Fairy Tale MOOC Highlights - Wk 1 Cinderella (Pt 2)

Walter Crane

The second part of the 1st week was to discuss reactions to the use of various lenses, especially the Freudian lens, when applied to the Cinderella variations, including Disney's. You can find that discussion HERE.

Here's the prompt:

J

Discussion - Cinderella Interpretation, Disney Analysis

Kevin Yee

Use this discussion thread to react to the analysis (lecture) provided by the professor, or to address the larger questions of Disney's contribution to the genre (including the Cinderella movie or theme park additions).

Note: the video lecture prior to the discussion included notes on Disney's Cinderella, including the following, which I'm including as it's referenced in many of the comments:

It's worth pausing to consider the effect and impact of this movie. For many audiences, it has "taken over" the entire collection of Cinderella-type tales. Arguably it's even become THE major fairy tale, symbolic of all other fairy tales (indeed, this is the reason we are reading THIS story first, of all the princess fairy tales).Consider adding your analysis about the role and impact of Disney's version in that next discussion board.

The discussion ranged through all the various lenses, including looking at the social messages. for example:

Cinderella
by Paul Woodroffe

In the story's own terms, there is restoration of rightful order: Cinderella starts highly placed in the world and ends up there too. The fact that some persons rightfully belong in the ashes is assumed but not dwelt upon; social hierarchy is assumed too, without judgment. One could play with these themes a lot, but the Cinderella story depends on the rightness of social stratification, and because it both justifies layering and provides hope for those who wish to ascend, it remains popular. (Bill Lowery)

I somewhat disagree with the story showing a person who ascends in the social hierarchy. In all versions of the story we examined, including the Disney film, Cinderella was originally a girl of high status. She would have very likely married the prince without question/trouble if the stepmother never entered the picture. The stepmother attempted to supplant Cinderella with her daughters -- they were the ones trying to ascend, and they failed due to something they can't even help (their large feet, a sign of their lower status according to the lecture). (J R)

In the lecture, Dr. Yee stated that the purpose of the slipper test in "Aschenputtel" was to ensure that the woman the prince was seeking was in fact of noble birth, which in that era was symbolized by having small feet (a result of not having to stand for long periods and perform laborious tasks).  Makes sense, but if that were the case, how was Cinderella able to pass the 'test'?  She was forced to work long hours every day, while her stepsisters did nothing and were catered to, so wouldn't one of them be more likely to fit the slipper? (Belinda Jamison)

               Cinderella by ~doven

Good question, Belinda. It's because she is, in fact, of noble birth (remember she is forced into house slavery by the father's remarriage) (Kevin Yee)

You also have to remember that the slipper belonged to Cinderella. The only "test" she passed was that the shoe fit only her! In Perrault's story, the fairy godmother "magicked" it up, made just for her, and in the Grimms, the bird brought it specifically for her. It wasn't that the prince had the shoe just lying around and only a woman whose foot was small enough would do. He wanted the woman whose foot the shoe was made for! (Margaret Lundberg)

Here's what I don't understand.  If the theory is small feet is that they were not given the chance to grow because they have not had to stay on them...the feet were not given the chance to widen.  How, after all of the work Cinderella grew up doing, did her feet stay so small?  And why where the sisters, who grew doing nothing, so wide? (Rachel Doan)

I will say I was struck by one thing from the lecture about the Basile version. The idea that the peasant message was to be crafty to get what you want - but the minute that Zozella does that - murdering her first stepmother - she gets punished with another evil stepmother. But it's when she's smart and manages to maneuver without hurting anyone that she eventually gets what she wants. She also ends up back in the class in which she started, so I'm not so sure about the peasant message in regards to getting ahead. (Kristen Menke)

Wanda Gag

I see the importance of differing gender roles. I was merely suggesting that by have a standard archetype for 'female' or 'femininity' it is affecting young boys and men into have those distorted expectations for women! Gals come in all different shapes, sizes, colors, personalities and temperaments, that this standard portrait of women conveys a single image, rather than the broad spectrum of women out there.

Even more than that, you could argue that Disney has also distorted the 'male prowess.' Rarely, do you see a Disney hero, who is not charming, muscular, handsome, great at ridding a horse, swinging a sword, or shooting a gun (I can only think of the guy from Atlantis who does not fit into this mold). Boys who do not identify with this standard again can feel less than male, and women, in turn, have their ideals of male distorted by this archetype of 'male.' (Lizzy Harford)

While Disney's create and recreate a kind of imagery also draws patterns and models of behavior, for example, saying (dark vision: contributing to the programming of minds) what is to be a woman and what is happiness - conveying that construct that is gender. It is done in accordance with the society patterns and conventions in such a way that at some point it is not clear if that is the mirror of society norms and expectations or if it transforms society norms and expectations. I thing that it goes in both directions. (Helga Fernandes)

And then, of course, there was the Freudian lens, which disturbed more people than not (most people were responding to the notes made in the lecture so the comments don't make a lot of sense by themselves but here are some examples of people considering the Freudian/Bettelheim lens):

Cinderella  by ~Maryanneleslie

Bettleheimer in Grimm's version sure gave an unexpected interpretation about the blood on the toes and heels of the two usurpers. The feet fetichism and menstrual blood... A menstrual women is regarded in biblical context as unclean and not pure during the time duration of her impurity ( period ), making them unable to minister, and entering the temple among other restrictions. Taking this into account, Battleheimer's interpretation begins to appear very accurate. (Rodrigo Antonio Suarez)

"...the cutting off of body parts is how we dishonor ourselves in order to fit in or be accepted by others."

I like this--I don't think I've ever thought about their self-mutilation as metaphorical, but it definitely makes sense. (Although, not when placed next to Bettelheim's analysis!)  (Jennifer D. Bushroe)

In the analyzation, I can see the foot fetish, and the rivalry. But the menstruation doesn't fit. I can almost see how, if the evil-sisters are the one to menstruate, than womanhood must be a bad thing? And misogyny does not seem to be prevalent in this story, so I'm honestly confused by that analysation. (Jeanette Fox)

by David Delamare

Ah, but menstruation is "a bad thing." In many cultures and religions a woman is considered unclean once she begins to menstruate and women must undergo ritual cleansings to be considered worth, approachable, or allowed to participate in religious ceremony. I believe it is the Romanian Orthodox church that has a specific "do not cross" zone in the sanctuary beyond which a menstruating woman may not go. Cinderella is virtuous (clean) and pure (non-menstruating) and her step-sisters are vicious and conniving (unclean/menstruating). (Deborah G.)

Then there were some observations about parts of the tale that could be considered to be symbolic...

I reached the same conclusion as to why she was called Cinder-Ella or Cinderella.  Ella's english definition means "beautiful fairy." (Cheryl Wilcher)

So her name could be taken to mean "beautiful fairy of the cinder". A fitting name for a girl who remains kindhearted even though she is forced into the ashes by her cruel, jealous stepfamily.

This is an absolutely lovely meaning and it calls to mind that although her stepmother and stepsisters try to reduce her to a girl of ashes and cinder, they can't change her true beauty. There  also could be a transformative aspect to her name's meaning; out of the cinder comes a beautiful fairy.

Book illustration, Cinderella, 1865

Another interesting observation on Cinderella's name is that it was originally an insult, but it becomes the only name she is known by. Many versions of "Cinderella" never even give her a name other than whatever insult she is called by and even after she marries the prince, she is still known only by that name. For example, in Perrault's and the Grimms' stories, she has no name other than Cendrillion or Aschenputtel. In the Disney movie, her real name is Ella, but she still is called Cinderella after she marries the prince.  (Belle Gold)

My attention was drawn to the section dealing with the lentils. I thought it was interesting that the Grimm’s would devote such a large part of the story to this seemingly arbitrary task. I think it has to have more meaning then just showing the cruelty of the stepmother. I did a quick Google search and found several interesting results relating to lentils. First a dream dictionary equates lentils with domestic duties. Other results pointed out that lentils are historically associated with the Catholic time of lent, or the preparation for the resurrection of Christ. In an earlier post, someone also mentioned how the ashes reminded them of the rising of the phoenix. Pulling this all together, you might say that this part of the story is telling of Cinderella’s rebirth from oppression under her stepmother and sisters to a recognized princess. (Michael Cooper)

...including the godmother and/or helper aspects:

How does the use of magic sit with the Grimms' Protestant views?  I did a quick google seach of witch-hunts in the 1700's and found in Wikipedia that there were over 50,000 trials in the Holy Roman Empire from 1450–1750.  It seems the Grimms distinguish between white magic and dark magic?

My knowledge of Protestant traditions is slim, but are godparents common in that religion, or was this a hold-over from Catholicism? (Natasha Johnson)

My guess is that the magic you're seeing in the Grimm version is really a holy power from God. Note that it comes from the girl's dead mother, who we can assume is in heaven, helping from above. There's no fairy godmother here, it's all the power of the dead mother and her holiness.  (Carina Clark)

And then there were discussions trying to make sense of a number of lenses at the same time:

by Edward Henry Wehnert

I was wondering if the twig in the Grimm story had any meaning. From a Freudian perspective I think of Cinderella wanting to be punished with it (to make it really Oedipal: by her father himself). But from a historical perspective it could be the love of nature. Or is it just an illustration of her humble nature? The latter (may be combined with the nature thing) seems the most likely to me, as this is a recurring theme in all versions. (Carla Stiekema)

I had the same question, and I started by thinking on Laurel, symbol of victory. That drove me to a dictionary of symbols, and it says that "A twig is the last manifestation of a tree's life" So I may think that it is related to the death mother. It follows "it is the outcome of the process of evolution of the three. So it has all the value, all the power. A olive twig has more power than the olive tree itself" and then it mentions other myths, like Heracles and recalls the entrance of Jesus in Jerusalem. Given this info and my own brainstorming, I understand the twig as a channel between Cinderella and her mother, so strong that it falls on the head of the father and that it is still to able to nurture and protect her. What do you think? (Tamara Guirao Espiñeira)

I never knew that about twigs, et al, and find it very interesting! I think you are on to something here. A theme of afterlife and life renewed, especially life renewed-- Cinderella was once in a good position but has been demoted and treated cruelly, then she rises again. (Theresa Williams)

Janet and Anne Grahame Johnstone

The lecture providing interesting interpretations and invitations to consider the story in new ways.  I cherish myth as a teacher.  Not discussed in this lecture is the theme of overcoming crisis to re-emerge transformed.  I suppose this is the folklorist lens that we are not using in this course. 

The Freudian lens was fascinating.  I find Freud baffling - even after extensive study in psychology.  I just don't get him. (Barye Bluth Dellinger)

Some commentary was also included on Disney's reason for doing Cinderella and how he/the company handled the tale as opposed to previous storytellers:

Disney and Perrault had one major thing in common beyond their versions of Cinderella: they knew their Audience. (K A Petentler)

I absolutely agree with your (KA Petentler's) points of view. Your (4th) point is very powerful, perhaps it's the main reason those two versions are the ones we have easier access to. The magic of knowing who your target market will be. (Violetta Rios)

Illustration by the Walt Disney Studio,
adapted by Retta Scott Worcester

By 1950, when Cinderella was released, Disney was already well known for bringing classic fairy tales to families that guaranteed the triumph of virtue, the reward of faith, and living happily every after.  

At that time, Walt Disney was a founding member of an anti-communist group called Motion Picture Alliance for the Preservation of American Ideals. It's possible to see his belief in virtue, innocence, faith, hard work, and optimism as American ideals that were expressed in all his fairy tale movies.

Why is the Disney version of Cinderella the most well known?  Distribution across many channels including movies, TV, DVDs, books, theme parks, merchandise, etc.  If the Grimms had access to all that, this might be a different discussion. (Susanne Martin)

I found it interesting that as mentioned in the lectures it is a common theme in fairy tales to be crafty, to lie, and to cheat in order to get what you want. In that case, I appreciate Disney's adaptations to the themes, making them more noble. I also appreciate that various adaptations allow the story to become culturally relevant and expressive to many different cultures in varying time periods. 

Krista Huot

I also found it intriguing to note that only in Cendrillon did the glass slipper fall on purpose.  I love that there was a conscious thought to it and that it was her taking part in her own destiny, not just taking things as they came or via "luck".  Wow, I do sound like an American, now don't I! (Dana Irwin)

It seems to me that Disney (along with tv and the dawn of Saturday morning cartoons and the related marketing - oh, and Dr. Benjamin Spock) is largely responsible for the fetishization of childhood over the last half century or so. We've somehow decided it's a virtue to keep children innocent and oblivious of the realities of life - and then we wonder why we now have a couple of generations of perpetual children. Historically, there was never the luxury of that oblivious childhood - or only among the very wealthy, perhaps. Children were included in adult life as soon and  as much as they were able. They were not shielded from sex and birth and suffering and death because they couldn't be. They didn't have their own bedrooms to be sent off to like I was. Those earlier versions of "Cinderella" clearly reflect that difference in regard for children. Some days I wonder if we've changed for the better. . . (Caroline Bloodworth)

Fit the Slipper! by David Delamare             

I have always liked the Disney version of the tale, and how deep it gets into what Cinderella actually did all day. I also loved how the mice make her a dress. I find it very interesting to see how people react when they hear about one of the older tales and how shocked they are. I think this says a lot about how cultures change over time and what we are concerned about when we tell these tales. I also find the feminist outcry of the Cinderella tales to be interesting, especially when they are just focused on the fairy godmother and "being rescued" by the prince. Looking at the tale from a historical perspective, Cinderella is doing what she can according to the rules of her society, and she is not just being passive. In the Perrault, Grimm, and Disney version she makes some kind of deal to allow her to go the ball. It never seems to me that she particularly cares to meet the prince at first, she just wants to go and see other people.  She seems most passive in the Perrault version, as she plans not to go until she talks with her godmother and promises to be home until midnight, but in the other two she tries to make a deal with her stepmother first. She is learning to stand up for herself as she becomes an adult. She is of course happy to meet the prince and marry him, but that is never her goal, and to her is a happy coincidence. I especially appreciate that in the Disney version she doesn't even realize that she met the prince. I also appreciate that the prince has a little more personality in the Disney version than he does in any of the other tales. In the others, Cinderella is not the prize, the prince is. In the Disney at least he has a few more lines and a chance be his own character. (Jennifer Hayes)

And there were some other comments which were interesting to consider, no matter which lens preference you had:

Sulamith Wulfing

I found it especially interesting in the Italian version that there were so many references comparing the Cinderella Cat to a courtesan (according to the foot notes).  The emphasis on satire is clear over any moral lesson.   (Erika Franz)

If you start to think of fairy tales not as children's entertainment but as pedagogical stories for the young adults about to leave home and enter into apprenticeships, then all the orphan stuff starts to make more sense and the tales are about relationships. There is no real male power in this story.   The father is pushed and influenced by the new wife, the prince will marry the rightful owner of the shoe, not the woman he loves.  The women are deceitful, jealous and vindictive, yet true beauty will out, whether it is beauty of heart, mind or body.  I find it interesting that the heroine gets all of the spirit-world help from fairies, her dead mother and the nature spirits, the fairy godmother etc. (Janet Loughheed)

Fairy Tales are not a one size fits all item.  Disney and theme parks are the easiest and best way for tales such as this to gain wide appeal.  To me, it's simply a variation of Perrault's tale, and should be taught along with the other tales of this type.  In nearly all cultures there is a tale of someone who is wronged by a stepparent or parent, such as Cinderella.  She has many different names and ethnicity, but she's basically the same girl. (Nakita Caruso)

In addition to reading, lectures and discussions, we were also given the option of a "technology challenge", to stretch us into trying different (and new to most of us) forms of technology for a presentation. 

Unknown artist

Week 1: Make and post a video on YouTube of yourself to introduce yourselves to the other students - explaining a little of why you chose to participate in the course. 
Week 2: Create a photo remix, retelling wither SleepingBeauty or Snow White, and make it into a movie (free online software options were given).
Week 3: Create an online comic strip with Bubblr or online "posterboard" with Glogster on "the definition of PRINCESS"
Week 4: Make a "screencast" with Screencast-O-Matic while doing a rhetorical analysis of one or more of the fairy tale images on Dr. Yee's fairy tale class Tumblr blog (the software records your voice and whatever you are doing on the screen in real time - eg clicking to new page, pointing with your mouse , scrolling, zooming, etc)

You can find the videos from the first week (which I loved watching and show a fascinating cross-section of participants) HERE. 

I admit, I did not complete this one in time to post it but what I did get done was a good challenge!

The following week we read and discussed Snow White and Sleeping Beauty. Posts on those soon!

Aschenputtel - Cinderella in german fairy tale booklet
Looks like it could have been issued to Hitler Youth children.

Miyazaki-sama (aka "Japan's Walt Disney") Announces Retirement

Miyazaki made out of his movies - portrait by ~C3nmt

Although Miyazaki is indeed known as "Japan's Walt Disney" for reasons of his animated features and whimsical, fantastical and family-friendly storytelling, he is very much his own person and visionary. The news of his retirement from feature films is, though, as big a deal worldwide as if Walt were alive and announced a similar retirement of his own.

As such, I don't really know how best to present this news:

• sadness that Hayao Miyazaki is retiring from feature film directing?
• hopefulness for other projects he will no have time to give his attention to?
• gladness that he'll be able to enjoy some of his retirement and family without the pressure of giant films?
• gratefulness that I was as aware of his Mastery as I was and took note of the films he made after Princess Mononoke onward?
• honored to have shared the planet with such a visionary of both filmmaking and fairy/folk tales?

I have to choose all of the above. And I would add that I feel we are privileged in this age to have the technology we do to share his work worldwide right now. (Remember when we had to wait 7 years for a Disney feature to come back to the theater to see it?!)

Totoro with his Dad

Update: Hayao Miyazaki's Official Retirement Press Conference to be Streamed in English (as well as Japanese) today, Friday Sep 6th, at 2pm JST, on Niconico HERE.

Here's a summary of the initial brief announcement by Studio Ghibli head, Hoshino, on Sunday September 1st, 2013:

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Fairy Tale MOOC Highlights - Wk 1 Cinderella (Pt 1)

Disney's Cinderella by lettiebobettie

It's over. After four weeks of chatting with people all over the world, at all times of day on all aspects of fairy tales, the first fairy tale MOOC has officially reached the end. (Cue sobbing.)

It was so much fun to chat with people from all walks of life, some fairy tale and folklore students, others being first timers, some young adults, some seniors, some Americans and many not - I thought I'd share some discussion highlights. There was also the surprise of optional "tech challenges" designed to stretch people out of their comfort zones a little by trying a range of (free) technology for different presentations (like learning how to upload a video to YouTube). While this aspect did take a lot more time than the basic time estimation it seems that everyone who attempted them felt it time well spent and got a lot out of trying something different. Apart from being able to be part of ongoing semi-live discussions on various aspects of fairy tales, seeing how people tackled the tech challenges was my favorite part of the course.

First let me give you the title and premise we began with:

Fairy Tales: The Origin and Evolution of Princess Stories

(Edit FTNH: What was meant by this was actually the main Disney princess stories, where they came from and how things changed from early literature recording these tales to when Disney put his/their version on screen, so no Iron Stove, Dancing Princesses or Goose Girl. I was pleased to see this didn't limit the conversation at all, especially since so many participants hadn't grown up with Disney so the discussion remained fresher than it might have been otherwise.)

by Ruth Sanderson

Overview:

Princess stories have been popular for centuries and remain so today around the world; we’ll dive into what these fairy tales mean, and trace the history of these narratives back to their source material, examining contexts all along the way. We’ll borrow tools from cultural studies, literature studies, and film studies to help us analyze these phenomena and what they mean to our society.  Many of us may associate princess stories with modern-day products (much of it marketed to small children) or with Disney movies and theme parks. We’ll examine these current versions of fairy tale mythology as well, using our new interpretive tools to uncover not just what’s been changed in the moral and message of the narrative, but what the stories mean as told now.

The first "princess" was Cinderella and we read Grimm's, Perrault's and Basile's versions of the story as well as had a couple of short video lectures. We were asked to give our impressions of what the name "Cinderella" meant to us, if the narratives matched out memories/impressions and what we thought after reading one version after the other and then to use various interpretative "lenses" (historical, authorial, feminist, Freudian and also queer).

Then people got chatty... :)
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Don't Open the Door To Anyone!

"I am not allowed to let anyone in. The dwarfs have forbidden me to do so."

Note: It's SO VERY HOT HERE! I'm afraid I was out of prescheduled blog posts the past few days to cover for me while I couldn't get to writing but I have lots of fairy tale news to catch up on! Bear with me while I juggle all the crazy and the health-challenges - there will be news a-plenty to read very shortly. In the meantime... 

While I was searching for images to use for the Snow White slideshow/retelling I found this amazing lock I have to share. Note it took SEVEN YEARS to complete. There's that number again.

The lock was made by an German-born, American ironworker (I would say artist), who worked his way into the Arts & Crafts Society of Boston. This was prior to Disney's Snow White (which was 1937) so the combination of German heritage, minus any strongly influential media representations of Snow White makes for a Germanic representation - with an American Arts and Crafts twist.

In the (very) old book Art and Progress Vol 4 (from 1913), the text refers to the lock, stating: "...Koralewsky's great wrought-iron lock, designed to illustrate the fairy tale of "Snow-White and Rose-Red", is one of the features of display of ironwork." Oops. Clearly the lock is Little Snow White, not Snow White and Rose Red, but even the official museum information today has a small print caveat under the information saying that information is constantly being updated on this piece. I'd love to know why it was made (beyond "it was a gift"). Why so intricate, why a fairy tale and why this fairy tale?)

If Snow White had such a metal-worked lock, care of her little guardians, it may have effectively stopped her from lifting that latch... It would certainly stop me in my tracks every time I approached the door! (Though Snow White doesn't actually open the door, doing as she was told, to receive the apple at the last in the Grimm's telling. Instead she reaches through the window. Apparently we'd need a complementary window latch...)

There's very little information available (that my google-fu can find anyway), except for what the museum has posted next to the artifact itself:

(Designed/created by) Frank L. KoralewskyAmerican, born Germany, 1872-1941Lock, 1911Iron with inlays of gold, silver, bronze, and copper on wood base50.8 x 50.8 x 20.3 cm (20 x 20 x 8 in.)"Fkoralewsky" on iron surface; "FK" inlaid in copper
Gift of Mr. Richard T. Crane, 1926.521 

Frank L. Koralewsky served as a traditional ironworker’s apprentice in his native north-German town of Stralsund. After obtaining journeyman status, he worked in various German shops before immigrating to Boston in the mid- 1890s. By 1906 he was a member of the Boston Society of Arts and Crafts, specializing in locksmithing and hardware. This extremely intricate lock, which took seven years to complete, exemplifies the early-20th-century taste for sentimental medievalism and represents the pinnacle of the metalworking tradition at the turn of the 20th century. Exhibited at the 1915 Panama-Pacific International Exposition, where it won a gold medal, the lock illustrates Jacob and Wilhelm Grimm’s fairy tale “Snow White and the Seven Dwarfs.”— Permanent collection label

Here is the handle (which you can see at the top in the straight-on views), depicting a dragon. I'm also curious as to why the artist chose a dragon...

By the way, can you find the seven dwarfs? They're all there but there's a trick to it...*

I believe the lock is currently on display at the Art Institute in Chicago (the last information I could find was posted in December 2012 but it's in the current artifact/information for this museum so I will have to assume this is here it's currently on exhibit).

I found one other carving by Koralewsky (called a "steel carving", though it appears to be wood) from an old museum catalog but apparently this is not on display anywhere. You can see a similar style to the characters and scene. There's no title, no information, other than that it's by Koralewsky and that it has the tags "metal work" and "craftsman". It looks very much like a tale - with a horse and a King and possibly a mouse (see bottom of the tree) as well as some blacksmiths but I don't know what tale it is.

You can see a selection of amazing and intricate locks by various artists HERE, though the Snow White lock by Koralewsky is the only fairy tale themed one. (Other examples of his work can be found HERE.)

Amazing, yes?

*The seventh dwarf is hidden inside the lock. Now wouldn't that make for an interesting twist to the story?

Ask Baba Yaga: I Am My Own Worst Enemy

Baba Jaga by ~iphigen

This week is AWESOME! (Like pretty much every other week has been, but for a fairy tale person, it may be even more so this week...)

This week's question and answer (via poet and oracle Taisia Kitaiskaia* of The Hairpin):

(Originally posted at The Hairpin HERE)

The discussion among commenters are my top picks this week:

• Such great advice! Uncanny! (adorable-eggplant)
• Out-tricksied! (insert heart here) (fabel)
• I feel I would try so much harder to follow advice that was given cryptically. Straightforward advice, all lies. THAT's the problem. Clearly. (Linette)
• @Linette yes! another point for oracles over advice columnists. (harebell)

I think Linette is on to something! Gosh I love this one: thorned and starving paths, enchanted balls of yarn taking them to SECRET GRAVEYARDS. Yes! Clearly I need to lead my other self down other paths than the garden one. I think I have been too nice to date. :/ (Thanks Baba!)

What do you think of Baba Yaga's advice?

Want to ask Baba Yaga a question of your own?

You can!

There's now an email address where you can send your questions

directly to Baba Yaga herself.

AskBabaYaga AT gmail DOT com

To encourage Baba Yaga to continue imparting her no-bones-about-it wisdom (ok, there may be some gristle in there... bones too), I suggest we not to leave her box empty... 

Thank you Baba Yaga (& Taisia).

* Taisia Kitaiskaia is a poet, writer, and Michener Center for Writers fellow. Born in Russia and raised in America, she's had her poems and translations published in Narrative Magazine, Poetry International, and others.

"The Mirror: A Snow White Tale" (MOOC challenge)

I'm planning to do a highlights post on some of the fairy tale MOOC classes and discussions we've been busy with the past four weeks but thought I'd start with this.

Each week, we studied a different tale or tales, discussed, analyzed, compared and contrasted them and also had an optional "tech challenge"on the theme.

Although I'm late in uploading my "slideshow retelling", after having a few technical issues with the free online software, I really wanted to finish what I started and ended up reconstructing the slideshow offline. It's not perfect but I wanted to keep to the limits of the software we were supposed to use [which I did. Mostly. :) ] and was more pleased than I expected to be with how it turned out overall.

You'll notice my retelling has no male figures at all - not even dwarfs... (I'll leave you to consider what light that throws on the tale.)

The Mirror: A Snow White Tale

by Gypsy Thornton

(MOOC tech challenge: slideshow retelling of a fairy tale)

Running time: 2:19

Music: "Gone" by Ioanna Gika

Enjoy.

(Note: the movie file is pretty big. If it's not running properly, let it load first then watch.)

Snow White Hearts Art

From the Facebook page Artspiradora  - a very creative and inspirational page-project - in which they provide many examples of art, including unconventional methods of reproduction to educate kids about Art and the Masters. One example is a bento-box-like presentation of Magritte's The Son of Man, or a parody of Hopper's famous painting Nighthawks "rebuilt" in Lego.

A little while back they posted the image above which is a homage to both Disney and Frida (originally on display at the not-for-kids Disasterland* show by Mexican artist José Rodolfo Loaiza Ontiveros at La Luz de Jesus Gallery in Los Feliz, Los Angeles CA, in August last year (important note regarding this show at end of post - please read before clicking on links).

The point in the case of Artpiradora's Facebook page, however, was/is to use Disney and Snow White to teach kids about art, surrealism and Frida (and heartache). You have to admit, in matters of the heart, Snow White is a perfect Disney example to use...

The description from Facebook, translated from Spanish, is below:

BETRAYAL vs LOVEThe painting done by Mexican artist Frida Kahlo, called "The Two Fridas" (1939) depicts how she felt after the divorce of the painter Diego Rivera: her only companion, was herself. See two facets in this table: Frida was loved by Diego, and one that was betrayed, the traditional versus the cosmopolitan, the strong and the weak. Symbolic objects as we see a photograph of Diego, scissors, blood ... they are easy to interpret. Some Frida Kahlo pigeonhole surreal, but she defends the title saying: "They thought I was a Surrealist, but I was not. I never painted my dreams. I painted my own reality "

Frida painting her two selves

If you're on Facebook, love art, creativity and being inspired by different (and generally family friendly) thinking, I recommend liking Artspiradora. You'll find yourself thinking and feeling out of the box - like hearts are meant to. ;)

Important Note: The show Disasterland depicts Disney characters in very adult situations (including some NSFW). The content is NOT meant for children (eg one of the pieces shows Bambi lying next to his obviously dead mother in the snow) but is supposed to be “a tribute to pop culture, fashion, animation, horror films and the undeniable attraction of celebrity.” While many of the pieces show a twisted sense of humor, they are NOT suitable for young eyes. Artspiradora chose to post the piece shown above out of this context, to good effect (and for which I a grateful).