"Once Upon A Time in Japan" Project Makes Us Want To Hunt Down All the Japanese Variants of These Tales

(Please note: credit not given on project page to identify the artist who created the banner)

 "What if fairy tales of our childhood would have happened in old Japan?"

That's the question put to a group of illustrators in Spain for a collaborative project in 2017, which makes for an interesting intercultural study of both fairy tales and Japanese folklore as seen and combined by outside peoples (both the stories, all of which shown here are referring to the German origin in the tales, even more than the American Disney lens, as well as Spanish interpretation of Japanese storytelling, culture, and folkloric characters).

Snow White by Aitor Prieto

There's definitely a subtext here showing how universal the tales of fairy tales are; that they are human stories, but we very much wish this project had included Japanese illustrators in the mix and had been expanded to Japanese writers, so they would write those stories rooted in their culture, as suggested by the illustrations.

Red Riding Hood by Nuria Tamarit

We feel there's a lot that could be unpacked here, in both positive and negative terms, but for now, we are thrilled to see a different lens applied to well-known fairy tales, which helps everyone look at them differently, and reminds people that people all over the world are people and that these tales resonate, no matter what form they take. 

Bremen Town Musicians by Xulia Vicente

It's not an approach without some risk though, For example, it is a little jarring to see a Japanese version of Cinderella as your brain figures out the multiple issues it just hit on. For one, most fairy tale fans these days are aware that one of the oldest variants found was from China (not Japan) and the illustration below isn't, perhaps, as clearly Japanese in style and design as it could be to distinguish this a different interpretation. To add further disruption, the character fondly considered to be the "Japanese Cinderella", Chūjō-hime, is depicted quite differently due to the fact that there is no "shoe" and "prince". Or perhaps that's just us being picky. Whatever the case, these are important conversations to have when considering other cultures, but it's also worth acknowledging that this doesn't make the idea of considering other settings (and how to represent that) as being invalid. The commonality is a love of fairy tales in "different clothes" and that can be very unifying. The important key here, though, is that a common love of something, while good, isn't enough. Using that commonality, however, to open the door to respectful and constructive conversations that aid proper representation can build bridges and bonds where nothing else could. (Yay for fairy tales!)

Cinderella by Alfonso Salazar

It's no secret that one of the big reasons we at Once Upon A Blog love fairy tales so much is that they show us how the human experience is the same all over the world while simultaneously showcasing just how widely variant the flavors of those experiences can be; they celebrate our shared experience as well as our cultural differences, and, as complicated as explaining those two things can be, fairy tales do it simply and clearly, and encourage an appreciation of people and peoples from every corner of the planet.

Continue scrolling down for some more lovely, interesting, and thought-provoking interpretations!

Bluebeard by Marina Vidal

The Wolf & the Seven Six Kids by Cristian Robles

Snow Queen by Aliz Fernandez

Sleeping Beauty by Miquel Muerto

Pinocchio by David Navarro

Puss In Boots by Paco Sordo

Snow White (Evil White) by Raquel Rodenas

There are more illustrations we haven't included here, so be sure to go check out all the various artist's contributions on Behance HERE.

The illustrators involved in this project are: 

Aitor Prieto, Alicia Fernández, Héctor Molina Fernández, David Navarro, Raquel Ródenas, Paco Sordo, MªLaura Brenlla, Elena Serrato, Jordi Villaverde, Michael Sanchez, Miquel Muerto, Cristian Robles, Adrián Rodríguez, Xulia Vicente, Núria Tamarit, Marina Vidal

All the individual portfolios can be found via this project page by scrolling to the bottom and seeing the list of "owners" for the project.

Are you pumped to read some Japanese "fairy" tales? We recommend the book "Once Upon A Time in Japan" by Japan Broadcasting Corporation (Nhk) (Author) Roger Pulvers (Translator) Juliet Carpenter (Translator), to get you started, though there are many beautiful individual-tale books and collections out there. [Please note this book has no relation to the project in this post!] Each Japanese tale (told in Japanese but translated to English) is illustrated by a Japanese artist, with an eye to representing their beloved tales and culture beautifully and magically for modern readers. (Amazon has a great preview showcasing the variety of illustrations used for different tales, which you can see HERE.)

Here is the blurb and a list of the tales included:

When wily animals, everyday people and magical beings come together in a collection of Japanese fairy tales, wonderful things are bound to happen.

Each story is brilliantly illustrated by a different talented Japanese artist. The tales recounted here are among Japan's oldest and most beloved stories. Entertaining and filled with subtle folk wisdom, these retold stories have been shared countless times in Japanese homes and schools for generations. Like good stories from every time and place, they never grow old. Kids (and their parents ) will enjoy hearing these stories read aloud on the accompanying CD.

The fairy tales and classic stories in this collection include:

• The Wife Who Never Eats--the story of a man who learns the hard way the evils of stinginess.
• The Mill of the Sea--the story of how a greedy man was responsible for the saltiness of seawater.
• The Monkey and the Crab--the crabs teach a tricky monkey a lesson in fairness and honesty.
• The Magical Hood--an act of kindness reaps great rewards.
• Sleepyhead Taro and the Children--a story about what can be accomplished at the right time, and with the right help and the right spirit.
• The Fox and the Otter--how a fox pays the price of deceit and selfishness.
• The Gratitude of the Crane--a story about the rewards of kindness and the danger of curiosity.
• The Tale of the Bamboo Cutter--a girl who starts life very tiny turns out to be big in many ways.

"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.

Disney's "Raya and the Last Dragon" Pays Tribute to Diverse Cultures of Southeast Asia (Teaser Trailer)

It's clear there has been a deliberate shift to properly represent diversity in Disney's upcoming animated feature, Raya and the Last Dragon, and we are so here for this!

THE TRAILER:

Take a look at the just-released teaser-trailer:

Official description: Long ago, in the fantasy world of Kumandra, humans and dragons lived together in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and it’s up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, she’ll learn that it’ll take more than a dragon to save the world—it’s going to take trust and teamwork as well.

REPRESENTATION:

People are already very excited about seeing real diversity in this teaser. Here are just a few of the many comments:

As for the specific efforts in representation during development and production, here are some examples of how the film's focus has shifted for this to become a major priority. From insidethemagic (August 2020):

"...it is clear that representation has become a major focus of the project.

Raya will be Disney’s first animated feature film to be inspired by Southeast Asia, and filmmakers Don Hall and Carlos López Estrada, and Producer Osnat Shurer, told Entertainment Weekly they’re working hard to accurately celebrate the influential cultures. They are making efforts to send creative teams on research trips to several Southeast Asian countries such as Thailand, Malaysia, the Philippines, Laos, Cambodia, and Vietnam, and collaborate with linguists, dancers, Gamelan musicians from Indonesia, and a Laos visual anthropologist who is said to review every design before it is finalized.

Adele Lim, the screenwriter behind Crazy Rich Asians, and Qui Nguyen are penning the script. Nguyen said that both his and Lim’s life experiences are being used to write this film and that it has meant a lot, personally to see their cultures represented in costumes and martial arts, as well as references to his Asian American Identity.

“When you’re telling a story and you’re just doing it based on research, you end up always having to do it from the high end,” he said. “To have the artists who represent those cultures in there to be able to give the subtleties of what our families are actually like, what our relationships are actually like, has given a lot of nuances to this great adventure.

“To be able to have some [heroes] that look like me and my kids,” he added, “it’s gonna matter to a lot of folks.”

(Note: poster shown above is from the Disney Lunar New Year collection, for Disney China.)

NOT AN AUTO-ENTRY INTO PRINCESS FRANCHISE?

There is an important rumor about this representation though, and one that might be worth keeping in mind. It's being said that because Raya is not a musical the main character won't automatically enter the Disney Princess franchise. It's going to depend on numbers and how "successful" the film is (by Disney Executive standards). So, if it's safe by the release date, bring your feet into the theater, and if it's not, pay the extra for "movie theater streaming at home". We need to underscore how important this effort at representation is, and give all those millions of kids around the world the merchandise they could greatly benefit from, to help them continue the experience of seeing themselves in this story, with a princess that looks like them.

THE FOLKLORE/FAIRY TALE/LEGEND COMPONENT:

As for the fairy tale and folklore elements of the movie, we've only seen a small amount to date but it's clear this will delve more into the realms of legends and allude to Southeast Asian folklore along the way. That doesn't mean there won't be fairy tale elements though. For the moment, the standout touchstone for folklore is the Last Dragon of the title (from Why Southeast Asians Should Be Excited About Raya and the Last Dragon):

The titular dragon is named Sisu and is voiced by actress/rapper/comedian Awkafina. She is the last of her kind and the goal of Raya’s adventure is to find out what happened to the dragons that used to inhabit the land. Sisu herself is able to change into a more human-like form, and is based on the naga, the mythical water serpent that permeates all of Southeast Asian culture.

This deity can be found in Laos, Malaysia, Cambodia, Indonesia, Thailand, and the Philippines, with varying depictions of the dragon between cultures, but its general form and function as a water deity is preserved throughout. Evidently, Sisu isn’t going to be as tame as Mulan’s Mushu, and might just be a force to be reckoned with - like Maleficent’s dragon form.

We're very much looking forward to seeing the joy of exploring the diversity of Southeast Asian cultures in a Disney film, and seeing how it also represents the Southeast-Asian-American community as well, not to mention the stories, folklore, legends, and yes, the fairy tales, that are channeled in this film.

Disney's official posters for English and Japanese shown above.

Cinderella's Glass Arm Is More Magical Than Her Glass Slipper! (+ Discussion On Disability In Fairy Tales)

You want magic? This is magic.

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!