"Red and the Wolf" Encourages Kids To See Disability Differently, With Positive Representation

Positive representation of disability in literature is something that still needs working on, especially when it comes to children's books. 

The more we normalize positive representation of disability - and the emphasis here is on positive, as well as on representation for disability in general - the more it helps all children accept difference as natural and develop an understanding that encourages inclusivity for many kinds of difference, including those with disabilities. It also helps those who are disabled not only feel seen as normal, included, and represented, but encourages thinking in which disability doesn't have to limit you. 

That's powerful stuff.

The new book, Red and the Wolf is one of these books, and the project was envisioned - literally - by the charity RNIB (in the UK) to put a spotlight on the lack of positive role models with disability in children's literature and to show how that can be changed.

The Royal National Institute of Blind People (RNIB) has put a spin on the classic story of Little Red Riding Hood, by reimagining its central character as a visually impaired little girl who walks with a cane and has a skill for martial arts. The charity hopes that the book, entitled Red and the Wolf, will counter the lack of disabled role-models in children’s books.

Description:

Follow Red on her journey to Granny's house and see how she uses her martial arts and mystery-solving skills to overcome the challenges she faces.

The book is aimed at young children, aged 3-7, with the aim of normalizing the representation of disability while making it clear that having a disability doesn't have to limit you, but it's a good case study for re-thinking how we're telling classic tales today. Just like many fairy tale heroes and heroines through the ages, Red Riding Hood has adapted as society needed her to, while remaining recognizable. There's definitely room for many more versions of fairy tales that represent disability in a positive way.

RNIB head of innovation and development, Caroline Beard, said: “Some of our earliest perceptions of the world are shaped by the books we read as children. It is essential that children see disability as natural from an early age, gain an understanding of difference, and can help all children, including those with disabilities, feel included in society.

 

“We launched Red and the Wolf to refresh a classic story and turn it into something that celebrates difference. We hope that many children will enjoy reading about Red and how she overcomes the barriers she faces.”

..“Obviously, this story is not going to show what the daily reality is for any one child with sight loss, but we can make it something that's ok to talk about.”

We sincerely hope the author, Deborah Fajerman, who was brought on board by the RNIB for Red and the Wolf, will consider adapting other tales for representation, as will other authors. People - and kids especially - of all kinds, need disabled role models too. Red and the Wolf is a big step in the right direction in normalizing this, and we are here for it! 

The book also comes with an audio version for both accessibility and to encourage kids to read along, or to themselves. You can find the book to purchase HERE.

Note: pictures are by children's illustrator Tilly Rand-Bell. Her work is just lovely so be sure to check out her website.

Animator/director of 'The Girl Without Hands' on Why *This* Fairy Tale & Showing It To Kids

There is a really interesting interview at MovieMaker.com with the animator/director,
Sébastien Laudenbach, of The Girl Without Hands; the animated indie film making heads turn as it began it's limited theatrical release in the US last week.

In case you missed the latest news and overview of this film, go check out our post HERE, which includes trailers and art, to catch you up to date.

Specifically, Laudenbach responds very interestingly to three pertinent fairy tale questions, which we're extracting for you below.

Carlos Aguilar, MovieMaker Magazine (MM): What about this specific fairy tale did you find compelling?Sébastien Laudenbach (SL): When I read it, I immediately found it modern. I liked the path of the girl who has to leave a man’s world: her father first, then her prince. She has to be alone growing up. She needs time to be herself, to be whole. And when she is ready, she can come back to the world. This was very important for me. I think it was the first time I read a fairy tale that told such a story, a fairytale where being a princess was not the happy ending, where it was better to be a woman than a princess. It seemed universal to me. And it made me think about some parts of my youth. This is a story of a woman, but also the story of a man, the prince, who has to go away to fight in faraway wars, and come back. Also for him, it is better to be a man than a prince. This man is not a superman, not a superhero. He is a man, with his weaknesses. But as a simple man, he can be loved. 

MM: The stories in your shorts and in the one in this feature are similarly adult-oriented. Do you feel there is a lack of animated work that focuses on darker subjects, rather than being aimed at children? SL: I think you can tell everything you want with animation techniques. I am focused on adult topics, but I also like children-targeted movies. Children are a very good audience: They can understand a lot of things in a movie, even more than adults, sometimes. In France we released the film for an audience 8 years old and up. It was not easy, but it was very interesting. Their reaction was amazing. They understood the essence of the story: its violence and cruelty, but also its happy ending. Obviously they can’t understand some parts, but it doesn’t matter. The job of a child is to understand the world. So I like keeping some mystery, some dark parts. It is life! A lot of adult movies can be shown to children.  

MM: The Grimms’ ideas about greed, about vanity, about simplicity over opulence, and about persevering even in the worst of situations are expressed in the film with gorgeous visual poetry. Why do you think these concepts are still relevant today? SL: The most important theme for me is time. Everyone has to have time to be himself, to be whole and fulfilled. For someone it might take only a few years. For someone else it might take a lifetime. A lot of people, including myself when I was younger, take shelter in the wrong people. For me the tale is not about greed. The father is just troubled by his daughter’s body, which is changing. And he knows that she is ready to leave home, though he doesn’t want that. So between incest and the urge to keep his daughter at the house, the role of the father is mainly to cut off the possibility of the girl leaving and forcing her to be dependent on him. The more he does that, the more she wants to leave. Greed is just a medium to tell this. The concept of greed is always present in life, don’t you think?

For those fairy tale folk very interested in this tale, you may find Laudenbach's comments on how to portray her doing tasks/surviving without hands interesting too.

You can read the full replies and the whole interview HERE.

Beautiful Retelling 'The Crane Girl' Interweaves Haiku Through Storytelling To Reveal Characters Thoughts & Feelings

The Crane Girl illustration by Lin Wang

We have to admit, one review and a glimpse of the cover and we were sold on this book. That was quickly followed by an overwhelming number of five star reviews and even more gorgeous illustrations peeks inside, along with phrases like "the perfect folktale retelling", and then we read this:

from the darkness
an animal's sudden cry -
its fear, and mine

Yasuhiro dropped his armload of firewood to follow the sound across the sharp buckwheat stubble of the Landlord's field. He almost stepped on the crane, nearly invisible where it lay in the snow. A trap held one foot, but the crane looked unharmed. As Yasuhiro knelt, the bird closed its eyes and shuddered.

cold hard trap -
he sets me free
with warm hands

(Opening Lines from The Crane Girl by Curtis Manley)

Whoa. We're hooked.

The watercolor illustrations by artist Lin Wang, are lyrical, magical and well, stunning! Everything you want in a picture book, as far as the art goes, but there are even more wonderful layers woven into this updated retelling of the Japanese fairy tale, The Crane Wife, to bring different dimensions to the storytelling as well.

Not only is the prose the perfect storytelling tone for a classic fairy tale (and wonderful for reading aloud), but as you might have guessed from the opening excerpt above, throughout the story, haikus appear, illuminating various characters thoughts and feelings of the scene described or illustrated, as well as helping to reflect the cultural setting of the tale. It's wonderfully unique, sensitively done, and perfect for introducing children to magical retellings that incorporate beautiful and captivating storytelling, lush images and, harder to impart, snatches of poetry that express simply and succinctly the inner lives of those involved along the way.

“from the darkness / an animal’s sudden cry— / its fear, and mine …”
(Click to see full size)

We already want more stories told this way!

Writer, Curtis Manley, actually used a few variations of The Crane Wife to adapt his story and added his own variation as well.

In a closing note, the author writes: "In the West, only two versions [of this story] are known well. In The Crane Wife (Tsuru Nyobo), a young man rescues a crane and then gives shelter to a mysterious young woman. They fall in love and get married, but when she begins weaving wonderful cloth, his greed and curiosity drive her away. In the version known as The Grateful Crane (Tsuru no Ongaeshi, literally “the crane’s return of a favor”), an old, childless couple gives shelter to a young woman, but again the crane leaves when her identity is discovered." He goes on to say that, in other versions, various animals take the place of the crane. The closing author’s note also includes more information on Japanese poetic forms. (SevenImpossibleThings)

“When the bird stood up, it was as tall as Yasuhiro.
He stroked the soft feathers on its long neck with his fingertips, and the bird
gently pressed the red top of its head against Yasuhiro’s face. …”
(Click to see full size)

We found an interview at DeborahKalbBooks with the author in which he talks about what drew him to this tale in the first place, and why he adapted it the way he did:

Q: Why did you decide to adapt this Japanese folk tale, and how did you change it from the original?
A: Over the years I’ve enjoyed reading many different folktales and legends from around the world, but have been especially drawn to those from the Pacific Northwest and from Japan.
When I heard The Decemberists’ album The Crane Wife in 2006, I was reminded of how much I liked that specific Japanese folktale. It involves a man who rescues and sets free an injured crane; soon after that, a beautiful woman knocks on the door asking to stay. Eventually they marry.
When his new wife mysteriously weaves fabric that he sells for a good price in the market, the man’s greed for more causes the woman to leave forever.
My change was to have not an adult but a young boy rescue the crane, and it is a young girl who appears at the door seeking shelter. The boy’s father is the one who becomes greedy, not the boy, and so in the end the boy and girl are able to remain together.
My adaptation retains all the traditional elements of the plot, but involves main characters close to the reader’s age—and it ends on a more positive note.

We admit we were skeptical at first of this 'new happier ending', since in our mind, although the Crane Wife eventually leaves, and it is sad, it's also a good example of a woman's self-emancipation, that is, freedom from being dictated to and controlled by her partner and by greed, eventually causing her harm. The shift in character ages - and responsibilities - in Manley's retelling, however, make for a version children are more likely to relate to, and from what we can tell, the boy has some choices - different choices - of his own to make, giving a different spin to the usual 'animal bride' fairy tales - one that feels appropriate for a modern audience but also fits with the traditional, pre-industrial feel of the tale. The best part? Even with the 'twist' it stays true to the story of The Crane Wife!

Another excerpt from the same interview continues below:

...When I was just beginning work on The Crane Girl, I knew I wanted to include haiku along with references to certain foods, crops, and customs. Using the haiku to reveal the thoughts of the characters then came naturally—at least, that’s how I remember it now.

“The next night someone knocked on the door. Yasuhiro opened it and
found a girl standing there, pale and shivering, tears frozen on her cheeks. …”
(Click to see full size)

Q: What do you think the illustrations, by Lin Wang, add to the book?
A: Folktales, like epic poems and Shakespeare’s plays, retain their relevance and power even if retold in new settings. Nonetheless, setting The Crane Girl in pre-industrial Japan kept it closer to the roots of the original folktales—and the itinerant storytellers who performed them.
Lin’s images bring that setting to life in the specificity of detail in the house, village, and clothing—and the in the crane’s plumage and features.
But at the same time the beauty and luminosity of the illustrations also give the reader hints at the magic that underlies the story—magic that the boy and his father are mostly unaware of until the end.
The cover and interior illustrations are so gorgeous that I hope no one is let down by the words and poems of my text!

To give you a better idea of how the book is laid out and the story told, we're including some reviews below:

“The polished, full-color illustrations … complement the lyrical text. Interspersed, color-coded haiku reveal the characters’ unspoken thoughts… More from this team would be a welcome addition to folk-tale collections.” Kirkus (starred review) 

“Snatches of haiku add depth to this story based on traditional Japanese folktales. … Exquisite watercolor illustrations accompany the text. … This well-crafted tale offers [readers] an introduction to traditional Japanese culture and folklore…” School Library Journal

Fairy tale bonus of the day:

You can read an interview with the author, Curtis Manley HERE, about how he loves, writes and gives advice about poetry, as well as his process for writing The Crane Girl.

You can also read an interview with artist Lin Wang HERE and see a lot more of her amazing and beautiful watercolor illustrations.

How Did Gaston and Le Fou Meet? (Disney Enlists Kids To Create Stories Inspired by BatB, and Turns Them Into Short Films!)

Possibly our favorite things about the gigantic release and popularity of Disney live action Beauty and the Beast, is the creativity boom in so many areas as a result, a large focus of which is on reading and storytelling. (Yay!)

Disney themselves are participating in encouraging this as well, which makes it even better. Some of their publications are focused on 'what you can read' if you want to read like Belle, or mining the earliest written forms of Beauty and the Beast (Villeneuve and Beamont) and republishing in various ways, not to mention emphasizing storytelling and eco-conscious creation through fashion and foot ware. The best of the initiatives we've seen to date, however, is likely a writing and filmmaking collaboration with non-profit group, Young Storytellers, who aim to give a voice to low-income students by helping them write their own stories, through a one-on-one mentorship, and see them brought to life on stage and screen.

Partnering with Young Storytellers* and Tongal**, Disney enlisted the creativity of kids by giving them a pre-release showing of the movie on the Disney lot, then asking them to come up with stories, or 'spin-offs', based on their favorite characters. (* Young Storytellers is a non-profit organization in Los Angeles. "Every child has a story worth telling." **Tongal is an independent creative network with a global community of more than 120,000 writers, directors and animators) 

The title of the project was 'Beyond the Castle: Stories Inspired by Disney's Beauty and the Beast'.

(T)hey were paired with their mentors to write scripts inspired by their favorite characters from the film. Tongal* then matched these Young Storytellers'** scripts with its network of creators who turned them into live-action and animated short films...The Young Storytellers got the added surprise of seeing their projects come to life on the big screen with a premiere at the El Capitan Theatre in Hollywood. After the screening, they were surprised by a video greeting with actors from the film, Luke Evans (Gaston) and Josh Gad (Le Fou). (Hollywood Reporter)

Four talented young people were chosen to have their stories made into short films. Here are three of them (we can't find Acacia's story and film, Cooking Catastrophe but have no doubt it's just as wonderful as the others and hope it will be available on the Young Storytellers' YouTube Channel to see soon!).

This one is by 12 year old, Robert Nelson, who imagined how Gaston and LeFou might have met.

“LeFouston” from “Beyond the Castle: Stories Inspired by Disney’s ‘Beauty and the Beast’"

The video was created in stop motion by Tongal creator Kevin Ulrich, with music by Trevor Gomes.

"Pug in a Cup" from “Beyond the Castle: Stories Inspired by Disney's Beauty and the Beast"

Written by Hana Morshedi (age unknown) and directed by Tucker Barrie.

“Beauty and the Curse” from “Beyond the Castle: Stories Inspired by Disney’s ‘Beauty and the Beast’"

Written by Tamara Sims (based on her short story “Changing Ways”, age unknown) and directed by Maya Rudolph.

Many congrats to Tamara, Robert, Acacia, and Hana!

Here's a peek behind-the-scenes of these young people's storytelling adventure:

A brilliant and successful collaboration thanks in large part to the ongoing amazing work by Young Storytellers, along with Tongal and Disney. We only wish more kids got an opportunity like this, or are being encouraged to do this themselves with their own resources.

You can find out more about Young Storytellers and how to help with wonderful programs like this, by clicking the link HERE.

"Frozen" Writer Robert Lopez Reimagines 1001 Nights for Kids Off-Broadway

1001 nights: A Love Story About Loving Stories is a new family musical adaptation of Arabian Nights and it looks like a LOT of fun. The Atlantic for Kids Season 2016-2017 opened on September 17 Off Broadway to rave reviews and features music and lyrics by Oscar, Grammy, Emmy and Tony Award winner Robert Lopez (who co-wrote the music for Disney's Frozen). Lopez also co-wrote the book with Adam Koplan and Koplan directs.

Here's the description:

In this celebration of brainy imagination over brawn, a princess uses her wits to save a kingdom from an evil decree as she spins tale after tale for a narrow-minded king. Featuring genies, jesters, 40 thieves and other captivating characters, the princess’s cliffhanger stories keep the king - and audiences - on the edge of their seats. This playful adaptation of the Arabian Nights fairy tales is recommended for ages six and up. 

1001 Nights was first conceived in 1998 by Emmy, Grammy, Academy, and Tony Award winner Robert Lopez (Avenue Q, The Book of Mormon, Frozen) and Adam Koplan, artistic director of Flying Carpet Theatre Company. This newly reimagined production features early songs by Lopez and is directed by Koplan with puppet direction by Jon Ludwig, artistic director of the Center for Puppetry Arts. All the puppets were designed by the Center’s resident puppet builder Jason von Hinezmeyer and built by the talented crew in the Center’s puppet building shop.

Robert Lopez originally wrote the music for 1001 Nights at age 23, for his first show out of college, staged by The Flying Carpet Theater Company. For this new production, Lopez wrote an additional new song to expand the show.

A very complimentary and fun review in the New York Times gives you an idea of the stories covered and the approach to, what are initially very scary ideas (ie a man in power killing his new wives every night):

Mr. Koplan has nimbly directed the 70-minute production, which frames the grim premise in a nonscary way: Sherry, a contemporary girl played by the spirited Caitlin Donohue, transforms herself into Scheherazade as she realtes the adventure to her stuffed animals. The toys also morph - into big fuzzy puppets that jmight have sneaked out of "Avenue Q". (They're just as smart-alecky, but G-rated.) The show also uses clever hand puppets - Matt Acheson is credited for puppet direction - to ecplain the king's vow to wed every day and put each bride to death within 24 hours: His first wife betrayed him. 

Portrayed by PJ Adzima, who may remind you of a younger Neil Patrick Harris, this monarch is fundamentally a big baby. (Aren't all tyrants?) He holds his red blankie as Scheherazade beguiles him with "The Fisherman and the Genie," "Ali Baba and the 40 Thieves" and the lesser-known romance of Prince Budur and Princess Qamar. The king and Scheherazade enact tales, along with the puppets and the Atlantic's terrific young ensemble. I's hard to say what's funnier: the many rhyming jokes or the stage business, which includes an "Open Sesame," "Shut Sesame" routine that's like "Who's On First" in ancient Arabia.

You can read the rest of the review HERE.

Here's a sneak peek of the current show, from behind the scenes with the writers of the show explaining different aspects... to the puppet performers:

We like the part about the power of stories, what they mean to us and how they change us, along with the idea of empowerment through words. It's such great material to introduce kids to, we wonder why we're not swimming in productions of Arabian Nights for kids. (There are a couple that come into circulation every few years, often puppets but also live stage shows to live-puppet hybrids, but they tend to be smaller companies and fairly local, which is a shame as the artistry in design, acting, music and puppeteering seems, across the board, to be enchanting. You can get a glimpse at a lovely one HERE.)

Here's the original trailer which shows more of the actual show and gives you an idea of the writing and a little of the music as well:

If this show travels, by flying carpet or not, there's a few children we'd be very happy to take to see this!

1001 Nights: A Love Story About Loving Stories, plays through October 16, 2016 at the Linda Gross Theater in Chelsea, NY.

Note: Some of these images were from earlier productions of Lopez's 1001 Nights but we thought they represented the show well at a glance, so included them.

"Triune Tale of Diminutive Swine" (aka "The Three Little Pigs" by John Branyan)

The set up for this piece is Branyan sharing that Shakespeare apparently had a working vocabulary of around 54 000 words, whereas the average today is much closer to 3 000. (Really? Yikes.) He then proceeds to reason that this is why reading the classics is so confusing, and that even a simple fairy tale would be difficult for many to understand.

Sent to us by fairy tale friend and mythic filmmaker Lisa Stock of InByTheEye, please enjoy an "enhanced vocabulary" version of The Three Little Pigs by comic John Branyan (recorded live in 2011).

We predict that, within minutes, any person within the vicinity of this recording will be uttering bardic phrases in complete delight.

We were very pleased to find that Branyan had translated this performance into illustrated print and it is available for purchase through his website HERE.

In the meantime, those with little folk (or other large folk) in the house, are welcome to perform their own reading of Triune Tale of Diminutive Swine, by reading the text loud HERE.

[We aim to procure this volume for our library, with the admitted selfish motivation of encouraging the formation of further volumes of like tales. ;) ]

Barking Gecko Theatre Company's Hansel & Gretel "In A Dark Dark Wood" (Perth, Australia)

West Australian Children's Theatre Company, Barking Gecko, continues its mission of bringing quality theatre to the children of Perth and surrounding areas, with their new fairy tale show In A Dark Dark Wood. The show, a retelling of Hansel and Gretel, uses a modern take, combining live action, shadow puppets and object theater to tell the spooky-yet-magical story.

Hansel and Gretel is one of those tales that makes a huge impression on children and one of the fairy tales children generally remember almost the entire plot of (though often excluding the duck which helps the kids escape, which most modern tellers seem to omit, of not be aware of).

It's pretty neat that the playwright who worked with the creator had traveled the famous Fairy Tale Road in Germany, already aware and immersing himself in the environment out of which grew many of the Grimm's collected tales.

Barking Gecko artistic director Matt Edgerton, who is directing the production, collaborated with award-winning Australian playwright Caleb Lewis on this modern take on the Brothers Grimm fairy taleHansel and Gretel. 

“I was really excited about sort of attacking a Grimms’ fairy tale,” Edgerton said. 

“They’re wonderful stories that have lasted for hundreds of years because they have deep things to say about who we are as humans, but I wanted to do it in a contemporary way. 

“I thought Caleb would be a perfect partner with that because he’s a wonderful lyrical writer, but really playful, and is obsessed with Grimms’ fairy tales; he’s walked the Grimms’ fairy tale route in Germany, reading nothing but their fairy tales as he went.” 

Edgerton said he was drawn to Hansel and Gretel because of its universal themes. 

“There’s something about the central idea around the fear of abandonment which every child knows,” he said. 

“And most adults have repressed it in some way, but it’s still in us. 

“It’s a beautiful story because it explores that in a really full way and finishes with the message that all of us have the power to find our way home. 

“There’s hopefulness at the end and the idea that theatre is a safe place to explore dangerous ideas is true for something like Hansel and Gretel.” 

Barking Gecko admits to having a lot of fun with their version, aimed at children aged 6 and up. There's "fun, magic and an excess of junk food" - what wouldn't a kid love about that?

Here's their description:

In a Dark Dark Wood is a magical fantasy that brings Hansel and Gretel to a new generation in a strikingly original retelling of the Grimms’ classic fairy tale. 

Pippa and her little brother Mo live in a caravan at the edge of the woods. Since Dad hurt his back cutting wood, the family has struggled to make ends meet. Even though they may be poor, the children are gifted with a rich imagination.After Pippa gets the worst birthday present ever and overhears her worried parents talking, she decides the way to help, is to leave. Pippa packs her belongings and takes off into the woods, with little brother Mo hot on her heels.Hopelessly lost in the dark, dark woods, the pair stumble onto a lonely beach and discover a world with no rules and endless ice cream! But all is not what it seems. Pippa and Mo will have to call on all of their imaginative powers to escape! 

With spooky puppets, magical animals and fast paced storytelling, this theatre production will take audiences aged 6 and over through the dark, dark woods and safely home again. 

Recommended for ages 6 and up – Contains spooky bits that may make your knees wobble! 

Running time approximately 60 minutes

Where and when: 

• UWA’s Dolphin Theatre (September 23-24)
• Prendiville Performing Arts Centre, Ocean Reef (September 27),
• Kalamunda Performing Arts Centre (September 29)
• Don Russell Performing Arts Centre, Thornlie (October 4)
• Mandurah Performing Arts Centre (October 6-8)

"Goldie & Bear" Debuts September 12 via Digital Distribution, Cable to Follow (Maria Tatar Is Series Consultant)

We're about to have a new, fairy tale focused, series for kids from Disney! And it's not about using Disney properties or 're-booting' old franchises; this is all about getting the fairy tales kids USED to know so well, back into circulation and back into our lives. (I know!! *much cheering and fist pumping*)

For the skeptics among us (which previously included me), I should mention straight away that one of our Grand Dames of fairy tale study and research, Maria Tatar, has been on board with the series as a consultant from it's development and continues on with the series in this capacity to help keep things - and the fairy tales - on track. (*more cheering, whooping added*)

Here's a quote from Development Executive Nancy Kanter (via Variety) about why they're doing this at all:

“We are trying to keep these classic stories, and classic characters, in kids’ minds,” said Nancy Kanter, executive vice president of original programming and general manager of Disney Junior Worldwide. "With school systems placing more emphasis on math, science and analysis of documents, perhaps there’s less room for Tom Thumb and Hansel and Gretel? “We thought it was really important that kids still had a touchstone to these time-honored tales,” she added.

I can't tell you how encouraging it is to hear that. While I believe there's more to it than just "wouldn't it be nice to keep some of that heritage alive", it's a wonderful start. I vote thumbs up!

They're also kicking this off via the vehicle kids are using most these days: apps, online access and games. While series TV via Disney Channel and Disney Junior on cable (and possibly other providers) will follow in November, the idea is to get the series into the hands of kids where they're most likely to find it for themselves first.

From the press release: 

Disney Junior will debut the first six episodes of fairytale-inspired "Goldie & Bear" on the popular WATCH Disney Junior platforms, beginning Saturday, September 12, with one new episode premiering on the WATCH Disney Junior app and WATCH Disney Junior.com each Monday from September 21 through October 12. Set in the magical world of Fairy Tale Forest, the animated series for kids age 2-7 reunites Goldie and Bear, after the renowned porridge incident featured in "Goldilocks and The Three Bears." The series premieres in November on Disney Channel and Disney Junior.

Reflecting Disney's deep roots in storytelling that resonates across generations, "Goldie & Bear" captures the timeless appeal of sharing stories through fairy tales, folk tales and nursery rhymes. Each episode features two 11-minute stories that showcase the new, unexpected friendship between Goldie and Bear as they seek out fun and adventure along with their friends and neighbors, all of whom are drawn from beloved storybook characters. Whether it's helping the Big Bad Wolf learn to consider others before blowing down their houses, helping Jack and Jill get up that hill, or rescuing accident-prone Humpty Dumpty after his great fall, Goldie and Bear enjoy living in a fairytale world filled with real-life situations, humorous mishaps and heartfelt moments.  

Beginning where the classic tales leave off, "Goldie & Bear" celebrates the distinct personalities of Goldie, Bear and their quirky pals, and encourages children to develop their own enchanting friendships. The series is populated with a diverse cast of storybook characters who model friendship, community, respect for individuality, resilience in the face of adversity and compassion for others, and is meant to spark conversations among kids and parents about the narratives and morals highlighted by Goldie and Bear's unlikely friendship and their comedic interactions in Fairy Tale Forest.  

Maria Tatar, chair of Harvard University's program in Folklore and Mythology and series consultant, advising on storytelling, fairy tales and folklore, said, "When we are stumped, a story often provides the answer - not in the form of a one-liner but in a conversation about the things that mattered to us in the tale." DisneyJunior.com and WATCH Disney Junior will roll out a suite of more than 20 "Goldie & Bear" micro-games throughout the fall, with the first six debuting with the series.  Housed in a storybook containing an interactive map of Fairy Tale Forest, each game centers on a classic fairy tale or nursery rhyme character. 

"Goldie & Bear" stars Natalie Lander ("The Middle") as Goldie and Georgie Kidder ("Star Wars: The Clone Wars") as Bear. Recurring guest stars include Lesley Nicol ("Downton Abbey") as Fairy Godmother, Isabella Day ("Cristela") as little witch Rosita, Debby Ryan ("Jessie") as Thumbelina and Miles Brown and Marsai Martin ("black-ish") as Jack & Jill.  "Goldie & Bear" was developed for television and is co-executive produced by Jorge Aguirre ("Giants Beware!" graphic novel series); Chris Gilligan ("Frankenweenie") is executive producer and director; Joe Ansolabehere ("Recess") is story editor and Rob Cantor (from the band Tally Hall) is songwriter. 

I was sent a little sneak-peek of the synopsis for the premiere which I have been given permission to share:

The premiere episode "Big Bear/Birthday Chair" will go live on the WATCH Disney Junior app and WATCH Disney Junior.com on Saturday September 12th. In the episode, when Bear eats one of Jack’s magic beans so he can be a bigger bear, he and Goldie must find a way to reverse the magic after he learns being big isn’t as fun as he thought.  Then, when Goldie forgets Bear’s birthday gift, she has to quickly find the most perfect present for her best friend. 

And here's a little preview:

Normally I might make a note just to check in with a series like this (like I did for The 7D) but with Maria Tatar consulting on the series since it's early development, and continuing on with the show in this capacity, I'm going to make a point of watching it when I can.

It should also be noted that, Jorge Aguirre, creator of the wonderful graphic novel series Giants Beware, developed this series and is co-executive producer as well, so they're all points in favor of the series as far as I'm concerned.

I'm always a little hesitant to jump on board with CG series as many of them look so similar they can begin to blend together but perhaps a unique signature style will become more obvious and the show will look more instantly appealing when we see more variety of situations and characters.

Even with my reservations about the design style, the acting, animation and writing glimpses we have been given look very promising.

Fairy tale bonus of the day:

Goldilocks has been lurking around Disney for some time. There was supposed to be an animated short released back in 1936, but it never got beyond the development stage. From Disney Wikia:

The Three Bears (or Goldie Locks and Three Bears) is an unproduced animated short that was to have been released in 1936. It is a proposed Silly Symphony of the well-known children's story. Model sheets prove that Goldilockswas planned to look like, and possibly be voiced by, Shirley Temple. Papa Bear was modeled after W.C. Fields. Another version of this short as a Mickey, Donaldand Goofy cartoon would have had Mickey, Donald and Goofy casted in the roles of the Three Bears which was approached to the story after the prosed Silly Symphony failed to materialize.

BalletLorent Teams Up Again with Carol Ann Duffy & Doctor Who Composer to Create a New "Snow White"

Details are a little sketchy but here's the overview, care of TheLowry:

balletLORENT's dark and mystical adaptation of Snow White is created from an original retelling by Carol Ann Duffy, and reimagines the story of a mother’s poisonous jealousy in a dance theatre production for family audiences. Thwarted desire, deception, compassion and redemption with magical mirrors, and a young woman with beauty as pure as feathered snow. 

Snow White is the second chapter of a planned trilogy of Brothers Grimm fairytales created by balletLORENT, which began with the highly acclaimed Rapunzel (Performance of the Year, The Journal Culture Awards 2012).

There's also a great Kickstarter happening in conjunction with the project, called the Snow White Young Cast project.

Giving children with little to no access to the arts the opportunity to be part of a professional dance production. 

Snow White, the second in dance theatre company balletLORENT’s planned trilogy of fairytales, will see the company’s professional dancers joined by a young cast of children aged between 6 – 8 years old and unique to each middle-large scale theatre that Snow White tours to. We are raising money through Kickstarter to be able to widen our reach to children with natural talent but little access to dance and the arts. 

Our young casts will rehearse and perform with our professional dancers, giving them the valuable experience of working with a professional dance company. We ran a similar model alongside our last fairytale, Rapunzel – but this time, our main aim is to engage with more children who have had little to no access to the arts, or previous dance experience.

You can read more about the 'young cast' project HERE.

And you can see another Snow White workshop video with different groups of children HERE as well.

Sounds intriguing, no? From what I can gather, it appears this production is set to premiere in October this year (2015), in Newcastle, UK.

I have to look up Duffy's poetry again, but especially her newer release for children in late 2014, to get more of an idea of where they're headed with this. The one promotional photo available from the production (in two variations) is quite intriguing...

I think there's a good chance the story will be based off her work in this book, however, published late last year, with illustrations by the amazing Tomislav Tomic. I have included the cover of Duffy's gorgeous looking book, and Tomic's two Snow White illustrations below:

"Disappear to faraway lands of wicked witches, evil monsters and brave heroines in Carol Ann Duffy’s stunning collection of Faery Tales, beautiful illustrated by Tomislav Tomic. This gift set collection of stories is a published just in time for Christmas, by Faber and Faber. Tomislav has created ethereal images of the Poet Laureate’s interpretations of classic stories such as Hansel and Gretel, Snow White and the Pied Piper of Hamelin. He also designed and hand rendered the illuminated letters throughout the book as well as the title for the cover."

Now if I could just get a hold of the actual book..!