The stories we do and don’t tell about ourselves and these times in which we’re living shape the direction of our lives and our cultures. Stories have the power to alter how we interact and relate. Those who study cultural anthropology and the origins of humanity are finding that cultural stories—the things people collectively believe about ourselves and our capacities—have forever shaped human societies, going back to our early hominid ancestors. In shifting those narratives now, they argue, we have the realistic potential to evolve on purpose as a species. Given the dire, multifront crises of our times—from climate disaster to war to poverty—this kind of cultural and social evolution is desperately needed.
An animated short film, which screened between acts on the big screens of each of the four main stages at the Glastonbury Music Festival in 2022, delves into the idea of story as a means for change. It is titled, “Stories for Life,” and it opens with scenes of fire, a child digging through a pile of trash, plastic rubbage floating in the water, and smoke billowing from an industrial tower.
A narrator’s voice speaks over the imagery: “Life is in trouble. As a species, we are facing multiple crises that we can no longer ignore. At the root of them all is our economy; an economy designed to destroy life; an economy designed by us.”
As the narration continues, a series of illustrated signs seem to lay out the challenges of our world, one by one: “Capitalism is crashing. Society is dividing. Democracy is degrading. Climate is tipping. Ecology is vanishing. Disease is spreading. Inequity is rising. Protest is pervading.”
The film takes viewers through a brief history of humanity’s relationship with the Earth. It delves into the problems of our current ways of living, then offers the potential to rewrite the story of our values, and begin to create livable systems in which value is based on the well-being of all life.
Over animations of cave paintings, constellations, and wildlife, the film reminds viewers that “our ancestors lived in intimate relationship with the more-than-human world” and told stories about, “nature as our family, our guardian, our guide. But then some of… [our ancestors] imagined and created ways to control the natural world. This made them feel more powerful and superior to nature. Separate from it. The more powerful they felt the more disconnected from nature they became. And so they began to tell new stories. Stories that normalized domination, control, and the oppression of life. About how nature is our slave, there to be captured and exploited. They began to scorch, spoil, and suffocate our world. And as they did so, these stories spread, and became common sense.”
This narration comes with animations of the industrialization and commodification of resources: factories, men in suits and wigs, ships with cargo. The film goes on to explain that such stories have led people down the path of greed, grand, hustle, and blind progress, and made people “feel separate, not only from nature but from each other, in constant competition and conflict.”
The narrator notes that these stories then became horror stories of ruined lives and a ruined world, as images of refugee camps, rubbage heaps, and melting ice caps show on screen. “But, it doesn’t have to go on like this,” the narrator says. “We can choose to live by different stories: Love stories about interconnection and interdependence. Love stories that measure success by well-being—the well-being of all life including our own. Love stories about interconnection and interdependence.” Now, the scene is blooming flowers, mycelial networks, collaborative groups of people, and brightly colored animal life.
The film outlines how these “love stories” will lead us to reconnection, so that we can regenerate our relationships with nature and each other, and create a steam that nourishes and supports the life we all want to live rather than destroying life. It closes with the reminder that “we all have the power to tell these stories,” and that many people are already doing so.
The concept behind the film is part of a larger website project launched in 2020, also called Stories for Life, aimed at highlighting stories that support ways forward for humanity and all life. It began as a collaboration between the Green Economy Coalition, Wellbeing Economy Alliance, and the Spaceship Earth, and as its website states: “This project was inspired by the question ‘how do we tell the story of a new economy?’”
The eventual Stories for Life project was co-created by Dan Burgess and Paddy Loughman with the purpose of helping to “create stories that contribute to the re-design of a healthier economy. To bring forth new and ancient stories into our culture, which weave a narrative of interconnection and help us design a new type of economy,” as notes the Stories for Life website.
Co-creator Dan Burgess—a writer, podcast host, and learning guide—says his work centers on supporting the growth of regenerative cultures and creative activism, all aimed at cultural shifts that may “help people remember we are part of a living Earth.” He says in addition to himself and Loughman, there have been many collaborators and supporters, and that Stories for Life’s creators ultimately wanted to help make more readily accessible and clear “the relationship between everyday stories and how they shape cultural narratives, and how those things shape the design of human systems—in this case, the economic system,” he says. “We wanted to help more people understand that and see that in these times, stories are very powerful and we’re all carrying them. So in that sense we all have the ability to make an impact.”
April M. Short is an editor, journalist and documentary editor and producer. She is a writing fellow at Local Peace Economy, a project of the Independent Media Institute.
Source: CounterPunch
