Can the art of storytelling thrive in a setting with explicit educationa=

l goals?
 As the teller I must constantly monitor the emotional involvement of the l=
isteners.  This is what makes the difference between the informance and a l=
ecture. While the narrative can carry facts, the appeal to the listener to =
imagine detail in the story, including the emotions felt by the characters,=
 must be maintained.  If this is lost through an overload of fact, the adva=
ntages of storytelling have been lost and the session has become more didac=
tic.

While many nature centers offer hands-on activities, the appeal of storytel=
ling to create a sense of caring for the birds could be called a hearts-on =
activity.  A skilled storyteller must maintain emotional rapport with the l=
isteners and constantly determine the viability of the story. Richard Chase=
, the noted folklorist, cites one of his informants, "No, it'll not do just=
 to read the good old tales out of a book. You've got to tell 'em to make '=
em go right". (Chase, l948)