah greeted John with a warm smile, her hands moving gracefully as she signed, "Hi, how are you?"

John returned the greeting in sign language, his expressions mirroring his words. "I'm good, thanks. Did you see the new movie?"

Sarah's eyes lit up as she signed back enthusiastically, "Yes, I loved it!"

In summary, using structured English grammar when writing dialogue for a deaf character is a practical and respectful choice that ensures your writing remains inclusive and accessible to a broad audience while still authentically representing the character's identity and experiences.

Furthermore, it's essential to avoid creating a character who is overly perfect or one-dimensional. In real life, we understand that everyone has imperfections and complexities, regardless of whether they are deaf or hard of hearing. Therefore, it's entirely acceptable to depict your character as a villain with a hearing issue if that aligns with your storytelling goals.

[tainebot01]

The second investigations game being Fortunato'd by Capcom Japan for the past decade as the mainline games and TGAA duology got ported to the rest of the world while the spread of communications technology resulting in audience perspectives having a greater impact on the interpretation of foreign media has developed in addition to creator's awareness of cultural influences on storytelling decisions in adapting said media following a 13 year maturation period culminating in worldwide localization has given us the greatest line in ace attorney history:

[callmebrycelee]

Advice from a Queer Almost-40 BuckTommy Shipper

Over the last several months, there's been a one-sided war brewing between Buddie shippers and BuckTommy shippers. As we get ready for Season 8, I want to give all of you fellow BuckTommy/Tevan/Kinley shippers some advice:

Do NOT let them ruin something truly groundbreaking and special.

I repeat:

Do NOT let them ruin something truly groundbreaking and special.

Let me take you way back to the early-2010s. Glee was quite popular in the cultural zeitgeist. The show spawned a plethora of ships including Finchel, Brittana, Samcedes, and Fabrey. However, there was one ship that reigned supreme on Beyoncé and Al Gore's internet. If you were on Tumblr during this time you definitely remember the chokehold Kurt Hummel and Blaine Anderson aka Klaine had on the Glee fandom.

Now I'll admit, at first, I was into the two glee club gays being together but then episode 2x06 aired. For those of you unfamiliar with the show, episode 2x06 titled "Never Been Kissed" is episode where closeted football jock Dave Karofsky cornered Kurt in the boys' lockerroom and kissed him. What followed was some of the best storytelling in the history of the show.

Over the next few seasons, we watched Dave Karofsky come to terms with his sexuality, apologize to Kurt for his relentless bullying, finally embrace his sexuality, get outed, and attempt to un-alive himself. Those of us who initially hated Dave and his initial treatment of Kurt became fans of him due to how realistic he was. If you went to high school in the early-2000s, chances are you either knew someone like Karofsky or you were him. That's why he resonated with so many of us in the queer community.

However, the showrunners weren't invested in Dave and Kurt becoming an item. You have to remember, this was the era of listening to the fandom and giving them exactly what they wanted. The fandom wanted Rachel and Finn to be together so that's what we got. The fandom wanted Brittany and Santana to be together so that's what we got. And what the fandom wanted was Kurt and Blaine.

Till this day, I still resent the fact that the showrunners and writers went the safe route when it came to couples on Glee. For the most part, all of their main pairings were expected and boring. Over a decade removed from the show, a lot of folks have come around to the idea that maybe Kurt and Blaine aren't the #couplegoals they initially thought. A lot of us will forever wonder just how different (and possibly better) the show would have been if they took a chance on Kurt and Dave.

Fast-forward to the year 2024. We have, on another Ryan Murphy show, Klaine and Kurtofsky 2.0. The moment Eddie came on the scene back in Season 2, folks on the internet started shipping him with Buck. Nevermind that these two were coded as platonic friends, here we had, once again, two good-looking guys played by two actors who have impeccable chemistry.

Much like Klaine, a lot of us see Buddie as boring. The ship smacks of cis straight women overlly fascinated by two good-looking, masculine guys. It reminds me of the overabundance of m/m romance written by straight women which have little interest in showcasing real queer male relationships and instead serve as fantasy fulfillment for straight women using two queer men as avatars to satisfy what they feel is lacking in their own heterosexual relationships. I don't necessary have a problem with those books existing but I do take issue with that kind of storytelling overshadowing queer male content written by queer male writers.

Whew! Now that I got that out of my system, let me tell you what I loved most about the latest season of 9-1-1. It seems the showrunners and writers of this show took note of what happened with Glee and they decided to go a different route. Instead of listening to the relentless noise on the internet, they have decided to not go the safe route.

Enter: Tommy Kinard.

The romance between Buck and Tommy is truly revolutionary. As someone who grew up consuming the queer media of the 90s and early-2000s, it is quite refreshing to have a couple like Evan Buckley and Tommy Kinard on primetime television. I love that many of the scenes between these two is just slice of life. Very similar to the scenes we get between Athena and Bobby and Chimney and Maddie. I've always said that true equality is when queer people can be just as mundane as straight people. Mission accomplished. Finally, we have two queer characters just existing and being happy. No AIDS. No gay-bashing. No Don't Ask Don't Tell. No epic coming out scene. Buck and Tommy are a shining example of what queer couples can and should look like in the 2020s.

So, back to my original point. When it comes to the great ship war, please do NOT let them ruin something so groundbreaking and special. If the showrunners wanted , they could have made Buck and Eddie a thing years ago. However, that's not the direction they wanted to venture. Thank you Tim Minear for not going the safe route. I look forward to all of the rich storytelling we will get in Season 8 and I have decided that whatever happens, I'm going to enjoy this era of 9-1-1. Oliver Stark and Lou Ferrigno Jr. are amazing actors but so are Angela Bassett and Peter Krause and Aisha Hinds and Kenneth Choi. All of the actors on this show, whether main or guest or supporting, are putting their whole self into crafting the characters we know and love. Regardless of what ship you champion, keep in mind that behind these beloved characters are real, human actors who do not deserve to be bullied and harrassed and threatened due to them simply doing their job. At the end of the day, everything we see on the screen is fiction.

Okay, this has gotten really long. Stepping off of my soapbox. Remember ladies and gentlemen, it's just a show. And although it makes us feel real emotions, 9-1-1 nor Glee is real life.

[copperbadge]

I guess you probably get asked why you’re converting a lot but I still want to ask,

I dunno, I don't think I really get asked all that much, to be honest. Usually when I do it's like -- I mention I'm converting to a Jewish person and they'll be like "Getting married?" and I'll explain I'm not, which does necessitate an additional explanation.

It's difficult to vocalize, which is interesting because it has really very little to do with faith, and that's usually the most difficult part of discussing any conversion, I think. Often I'll just say, "I heard a call". Which is actually a rather Christian way of putting it, but I think it's probably the easiest way to explain, especially in a heavily Christian culture.

I had...I don't want to call it religious trauma exactly because compared to most people I know who exited Christianity, it wasn't traumatic -- I was just raised in Christianity and had trouble buying the faith in the various ways it was presented to me, and there's a certain type of ardent Christian who comes at you hard if you're in their church asking awkward questions. A few encounters with some egregious megachurches in my youth left a bad taste in my mouth, so in my twenties I really wanted nothing to do with religion and didn't have the time or energy anyway -- I wasn't actively anti-religion, just disinterested.

But in my thirties I had to ask myself, do I wish to be part of a faith community? And once I'd decided that despite being pretty heavily agnostic I did want that in my life, I had to decide what I wanted it to look like. There are churches within many branches of Christianity that are fine, and there are whole branches that are fine too, but I kept tripping over my disinterest in Jesus. I did almost become a Quaker but although I really like a lot of the Friends' attitudes towards social justice and I enjoyed silent Meeting, it eventually didn't feel quite right for me (the Quakers in my life refer to me as "Friend-ly"). I looked into Zen Buddhism but didn't click with it in quite the way I'd hoped.

Judaism didn't feel perfect, but unlike other faiths, after several years of study I have yet to reach a point where it feels "not for me" in the way the others did after a few months; even when I struggle with some aspects, instead of saying "I don't think this is it" I dig deeper, and Judaism is a place where you can just...keep digging. I like the sense of history, I like the idea that you can argue not only with other Jews but with the divine itself and maybe even win; I don't like arguing but I like that the option is there, which it never was in my Christian confirmation classes. I like the way Judaism frames community and family, I like the emphasis on scholarship and exploration. I've had to unlearn a lot of weird Christian and atheist attitudes about the Torah, but that's been educational too. Ancient cultures have always interested me and Judaism is sometimes the practice of actively conversing with ancient history that has been incredibly preserved but not calcified. I like that I can be an agnostic Jew if I so choose, once I finish conversion.

(Sometimes I joke, "Eh, I'm not really a huge fan of pork, either, so it's an excuse not to eat pork chops," but that's a joke for very specific company. I don't keep kosher or plan to, but I like that there is an option to show one's devotion through acts of nourishment, and that food is always such a huge part of Jewish ritual. And I like Jewish food.)

There is something in me that reacts to Jewish storytelling -- the fear and fasting of Esther, discourse on the sacrifice of Isaac, grumpy Rabban Gamliel from the Talmud, even the history of the Piazza Alla Cinque Schole when I stumbled into it in Rome. I didn't care particularly about the story of Moses when I learned it as a child, but I sniffle at the parting of the Red Sea in Prince of Egypt every damn time. Not even because of the miracle! I'm simply moved by the vision of a people going to freedom, scared but going, protecting each other and singing as they go.

Anyway. I'm in a conversation with Judaism that isn't over yet, and either eventually I'll reach a point where it ends, or I'll convert and be in this conversation the rest of my life. Kind of fun not to know yet which it will be.

[quincywillows]

like i remember the vitriol that came out when the mere PREMISE for ballad of songbirds and snakes came out bc it was “about the villain” and wasn’t instead a novella of one of the many cute likeable faves of the masses. i remember how fast people were to tear down the book before it even came out (and still do now). and it’s like look, i get it, suzanne created so many interesting characters that it would be incredible to learn more about and get more content for. but her choosing to write about snow for a prequel isn’t like Romanticizing The Villain or whatever bullshit y’all are claiming as hot takes on twitter -- ballad fits right into the common themes and tone of the series in that its not a romanticization but a reflection on how snow became what we know him as in the original series. both in how he already had some less than charming or healthy traits (just like katniss does -- suzanne is always clear that people are not inherently good nor evil and parallels were drawn between how snow and katniss view the world and think strategically, etc, from the second book), but also in how society and the choices of the greater community in panem created snow. like ballad is a really interesting piece of lore and history and worldbuilding for an already rich and elaborate setting that suzanne created, allowing us to see how that world even came to be and the kind of toxic impact it had on the people surviving in it while still pointing out that those people are human and that everyone has humanity and yet can still cause unfathomable harm to one another based on circumstance and need to survive and pressures of all kinds and like i have lost the plot here now but suzanne is one of the best authors of our time who actually gives a shit about creating layered, nuanced characters and worlds rather than black and white good and evil and unfortunately the hyperpolarization of our hot takes social media culture nowadays just can’t handle her anymore. suzanne im so sorry we don’t deserve your storytelling. anyway i’ll be seated for this movie y’all can skip and keep giving lukewarm takes on twitter to make urself seem so smart for hating a book you probably didnt even actually read

[literaryvein-reblogs]

World-Building Planning Sheet

Physical World

Geography: Regions, terrain types, climates, natural resources.

Flora and fauna: Native plants and animals, ecosystems, mythical creatures (existing, or in legends/beliefs/stories).

Weather and seasons: Climate, seasonal changes, natural events.

Culture and Society

Inhabitants: Peoples, races, species, demographics.

Cities, towns, villages: Place names,types of structures, meeting places/local businesses, architectural styles.

Homes and living spaces: Types of housing, rooms, furnishings, etc.

Languages and dialects: Influences, common phrases, naming conventions, writing systems.

Societal structure: Stratification, class and status, minority groups, etc.

Cultural norms and values: Traditions, customs, taboos, social etiquette.

Religion and mythology: Deities, religious practices, folklore and legends.

Festivals and holidays: Major celebrations, events, cultural rituals.

Government and Politics

Political systems: Types of government, key political figures, historical changes.

Laws and justice: Legal systems, law enforcement, methods of punishment.

Economy: Currency, trade systems, major industries, economic disparities.

Technology and/or Magic

Technologies: Common technology, notable inventions, transportation, communication methods.

Magic systems (if applicable): Rules of magic, sources of magical power, spells and artifacts or talismans.

History

Historical events: Milestones, wars, revolutions, etc.

Important figures: Historical heroes and villains, influential leaders, mythic figures.

Timeline: Chronological order of major events.

Daily Life

Occupations: Common jobs, guilds or unions, typical workday, compensation.

Education: Common knowledge, schools, levels of education, paths of study.

Food and drink: Food sources, common cuisines, traditional dishes, influence from surrounding cultures (if any).

Fashion and clothing: Typical attire, clothing materials, fashion trends.

Arts and Entertainment

Music and dance: Popular genres, traditional instruments, notable performers.

Literature and art: Famous works, common themes, art styles, storytelling styles, philosophical beliefs.

Games and pastimes: Leisure activities, traditional games.

Source ⚜ More: Writing Worksheets & Templates Plot ⚜ Character ⚜ Worldbuilding ⚜ Notes & References

[thorn-enterprises]

The Role of Storytelling in Bluegrass Music

Bluegrass music, with its high lonesome sound and intricate instrumentation, is often celebrated not only for its musicality but also for its profound storytelling capabilities. At its heart, bluegrass is a medium for the tales of everyday people—conveying emotions, experiences, and cultural narratives that resonate deeply with audiences.

Traditionally rooted in Appalachian folk songs, bluegrass has always prioritized narrative. Many classic bluegrass songs recount personal experiences—stories of love and loss, joy and sorrow, hardship and resilience. Take, for example, the staple song “Man of Constant Sorrow.” Its lyrics narrate the lament of a wanderer plagued by unending troubles, painting vivid imagery that evokes empathy and understanding.

The lyrical quality of bluegrass is one of its standout features. Artists often craft lyrics that are rich in detail and emotion. In tunes like “Blue Moon of Kentucky,” the imagery of a moonlit night creates a sense of longing and nostalgia. The skillful use of metaphor and symbolism in these songs enhances their emotional impact, inviting listeners to connect with the stories on a personal level.

Bluegrass storytelling also often reflects personal and communal histories. Many artists draw from their own backgrounds, infusing their music with authenticity and vulnerability. This personal touch not only resonates with listeners but also preserves cultural heritage, providing insight into the lives of those who have come before. The song "Wildwood Flower," for instance, tells of a beautiful but fleeting love, encapsulating the essence of longing that many can relate to.

In bluegrass, storytelling often fosters a sense of community. At jam sessions and festivals, performers and audiences alike bond over shared experiences, as stories are passed down from one generation to the next. Whether it’s a tale of heartache or celebration, the communal aspect of storytelling in bluegrass creates a unique atmosphere where everyone feels connected.

As bluegrass evolves, so too does its storytelling. Contemporary artists are exploring new topics—ranging from social issues to personal journeys—while retaining the heartfelt simplicity that defines the genre. For instance, artists like Chris Thile and Sara Watkins are incorporating modern themes alongside traditional narratives, ensuring the art of storytelling remains vibrant and relevant.

Storytelling is an integral part of bluegrass music, providing depth and meaning to its rich melodies. Whether through classic tunes or contemporary compositions, the stories told in bluegrass connect us to one another, reflecting the human experience in all its complexity. As we listen to these narratives unfold, we are reminded of the power of music to share our collective history, celebrate our joys, and express our sorrows. So next time you find yourself swaying to the sounds of a bluegrass tune, take a moment to appreciate the story being told—it's a journey worth taking!

[letters-to-lgbt-kids]

My dear lgbt+ kids, 

Let’s look at some myths and facts about drag queens:

Myth: “Drag queen” is a gender identity.

Fact: Drag is a performance art. 

Let’s go into some detail here: “Drag queen” is a role you play, for example as a form of entertainment or as an expression of your creativity. A gender identity on the other hand is intrinsic and enduring, it’s about who you are in your mind and heart (For example: a trans woman doesn’t “play” a woman, she IS a woman). So, drag and gender identity are two separate things - although we also need to add a little disclaimer here that gender identity is wonderfully complex and highly individual and not always so easily defined. So while drag is usually separate from gender identity, there can be overlap! 

Myth: All drag queens are gay cis men.  

Fact: Drag is an inclusive art form. Many drag queens are gay cis men, but not all. Drag performers can have any sexual orientation and gender identity - including transgender or non-binary. See that part about “overlap” above! 

Myth: There’s only one type of drag.  

Fact: Drag is incredibly diverse and has many different styles. Drag queens may also blend different types to create their own unique persona. Some examples: Pageant drag focuses on glamour and beauty (drawing inspiration from traditional beauty pageants). Camp drag leans into humor and exaggeration (celebrating the “so bad it's good” aesthetic). Alternative drag experiments with unconventional or avant-garde looks (breaking norms to challenge mainstream beauty standards). Club kid drag is known for its bold, futuristic looks (inspired by the nightlife scenes of the 80s and 90s). 

Myth: Drag is inherently sexual.  

Fact: Any art form can potentially be done in a sexual way but that doesn’t mean art is an inherently sexual thing. So, while some drag performances may include adult humor or themes (if they’re advertised for an adult audience), many other shows are family-friendly and focus on comedy, storytelling, or artistry. A drag event advertised as a family event will not be sexual. (It’s really just a common sense thing: You don’t expect kids movies to be sexual, just because adult movies also exist). 

Myth: Drag has only been around for a few years.  

Fact: Drag has a long history, dating back centuries. Men and women have cross-dressed in theater since at least the time of Shakespeare, and modern drag has roots in the ballroom culture of the 20th century. It definitely didn’t randomly spring up in the 2020s. 

Myth: Drag queens make fun of women.  

Fact: It’s more the opposite. Drag is a tribute to femininity and celebrates aspects of female identity and fashion. While some drag may use exaggerated features for humor, it’s usually done with admiration and respect, not as mockery. If it mocks something, it’s usually things like extreme beauty standards, gender stereotypes etc. 

Myth: All drag queens are famous and rich.  It’s easy money. 

Fact: The majority of drag performers are local artists who put a lot of time, effort, and money into their craft without making much. Only a small fraction gain fame or wealth, most do it out of passion.

Myth: Drag isn’t important for the lgbt+ movement. A ban on drag doesn’t really affect the community.  

Fact: Drag historically has been (and still is) an essential part of the lgbt+ movement, creating a visible platform for self-expression and providing a safe space where people can explore their identities. Drag performers have often led the way in activism, supporting many causes from HIV/AIDS awareness to transgender rights. A ban on drag doesn’t just limit artistic freedom - it threatens to silence a key part of queer culture and history. It also sets a dangerous precedent that can lead to further restrictions on our rights, marking the start of a slippery slope toward broader discrimination.

With all my love, 

Your Tumblr Dad 

[transgenderer]

So the standard argument against primitivism is about food and medicine. I'm not talking about that argument. Grant for a moment hunter gatherer life, minus famines and infectious disease. I think this life is still much less valuable than life in modern society, and I think this gets at a broader question I struggle with, of "calibrating" our idea of what makes life worth living by history

OK, so what is valuable in life? In my subjective experience, it's mostly beauty and knowledge. Or maybe, as experiences, aesthetic satisfaction and intellectual satisfaction. Learning new things, reading good books, making art, listening to music, going to museums, taking classes, all that stuff.

And Hunter gatherer life is just..worse for this? I mean sure, they genuinely had a lot of free time. But their options were so paltry, for what to do with that time! They lived...not "in nature" in a literal sense, because they influenced their environment so much. But in an unconstructed environment, say. And that's beautiful! The unconstructed environment is beautiful. But like. I can go to that too! And sure, they had an encyclopedic knowledge of their local area. But like. If they wanted to learn other stuff, they were out of luck! That sucks! And they could make art, listen to stories, but surely beauty is so much more than this! Their options were so limited. They could only make with the circumscribed supplies available. And they can see beautiful things, but only those made by their culture, or some nearby ones. Some HGs had long trade routes, but surely almost all of them were only seeing local art. Spending your whole life, only knowing one culture! No reading, just storytelling. Nothing wrong with storytelling, but surely the form of the book allows other things, it's better to have both!

But the point of this post is not anti-primitivism, it's trying to calibrate what I hold valuable. Because it troubles me, to know that the vast majority of human lives were so relatively impoverished in valuable experience. Most people were illiterate, couldn't learn on their own by getting a book. Most people never saw a great painting. They saw sculpture, but only the best in their village. Surely such a life is missing the most valuable parts? But that seems wrong. It seems silly to conclude that most human lives were so much less lived than ours. Surely it was possible to live a good life, as a hunter gatherrer, or a peasant. I mean, obviously it probably wasn't possible to live a good life as like...a slave. I'm not saying ALL lives should have been possible to live well. But surely *most*!

I think the issue here is that actually, most people find human relationships the most valuable part of life. And ofc those were always available. But I'm not sure I get this perspective. I like my human relationships, but I like them for beauty and knowledge reasons. They say interesting and funny things, they teach me things they've read about, they expound new perspectives, they find holes in my logic. But if it was just us, if we weren't all bringing new interesting things from outside some closed community, that would suck! I wouldn't find that nearly as valuable. So that wouldn't be sufficient, for me. But maybe it would be, for most people?

[viadescioism]

Kwanzaa:

Kwanzaa, an annual holiday celebrated primarily in the United States from December 26 to January 1, emphasizes the importance of pan-African family and social values. It was devised in 1966 by Maulana Karenga, Inspired by Africa’s harvest celebrations, he decided to develop a nonreligious holiday that would stress the importance of family and community while giving African Americans an opportunity to explore their African identities. Kwanzaa arose from the black nationalist movement of the 1960s and was created to help African Americans reconnect with their African cultural and historical heritage. The holiday honors African American people, their struggles in the United States, their heritage, and their culture. Kwanzaa's practices and symbolism are deeply rooted in African traditions and emphasize community, family, and cultural pride. It's a time for reflection, celebration, and the nurturing of cultural identity within the African American community.

Kwanzaa is a blend of various African cultures, reflecting the experience of many African Americans who cannot trace their exact origins; thus, it is not specific to any one African culture or region. The inclusiveness of Kwanzaa allows for a broader celebration of African heritage and identity.

Karenga created Kwanzaa during the aftermath of the Watts riots as a non-Christian, specifically African-American, holiday. His goal was to give black people an alternative to Christmas and an opportunity to celebrate themselves and their history, rather than imitating the practices of the dominant society. The name Kwanzaa derives from the Swahili phrase "matunda ya kwanza," meaning "first fruits," and is based on African harvest festival traditions from various parts of West and Southeast Africa. The holiday was first celebrated in 1966.

Each day of Kwanzaa is dedicated to one of the seven principles (Nguzo Saba), which are central values of African culture that contribute to building and reinforcing community among African Americans. These principles include Umoja (Unity), Kujichagulia (Self-Determination), Ujima (Collective Work and Responsibility), Ujamaa (Cooperative Economics), Nia (Purpose), Kuumba (Creativity), and Imani (Faith). Each family celebrates Kwanzaa in its own way, but Celebrations often include songs, dances, African drums, storytelling, poetry readings, and a large traditional meal. The holiday concludes with a communal feast called Karamu, usually held on the sixth day​​​​.

Kwanzaa is more than just a celebration; it's a spiritual journey to heal, explore, and learn from African heritage. The holiday emphasizes the importance of community and the role of children, who are considered seed bearers of cultural values and practices for the next generation. Kwanzaa is not just a holiday; it's a period of introspection and celebration of African-American identity and culture, allowing for a deeper understanding and appreciation of ancestral roots. This celebration is a testament to the resilience and enduring spirit of the African-American community.

"Kwanzaa," Encyclopaedia Britannica, last modified December 23, 2023, https://www.britannica.com/topic/Kwanzaa.

"Kwanzaa - Meaning, Candles & Principles," HISTORY, accessed December 25, 2023, https://www.history.com/topics/holidays/kwanzaa-history.

"Kwanzaa," Wikipedia, last modified December 25, 2023, https://en.wikipedia.org/wiki/Kwanzaa.

"Kwanzaa," National Museum of African American History and Culture, accessed December 25, 2023, https://nmaahc.si.edu/explore/stories/kwanzaa.

"The First Kwanzaa," HISTORY.com, accessed December 25, 2023, https://www.history.com/this-day-in-history/the-first-kwanzaa.

My Daily Kwanzaa, blog, accessed December 25, 2023, https://mydailykwanzaa.wordpress.com.

Maulana Karenga, Kwanzaa: A Celebration of Family, Community and Culture (Los Angeles, CA: University of Sankore Press, 1998), ISBN 0-943412-21-8.

"Kente Cloth," African Journey, Project Exploration, accessed December 25, 2023, https://projectexploration.org.

Expert Village, "Kwanzaa Traditions & Customs: Kwanzaa Symbols," YouTube video, accessed December 25, 2023, [Link to the specific YouTube video]. (Note: The exact URL for the YouTube video is needed for a complete citation).

"Official Kwanzaa Website," accessed December 25, 2023, https://www.officialkwanzaawebsite.org/index.html.

Michelle, Lavanda. "Let's Talk Kwanzaa: Unwrapping the Good Vibes." Lavanda Michelle, December 13, 2023. https://lavandamichelle.com/2023/12/13/lets-talk-kwanzaa-unwrapping-the-good-vibes/.