• Children whose playful and un-auditioned embodiment of the sacred stories allow the audience to suspend judgement and rediscover childlike moments of trust.
  • Honesty in presenting the conundrum of the human experience as our primary access point to sacred story.
  • Tradition which holds sacred stories in the context of the gathered community and passes the stories in trust from one generation to the next.
  • Symbolic language and imagery that has the power to move the audience beyond cognitive either/or thinking into a unitive/paradoxical level of spiritual wakefulness.
  • Peace-building where sacred stories are presented not as exclusive or competitive but as a means of bridging religious divides in order to share ways of accessing our common humanity, suffering, hope, love and God.
  • Cultural diversity, both traditional and contemporary, where storytelling traditions provide a context for appropriate cultural exchange, learning and stewardship.
  • Liminal space as the unseen dimension between stage and audience, teller and listener, hope and despair, where Divine Presence is found.
  • Spiritual practises that nurture a relational connection and an awakening to the Divine.
  • Whole-body curriculum insists on an integration through learning of a young person’s mind, body and emotional life.