The long wait is finally over. Your patience has paid off and our new collection of short stories and poems has arrived at last.
Perhaps the oddest thing about the original Hans Christian Andersen's fairy tale, is the name. Considering it's called, "The Snow Queen", our titular character has a surprisingly small role amongst the many adventures that occur to Gerda and Kay.
In our latest issue, our writers ask plenty of questions about the Snow Queen herself. Andersen portrays her as the villain, but is there more to it? Could she be a victim, or even the heroine?
But these retellings also explore the wide variety of other characters--from the Robber Girl, to the crows, to the strange imp who started the whole story. Some of these pieces are cold and wintery, like you'd expect, but others will take you back to summer vacation.
A special note about our audio version: It isn't quite ready yet, but will be sent out later this week, so if you are a patron (or become one--hint hint--) you will be receiving the audio files a tiny bit late, but trust us, it's so worth the wait!
As promised, today we continue our interview with the enchanting folklore mavens behind the newest - and perhaps the only - school dedicated to fairy tale magic on the planet: The Carterhaugh School of Folklore & the Fantastic.
(Miss our Introduction and Interview Part I? You can find that right HERE.)
In this Part II of our tour behind the scenes of creating the school and online course in The Fairy Tale, we ask Brittany Warman and Sara Cleto for more specifics on why our readers - many of whom know more about fairy tales than even fairly well read folk - would not only enjoy the course, but might come to view it as their (online) fairy tale equivalent of Hogwarts. Let's see what they said:
For our readers, most of whom have done more than dabble in the delights and dangers of fairy tales than most people, what is unique about your course and why would it complement their deeper-than-average delvings into fairy tales?
One of the reasons we think a school like this might be welcome to people already well-versed in these materials is the fact that folklore is an enormous category that unfortunately breeds a great deal of misinformation, even in printed materials. Fairy tales fall victim to this kind of misinformation all the time. In a Carterhaugh class, we will be your guides – we know exactly how to navigate this material and can teach you to do the same! At OSU we have taught all kinds of courses, earning nominations for teaching awards and commendations from both supervisors and students. When we aren’t teaching or working on our dissertations, we are scholars and writers who have published peer-reviewed articles, sold stories and poems, written book introductions and encyclopedia entries, and published both creative and academic reviews. A class with us isn’t going to be the same ol’ “did you know the ORIGINAL fairy tales had dark endings?!” you see so often on the Internet - we’re going to take you beyond that, exploring the subtleties of those “dark” endings, exposing you to the real secrets of the stories you thought you knew, showing you their range across cultures, and hopefully introducing you to an unfamiliar text or two as well. The other reason we think you’ll find our courses unique is that, although we will be supported by our backgrounds in academia and creative writing, we aim to use our knowledge and our passion for these subjects to share their wonder, solidify their importance in society, and spread a bit of magic into the world. You will be taking classes with two teachers who embrace and believe in the power of these tales. These courses are designed for people who dreamed of elven battles while studying economics, those who have always sworn they could see ghosts, those who longed for a school of magic to send them an unexpected acceptance letter. We’re doing our best to bring that kind of school into the banality of the “real world” while maintaining academic rigor.
What would an average week look like as a course participant in 'The Fairy Tale'? (eg hours needed, how much reading [is it provided or does it require extra purchasing of texts], sorts of lecturer presentations, project work etc) Does 10 lessons mean 10 consecutive weeks, or is that flexible? Do wings and wands come as standard accessories?
The length and structure of each Carterhaugh course varies, but the course on The Fairy Tale will span five weeks with two lessons released each week for a total of ten lessons. An average week would include two recorded lectures and supplemental readings (a few short stories.) However, a student can take as much time as they like to go through the materials- everything is theirs to download and view at whatever time is most convenient for them. The workload can be whatever the student wishes to do- we will provide all the readings (no extra purchases are necessary), and students can read everything, skim, or pick whichever texts most interest them to focus on. The final project is optional, and it can be as simple or elaborate as a student wishes to make it. Carterhaugh can be whatever a student needs- it can be very in-depth and rigorous, and it can be leisurely and casual, depending on the time that a student wants to devote to the course. Sadly, wings and wands are not included in this particular course, but we encourage their use and will provide other necessary materials.
What fairy tales are you planning to cover in the course? Do you have a spell to fold space/time to fit in the hundreds we're all interested in?
Tragically, we don’t have that spell yet. If you come across it, PLEASE tell us! We’ll hit the classics like Cinderella, Sleeping Beauty, and Beauty and the Beast, but we’ll also explore lesser-known fairy tales. For example, we’ll take a look at Asbjørnsen and Moe’s “Tatterhood,” peek into Baba Yaga’s hut, and read some of the ornate, outrageous stories written by French conteuses. And even the classics might surprise you- we’ll look at a Chinese Cinderella story that predates Perrault and the Grimms, a Sleeping Beauty who must contend with an ogre in addition to a curse, and a Beast who is half-hedgehog and rides around the woods on a rooster while playing a bagpipe. No, we are not making this up.
Note to readers: Carterhaugh School have now released their course schedule so we are including it at the end of this part of the interview to whet your appetites and see the wonderful range of tales and topics that will be covered. It's pretty exciting stuff!
Is there any recommended pre-reading, rituals or spell practicing that fairy tale news readers might wish to prepare themselves with?
We plan to provide all the materials you’ll need for the course, so there’s really no need to prepare anything in advance!
What other sorts of irresistible and goblin-fruit-laden courses are you planning to offer in the future, and will they have similar formats?
This is our first long course, so we’ll have to see how this one goes first! We would love to do courses on folklore generally, fairylore and other supernatural lore, folklore and fantastic literature, “mythpunk” literature, and a huge variety of other things as well. We’re still developing our format but all of our courses will likely be similar in structure. We'll stop here for today, but are including the course schedule below. Stay tuned for Part III of our interview, posting tomorrow!
And don't forget - if you're feeling inspired to sign up yourself, or give the wonderful (wonderful!) gift of registration to a fairy tale enthusiast, here is the detail summary for easy reference:
Dates: January 16th, 19th, 23rd, 26th, 30th, February 2nd, 6th, 9th, 13th, 16th – note that these are simply the dates that materials will be posted! You will be able to access everything indefinitely and watch whenever is most convenient to you.
Total Number of Lessons: 10
What’s Included: Welcome Letter, Mailed Special Welcome Package, 10 Video Lectures, 10 PowerPoint Presentations, 10 Beautiful PDF “Grimoire Page” Lesson Summaries, PDFs or Links to Any Supplementary Reading, Personal Feedback on Completed Final Assignment if Desired
Any Additional Materials Needed: No
Registration Closes: January 15th at MidnightPrice: $150 – you can pay in one, two, or three installments! Full payment must be complete by the time registration closes on January 15th.
Here is a tentative schedule for the upcoming fairy-tale course. Some of the individual stories are subject to change, but the themes for each lesson are set! Take a look:
Lesson One: January 16th, 2017
Intro to Fairy-Tale Study / Little Red Riding Hood / The Story of Grandmother
Lesson Two: January 19th, 2017 Cinderella Day – Cinderella / Donkeyskin / All Kinds of Furs / Yeh-hsien / The Princess in the Suit of Leather
Lesson Three: January 23rd, 2017 Jack Tales Day – Jack and the Beanstalk / Whickety-Whack, Into My Sack / Old Fire Dragaman
Lesson Four: January 26th, 2017 Beastly Bride Day – The Swan Maiden / The Crane Wife / The Loathly Lady / The Story of Uloopi and Arjuna Featuring a guest lecture by the amazing Shveta Thakrar!
Lesson Five: January 30th, 2017 Awkward Husband Day – Bluebeard / The Robber Bridegroom / Mr. Fox / Fitcher’s Bird
Lesson Six: February 2nd, 2017 Sibling Day – Hansel and Gretel / Jorinde and Joringel / The Juniper Tree / Brother and Sister / Tatterhood
Lesson Seven: February 6th, 2017 Sleeping Maiden Day – Sleeping Beauty / The Ninth Captain’s Tale / Sun, Moon, and Talia / Snow White / Gold-Tree and Silver-Tree / The Glass Casket
Lesson Eight: February 9th, 2017 Search for the Lost Husband Day – Beauty and the Beast / Hans My Hedgehog / Small Toothed Dog / The Pig King / East of the Sun, West of the Moon
Lesson Nine: February 13th, 2017 Salon Day – The White Cat / The Great Green Worm / The Rose Cloud
Lesson Ten: February 16th, 2017 The Golden Key / Wrap Up
There's a new fairy tale ballet on the world stage, but it may be more familiar than not...
Matthew Bourne's The Red Shoes, debuted this year in November (2016), and is being touted as a production you don't want to miss, even though, being based on the classic film with Moira Shearer in the role of the obsessed and torn dancer, you already probably know how it goes.
World renowned contemporary ballet choreographer, Matthew Bourne has turned more than a few classics on their heads and dealing with fairy tale themes is nothing new. He may be best known for his male swan bevy in his unique take on the classic ballet fairy tale Swan Lake, but he's also adapted other fairy tales, including The Nutcracker and Cinderella. If you've been reading this blog for a few years, you'll know that we were impressed with his bizarre combination of Sleeping Beauty and vampires, that still managed to feel classic and fairy tale like, despite it's contemporary layering of concepts and styles. Whatever he does, you can be sure Bourne will make you think differently about the fairy tales you're used to watching!
It's clear film is an inspiration for Bourne in general and he loves to bring that visceral, bodily experience to a production, so an audience truly experiences his works. With The Red Shoes, Bourne is adapting the critically acclaimed, and much beloved film by cinephiles and balletomanes everywhere - something which many are wondering why it took him so long to do, as it seems ripe for the risk-taking choreographer and contemporary ballet head to tackle, seeing as he has his own company of world touring dancers.
That is, however, a very tall order. Based on Hans Christian Andersen's story, the 1948 film is often said to be the 'perfect adaptation of the fairy tale', and one that's become not just classic on its own merit, but has built its own mythology and tale status as well.
The film, based on Hans Christian Andersen’s fairytale, is loved as well for its glorious Technicolor cinematography by Jack Cardiff and has legions of admirers, not least Martin Scorsese, who oversaw its restoration in 2009.
It was particularly important to Bourne, who recalled seeing the film as a teenager. “At that stage I’d never actually seen a ballet, it was my introduction to that world … it does seem terribly glamorous and mystical when you watch this film.”
Commenting on the challenge to take what works so well on screen and translate that to stage, here's how Bourne described it, during the development phase of the production:
“It is actually about dance and dancers, a world that we all understand so well. The film’s genius is to make that theatrical world at times surreal, larger than life and highly cinematic. My challenge will be to capture some of that surreal, sensuous quality within the more natural theatre setting.”
Bourne said the story of how to become the best, and the sacrifices that had to be made, had a continuing relevance, particularly given the success of programmes such as the X Factor.
“It is about the dedication it takes to become a star … sometimes that hard grind is forgotten about with things like X Factor. It is still relevant.”
Note: the two images show Vicki Page in the similar ecstasies she feels for her two loves: dancing and her lover-eventually-husband, Julian Craster.
So what's the outcome?
Before we get into what the critics are saying, here's a little about the production with regard to adapting the film, to give you an idea of what it's like, including a very short video showing some clips:
A beloved fairy tale and Academy Award-winning movie, The Red Shoes has seduced audiences and inspired generations with its tale of obsession, possession and one girl’s dream to be the greatest dancer in the world.
Matthew Bourne’s magical adaptation is set to a new score arranged by Terry Davies using the music of golden-age Hollywood composer, Bernard Herrmann (famous for his work with Alfred Hitchcock and Orson Welles), with sumptuous set and costume designs by Lez Brotherston, Paule Constable (lighting) and Paul Groothuis (Sound).
"Victoria Page" will be created by New Adventures star Ashley Shaw, most recently seen across the UK and internationally as "Aurora" in Matthew Bourne's Sleeping Beauty. Cordelia Braithwaite and Katrina Lyndon (at certain performances) will also play the role.
The Red Shoes will dazzle your senses and break your heart.
Even if it's well done, whether faithful to the film or fresh in many ways, why take the time to go see this? Yes, there will be parts of this that can't be captured on stage because they were created - masterfully - for the film medium, and so those montages and transitions where Vicki Page is dancing her role of a lifetime in the Hans Andersen fairy tale ballet role will have a hard time measuring up, if you adore the screen representation. No film, however, is going to viscerally communicate the physical and mental intensity and anguish that Page goes through, quite as well as watching it happen right before your eyes to a real live person - which is what principal dancer Ashley Shaw is lauded as doing.
And it's just as well.
While The Red Shoes 1948 film remains a runaway hit, even now, with almost everyone who sees it (whether they like ballet and fairy tales, or not) the Broadway version of The Red Shoes barely lasted 5 days in 1993, before it was shut down, losing millions. It's clear the risk of translating a cinematic hit into a similarly successful stage production is no easy feat. Fortunately something unique and wonderful appears to be happening with Bourne's take, galvanizing the production and performers to present the 'best' of live performance potential, making it clear why there truly is no such thing that can fully replace live theater.
Bourne: “The film does have that quality of being a monument, but I think you change something straight away when you take it from screen to stage. And, even though I’ve followed the film quite closely, I’ve been able to see lots of ways of expanding on it through dance. There will be quite a few surprises along the way.”
One area where Bourne has let his imagination run riot is in choreographing the life of the ballet company Page belongs to. In the film, the company is run by Boris Lermontov, a steely aesthete and ruthless boss who has shades of the great Russian impresario Sergei Diaghilev. But while Bourne has retained the character of Lermontov, he’s given the company a new identity, one that bears a distinct resemblance to the Royal Ballet back in 1948, when it was still known as Sadler’s Wells Ballet. The company had just emerged from the war years, when it went slogging around Britain entertaining the public and the troops. For Bourne, it seemed to have something of the improvised, mongrel quality of his own troupe, New Adventures.
“It was a company I felt we could relate to, even though we’re not a ballet company ourselves. When we were building up the background and the characters in the story, I had my dancers research the lives of English dancers like Beryl Grey. Vicky, of course, is a little bit Margot Fonteyn and, although the audience doesn’t have to know about those connections, they make the work a bit richer.”
There are also reportedly many added details of historical accuracy with regard to balletic works The Sadlers Wells Ballet Company would have performed in that same, mid-20th century timespan, as well as nods to the Hollywood era of film The Red Shoes first shone in, making the piece even more satisfying for fans of both classic ballet and the late 40's film era. For the remake of a classic, which partly relies on people's nostalgia and critical appreciation of the original adaptation, it gives Bourne' production a meta quality, (perhaps ironically) marking it as a contemporary work; something that seems to define - or at least haunt - the creation of Art in this era of the internet and self-focused social media. Essentially, it becomes it's own commentary on obsession, which is very smart and/or very apt. (You can read more about the creation and expansion of The Red Shoes contemporary ballet via an earlier article by The Guardian, when the show was being created, HERE. It will be of specific interest to dancers and those adapting film to stage.)
And the critics essentially agree. If it wasn't clear before, Australian dancer Ashley Shaw is well on her way to being a star, while the production transports the audience from lavish stage productions and world capitals, to the mess and dust of backstage and rehearsal seamlessly, as nuanced choreography is performed with impeccable skill and timing by the company dancers, making the whole package worth your time and dollars. At least, that's what the critics are indicating across the board.
Matthew Bourne’s new production of The Red Shoes looks amazing. From curtain-up we are transported to the wordless dramatic realm that Bourne and designer Lez Brotherston have made their own. Each location offers an intense distillation of atmosphere. We are whirled from the Covent Garden ballet stage to a high society soiree, and thence to Monte Carlo, where the impresario Boris Lermontov holds court. It’s a feast for the eye, with every scene animated by sharp detail and witty characterisation. The score, a montage of early pieces by Bernard Herrmann, is deftly chosen... It’s all very artfully composed, and Bourne choreographs with the lightest of touches, threading in references to Hollywood movies and Diaghilev-era ballets as he goes. The Red Shoes, I’m certain, will be dancing for years to come.
Capturing this (seminal film) in a voiceless ballet – which in some ways is a mind-boggling inversion as a ballet about a film about a ballet – is no mean feat and presents a new challenge to Bourne’s winning formula of reinventing the classics. The approach taken with his New Adventures company is to focus on bringing the surreal and experimental nature of the movie to the stage through movement, aesthetic and sound, rather than a direct replication; in particular, fluidly crossing the boundary between on and backstage, exploring the space where art and reality start to blur, and conveying something of the double-edged joy and grief of a life dedicated to art. Dancers are in one moment expensively, beautifully costumed and the next playfully prancing around in their rehearsal gear with cigarettes still hanging from their lips. Laced with comic timing and humour, Bourne contrasts the en pointepirouettes and arabesques of traditional ballet technique with unconfined contemporary movements that subvert, surprise and often make one laugh.
...this is an exquisite and inventive reimagining of a dark tale, confronting what it takes to become a great performer. Or perhaps more importantly for the prolific and visionary choreographer, at its heart is a love of theatre and dance. As Bourne quotes Michael Powell: “The Red Shoes told us to go and die for art.”
With expectations high, Bourne rises to the occasion with a slick and indulgent production that is rich in theatricality and swift with its storytelling. As ever, Lez Brotherston's original set designs are both eye-catching and memorable, effortlessly allowing the audience access to the onstage and off-stage scenes via a revolving velvet-curtained frame.
Bourne may be a genius, but his triumphs are only possible thanks to a hugely talented and dynamic cast that enable his visions to come to life, and The Red Shoes is a prime example of how powerful this combination can be.
So that settles it: when The Red Shoes comes to town, we will be lining up for tickets.
It's not every day you get to witness the history of art in the making and this is shaping up to be one of those times, especially as Shaw's star rises and this becomes 'her' role of a lifetime - hopefully with many more to come!
Here's the official trailer for the production:
While it may not garner the audience numbers of Sleeping Beauty, simply because of the lesser cross-generational appeal of the story, it's clear Bourne's The Red Shoes is a love letter to the theater, to dance and to Art. It's also clear that it all loves him right back.
The Red Shoes will remain at Sadlers Wells until January 29th, 2017 then go on tour. You can find all the touring dates HERE.
We bring wonderful news for the end of 2016, finally!
There is a new online school in the town of the interwebs which is entirely dedicated to folklore, fairy tales and the fantastic, AND their first long course is: 'The Fairy Tale'!
It's not your average 'introduction to fairy tales course' that you often see squished in somewhere to fill out a schedule either - you know, the sort of course where the big draw is "these fairy tales are darker than you thought.." or "forget Disney - did you know Red Riding Hood was sometimes eaten?". This course, refreshingly, recognizes you already know most of this stuff and that you're ready to explore far beyond these teasers. This is bona fide, scholarly study, that's specifically been made accessible (Einstein would be proud), with guidance from well qualified academics who adore fairy tales and folklore, love teaching it and love sharing their enthusiasm for it.
You can now join folk from around the world as you dive into a deeper exploration of fairy tales in a way you normally would have to attend a university setting for, yet without the intimidating structure and forms that can overwhelm even those who've survived a round a college.
Welcome to The Carterhaugh School of Folklore & the Fantastic!
Here's a taste of the introduction for The Fairy Tale:
Once upon a time…
A girl in red walked into the woods with a basket for her grandmother. There, she wandered from the path, talked to a strange wolf, was eaten, was saved.
Or, once upon a time…
The girl, who did not wear red, went into the woods. She met a werewolf, chose the Road of Needles instead of the Road of Pins. She performed a strip-tease for the wolf, tricked him, and ran back home, and slammed the door behind her.
Or, once upon a time…
A girl, once more in red, walked into the woods. She wandered, talked, was eaten. She was not saved, and she remained in the wolf’s belly.
In this ten lesson course, “The Fairy Tale,” we welcome you across the threshold of Carterhaugh to explore a collection of wonder tales from around the world- stories you may know, stories you may think you know, stories that are strange and unfamiliar. Through a combination of lectures, supplemental readings, and creative responses, we will introduce you to the wide world of fairy-tale scholarship and provide the history, context, and tools to begin analyzing these stories.
This is perhaps the best gift you'd be able to give a fairy tale enthusiast, and, as a bonus, you can give it last minute (without battling crowds) or fussing with wrapping!
Qualified scholars and lecturers Brittany Warman and Sara Cleto are both PhD candidates in English and Folklore who, through their shared love of the subject and of teaching, dreamed up the idea of an online school where anyone - no matter their location in the world, or the many other limits that stop those passionate about fairy tales from pursuing study in such subjects with scholarly guidance - could attend.
That means all of us qualify to attend folks!
On top of that you could say fairy tales are kind of these ladies' "thing" (ie their true passion), so you know it's going to be special.
By the way, does the name Carterhaugh sound familiar? It should!
Over the next few days, we will be sharing a special behind-the-scenes interview with the founders of Carterhaugh, to give you a look at how such a wonderful thing came to be and what is so very enchanting about the way this school, and the fairy tale long course, in particular.
Oh yes - and you'll also learn why the name 'Carterhaugh' was chosen. ;)
Without further ado may I present the fairy godmothers of Carterhaugh School, mistresses Brittany Warman and Sara Cleto:
Ladies, thank you for so graciously agreeing to join us here at Once Upon A Blog, to share why this school is so different and how enchanting, unique and exciting this course will be. The age of worldwide wireless wizardry, aka, the internet has opened so many opportunities for sharing knowledge, for enabling collaboration and allowing magically prompt feedback. It's wonderful to see that being put to use for folk who cannot access - or afford - more conventional fairy tale and folklore studies and scholarship!
What inspired the idea of this school , how many glass mountains did you climb and what did the two of end up throwing into your combined cauldron to make this a reality?
The origins of Carterhaugh lie, unglamorously but appropriately, in jetlag and a truly ridiculous conversation that took place between about midnight and 3am the night before we attended a conference on Folklore and the Gothic in the UK last spring (2016). We were desperately trying to sleep, and instead we ended up talking about the kinds of classes we would most love to teach and lamenting the fact that people who might really enjoy those classes wouldn’t have access to them if we taught them in a university setting. We don’t remember who thought of it first, but at some point during that conversation, we lifted the glamor of “this-is-how-we’ve-always-taught-and-so-it-must-always-be” and imagined a door to Carterhaugh, a place where we could teach beyond the limits of a traditional classroom. We had already co-taught and lectured several times, and while we both enjoy teaching our solo classes at OSU, we know that we can create a dynamic, engaging conversation when we work together. That synergy has driven the project forward, from designing syllabi to creating promotional materials to reaching out to our community of magical friends and beyond.
The Carterhaugh School of Folklore and the Fantastic holds a name likely familiar to regular readers here: Carterhaugh. What is it that prompted you to choose this name for your new online school and courses (other than a gentle but firm reminder to Faerie Queens that they're being watched)?
We actually struggled quite a bit with the name! We wanted something that was evocative of Faery but that also sounded professional, like a real school. We went through several ideas before landing on the final name, but we think it fits perfectly. We like to imagine the forbidden grounds of Carterhaugh as the secret, liminal space on which we have constructed a school somewhere between reality and imagination.
What are both your backgrounds of personal -o̶b̶s̶e̶s̶s̶i̶o̶n̶- interest and -̶s̶p̶e̶l̶l̶ ̶c̶a̶s̶t̶i̶n̶g̶-̶ study that have culminated in this school?
We have both loved folk and fairy tales pretty much since we can first remember - we were both voracious readers (and school nerds?) when younger and, through various winding roads and tangled forests, both managed to discover that one could actually study our favorite stories professionally in an academic setting (!) We first met in an MA program in Folklore at George Mason University and quickly became known as the “fairy-tale girls” there. We were an instant matched set, always excited by our work and driven by our passion for these stories. We constantly found ways to collaborate and work together. We thought we would probably have to go on to different programs after we finished at GMU, since we were so similar in our interests, but an unexpected turn of events (one that we’re certain the fairies had something to do with!), allowed us to both be accepted into the Folklore program at The Ohio State University as well! We are currently PhD candidates there, both focusing on folklore and nineteenth-century literature - Sara is working on her dissertation about fairy tales and disability, Brittany’s is on fairy tales, fairy legends, and the Gothic aesthetic. We continue to do all kinds of things together too, from articles to poetry to presentations. And now, of course, our school!
Do you have any affiliations or partnerships with other institutions, businesses or fairy folk?
Yes! We are alumni of the George Mason University Folklore MA program, and we are currently employed by the Ohio State University, where we teach classes on folklore, fairy tales, and literature as we complete our dissertations. We are also affiliated with fellow fairy fiends all over the country. We met colleagues when we interned at the Library of Congress who first demonstrated to us how to educate and revel outside of the box. Many of our fae colleagues are friends that we met online, and little communities have grown as a result- for example, with our dear friend Grace Nuth, we run a Facebook group called Daily Fae-shion and its 700+ members share and discuss fae-inspired fashion and daily wear. We also co-run, with the fantastic Derek Newman-Stille, the website Through the Twisted Woods, a hub for folk narrative dedicated to both representing and disrupting fairy tales, folktales, myths, legends, and fables by focusing on tales and retellings that live on the fringes of the enchanted woods, the tales that are underrepresented and that push beyond what we think of as the traditional.
So who can participate? (Are house elves allowed?) Is this US-specific? Are magic carpets required at any point? What about those who live 'between?
Pretty much anyone can participate! That’s one of the best parts about having the school online - everyone can play and no magic carpets are required to get to classes! We’re open to anyone (house elves included!) regardless of country. We welcome all ages and levels of education- while our classes are geared towards an adult audience, we had an absolutely wonderful twelve-year-old student and his mother participate in our short Halloween course as part of their homeschooling curriculum, and they were fantastic! Part of our mission is to reach students who, for whatever reason (monetary or accessibility or illness), could not take a class like this through traditional college classes.
What are you hoping folk will take away from the course/s? (Other than reasons to leave - or not leave - a bowl of milk outside at night?)
Keys. Wonder. Unspolied Milk. A Spell or Two. Reignited Passion. Old Stories. New Stories. Buttons.
Part II of our interview continues tomorrow!
Tune in to learn about some juicy specifics of The Fairy Tale course beginning in January.
In the meantime, you can read the general introduction to the course HERE and sign up - or send a gift - HERE (scroll down the page to see the payment options).
Here's the sign-up detail summary:
Dates: January 16th, 19th, 23rd, 26th, 30th, February 2nd, 6th, 9th, 13th, 16th – note that these are simply the dates that materials will be posted! You will be able to access everything indefinitely and watch whenever is most convenient to you.
Total Number of Lessons: 10
What’s Included: Welcome Letter, Mailed Special Welcome Package, 10 Video Lectures, 10 PowerPoint Presentations, 10 Beautiful PDF “Grimoire Page” Lesson Summaries, PDFs or Links to Any Supplementary Reading, Personal Feedback on Completed Final Assignment if Desired
Any Additional Materials Needed: No
Registration Closes: January 15th at Midnight
Price: $150 – you can pay in one, two, or three installments! Full payment must be complete by the time registration closes on January 15th.
By the way, do you love - or do you LOVE - the design below like we do? If you want to give something extra to the lucky giftee receiving the registration for the course, that they can hold in their lucky little hands, this is now available as a t-shirt or tote bag! You can find the info on that HERE.
Note: All illustrations in this post, barring the Carterhaugh School logo by Rachel Oakes, are either by Edmund Dulac or Arthur Rackham. But you probably already knew that. ;)
