Sharing the living art of storytelling.   Phone Jenni 02 6684 6548

Green Stories & The Hero’s Journey

Written on July 3, 2015

Green Story wkshop Indigiscapes 2015 Blue Coat eyes wide This is the fourth and last post on the ‘Green Storytelling’ workshop I led last month in Brisbane. At the start of the workshop, I told the ‘The Blue  Coat’. Then, as our ice-breaker and in order to get participants telling as quickly as possible, I invited them to form groups of four and  collaboratively retell the story- in their own words. I encouraged everyone to give their inner critic a gentle hug and tell them to take a break while  fun was had, mucking around storytelling. I left the room then, because having a teacher and professional storyteller around can trigger  perfectionism and  powerful inner critic voices!

When I came back into the room, the space was alive with story! People were engaged, leaning forward, eyes wide, smiling, nodding, listening intently to whoever was telling. Once the storytelling was complete and there had been a little time for discussion within the group, we came together in the larger group.

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Green Storytelling: Jenni interviewed by Paul Bishop

Written on June 17, 2015

Last week I wrote a blog in answer to the first of three questions Paul Bishop asked me about Green Storytelling. Before I got around to answering the rest of the questions, Paul came along to the workshop and filmed an interview me and I covered all the questions and more. (THANKS PAUL!!)

    1. Why tell stories? (in an age of mass distraction)

    2. How can stories help ME? (ie: in this ‘i-generation)

    3. What can story do for our world environment that won’t otherwise happen? (ie: Why MUST people come to this workshop if they seek a sustainable human future)…

It is 19 minutes long, but even if you only have 3 mins to watch it, you’ll get an idea of what Green Storytelling involves and it starts with scenes from the workshop. Transcript below.



Paul:                                            I’ve just come down to Redland’s IndigiScapes where today we’ve got an Australian storyteller, Jenni Cargill-Strong who is doing a six-hour workshop with people from north, south and west of Brisbane. They’ve all come to the east to Redland City to learn about what she’s called green storytelling.

                                                      When I’ve been speaking to Jenni prior to today (and I’m about to do an interview with her), we’re just talking about the importance of story and as we enter climate of change and age of complexity, how important it is that we use the very simple art of telling stories in order to take complex information and share it in a simple way to help people have some understanding about what to do, how to think and therefore where we can change our actions, our attitudes and our behaviours in order to create a better future.

I’ll let Jenni speak more about that as we do an interview. I hope you enjoy this. Here’s Jenni Cargill-Strong.

Jenni:                                           So I have a company called The Story Tree Company. I came to storytelling when I went to a drama school in Sydney, which was very community-based. So it was a very community-based theater, very psycho dramatic. There was a therapeutic element to that dramatic training. So that’s where I first came to storytelling, which is as a performer.

                                                      And then I got taken under the wing of other storytellers and began to learn the culture of storytelling and the soul of storytelling. It wasn’t just about performance, it was about serving. I’ve been very blessed and I’ve sought out amazing mentors internationally.

I’m now also on the board of the Healing Story Alliance, which is an organisation that started in America, but is international. I’m the Australian representative and they used stories in therapeutic applications.

I initiated a particular page of stories around the environment because I knew there were amazing environmental storytellers. I was a baby taking baby steps, but I just was very enthusiastic. And then I invited people and friends. [Darlene] has filled up that page through her connections.

So we’re using stories for particular purposes, but of course the amazing thing about stories – and I’m slightly [inaudible 00:02:28]. The thing about stories is stories are very rarely single purpose. They usually will let you serve many purposes from community building to environmental awareness to many different things.

Paul:                                            So what’s the workshop that you’re doing here today in Redland City?

Jenni:                                           It’s a convergence of many of my deep passions. So it’s storytelling, using storytelling to connect the community and also using storytelling to raise environmental awareness.

                                                      More recently in the research that I’ve been doing is about how basically everything is interconnected. And in fact, you can’t be a good environmentalist unless you’re also good at sharing and good at working in a team. If you need to understand that, you need to take your slice of the pie and not the biggest slice and all those things.

                                                      Storytelling is great for communicating. And although I’m aware that in the general population, there may be a prejudice against fair tales and sometimes for a very good reason because a lot of the fairy tales and folktales that we get told in mainstream media like the recent remaking of Cinderella, it’s not a well story. It’s not a great story. I don’t think it is sexist, but there are problems with those stories.                 But that’s not the fault of folktales. That’s the filter of the particular folktale has come through to us through our mainstream culture.

But there are really beautiful folktales. And the folktales that will help us in the process that we are currently facing are all about the traditional values of our ancestors. It’s about connecting to the country. It’s about honouring the country. It’s about sharing. It’s about building community and about realising that there is no free lunch and that rubbish. Always, there’s somewhere for it to go. Everything is interconnected.

And so folktales work really beautifully to demonstrate. You can take a scientific fact and you can use that to demonstrate an environmental principle. You can engage people’s hearts and minds because storytelling is a very intimate thing. There’s a Scottish proverb that says, “A story is told eye to eye and heart to heart.” So you make a connection with the person as you tell them the story.

Seminar Replay:                     The idea is I’ve got Barry Commoner’s four principles. I want you to think of a scientific fact or example in your life that matches that and then a folktale or the other way around. Whichever way your process works, think of the folktale first that fits that principle. And then maybe one (there will probably be one that fits many) and then go back to the scientific fact if you think of one. It doesn’t matter if you don’t. It’s just a potential. On the back, you’ve got the easy ones for later reference.

Paul:                                            We’re moving into a time where the amount of data that we have access to, there’s so much information and there’s so much complexity. Why is story important at this time? And why is it important to bring it back to a human scale?

Jenni:                                           There’s a really beautiful quote by the poet, David Whyte, who just came to Australia recently, which is that one good word is like bread for the masses. It’s soul food because we are so bombarded in the information age. And I love it! I love all the information. I love all that connectivity. I love connecting to people all around the world about storytelling and I’m really excited about that. At the same time, it’s completely overwhelming.

There were many folktales actually that demonstrate the ability to discern this from that, to sort the poppy sage from the dirt, a good corn from the bad cord, the sorting. So stories speak in a very different language.

We are bombarded by information that is sometimes not what we ask for and not what we need, but storytelling takes you to a deeper, slower place, a soulful place. Good stories are what I’m talking about because there are bad stories too.

So because it’s a slower experience, it’s like the Slow Food Movement. Instead of going to McDonald’s through the driveway and eating as you run around like a crazy thing, you think about how the food is grown and you sit and you eat in community.

Well, storytelling is similar. Instead of just jumping in a car and reading a book, which is great, live storytelling (which is not the only way I’m enjoying it), live storytelling is a real connection of people. It’s very profoundly different. And you can still feel different even when you’re watching – you can even watch a video of a story that’s told beautifully from the heart and still have a bit of that connection.

Does that answer the question?

Paul:                                            Yes, it does. It brings me to the art of the storyteller.

Jenni:                                           Yes.

Paul:                                            For many years, we seem to have allowed big Hollywood blockbuster multimedia solutions to tell the stories to a western world.

Jenni:                                           That’s right. They are our storytellers now, yeah.

Paul:                                            What is changing? How is it changing? And why is this back to local storytelling, heart-to-heart, eye-to-eye, why is that important?

Jenni:                                           I think what’s jumping out of my head at the moment – that’s a big question. I’m pondering. But it’s like, “Think global, act local.” So the beautiful thing about storytelling is that, as I was saying to the participants, firstly, the most important thing in terms of the art of the storyteller is to tell from the heart. If you’re the shakiest most nervous person with no drama training, if you tell the story from the heart and you understand that the story needs to come through you, that you’ve chosen the story thoughtfully, then you can honor that story.

                                                      You don’t have to be an amazing performer or have an amazing voice or anything or any experience to tell a story well. It helps to be around other people who are telling stories. And that’s what people have just found. But ultimately, it’s just about telling from the heart.

                                                      I’ve lost my thread. Where were we?

Paul:                                            I’m just asking about why is this connecting back to the authenticity.

Jenni:                                           Yes, the local. Recently, just last Sunday, I held a concert with my circle of storytellers in Byron. We have a Byron Circle of Tellers. We held an evening of local stories. It was an adult Sunday event and you could only tell a locally set story.

The reason I did that was because many years ago, I was touring in New Zealand. Before I was able to perform to the students, the primary school students, the Māori principal said, “Look, before you do your performance, the kids are going to sing you the song of our mountain.” So, you know how the Māori Mana is so great. So they sang the song of their mountain and they sang the song of their river. And they sang it with such pride and with such manner.

I looked and I was so moved. And there were these little kinder kids in front that were singing in Māori and they’re singing their mountain and they love their mountain and they love their song.

In that moment, I thought to myself, “What kind of a world will we live in if everyone could sing the song of their mountain, tell the story and dance the dance of their mountain, their region and their river?”

Paul:                                            Sorry about that. Thank you. I understand totally the passion of youth. How important is the desire and yearning for young people to have access to meaningful stories, connected local stories?

Jenni:                                           That’s really interesting. There was a wide range of age groups although we’ve made it for adults for particular reasons because we wanted to go very deep. We wanted to be able to tell stories, not only some macabre stories, some sexy stories, some different kinds of stories, but also to be able to go deeper conceptually. That’s why we made it adults only. But there was a wide range of age groups of young adults there and they looked so hungry and so loving it.

Recently, I’ve just been performing for Year 9 students and telling stories to them [within the Southern Cross Uni UniBound events]. Now, I have to say if there are any casual teachers watching us, I work as a casual teacher. I don’t get to tell stories as a casual teacher. I come in as the bottom of the pile and the chances of me being able to settle them long enough to actually sit and listen to me tell a story are nothing at all.

But in this setting, it was all set up beautifully. Once I got rolling, they just sunk into that space. It’s really interesting. Even this generation that we think of as digital natives that couldn’t bear a story, I was telling them the story. I did unpack it a little bit for them. I was telling The Heroine’s Journey and The Hero’s Journey. This is a story that you can use as a roadmap for your life. So we unpacked it a little bit:

These are the characters.

This is what it means in your life.

This is how this happens internally.

This aspect of the story, this can also happen in your life and anything challenging at all.

We were also talking about the inner critic.


This was a low socioeconomic group who probably had – I mean all socioeconomic groups can experience hardships and emotional hardships, but this group felt particularly like they’ve been through a lot.

When I started talking about the internalised inner critic being represented in stories by stepsisters and stepmothers – all apologies to stepsisters and stepmothers – they got it! They really, really got it. They were just totally there in the story, [even though] they probably had never heard a storyteller tell a story before. So it works it’s magic.

Paul:                                            We think of telling stories to young people. What happens? Where do we go when we listen to a well-told story?

Jenni:                                           Yeah, a beautiful question. We go deep to a collective space where we’re all united in experiencing that story. When a storyteller starts telling the story as a gift and when you become a channel for the story and you allow yourself to really get so comfortable in it, so relaxed in it, so in tune in it. And this takes some experience. Some people might find it easier quickly.

                                                      The art of it is to choose the right story for the right audience for the right occasion and then to tweak it according to their mood at the time and what’s just happened. So you end up intuitively doing that. What that means is that the story lives in you differently every time you tell it.

                                                      As you tell it, as you get out of the way, you’re not performing. It’s not about me. It’s about the story coming through me. I have to get out of the way. Every skill that I bring enhances the beauty of the story in some ways. But even if I don’t have these technical skills, if I am connected soulfully to that story and I’m imagining it, the audience will imagine it. The beauty of a story in that way is that they’re all imagining in their own way.

                                                      There’s also a form of hypnosis that happens with storytelling that can happen when you’re reading a book or when you’re reading a book to somebody else. There is that, “I have ingested that story. I have integrated that story and I’m retelling it and my whole being is resonating with that story, your being will resonate with that.”

                                                      There is a way of imagining that the storyteller is casting that golden net over the audience. But the story lives between me and the listener, between the storyteller and the story listener and we are co-creators of the story.

                                                      If you sit there and play with your mobile phone and you cross your arms and you look away and you’re distracted, there’s only so much that I can do. If I’ve got a guitar and a microphone and a song, I can sing the song no matter what you’re doing. I won’t enjoy it as much, but I can still do it. Telling a story with a disinterested audience is much more difficult. And telling a story with a fantastic audience is like a sublime riding a wave instead of fighting a current. It’s a very co-creative, very intimate experience. It’s very co-creative and the story lives and hovers between you. So, as a storyteller becomes more experienced, they will sense what the audience needs and that will come into the story as it flows through everyone.

Paul:                                            We’ve got only four minutes left of tape here, but I’m interested in the notion of place and the holding of space. In that last response, you’ve spoken about the importance of the connection between the storyteller and the listener. I’m interested. You said the other day when you were doing that workshop that the space was set up appropriately. How important is the place in which you tell a story and the space, the curation of the space? Where are the new places that we’re going to to see stories? We either watch television or we go to the theatre or cinema. Which places work best do you find for storytelling and listening?

Jenni:                                           That’s a good question. It’s something that makes it not straightforward to hold the storytelling event because you need it. As I was saying, you’re very vulnerable to your audience, but you’re also very vulnerable to your external setting because it requires not only a lot of concentration by the storyteller, but by the story listeners as well because they’re going into a trance state. They’re going deeply within themselves and imagining.

That takes an enormous amount of mental focus to imagine the story in your own mind and you’re also interpreting all the nonverbals that you’re seeing in the storyteller. That takes a lot of concentration.

If there are alarms going off and people are talking loudly and all that sort of thing, it’s much more difficult listening. Even seeing maybe a theatre show, it takes maybe even a little bit more focus. So it’s very important.

I mean, it can happen anywhere where you can shelter yourself. Well, we did it in a local community hall recently, but we went to a lot of effort to create a homey space. We made it like we were in our lounge room. We put carpets. We put lamps. We put candles. We made a little enclosure around the group so this big hall felt more cozy.

So you’re doing a little bit of attention to detail. And at the same time, a story could happen in a car. It could happen on the beach. It can be amazing what can happen. But ideally, you need a bit of focus.

At the same time, I’ve been to England, at the Lakes District and I [went along to] a storytelling club that happened in a pub, but it was in a section of the pub. And when they got a drunk, crazy man talking over them, they said, “We’ve never had this before. This is awful!” It didn’t help.

But in answer to the other question that I forgot to get back to, “thinking local, act globally,” I think that storytelling is another way of helping us to connect to our love of place through story. So we can tell stories of country, but those non-indigenous of us who desperately love our place, we can celebrate that by telling other stories of country.

What I was thinking when I saw that Māori song, was that the more that we tell the story of our country and that we sing the song of our country and we dance the dance of our story, the stronger we are embedded in it and the more we will defend it. And then we will be inspired to get off the couch and actually do something about it. The more that we share stories in community, we’ll be more bonded to our other community members so that we can actually work together harmoniously.

So it has many knock-on effects. And that was what I was humbly hoping would come back from that.

But it’s a fun night for whatever reason. We had stories from Rochelle Ferris [daughter of Lance Ferris] of Australian Sea Bird Rescue (ASR) talking about diving on Julian Rocks. We heard stories about our local Snakeman [Morrissey] from the 1800s [and a flood story from the 1970’s]. We heard stories about Tilly Devine [the Sydney Bordello Queen of the 1920’s] coming and visiting [someone’s relative[. So there are some colourful characters. We had Lois Cook, an indigenous elder and custodian who came and told creation stories in versions I’ve never heard. And it was just beautiful and it felt very heartwarming.

Paul:                                            Jenni, if people want to learn more about you, your work and the network of people you’re connected with, how can they do that?

Jenni:                                           Okay. So personally, my website is And you can follow the links there. If people want to know more about storytelling in Australia, there are storytelling guilds and circles in most states, in about five of the seven states, which you can find through my website, I’m pretty sure or  e-mail me if you can or you can Google them.

It’s very strong in Victoria, very strong in Sydney. There’s going to be a national mini conference coming soon [held by the Australian Storytelling Guild (NSW)]. A national conference happens every second year, so the next big one will be next year.

There is Australian Fairy Tale Society, which I’m presenting an adaptation of Red Riding Hood set with a dingo instead of a wolf. That’s going to be happening in Sydney.

Then if people are interested in therapeutic stories, you can look up the Healing Story Alliance [or healing story].org, which is a fantastic resource. So yeah, glad speaking to you again.

Paul:                                            Thank you so much for chatting with me. Thank you.

Jenni:                                           Thank you.



Green Storytelling, Bread for the Soul and David Whyte

Written on May 27, 2015


I just got asked three great questions about storytelling and my upcoming Green Storytelling workshop in Indigiscapes, Capalaba.

    1. Why tell stories? (in an age of mass distraction)

    2. How can stories help ME? (ie: in this ‘i-generation)

    3. What can story do for our world environment that won’t otherwise happen? (ie: Why MUST people come to this workshop if they seek a sustainable human future)…

 Great questions. The very dynamic Cr Paul Bishop asked them. He contacted me because he loved the sound of my “Green Storytelling” workshop being held in his Redlands municipality in Brisbane, June 13. Paul was an actor you may have seen on Australian TV -most famously in ‘Blue Heelers’- until he had an epiphany, founded Arts Evolution, which is committed to fostering sustainable human futures and became a local Councillor. Paul suggested a video answering the questions would be good too! Making that is now on my Next Week’s To Do List!

 I am starting with the first question   1. Why tell stories? (in an age of mass distraction)

To do, so I am reposting a 2011 blog I wrote, which quotes the inspirational poet David Whyte. *

I am a professional storyteller. People sometimes look at me blankly when I tell them what I do. “A storyteller?” A confused silence ensues. “Does that mean you …um…read books to children?”

Children are usually not as confused. They just hear the word ‘story’ and get excited. Yes, even this generation of digital natives, will usually sit excitedly, waiting for me to begin.

Jenni Cargill-Strong tells nature tales from her “Story Tree” album at The Living Earth Festival, Mullumbimby Community Gardens.

Adults who find themselves being told a story, sink into a deep calm. They are often amazed at just how much they enjoyed being told a story- something they thought was just for children.

Before I experienced my first storytelling concert, I may well have asked a similar question. It was a concert at the Relaxation Centre in Brisbane in the late eighties. I was attracted by his name: ‘Floating Eagle Feather’. He told us tales from his American Indian tradition from the heart, with dignity and grace. I was deeply moved. As we left, he warmly and humbly shook our hands as a Minister would at the church door. 

Audience Living Earth Festival.

Jenni’s audience at The Living Earth Festival, Mullumbimby Community Gardens.

Stories tap into a very ancient experience, one we have been engaging in since we first began communicating. Research has shown that the human brain is hard-wired to receive information in the form of stories. A listener’s retention of information jumps dramatically if it is given within an anecdote or story. It is an ideal way to get a message across and an especially powerful tool for teachers. It can help us tap into a deeper wisdom. Storytelling can also be used therapeutically, to model problem solving, foster emotional resilience or help people debrief from traumatic experiences. In this Age of Information, we are constantly overloaded with vast amounts of contradictory and confusing information. This makes us hungry for soulful communication. Good stories are food for the soul.

There is a beautiful Scottish Traveller Proverb which explains ‘age of mass distraction': ‘The story is told eye to eye, mind to mind and heart to heart.’

Audience member, The Living Earth Festival, Mullumbimby Community Gardens.

The inspirational poet, David Whyte explains why we need stories more than ever in this ‘age of mass distraction’. Here is an extract from ‘Loaves and Fishes’

This is not
 the age of information.

This is not the age of information.

Forget the news, 
and the radio, 
and the blurred screen.

This is the time 
of loaves 
and fishes.

People are hungry 
and one good word

is bread for a thousand.

from The House of Belonging ©1996 Many Rivers Press

If you want to see some environmental storytelling in action or hear me explain ‘Why Stories Are so Powerful’, go to my You Tube channel.

* David Whyte just happens to be touring Australia now and will be in my neck of the woods (Byron) this Saturday. When I replied to Cr Bishop with the quote above, he said,


“The bloke I was speaking about this morning, Daryl Taylor, who lost his house and observed fragmentation within his community in the Black Saturday bushfires is a community development officer and strategic thinker of the highest order. I spent last night and this morning interviewing Daryl. His recent obsession with David Whyte lead to me being given a copy of his CDs which I have begun listening to today.

“Cue the unfolding zeitgeist…”

Stay tuned for answers to the next two questions and the video! I will be mixing with lots of environmental thinkers this Sunday as I ponder my answers to the remaining questions at the ‘Leaf Festival’ in Logan, where I’ll tell some green tales. Do join me if you live near Logan in Brisbane!

Sunday, 31st May, Storytelling for Families, Leaf Festival: Refill not Landfill, Griffith University Logan campus at Meadowbrook, 3 x 30 mins sessions. Times: 10.30 am, 12.30 and 2pm

Enrol now for my ‘Green Storytelling’ workshop, Sunday 16 June, 2015  here.

FB Event page here 

Jenni Cargill-Strong tells nature tales from her "Story Tree" album at The Living Earth Festival, Mullumbimby Community Gardens.

Jenni Cargill-Strong tells nature tales from her “Story Tree” album at The Living Earth Festival, Mullumbimby Community Gardens.


The Russian Cinderella and Mother’s Day Gifts

Written on April 13, 2015
Artist: Milo Neuman

Artist: Milo Neuman

As we all know, mothering is a pretty big job. Modern women have parenting courses, books and blogs to help navigate this challenging pathway. In ancient times, some cultures had initiation rites, not only for young men, but also for young women. These rites of passage helped girls to overcome their fears and develop resilience and resourcefulness. If they passed the challenges, they would win the right to marry and become a mother. The Russian folktale ‘Baba Yaga, Fair Vasilisa and the Wise Doll’ (made famous by Clarissa Pinkola Estes in her book “Women who Run with Wolves”) was the story frame for such a rite of passage.

These days, it is not only children who need empowered, resourceful women as mothers, but the world needs empowered, resourceful women! In 2009 at a Peace Summit, the Dalai Lama said ‘The world will be saved by the western woman.’ Whether you think the Dalai Lama is right or not, women need strong story maps to support and guide them in challenging times. In order to bear witness, stay focused and take action in a world of information overload, where we are barraged with irrelevant trivia as well as enormous amounts of bad news, we need discipline and discrimination. These skills are explored in the Vasilisa tale.

There are many similarities between Vasilisa and Cinderella at the start of the stories. Both have lost their mothers, have an absent father, a cruel stepmother and stepsisters and both girls receive a magical gift. There the similarities more or less end. In Cinderella, the wise mother figure is the Fairy Godmother, who is pretty and sweet. In Vasilisa, the wise mother is the terrifying and ugly crone-witch, Baba Yaga. Her character is derived from a more ancient earth goddess and while she is fearsome and lives in a house made of bones, she teaches Vasilisa to let go of niceness in order to live more honestly and powerfully. The Cinderella tale represents as desirable feminine qualities prettiness, niceness and sweetness and marriage to a prince as the ultimate reward. The Vasalisa tale celebrates feminine courage, insight and wisdom which is represented as it’s own reward.


The Workshop: ‘Baba Yaga, Fair Vasilisa and the Wise Doll’ May 3, 2015

In a few weeks, on a full moon Sunday in between Samhain and Mother’s Day, I will be co-facilitating an afternoon workshop for women, ‘Baba Yaga, Fair Vasilisa and the Wise Doll’ in Brisbane with the very talented and passionate Lynette Lancini. Lynette’s creative work spans music, movement and wellbeing. A fluid and intuitive pianist, her compositions have been performed, broadcast and toured by the Muses Trio, Topology and the Queensland Orchestra. Lynette is based in Brisbane and is mother to four sons.

Women are invited to unwind, expand and drop deeply into the spacious underlying stream of being, as storyteller Jenni and improvising pianist Lynette create a supportive and guided story and movement workshop to help women connect more strongly with their intuition, insight and power. Lynette Lancini explained, “Wholebody Focusing is a way to create a space for experiencing wholeness of Self and ways of meeting that are complementary and non-competitive. In doing so, places in us that have learned to shut down awaken to their own possibilities for living newly. ” Details of the Brisbane story and movement May 3 workshop below and here.

(I will also lead a different workshop ‘Brave Vasalissa and Baba Yaga: storytelling and doll-making workshop for women’ in Brunswick Heads on Sun, May 31. Details at my programs page. )

Listen to me retell Baba Yaga and Vasalisa  on ‘The Heart of the Story’ Bay FM 99.9 here:


When: Sunday, May 3, from 1.00- 5.00 pm

Where: Bardon, Brisbane.

A delectable gluten free afternoon tea provided. Early-bird price expires 20 April.

Info and bookings:

Enquiries: or 0401 401 502.



Lynette Lancini

Lynette Lancini

AFTS (Australian Fairy Tale Society)

If you are interested in fairytales in general check out the AFTS (Australian FairyTale Society) website and FB page

and you can read fine blogs such as this one by InkGypsy ‘on Cinderella’- the latest Disney version:


Further links relevant to Baba Yaga

This video “The Ghost Of Earth Day Present” – A Master Shift Original brilliantly illustrates the way of seeing of Baba Yaga. She and the lit skull she gives as a gift see things AS THEY ARE- even the harsh things. No rose coloured glasses. I feel this is the biggest challenge of our times is to tune in to what is really happening without becoming so overwhelmed that we are like frightened deer staring at the oncoming headlights. We need the courage to trully see, but the ability to discriminate between what we should expose ourselves to and focus on and the wisdom to know what to do. The Ghost of the Earth is a great illustration of that.


FOR FUN: Russian Witch Baba Yaga’s Guide to Feminism


‘Reaching for The Moon’ got an award!

Written on April 9, 2015

My latest CD ‘Reaching for The Moon’ (released late 2013) won an international award- and I am now officially able to announce it. It is higher than all the previous awards. My previous three albums each won Honours in the ‘Storytelling World Awards’ which is runner up. This album has WON the category, alongside internationally renowned storytellers like Elisa Pearmaine and Dianne de Las Casas. A great honour indeed!Storytelling Award Winner sticker_120415

See Category 6 Story Recordings

YIPPEE!! Thanks Storytelling World Awards and Dr Flora Joy who co-ordinates it!


2015 – Year of the Yin Wood Sheep

Written on February 22, 2015

Happy Chinese New Year! If last year was pretty intense for you as it was for me, there is good news. According to Chinese astrology this year SHOULD be calmer! My friend Jacquelina sent this to me, the best explanation of the Year of the Sheep or Goat that I have come across. So have some fun and read this article by Karen Abler-Carrasco.

Deputation by Peter Eckersley

Deputation by Peter Eckersley

‘Finally! The galloping horse comes home to rest and transform into a quiet sheep, grazing within the comfortable bounds of her beloved flock.  Is anyone a little saddle sore? Longing for a warm, scented bath, a home-cooked meal and some quiet time in a soft bed?  Good news, everyone, the gentle, generous Sheep Year is here to provide that!
‘The speeding Yang Wood Horse Year of 2014 brought both invigorating new growth and disturbing upheaval to the terrain of our lives.  Many outdated structures and beliefs got trampled, while fresh alternatives and daring choices beckoned on the horizon.  Most of us endured some uprooting of old routines or even radical shifts in the direction we thought we were headed prior to riding that wild horse.  The trick was to steadfastly trust our lightning-quick intuition and Cosmic Help all year long.  Some of us spontaneously jumped into new work and play, some of us coped with unexpected or uncomfortable lifestyle shifts, and some of us just sat by the continuous stream of change to wait for calmer waters.
‘That slower pace is with us this year.  On February 18th, 2015, we begin the Yin Wood Sheep Year.  This year, the exuberant upward and outward propulsion of Yang Wood will reverse itself and turn downward and inward in its Yin form, allowing us to catch our breath, find our footing and take the time we need to adjust to the budding new life being offered.  The new realities we encountered last year, like young bare branches stretching out to the sky, can become sheathed in the soft foliage of refined details and newly flowering skills and priorities.  This year, Yin Wood will offer deep roots into our innermost selves, where the essential nourishment of personal comfort and security reside… ‘

Young environmentalist helps clean up the sea for Shelley and her friends

Written on January 5, 2015

This reposted blog relates to my story ‘Shelley and Rustle’ from ‘The Story Tree’ CD, in which ‘Shelley’ a Leatherback turtle, eats ‘Rustle’ the plastic bag Rustle. The story tells of this misadventure and what happens next.

The post below was written by 9 year old Kailani who lives with her family on K’gari or Fraser Island. I just connected with her passionately nature-loving family after they ordered my CD’s ‘The Story Tree’ and ‘Reaching for the Moon’. Inspired by her mother Bianca’s blog, Kailani, started one of her own ‘Kailani’s Island Life’! Pretty impressive!

Kailani’s mum Bianca wrote this about their response to that story:  ‘Kailani, Iluka and I have been delighting in the beautiful stories and songs of Jenni Cargill-Strong recently – they are truly wonderful. The messages in these stories seem to embrace so much of what we value and the vision we have for our world. This story about a plastic bag is fabulous and fits perfectly with the Take 3 for the Sea project we did and our campaign to encourage businesses to become plastic bag free. Listen here.’

Be inspired by Kailani’s passion for the environment.

Take 3 for the Sea Project Part 3

This final “Take 3 for the Sea” post is about how much rubbish we actually collected, if you like numbers you will like this post :)

After just 9 days of collecting rubbish this is what we found!


Look at allllll this rubbish!!!!!

Where did it all come from?

A lot of people think the rubbish has washed up from Asia or dropped here on K’gari. Yes most of it is washed up but from Sydney and Brisbane not Asia. There is a current called the northern inshore drift which starts around Sydney and pushes north.

Some of the rubbish is also dropped here like beer bottles, cans, plastic bags and food wrappers. 4 left foot thongs were also dropped here and left behind, ha ha :)

What I learnt from the project.

  • I learnt that the little pieces of rubbish are as dangerous as the big pieces maybe even more dangerous.
  • I also learnt that we need to care for our planet because its the only one we have to live on forever

I have made this little video to share with you all.


What can you do to help?
  • I have written to the local Mayor to ask about Hervey Bay becoming a plastic bag free town, we have already had people tell us they will write a letter as well. You can write to your local Mayor and ask if your town will become plastic bag free and tell others to do the same, every little bit helps.
  • You can also reduce your consumption, especially at this time of year when people feel like they have to get their friends and family presents.
  •  Pick up rubbish when you see it and remember together we can make a difference  :)

Facts about our collection:

  • 421 pieces of rubbish could be easily identified and I estimated that we collected about 500 more pieces than that.
  • 33 of the pieces we collected could be easily recycled. That’s less than 10%!
  • Iluka and I are reusing 58 pieces in our games. That close to 15%
  • We collected 20 plastic bags and 88 pieces of plastic wrapping. That’s 108 pieces of plastic in total!!!!  This is the type of stuff that makes turtles sick :(
  • We have also collected 68 pieces of plastic rope and 85 pieces of polystyrene!!! That’s a lot.
  • We have collected close 1000 thousand pieces of rubbish!!!!



How to write a personal story by Sam S. Mullens

Written on December 21, 2014

I am curating posts mostly until the new year. Then I’ll write some more of my own. But I couldn’t better this great article on how to craft a personal story for public performance by Sam S. Mullens. Thanks to Jackie Kerin for sharing it.

So You Want to Be a Storyteller?

Sam Mullins

Sam Mullins

Really? Even if people won’t want to date you ever again for fear that you’ll one day talk about them on stage? You’re sure?

Okay. Welcome aboard.

Here’s a cheap glass of wine. Where we’re going, you’ll need it.

I’ve got to tell you – I think you’ve picked a great time to get into the story game. I mean, with the success of storytelling podcasts like The Moth, RISK!, Definitely Not the Opera, Snap Judgement and This American Life millions of people are now aware of the phenomenon of modern storytelling. Just about every city in North America now has a regular storytelling event, and there seems to be more opportunities for storytellers than ever before. For raconteurs like us, the getting has never been good-er.

But before you start speaking your heart into the crackly microphone at the local roti place’s storytelling event (at which no one is there to actually hear stories [they’re just there for the roti]), there’s a few things we need to talk about.

Firstly: Storytelling is magic. It is capable of changing people’s lives in a way that few other forms of expression can. A well-told story will make a room laugh as one, cry as one, breathe as one. It can bring people together in a way that almost nothing else can. It is truly a special thing.

Alternately, storytelling is also capable of being the *@#!~* !! worst.

Being held captive by a terrible, meandering, long-winded, self-indulgent piece of shit story is worse than anything imaginable. When a bad storyteller is at the mic spinning their self-satisfied yarn, weaving in and out of tangents that lead nowhere, there is nothing more painful to sit through. Your blood pressure rises. Your eyes roll so far back they might never come back.  You’re stuck in your seat helplessly longing for a happier time – like the time you were on hold with your cellphone provider and a knife hit you in the eyeball.  You’re a hostage! You’re THIS GUY!

And unfortunately, pretty much every storytelling event will have at least one hostage-taking situation a night (if we’re lucky), and I don’t want you to ever be the one at the microphone when it happens. 

That’s why I’m here to help.

When you tell a story onstage at your next live event, I want you to crush it. And if you let this advice sink in, I promise that you will.

1) If you’re running long, you’d better be KILLING, buddy.

Thing I’ve never thought after a story: “I wish that story went longer

All storytelling events have time limits. Most are 10 minutes. And I’m telling you, if you’re going to be a storyteller, keeping your stories within the time limit is the single most important thing you can do when you are starting out. Because it will make the producers trust you and like you and want to invite you back. Not only that, but learning how to make the required cuts will make you a better writer, it will make the audience more comfortable and your story will be WAY stronger. Trust me. The worst stories are ALWAYS the longest. ALWAYS. Because who tells a story that goes way over the time-limit? Someone who doesn’t think our time is valuable. Time it. TIME IT. FOR THE LOVE OF GOD, TIME IT. I would rather sit through a 10-minute piece of shit than listen to a middling story that runs 5 minutes over the limit. Because the 10-minute story had more respect for its audience.

2) Outline.

You don’t need to write out the whole story, but you do need to have a road map. Some of my favourite storytellers like Martin Dockery and Peter Aguero don’t write down their stories at all because they are freaks of nature. BUT! That doesn’t mean that they don’t know exactly where they’re taking us. Know your structure. Know where and why and for how long you’re taking us. Basic story structure is a beautiful thing.


Know exactly what your story is about. Then, get your Michelangelo on, and chisel away everything that isn’t David.

3) Punch it up. 

There’s always a more unique and interesting way of saying things.

How happy were you that week?

“When I walked down the street that week, my gait looked like end-zone dance.”

How did you feel when you told her that you loved her for the first time?

“Vulnerable. Like I was bungee-jumping naked over shark-infested waters while being broadcast live on TMZ.”

Find a way of saying things that no other human except you would come up with. Be a snowflake who marches to the beat of your own synth.

4) That opening sentence or two is crucial.

Get us! Grab us! Right now! As soon as possible – and by whatever means necessary. Whether by using a joke or a cryptic hint or a surprise or by simply taking us to the opening scene as quickly as possible. Have an opening line that makes us put down our phones and lean in.

You might not suspect from looking at me, but I lead a double life.”

Every family has secrets. In my family, the secret was me.”

It was one of those breakups where all of your stuff ends up in trash bags and you have 5 minutes to find a new apartment and once you do, the last thing you want to do is unpack those trash bags because they contain a lot of raw emotion.”

5) Oh, there’s a moral? Yeah. We know.

I’ve seen so many storytellers totally stick the landing on the climax, but then instead of winking at the judges and walking away triumphantly, they will inexplicably start ham-fisting their way through the moral(s) of the story. Dude! You were so close!

Tying a nice bow to the end of the story can sometimes be the exact right thing to do. But if you do, just keep it clean, concise, and make sure you’re giving us something that we haven’t already deduced on our own.


  • Storytelling audiences are the smartest. They get it.
  • Different people will take different things away from your story – and that’s okay. Don’t tell them what to take away because all stories are about multiple things.

Remember at the end of Full House when Uncle Jesse and Uncle Joey would sit next to Michelle on the bed as the cheesy music swelled and they’d teach her about all the life lessons she’d learned from the episode we just watched? Don’t do that.

Just give Kimmy Gibbler one last zinger and hit the music.

6) Don’t get hung up on the theme.

Lots of storytelling events have a monthly theme. I always love reading what the upcoming themes are because very often a theme will dislodge a long-forgotten story from the back of my brain. “Oh yeah. I DO have a story about GARBAGE.

The unfortunate side-effect of themed events is that lots of storytellers feel the need to explain to us in excruciating detail why their story is appropriate for the theme. Or they’ll tell us the story of how they decided which story to tell us, “When I first heard that the theme this week was Freedom, I thought of blank, blank and blank.”  JUST TELL US THE STORY!

The theme will be a dot and your story will be a dot and then we’ll connect them with our minds.

7) Sometimes it’s too soon.

I’m guilty of making this mistake before. All of my favourite stories are always ones of pain and finding the light in life’s darker moments. Sometimes as a storyteller, we’ll be going through something very challenging and will want to take it to the stage – like losing a loved one or having our heart broken or surviving a trauma. If you’re taking it to the stage, though, remember: It’s very difficult to paint a picture of a whale when you’re still trapped in its belly.  Make sure you’re in a solid emotional place and you’re recollecting from a safe distance if you’re talking about the tough stuff. A good rule:

If you’re not ready to laugh about it, then we’re not ready to be sad about it.

8) Keep it fresh.

One of the biggest challenges of being a storyteller or comedian is that you have to take this thing that you’ve obsessed over, written down, rehearsed, outlined, said hundreds of times and then make it seem spontaneous and off-the-cuff every night. One trick that I find helpful when I’m running a story alone or with a friend is that I’ll challenge myself to tell the same story using slightly different language each time. Sprinkle in a few moments where you have to grasp for the words. Have a different way of describing the smell of the car every time. Set some booby traps for yourself along the way so that you’re forced to think on your feet in the present moment.

Sometimes when I’m trying to find the 20th new way to describe the smell of the car, is when I’ll find the perfect one and keep it.

9) “Look ‘em in the eye and speak from the heart.” -Louis CK

Storytelling has one gimmick: Heart. Use yours.

Be vulnerable with us.

10) Become a story aficionado.

Thousands of the best stories you’ve ever heard in your life are available. FOR FREE. RIGHT NOW. The Moth storytelling archives arestaggeringly good. Listen to: This American Life, DNTO, RISK! and Snap Judgement. They’re all free. FREE!  Listen to as many as you can.  Listen to brilliant storytellers like Mike Birbiglia and Tig Notaro and Elna Baker and Adam Wade. Dismantle their stories. Why was this one so effective, and this one not so much?

Become a student of the game.

11) Pet peeves and things to avoid.

My friend Peter Aguero has hosted his fair share of story events in New York and has probably heard more live stories than anyone I know. So I asked him for some of the things that irk him as a listener. Here’s what he said:

I don’t like when someone strings together a series of representative anecdotes to make a point in trying to tell their whole life story in 10 minutes. Everything ends up on the surface and there’s no detail. They end up nottelling us ten stories instead of telling one.

I cringe at the phrase “…and in that moment, I realized…” – I don’t know why, I just hate it.

I don’t like when people say, “if you’re not familiar with (whatever), it’s (explanation). Just explain it or don’t. Asking rhetorical questions reminds the listener that they’re listening to a story. It takes me out of it. You were going to explain it anyway, just explain the thing

True dat.

To add to Peter’s list, here are a few of my own:

Defining words in a reading-from-the-dictionary-type fashion makes us feel like we’re at a commencement address or like the bride’s childhood best friend is at the mic. Steer clear.

Soapboxing is the worst. We’re here for stories, not to hear you plagiarize a conspiracy theory website.

The microphone is your friend. Talk into it. If your voice sounds loud, that’s good – it means it’s working.

Know how to ride a laugh. Let the whole laugh happen before you continue. You’re doing great.

Never start by saying “My story is…” or end with “That’s my story”.

12) Some tips from the PROS.

I asked a few of my most accomplished story buds for wisdom that they’d like to pass on to storytellers who are just starting out. Here’s what they said:

Kevin Allison; Creator/Host of RISK! Podcast

Zero in on an especially emotional moment you had and begin to reconstruct what you recall seeing, hearing, thinking and feeling.

TJ Dawe; Legendary Canadian Monologuist

Make your story specific. You might want to make it general, so that people will relate to it. Strangely enough, the more grounded it is in the specifics of your life, the more universal it will become.
Don’t be afraid to be vulnerable. Your weaknesses, your failures, your sillinesses, your anxieties, your contradictions, your self-sabotage – this is the stuff of good stories.
If your natural conversational rhythm is fast, pauses are your friend. And vice versa.

Be willing to cut a good line, or a good paragraph, or a good story altogether, if it isn’t working, or if it doesn’t add to the whole. The fact that you wrote it, and that it was hard to write isn’t justification enough to keep something. You’re not in this to avoid work.

Watch and listen to the audience. You’ll learn from every audience. Their laughter will cue you. Their silence in dramatic parts will cue you. Their restlessness and inattention will cue you. A good solo performance isn’t a monologue, it’s a conversation with the audience.
Notice which incidents in your life you keep thinking about, or telling friends about. There’s probably something there that reflects what you’re going through now.
Use contractions when you write. Don’t dress up your sentences in Sunday clothes. Talk the way you normally talk.
Have a specific person in mind when you create. Develop your material with that one person in mind. It could be a friend. It could be your partner. It could be someone you wish was your partner. It could be one of your parents. It could be you. It could be a younger version of you who might have needed to hear this. People can be fabulously expressive in an email, because they know exactly who they’re talking to, and they calibrate their vocabulary and sense of humour and references to that person. And they often become vague and general and clunky when trying to write something for an audience of everyone in the world.

James Gangl; Canadian Comedy Award-Winner; Moth StorySLAM Champion

Write as if no one will ever read your work. When I write like this, I stop worrying about my work being good or bad; I just write. I go for quantity over quality. I like to write fast, write forward and I don’t look back until my first draft is done. Quality will come in the edit.

Write stuff that you plan on burning later. When I hit upon a subject that scares the shit out of me, then I know I have something worthy of writing. Write stuff that scares you… that’s where the gold lies.

Tell the story as if you’re speaking to your friend in a bar. No pretention. No gimmicks. The simplest way from point A to B will become the bones of your piece. The rest is just window dressing and if you have a good enough story it will support all kinds of fun dressing.

Martin Dockery; Award-winning monologuist, Moth Mainstage Performer

Just to get up on stage and do it. And do it as often as possible. It’s the only way to get a sense of how to tell a story, how to find your authentic voice, how to judge pace, timing, and impact. Every single time I’m on stage I learn something, even now, more than a decade into doing it.


And that’s it. That’s pretty much all the wisdom I (and my story buds) can think of.

And y’know what?

You’re going to be great.

Lucky for us, storytelling audiences are the warmest, kindest, best-est audiences of them all. They came to listen. To you. You don’t have to fight to get them or win them over or trick them into listening to you. They’re already on your side as soon as you walk up to the microphone. You have their undivided attention.

Don’t waste it.


Read Sam S. Mullen’s article here.

Last-minute ethical, green XMAS Buyers Guide

Written on December 16, 2014

Xmas tree sticksDo you need ideas for a last minute, low stuff, low impact Christmas? This is not meant to be stress inducing. As we transition not all our choices may be 100% green but with some awareness we can still minimize our Xmas impact! It is a bit late but there are many things you can buy online to speed things up. TODAY is the latest day to order from me safely to get in the post in time for Xmas. Here are some ideas and links. (Scroll down for Story Tree giveaway: colouring in page to download and a sweet and quirky nature loving Xmas story.)


If like me, you have been so busy with work that your Xmas shopping got behind and you’d rather not go hunting the shops for junk no-one really needs or wants, here are some last minute ideas.

Buy digital downloads- you can email them tracks or print details and put into a card for the day. Story Tree downloads are here.

Buy idevice audiobook subscription Tales2GoDoes your family love stories and also use idevices- ie ipod, ipad, iphone? Here is an idea to boost literacy and enjoyment for whole family with a free trial to test it out first. StoryTree tales are on there. Search catalogue for Jenni Cargill-Strong here.

Buy experiences, not things: eg tickets to a concert, buy a gift certificate for a massage or workshop voucher from a local OR check out Red Balloon. Hand them a voucher on Xmas day.

Buy donation certificates from charities- especially good for the person who has everything. I love Kiva, a microloan system; Greenpeace and Orangutans. What’s your favourite?

General Ethical Buying Principles

Buy local: reduces carbon footprint from transport and supports local economy, driving the ‘multiplier effect’- the more money you spend locally, the more jobs you create locally, so the more the money there is in the economy which if spent locally creates more jobs and income etc).

Buy from artisans, independent artists and small businesses: with multinational corporations responsible for huge impacts on the planet and society, spread the love to smaller businesses.

Buy fair trade goods: avoid made in China where workers conditions poor and carbon footprint very high.

Buy long lasting, quality goods: Ask yourself how long will this last? Will it biodegrade?

Buy local and/or organic food and minimise food waste by catering conservatively, rather than extravagantly

Buy recycled stuff

Use recyclable wrapping: eg fabric

OR Buy NOTHING: the most radical of all!


As my US environmental storytelling colleague Fran Stallings likes to say, “There is no ‘away’ to throw things to.” It will all end up in our overflowing landfills.


Story Tree CD’s: An environmentally friendly gift recycle_logo_green

You won’t be harming the environment by buying this album. All Story Tree album covers are printed in Australia, on recycled cardboard and printed with soy-based ink in a cover which uses no plastic or wrapping. The disc is the only plastic involved. This means the CD’s are very thin and extremely cheap to post, if you are looking for a quality present to send. If you buy digital downloads there will be no plastic involved and your download will last a lifetime also. CD BUNDLE: ANY 4 CD’s for the price of 3, STILL only $65, including FREE postage! Order by Tuesday 16 Dec 8pm to receive for Xmas. ORDER NOW

My favourite online sites:

 Stories and songs from Australian teller Annie Bryant

Dragonfly Toys

Natures Child for babies and young kids

Planet Corroboree Aboriginal and local art, craft, books, clothes

Stainless steel lunch boxes


xmas_waste and recycling


Learn more:

Australian Ethical Xmas Shopping Guide

Story of Stuff

Great Article with ideas Help! I Don’t Want More Stuff for Christmas

Minimalist movement video Australia

1 Million Women- Australian organisation mobilizing against climate change.




Story Tree Colouring in Sheet

Would like to download and print out a blank version of my Story Tree backdrop for your children to colour in? Follow this link to my Resources page and see it under heading “Colouring in Sheet”.

“The Fairy at the Top of the Xmas Tree”

If you haven’t gotten it from me yet, read and listen to this tale here. YOU could tell by your Christmas Tree this year. Locals can hear me tell it this Saturday at Byron Bay Library.


Storytelling Concert FB event poster 2014‘Christmas and Summer Solstice Stories and Songs’
WHEN: Saturday, December 20 at 10:30am – 11:30am
WHERE: Byron Bay Library
Join storytellers Jenni Cargill-Strong and Annie Bryant for a FREE concert of stories and songs on the theme of the Christmas spirit and the Summer Solstice for families. Suitable for children 3-9 years. See our FB event page. Both of us will also have our albums for sale at this event.


A VERY happy Summer Solstice to my southern hemisphere readers and a very happy winter solstice to my northern hemisphere readers! May your holiday season be full of joy and peace!!

Holly Sierra sun

Sun by Holly Sierra. You can order from her website or Etsy.


Written on December 11, 2014

There are lots of story fruits here to enjoy- for story lovers young and old!

Our most popular offer is the CD Bundle Deal: $65 for 4 CD’s with FREE postage at the story shop page.

Jenni Cargill-Strong

Australian storyteller, Jenni Cargill-Strong telling nature tales at ‘The Living Earth Festival’ in Mullumbimby.



award-winning story CD’s to buy (for individual CD’s, click on CD cover art ->)
read applause from fans of Story Tree CD’s

stories to download

story shows
story coaching and story courses
book Salty Pete the Pirate for a party

storytree tales on iphone app tales2go



stories to listen to and watch
story tree colouring-in page
stories to read
stories radio via airwaves and online: Australian “The Heart of the Story” and US  “The Apple Seed” 
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