Walt Disney, Snow White and the Seven Dwarfs, 1937 VS Tiziano Vecellio, Morte di Atteone, 1562
Who would have thought to put Snow White, freshly recovered from her harrowing run through the woods and peering out to discover the dwarfs cottage, next to Diana in huntress mode (from Titian's "The Death of Actaeon")? What are your thoughts about this character when you discover Snow White's legs have become those of the goddess, as she is discovering the tragic end of a hunt? When you realize Diana's legs are stepping into a scene of what remains of a man-transformed-to-deer, did the inclusion of the one hiding behind the tree (on Snow's left) suddenly take on a darker tone?
The ideas both conflict and reflect on each other, with your brain encouraging you to try to find a link, since your eye sees the limbs lining up so well. Though Snow White as a hunter isn't quite as foreign an idea as it used to be (thanks to ABC's Once Upon A Time TV series), thinking about Diana and Snow White conforming to each other, creates a new way to look at the fairy tale of Snow White in particular.
Such an image, once you realize what is happening and the sources of the two halves, is incredibly thought-provoking... (Are we at 1000 words yet?)
There is an Italian Tumblr blog that exclusively posts these split-yet-matched images, of which the Snow White/Diana one at the head of the post is one. Two unlikely pieces of art (often a traditional, or classic work and a modern or pop-cultural piece) are juxtaposed, with the main "flow of action" lining up to create a trick for the eye.
Although most fairy tale images used are from Disney movies, the idea of a particular fairy tale versus - or conforming to - a classical painting (or modern installation art), truly makes the viewer look at both pieces of art in a completely new way.
And, of course, it makes us think of those fairy tales in new ways too...
We could probably muse on any one of these juxtapositions for a while but instead, we'll leave you with the images and whatever thoughts they generate for you, though we'd love you to share any flashes of inspiration and questions they may prompt in the comments!
The two pieces of art used are noted below each picture (in the original Italian text from the Tumblr) so you can identify each of them, in case your curiosity wishes you to wander a little further.
Enjoy your fairy tale art meditation today!
Giotto, Compianto sul Cristo Morto, Cappella degli Scrovegni, Padova, 1303-1035
VS
Walt Disney, Snow White and the Seven Dwarfs, 1937
Sandro Botticelli, Annunciazione di Cestello, 1498-1499 VS Walt Disney, Cinderella, 1950
Walt Disney, Sleeping Beauty, 1959 VS Giotto, Dormitio Virginis, 1312-1314
Giotto, Sermon to the Birds, Legend of St Francis, Basilica Papale di San Francesco, Italy, 1295-1299 VS Walt Disney, Sleeping Beauty, 1959
Wolfgang Reitherman, The Sword in the Stone, 1963 VS Eero Saarinen and Harry Bertoia, MIT Chapel, Cambridge | Massachusetts, USA, 1955
Gustave Doré, L’Enfer de Dante Alighieri, 1857 VS Benjamin Lacombe, Le Petit Chaperon Rouge, SOLEIL, 2003
Pirro Ligorio, Orco | Parco dei Mostri, Bomarzo, Italy, 1547 VS Spreepark, Berlin, Germany, 1969 - 2001
This is the blog, though we warn you, you may wish to set aside a little time before going exploring. There's a lot to see and be delighted, or surprised, or bothered by):
Professional costume designer and one-armed cosplayer, Mandy Pursley, has become the Cinderella so many people need.
Asked by the mother of a girl born with one arm, for some princess-costume inspiration for her daughter, Pursley went above and beyond and created something beautiful, extraordinary and very inspiring.
She said: ‘When my daughter was studying Cinderella stories at school last year, I realized that even though there were so many beautiful tales from around the world, there were still no princesses who looked like me. ‘When I was growing up with a physical difference, I never saw girls like myself represented in the media, so it took me a long time to realize that what makes us different can also be the thing that makes us strong, beautiful, and unapologetically unique." (Metro.co.uk)
She added this information when talking to Insider.com:
"I remember being enthralled watching Jim Abbott play baseball, because he was the only amputee I had ever seen on television," she told Insider in an email. "But I still never saw amputee women being portrayed as normal, beautiful, or strong, so it took me a long time to realize that being different and unique can actually be a positive trait." "Representation is so powerful," Pursley said. "It is so much easier to believe in yourself when you are able to see people who look like you achieving the same dreams that you have. People who have differences really just want to feel included and accepted without feeling the need to hide what makes them unique."
With the request for this other little girl, who was having the same issues growing up, Pursley decided it was high time to change that. A graphic designer by trade, she created her own version of fairy tale princess. Pursley designed her costume, as well as her husband's (who plays Prince Charming in these shots), then with the assistance of artist Gilbert Lozano (and other specialists*), she commissioned this phenomenal prosthetic: a "glass" arm, for a different take on Cinderella. When she tried on her custom-made and fitted resin arm for the first time, Mandy said she cried with happiness. "It really felt like a dream was coming true... it was so beautiful and amazing to see this be a reality.”
Initially, the cosplay was supposed to be for Comicon but Pursley ended up being ill and couldn't attend. Once she received the request from the little girl's mother, Pursley and her husband decided that, rather than wait until next year's Comicon, they would go ahead and create a photoshoot now, to post the images online. They enlisted Pursley's friend, Kelly Anderson, to take the photos which became an instant social media hit on September 19 (2019).
“I think it sends a really great message to little girls, especially,” Anderson said. “You can be creative. You can be beautiful. You can be the main character in your own story.”
Not all the images are not shown on all the sites sharing this story but Pursley and her husband did not shy away from the iconic scene of the story in which Cinderella loses her glass slipper - in this case her glass arm - either, and we were thrilled to see it! (see he two-shot below) Possibly anticipating the inevitable trolls of the internet making horrible references to losing an arm (and all the ugly arm and hand references you can imagine), they didn't ignore or avoid this part of the story. Instead, here you have representation, without any glove or glass-glamor, of a one-armed princess, being pursued by the prince who wants her. It's the Cinderella story with a unique, personal and memorable twist.
Accompanying the lovely shots posted on her Facebook page, Pursley wrote:
This costume is dedicated to all the little girls learning to navigate the world with their "lucky fins" or other challenges. I hope you know you are beautiful, and that you are UNSTOPPABLE!!! Write your own story, and be your own kind of princess.
Mandy Pursley's whole story on Facebook can be read HERE, and we recommend you do. This wonderful act of creativity and courage is changing the landscape for the better.
Note: If you, like us, are not only enchanted but getting Cinder vibes (thanks to Marissa Meyer's wonderful sci-fi retelling of Cinderella) you're not alone. (And we do recommend picking up Meyer's retelling in which Cinder loses her cyborg leg, if you haven't read it.) You'll see some of the same issues being explored and it's an empowering read.
As For Disability In Fairy Tales...
Pursley's "glass arm" also brings to mind The Maid Without Hands and the plight of many (too many!) wronged women; some having permanent scarring and some, even today, having lost hands or arms despite a changing world that no longer sees this as acceptable 'punishment'. Unlike the fairy tale, in which the girl is given silver hands for a while, and then, eventually has her natural hands magically restored (or re-grown!), such an event isn't possible in real life. Though the happy end of the tale could have occurred when the girl, now queen, was given silver hands by a king who loved her, and had a son of her own that she loved and cared for, this fairy tale isn't done until she has her original human hands back. With even such a dark tale insisting that happiness isn't complete until this happens, is it any wonder it's difficult for differently-abled people to see themselves as the heroes, princes and princesses of fairy tales?
Whether born differently physically or mentally, or changed to be different due to trauma or accident, disability has so many forms. Some are obvious by being visible. Some are not, either because they can be hidden under clothes, or they are internal/mental. All those who live with these differences, however, have the "princess problem" in common: most don't see themselves represented in a positive light. They see themselves as incomplete, and many tales we tell reinforce this. Too often in fairy tales, disabilities are things that need to be overcome or transformed to able-bodiedness, or, just as problematically, be revealed as a "superpower" to make up for having the disability in the first place, in order for the hero or heroine to have a happy ending. The state of 'princess' is not possible until she is "fixed", but that is largely because we tend to equate disability with disadvantage. People like Pursley (who designed the concept, the costumes, sewed them, collaborated on her prosthetic and cosplayed it) show us disability shouldn't be synonymous with disadvantage. If you ask people what the qualities of a 'true fairy tale princess' are, disabilities can still exist within that definition, so why are we restricting this idea of what a princess is?
This beautiful creation of a "glass arm" by Pursley is in direct contrast to another thing that happens in older, more infamous versions of the Cinderella tale - that in which the step-sisters, (attempting to secure a happy ending for themselves), cut off part of their heel or a toe, so they can cram their own foot into the delicate glass slipper. In this horrible reversal, the stepsisters (and their mother!) decide they need to mutilate their bodies to fit the princess mold. (And these are - supposedly - able-bodied women feeling the unrealistic princess-pressure!) The truth is that so many more people (girls especially) choose this route, to the point of harming themselves - from fad diets and restrictive 'make-overs' to plastic surgery - while chasing the happy ending. If able-bodied people feel this, how much more so must differently-abled people? Sadly, many assume the role of hero or princess is impossible for their personal narratives, and relegate themselves to minor or supporting roles instead of seeing that their story is just as important as anyone else's. But it shouldn't be that way. Diversity and representation matter, and we, especially those of us who tell fairy tales, need to be conscious of this and tell more inclusive stories.
In the true-life story of Mandy Pursley using her difference as an opportunity for beauty and magic, instead of harm, or trying to mask or change her disability, we see a celebration of self and happiness. Instead of being "less-than" her actions make her "more" and a role model. Here is representation, and inspiration. Just like Cinderella, who was not who she was because of the glass slipper, Pursley is not a princess because she now has a glass arm either. The glass slipper and arm, were, are, tools. The difference is that we now see Pursley for who she is, and has been all along: a fairy tale princess.
Pursley's sentiment that you don't have to be the princess others are expecting you to be is a powerful and empowering one. Be yourself and create your own version of a princess. There is real magic in that.
*Here is the list of heartfelt thanks from Mandy to all those key people who, in addition to her photographer friend Kelly Anderson, helped make her vision a reality. We thought we'd include it to show you, you don't have to create a fairy tale all by yourself - sometimes - often - friends and partners are part of the recipe:
Many, MANY thanks to all the people who helped turned this dream into reality! My real-life Prince Charming, Ryan Pursley, who didn't think I was crazy while I kept sewing for MONTHS. Gilbert, the brilliant artist who didn't even know me but believed in my dream and is now a cherished friend. Eric Morris and Nick Ibarra at Cemrock who generously offered their equipment and assistance to create the glass arm. Jennifer Woodard at Hanger Clinic in Vista, CA for helping me figure out how to attach the prosthetic, and of course the amazing Kelly Anderson for taking such beautiful photographs!! Wig is by On The Wall Wigs. Who needs magic when you are surrounded by such talented and generous people!
We read about this inclusive musical in an article posted on Yahoo (originating in The Mighty) on July 16, 2019. Though the previews and available performances are over, with no new ones yet advertised, what these Broadway veterans (hearing and deaf) are collaborating on is not only worth sharing but supporting.
The different take on Cinderella is an intriguing use of a very familiar fairy tale to highlight and explore a specific social issue, too; one that not only speaks directly to and for the deaf community, for whom it was created, but for anyone considered 'different'. It's a tale all too relevant and has something for everyone.
Yes - you read correctly: this is a musical for deaf and hearing people to enjoy equally. (Yahoo)
“Stepchild,” (is) a musical that combines songs, spoken word and American Sign Language... (and aims) to make every aspect of the show accessible and meaningful to Deaf and hearing audiences alike.
Here's the premise:
Loosely based on the classic fairy tale Cinderella, “Stepchild” tells the story of Orella, a deaf girl coming of age during the Italian Renaissance. She and her widowed father Massimo struggle to eke out an existence as street performers until their shadow puppet shows attract a wealthy benefactor, the kingdom’s young prince Luca. As Orella’s father seeks out stability by courting Antonia, a widow with two daughters, Orella encounters Allegra, a mysterious fortune-teller who is also deaf and teaches her how to communicate using sign language. Orella discovers a joyous new world, but when she tries to teach others in the community about sign language, she attracts the ire of the ignorant and fear-mongering King, who ruthlessly punishes anyone that dares to embrace what makes them “different.” After an unimaginable tragedy, Orella finds herself fighting for her life, and must find the courage to combat the darkness and liberate her kingdom from oppression.
Interview excerpts (combined from 2 interviews - apologies for the odd-formatting!):
Although “Stepchild” is a fairy tale set long in the past, how does it shine a light on the discrimination Deaf people experience today?
“As we began delving into our research and outreach to the Deaf community, we uncovered a dark and at times brutal history for people with disabilities. The widespread disregard and common violence against many Deaf and differently-abled people is a heartbreaking truth left out of our high school history books. So we set out to create a full-length musical theater piece with the gravity of this dark historical past and the weight of mankind’s propensity for vilifying ‘the other’ as our dramatic base... — David James Boyd and Chad Kessler, Creators of “Stepchild”
“As have other ethnic groups and cultures, the Deaf have had to fight for the existence of and the right to their language. The deprivation of language acquisition is political and abusive. Political because it is about control and abusive because of the severe psychological, emotional and social harm it does to the individual.” — Kim Weild, Hearing Director
Why is the tale of Cinderella the right choice for your specific adaptation?
David: Oh, that’s a good question! I think the tale is oft-told for its primal yearning to be recognized as someone important in society; it’s become a tale about being a member of the elite. But here, in Stepchild, she doesn’t want to be in the highest echelon of society, she just wants to be a part of society. Her goal isn’t to be the Queen, to wear a beautiful gown and glass slippers, but for her kingdom to be able to communicate using sign language. Becoming Queen happens to her because of her hard work and efforts to create communication and understanding between people who are deaf and hearing, so our focus is more social than economic or political. - David James-Boyd - Writer for Stepchild
Chad: We set the story in 1590, on the imaginary island of Costa Bella in Italy, but it’s actually based on the history of Martha’s Vineyard, which was a Deaf colony, once considered to be a kind of “Deaf Utopia,” where everyone was fluent in ASL. When trading, shipping, and, eventually, elite tourism took over the island in the 20th century, the colony died out. But it existed for 350 years as an important Deaf colony, up until the 1950s, and some of the present-day residents still know ASL.
Kim: In our story, Costa Bella is a pious world, where sign language is seen as “the devil’s language” and people can be put to death for using it. So our character is deprived of language until the gypsy Allegra (the equivalent of Cinderella’s fairy godmother) teaches the girl and her father sign language. Her world blossoms, and her relationship with her father deepens, through her new-found ability to communicate.
What do you hope to accomplish with Stepchild? David: To be very clear, we are hearing writers. We do not claim to represent the Deaf culture/experience. Only a Deaf person can truly relay what it is like to be Deaf. We are storytellers, people from our own diverse backgrounds, who wanted to tell a story about how ignorance, prejudice, and fear can divide a family and a community at large – the story of how people’s efforts to communicate with people who are not like them can take steps towards uniting us all. It’s also very rare that a Deaf heroine is featured in a musical; maybe this is the first. Also Orella is not just rescued, but against all odds and obstacles, she triumphs through her own courageous efforts and empowerment. So along with her accomplishments and pride in being a Deaf Queen, there’s also a definite feminist element in her story. “One of the most important things we can do to increase diversity is to make sure that characters who have a disability are being cast authentically and played by actors with those same disabilities. Disability is a lived experience, not a technical skill. But even if a project doesn’t have characters with disabilities in it, creative teams should be open to actors with disabilities auditioning for those roles anyway. We already have plenty of able-bodied actors taking roles with disabilities and then winning awards for it — it’s a slap in the face to us.” — Dickie Hearts, Deaf Actor (Prince Luca)
You may also be interested in this book: Deaf Culture Fairy Talesby Roz Rosen
Description, with front and back covers shown below:
Readers are transported into the enchanting world of fairy tales in this book — with one slight twist: all the stories have characters who are Deaf or sign. Designed for the reader who uses American Sign Language or wants to learn about sign language and Deaf culture, each story takes unexpected and fun turns, always with a lesson in mind. Classics in this book include Snow White, Hansel and Gretel, Three Little Pigs, Beauty and the Beast, and many others. Also included are signed songs and poems one can play with in sign language. Original illustrations help make the stories come alive. With such magnificent culture, history, morals, humor, and imagination, this marvelous book will delight readers of all ages.
About the Cinderella mosaics:
The mosaics are from the Walt Disney World Resort, Cinderella Castle - and yes, they're not the Disney Cinderella you're used to seeing. Walking inside the castle archway, one will find five beautiful mosaic murals telling the story of the fairy tale. The series was designed by Imagineer Dorothea Redmond and set by a team of six artists led by mosaicist Hanns-Joachim Scharff. Each panel is a 15 feet by 10 feet shaped Gothic arch. Skilled artists took 22 months to complete the murals using over 300,000 pieces of Italian glass in more than 500 colors. The tiles are hand-cut and many are fused with sterling silver and 14k gold. Some tiles are as small as the head of a tack! (Information from DisneyFanatic & Disney Parks Blog) Sources Referenced:
Curated by Michael Cuffe of Warholian, the 'Animation Reimagined' exhibition will bring together many animated classic icons - both past and modern-day - "fantastically recreated in new paintings and from new perspectives". While there are more than just fairy tale characters, we're focusing on those that are most closely linked to our favorite subject here. (We've included a list at the end of the post with all the other cartoon characters we've been able to discover - and identify - to date.)
Official poster, featuring a reimagining of Dumbo (artist unknown)
Cuffe has asked all artists to bring a bit of realism into their paintings and works. We will see these animated classics re-imagined in a way we’ve never seen before, from a unique artistic viewpoint.
It's always interesting to see what sort of spin artists will put on animated icons, especially fairy tales. These paintings and sculptures belong in the 'fine art' realm, though at a glance it may be easy to dismiss some of these as 'professional fan art'. They all, however, share the intent to bring some realism - and real-world consideration - to their interpretations of flat cartoons and animated characters. The idea is to take them beyond the realm of the "safe" screen and have them "intrude" on ours, creating a response in the viewer. From the selection we've been able to find scattered around social media corners, the achievement is quite impressive. We hope to see more/better quality images, once the show is opened to the public today (Saturday, April 14, 2018) and the Gallery puts the collection online.
In the meantime, enjoy! (We've included artist's titles, comments, and statements where they were available.)
Alice In Wonderland (2018) - Brianna Angelakis
"Frozen in Time" - Ania Tomicka
“The Young Goddess Artemis” - Richard J Oliver I went to the source of what I believe inspired the character of a well known Disney’s Animation. For a while I’ve been wanting to make a painting based on DIANA (Roman Goddess) or ARTEMIS (Greek Goddess) of Hunting and nature. After some research the similarities between these Goddess’ and the princess character Merida were uncanny so I drew my inspiration from the mythical daughter of Zeus.
"Bibbedi bobbidi boo" (Cinderella) - Anne Angelshaug As a child I adored the story of Cinderella, but rewatching it as an adult it conjured very different thoughts and feelings. Thoughts of abuse, apathy and delusion.... sorry I took it to a dark place, but it just seemed right...
The Little Mermaid - Meredith Marsone "This (is a close-up of) a painting of The Little Mermaid just after the point of her transformation, still underwater, but human now and so in imminent danger in the place she used to call home."
Sleeping Beauty - Sheri DeBow
“Guardian” - Lena Danya The Little Mermaid Meets Marlin and Dory from Finding Nemo
Sometimes Ups Outnumber the Downs - Jessica Dalva "My sculpture based on Disney’s Robin Hood."
"The Strands the Bind" - Stephanie Pui Mun Law (The Fox and the Hound)
There are many more cartoon classics reimagined, of course, these are just the most fairy tale related of those revealed (whether in close-up or as finished pieces). Others include Mickey Mouse, Felix the Cat, Sponge Bob, The Aristocats, Jack and Sally from The Nightmare Before Christmas, Lady and the Tramp, Frankenweenie, Pink Panther, Coco, Jessica Rabbit, Betty Boop, Toy Story, Gumby, Sailor Moon, Bambi, She-Ra and more.
The exhibition is free to the public and opens today, Saturday April 14, 2018, at The Modern Eden Gallery in San Francisco.
Exhibition Dates: April 14–May 4, 2018
Opening Reception: April 14, 2018 6 pm–9 pm
Featuring the artwork of Adam Hunter Caldwell, Alec Huxley, Amanda Banker, Amy Mastrine, Ania Tomicka, Anne Angelshaug, Aunia Kahn, Brianna Angelakis, Carly Janine Mazur, Catherine Moore, Chris Leib, Christina Ridgeway, Daniel J Valadez, David Natale, Glenn Arthur, Hanna Jaeun, Hikari Shimoda, Jacyln Alderete, Jessica Dalva, Joshua Coffy, Julie Filipenko, Kathrin Longhurst, Lee Harvey Roswell, Leegan Koo, Leilani Bustamante, Luke Allsbrook, Marcos LaFarga, Marie Larkin, Marjolein Caljouw, Mark Bryan, Meredith Marsone, Michael Cuffe, Nathalia Suellen, Nick Stathopoulos, Olga Esther, Rachael Bridge, Rachel Silva, Raúl Guerra, Rene Cuvos, Rich Pellegrino, Richard Ahnert, Richard J Oliver, Robert Bowen, Sarah McCloskey, Sheri DeBow, Simona Candini, Stephanie Law, Steve Javiel, Susannah Martin, Susanne Apgar, Sybiline , and Zelyss.
A thought-provoking video was posted this morning on YouTube and we felt it so important, we decided to do a full post, rather than just retweeting. (Video is embedded below.)
This interesting - and wonderful - analysis of the iconic 1950's Cinderella, couldn't have come at a more opportune time. And it might just make you pull out the movie for a re-run too, because, yes, it's that empowering.
By the way - important to note here, is that it mentions that even the Disney Company itself, now considers the Cinderella animated movie as passive, and not the best role-model for girls, with the title character relying on others to be rescued.
Yet, from the video:
But the criticisms (of the film) usually focus on our culture's shared interpretation of Cinderella, not what the character actually says and does in the film.
And yes, ironically, that conversation has been largely influenced by Disney's own marketing!
Critics of the movie probably feel they're espousing girl power by attacking the damaging idea that a happy ending equals a handsome prince. But counterintuitively, the tendency to dismiss Cinderella might actually be a little sexist.
Perhaps there was more thought - possibly even respect - put into the movie than anyone has realized. From this video analysis, it would suggest so, or at least that the fairy tale source variants it drew on had enough substance there to subliminally affect - for the better - how Cinderella was portrayed (credit was given to Perrault as the source, but other variants were looked at during research in early stages of development as well).
KenAnderson - development for Disney's Cinderella (1950)
For the 'timely' context - and why this conversation is important to have right now - (since this post will quickly go to the archive and found later, when the world is, hopefully, different), we are in the midst of a deluge of accusations against many figures in positions of power, citing sexual misconduct, abuse and rape. These allegations are being made by people in the wake of the Weinstein accusations, who have finally felt able to come forward and be heard (though for many this is not the first time they are telling their stories).
As the backlash continues, with people scoffing at the stories, even sometimes attacking those abused, we feel it's important to keep explaining, that reporting abuse, standing up to abuse, is very, very difficult. It's not overstating it to say "silence has equaled survival" for many, many people, on many levels, including physical safety. No one owes anyone their stories - or the details, or names. #metoo It is the first time, the pervasiveness of this abuse is clear and the victims are not being dismissed. So many are coming forward now, precisely because there is safety in numbers, but never underestimate just how hard that is to do. It changes everything and affects not only the individuals but their families too.
Fairy tales are full of women who have been abused and people are drawn to different tales, not only because they sometimes see themselves in those characters, but also because they find hope in those stories too. The recent Disney/Branagh live-action action Cinderella, though not perfect, took care to more clearly show feminine strength at work in an abusive situation, making people take a second look at the Cinderella fairy tale, as well as the classic animated film it was based on, and garnering an appreciation for it that has been largely lacking for the past few generations.
This awesome video analysis that highlights the strength of that 1950's Cinderella, is wonderful to watch - clear, beautiful and explaining the points with clips. It's a little longer than your usual internet clips, at 13-ish minutes, but highly recommended (you won't be bored).
There are two specific sections for which we have taken the time to transcribe the narrative so that the observations/ interpretation won't be lost, should the video link ever not work.
The first excerpt, analysing the Fairy Godmother appearing, is new to us with regard to the Disney Cinderella movies (both of them), though in some of the Cinderella variants from around the world, this manifestation of the Fairy Godmother as Cinderella's 'wish', that is, a maternal figure of help and guidance, is more clear. Although we don't believe this was the intent of the filmmakers to show this (based on our longtime research, though, to be clear, we are not experts on the making of this film) it makes a wonderful sense and feels like one of those wonderful subconscious ideas that were included. Perrault, who was the writer to first include the fairy godmother, does not appear to have added the magical figure for this intention, but we are rather tickled that, using this interpretation, Disney's version is the one that links this idea back to many other versions of Cinderella.
We also love that this is another example of amplifying the potential of things - that transformation (of things and people) is possible because of what already existed.
Cinderella's inner strength and tireless imagination manifest physically as the Fairy Godmother. It's when she believes she's hit rock bottom that her Fairy Godmother materializes, and the reprise of "A Dream Is A Wish Your Heart Makes" tells us that she is the embodiment of Cinderella's dreaming or her heart's wish. When she needs it most, Cinderella has willed a loving maternal figure into existence. Since she has no real family, the fairy represents her determination to mother herself.
The Fairy Godmother's magic work through imagination, creativity, and resourcefulness -- all qualities that Cinderella relies on for her survival, as that represent her true powers. Each magical transformation finds hidden potential in what Cinderella already has. A pumpkin becomes the carriage, the mice become horses, and Cinderella's horse, who assumes he'll pull the carriage, becomes the coachman.
Gus's transformation especially symbolizes how imagination can help us overcome our oppressors. When he's transformed into a horse, he's finally able to escape Lucifer's clutches.
This second transcription, looking at Bruno, the dog, being paralleled with Cinderella isn't a new thought, so much as it possibly the most succinct example we've ever heard of a victim juggling the ever-present issues of needing to sometimes to be passive for the purpose of survival, versus taking action.
Cinderella demonstrates that real kindness is active, not passive. Rescuing her friends in this oppressive household is brave and heroic... When Gus gets stuck in a mousetrap, we see that Cinderella is quick to help those who can't help themselves. And she's spirited -- she doesn't hesitate to tease her friends -- or stand up for herself in her interactions with Lucifer. These interactions are important to show us that Cinderella's not a pushover. She knows when she's being treated unfairly, and, when she can object, she does. But there's a distinction between this and someone who represents a truly grave threat to her safety. When Cinderella tells Bruno to stop dreaming of chasing Lucifer, it's because disobeying Lady Tremaine's orders could result in losing his home. She knows that Bruno's situation could become parallel to her own, and she's been forced to value practicality over justice in order to survive. Near the end we see a return to this parallel between Cinderella and Bruno. At this critical moment, Cinderella decides that Bruno should disobey orders, despite the dangers, because they have a real opportunity to escape.
To be able to recognize that moment, and then act, is strong indeed.
Artist unknown - created for Disney's Cinderella (1950)
Note: (Emphasis in bold on transcripts added by us.)
