“Until the lion learns how to write, every story will glorify the hunter.” — African Proverb
I. The Power and Problem of the Storyteller
For centuries, the authority to tell a story—and to decide whose truth is heard—has rested in the hands of empires, corporations, and cultural gatekeepers. These dominant narratives have often rendered Indigenous voices, refugee experiences, and queer perspectives invisible or distorted. Yet today, a quiet revolution is unfolding.
Across Manitoba’s plains, the young Cree poet Wahkohtowin records her grandmother’s songs in Swampy Cree on a handheld recorder; in Detroit basements, refugee teenagers produce podcasts about their journeys across continents. These grassroots storytellers seek not permission but space—space to speak in their own languages, space to honor the fullness of their lives.
“Stories are how we pass down survival, dignity, and resistance,” says Dr. Kameelah Rashad, founder of the Muslim Wellness Foundation. “And who gets to tell the story—that’s a justice issue.”
In a parallel move, Bill Owens, the long‑serving executive producer of 60 Minutes, stepped down this April, declaring, “My first loyalty is to journalistic integrity, not corporate spin,” underscoring that even legacy programs face the same struggle for editorial autonomy. Globalization or Nationalism, you decide.
II. Competing Narratives: Liberation and Caution
A. Storytelling as Liberation
For many creators at the margins, storytelling is an act of self‑determination. In Guatemala, Las Historias No Contadas—an all‑women collective—archives Maya memories of displacement and state violence.
“We were tired of being statistics,” says co‑founder Mariela Pop. “In our language, we become human again.”
In Britain, Reclaim the Frame mentors women and nonbinary filmmakers of color, insisting that cinematic art belongs to every voice.
“You don’t need a New York Times editor to validate your experience,” argues grassroots media strategist Chanelle Gallant.Why I started 3Narratives
And in Canada, the Indigenous Digital Storytelling Lab pairs elders with youth to capture endangered languages through virtual reality—bridging generations through shared memory.
B. The Opposition
However, opponents of the decolonizing movement argue that unfettered, community-driven narratives can splinter social cohesion and erode a shared factual framework. They point to the rise of echo chambers, misinformation, and the weaponization of personal stories. As media scholar Dr. Richard Goldstone warns, “A fully democratized press without gatekeepers risks amplifying fringe perspectives that may distort reality,” suggesting that curated oversight remains essential to balance freedom with responsibility.
Echoing this caution, former White House strategist Steve Bannon famously branded the press “the real opposition,” and urged supporters to “flood the zone with shit” — a tactic designed to overwhelm mainstream outlets with sheer volume of narratives so that truth itself becomes negotiable (newyorker.com, time.com). Bannon’s vision of decentralized media proselytizes a populist revolt against traditional journalism, but even he acknowledged the danger: without any common standard, the information ecosystem can collapse into relativism, where every account carries equal weight regardless of veracity. Critics argue that some level of editorial stewardship is necessary to safeguard journalistic rigor, prevent bad actors from exploiting open platforms, and preserve the public’s trust in news media.
III. Principles of Ethical, Decolonized Storytelling
The most vibrant projects share common values:
Co‑Creation: Work with communities, not on them.
Informed Consent: Stories belong to the tellers; consent must be revisited.
Refusal Rights: Participants can withdraw or reshape their narratives at any time.
Cultural Safety: Recognize and respect the historical trauma tied to certain stories.
Project Amplify—founded by formerly detained immigrant youth in the U.S.—embodies these principles. Participants choose what to share, control distribution, and receive trauma‑informed support.
“Every word we speak, we own,” says one teen participant. “They tried to erase us. Now, we write ourselves back in.”
IV. From Margins to Movements
Around the globe, community‑driven storytelling is shaping policy, education, and media norms. In Aotearoa New Zealand, Māori narrative workshops have informed curriculum reforms and land‑rights legislation. In South Africa’s townships, spoken‑word artists harness TikTok to galvanize international solidarity.
“Storytelling is not just remembering,” writes archivist‑activist Aurora Levins Morales. “It’s rebuilding what was stolen.”
These initiatives demonstrate that narrative sovereignty can propel social justice, not as a fleeting trend, but as a sustained movement for equity.
V. Conclusion
Decolonizing storytelling demands more than new platforms; it requires dismantling power structures that have long dictated whose voices matter. By centering community‑driven narratives—rooted in consent, co‑creation, and cultural respect—we can reclaim the stories that define us all.
“When we tell our own stories,” reflects Cree poet Wahkohtowin, “we break the silence and weave ourselves back into the world.”
Reclaiming Ancestral Wisdom and Uplifting Marginalized Voices
A crucial aspect of decolonization involves “reconnecting with our own ancestors – not just the teachings of others, lest we simply romanticize Indigenous knowledge or worse, capitalize on it”. This emphasizes an authentic, personal, and embodied connection to one’s heritage, moving beyond superficial appropriation or academic study to a deeper, lived understanding.
Art and storytelling serve as powerful tools to “challenge colonial narratives that have historically erased, marginalized or appropriated Indigenous wisdom”. They provide an essential opportunity to “recognize and uplift the expertise of communities who have maintained deep connections with the environment for generations” , thereby shifting the locus of authority and knowledge production from colonial centers to indigenous communities. It is critical to reiterate that Indigenous ways of knowing and relating to land and water are not “just alternatives but foundational”. This signifies their central, indispensable role in a decolonized worldview and narrative, rather than being treated as peripheral or supplementary.
Shifting Focus from Exploitation to Reciprocity and Interconnectedness
Colonial narratives often frame nature as “something separate from human life – something to be ‘conserved’ from afar, often through the lens of a privileged outsider”. Decolonized narratives actively dismantle this anthropocentric, exploitative view, promoting a more holistic understanding. Storytellers should “prioritize stories that showcase mutual care, respect and reciprocity and help us relate to Earth as a living, sacred entity with which we depend upon, rather than something to be exploited, ‘saved’ or commodified”. This represents a profound ethical and ontological shift in how humanity perceives and interacts with the natural world.
The vision of a decolonized future includes human settlements that “blend in with our surroundings” and people living “in tune to the rhythms of our waterways and ecosystem corridors”. This reflects a deep, humble understanding of humanity’s place within the natural world, moving away from separation and dominance towards integration and harmony.
The ethical imperative of decolonized storytelling extends beyond mere awareness to authentic representation and relationality. While storytelling is often seen as a means to “raise awareness,” a critical consideration is the “delicate balance between using storytelling to raise awareness and avoiding the unintended consequence of exploiting or disturbing fragile ecosystems”. This highlights a potential negative outcome even from well-intentioned efforts. To mitigate this, decolonized storytelling must embody an ethical framework that prioritizes authentic representation, agency for the subjects of the story, and a shift from an extractive (taking stories from) to a reciprocal (co-creating with) relationship. The goal shifts from simply informing to fostering genuine relationality and ethical engagement. For narratives to be truly decolonizing, they must embody the principles they advocate. This means a shift from a transactional model of storytelling (e.g., using stories for external impact) to a relational one, where the process of storytelling itself reflects decolonial values of equity, respect, and reciprocity, underscoring the profound ethical responsibilities of the storyteller in a decolonial context.
Conclusion: Empowering Decolonized Narratives
Decolonizing storytelling is a profound and necessary act of transformation, challenging ingrained colonial perspectives and fostering new ways of knowing and relating to the world. Even a short snippet can carry immense power when it is imbued with decolonial intent, acting as a potent gateway to deeper understanding and engagement with the narrative.
The creative work in developing a decolonized narrative is not merely a personal endeavor but a vital contribution to the ongoing global dialogue around decolonization, healing, and collective liberation. By carefully crafting a snippet that reflects the depth and purpose of the narrative, the storyteller empowers their work to resonate profoundly with audiences, inviting them into a transformative experience. This commitment to decolonial principles within narrative creation holds significant potential for shaping a more just and equitable future.
I’m a storyteller at heart with a deep appreciation for nuance, complexity, and the power of perspective. Whether it's global politics, social shifts, or television narratives, I believe every story has at least two sides — and it's up to us to find the one that matters most the 3Narrative.
3 Narratives was born from a simple idea: that people deserve more than echo chambers and outrage. Here, I explore two viewpoints and leave the third — the conclusion — up to you.
When I'm not writing, you’ll find me spending time with my son, diving into thought-provoking shows like Better Call Saul, or chasing the next layered story that can change the way we see the world. My other passions include photography, skiing, sailing, hiking and more important a great conversation with a human being that challenges my own narrative.
📍 Based in North America | 🌍 Writing for a global mindset
1 COMMENT
Thanks for sharing. I read many of your blog posts, cool, your blog is very good.
Thanks for sharing. I read many of your blog posts, cool, your blog is very good.