Ruling Magical Beings and Fairy Tales from the Diaspora In many cultural traditions, the concept of ruling magical beings has played a significant role in shaping people's beliefs and imagination. From fairies and goblins to genies and spirits, these magical beings are often depicted as having supernatural powers and the ability to influence human lives. Fairy tales, on the other hand, have been a way for communities to preserve their cultural heritage and pass down stories from generation to generation. These stories often feature magical beings as protagonists or antagonists and provide moral lessons or insights into societal norms. The diaspora refers to the dispersion of a particular ethnic or cultural group from their homeland. As people migrate to different parts of the world, they bring with them their beliefs, traditions, and folklore, including stories about magical beings.
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This Companion provides an authoritative reference source for this complex and captivating genre, exploring the tales themselves, the writers who wrote and reworked them, and the artists who illustrated them. They usually follow a hero or heroine who comes up against some sort of obstacle or obstacles from witches and ogres, to dwarves and as the name suggests fairies.
As people migrate to different parts of the world, they bring with them their beliefs, traditions, and folklore, including stories about magical beings. These tales are often adapted and incorporated into the local cultures of their new surroundings. One example of magical beings in the diaspora is the jinn, which are supernatural creatures found in Arabic folklore.
A husband and wife reimagine fairy tales with Black children in mind
Bathed in a golden light, she looks out from a photo resembling a fashion magazine spread with a commanding stare, surrounded by massive teddy bears. Instead of yellow curly hair, she wears thick, afro-textured, honey blonde locs.
This is the Goldilocks of CROWNED: Magical Folk and Fairy Tales from the Diaspora by husband and wife photographers Kahran and Regis Bethencourt. The two have reimagined familiar stories with photographs of Black children and, occasionally, new plot points, in an elaborate book of 141 photos.
It's the sequel to 2021's GLORY: Magical Visions of Black Beauty.
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The book is broken down into three categories: Classic fairy tales, African and African American Folktales and original stories. The couple intentionally casts Black children of different ages, skin tones and hair textures in traditionally white roles, like Cinderella.
Cinderella becomes Asha in this retelling. CROWNED hide caption
toggle caption CROWNEDIn the retelling of Cinderella, "Asha the Little Cinder Girl," Asha wears an extravagant blue gown with purple tulle shooting from the bottom as Jamal, her Prince Charming, slides on a white high-top sneaker instead of a glass slipper.
Perhaps the most striking element in the picture is Asha's hair, a structure of carefully placed black braids and white pearls piled high on top of her head.
"I think it's important for, specifically, Black and brown kids to be able to see themselves reflected in the stories that they read growing up," Kahran said.
The Bethencourts began their photography careers in Atlanta in 2009. For a while, they worked in the children's fashion industry, capturing headshots for adolescent actors and shooting campaigns for kids' brands. But they noticed a specific and unsettling pattern among Black children in the industry.
Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. CROWNED hide caption
toggle caption CROWNED"We realized that a lot of the kids that had natural Afro hair would come in to get their headshots and the parents would have their hair straightened because they thought that's what they needed to do to get their kids into the industry," Kahran said.
"We thought, 'Gosh, wow! At an early age we're teaching our kids that they're not acceptable, that their looks are not good enough.'"
The two began doing personal projects where Black children were encouraged to wear their natural hair in fashionable settings. Staying connected to the industry helped them build enough clientele to create their own photography company, CreativeSoul.
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Candyland, from the book Crowned, which retells familiar stories with Black children. CROWNED hide caption
toggle caption CROWNEDCROWNED is a visual representation of the CreativeSoul original mission: celebrate and embrace natural Black beauty. But the book also showcases Regis and Kahran's ability to imagine and translate new worlds.
"Goldi: The Girl with the Golden Locks" was the favorite story for Regis to retell because the original story "didn't really have a lesson at the end."
"It pretty much was a story about a privileged girl going in and just eating everything and just leaving and going back home," he said. "No lesson learned."
In CROWNED, Goldi is still a privileged girl, but she is welcomed into the bears' home. The bears don't have much, but they have each other and a once-haughty Goldi leaves the house with three new friends and an appreciation for nurturing her relationships.
Changing the ending "was so cool for me because I feel like we're actually changing history," Regis said.
Treasures from the sea nestle in the little mermaid's rosy hair as she strikes a royal pose. CROWNED hide caption
toggle caption CROWNEDThe book was released May 23, three days before the live action film The Little Mermaid premiered with Halle Bailey, a Black woman with natural locs, as Ariel, a princess and the main character.
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Like the live-action adaption of The Little Mermaid, the Bethencourts' version is setting the standard for Black representation in traditionally white spaces.
The husband and wife duo dress Aliyah, the little mermaid, in silver jewels and colorful pearls from head-to-toe. As she floats under the sea, she plays in her big red flowing hair filled with loose braids, shells, leaves and bright red tulle.
Aliyah holds her head high in every shot like the most confident, royal figures. She stares off into the distance and also directly at the camera, as if to say this story was always her own.
Lisa Lambert edited this digital story.
Image Credit: ‘Mother Goose reading written fairy tales’ by Gustave Doré. Public Domain via Wikimedia Commons.
Jinn are believed to have the power to grant wishes but can also be mischievous or malevolent. The jinn have been featured in numerous fairy tales and folktales, both within the Arab world and beyond. Another example is the concept of fairies, which can be found in various cultures throughout the world. The fairies of European folklore are often depicted as small humanoid creatures with wings, capable of performing magical feats. In Irish folklore, for instance, fairies are believed to inhabit certain landscapes and have the ability to bestow blessings or curses upon humans. The ruling of magical beings in fairy tales from the diaspora reflects the cultural values and beliefs of each community. For example, tales from African diaspora communities may feature deities or spirits as powerful rulers of the supernatural realm. These beings often play a crucial role in maintaining the balance between the physical and spiritual worlds. These fairy tales and stories not only entertain but also serve as a way for diaspora communities to connect with their cultural roots and preserve their heritage. They provide a sense of identity and belonging, as well as offering a glimpse into the values and traditions of the community. In conclusion, the ruling of magical beings and the presence of fairy tales in the diaspora highlight the significance of folklore and cultural heritage. These stories serve as a means of preserving traditions, passing down wisdom, and connecting with one's cultural identity. The magical beings found in these tales captivate readers and listeners, inviting them into a world where anything is possible..
Reviews for "The Transformation of Magical Beings in Fairy Tales from the Diaspora"
1. John - ★☆☆☆☆
I was really disappointed with "Ruling magical beings and fairy tales from the diaspora". The writing felt disjointed and lacked depth. The author attempted to cover a broad range of topics but failed to offer any substantial analysis or insight. The book also seemed to lack a clear focus, jumping from one idea to another without providing any meaningful connections. Overall, I found it to be a poorly executed exploration of the subject matter.
2. Emily - ★★☆☆☆
While "Ruling magical beings and fairy tales from the diaspora" had an interesting concept, I found the execution to be underwhelming. The book seemed to rely heavily on stereotypes and generalizations, which undermined any potential for genuine exploration. Additionally, the writing style was dry and lacked engagement. I was looking forward to gaining a deeper understanding of magical beings and their role in diaspora cultures, but this book failed to deliver.
3. Alex - ★★☆☆☆
"Ruling magical beings and fairy tales from the diaspora" left me feeling confused and unsatisfied. The author attempted to incorporate too many ideas and themes without effectively developing any of them. The book lacked clear structure and failed to provide adequate explanations or context for the various concepts introduced. I struggled to follow the author's train of thought and ultimately felt disconnected from the material. Overall, I found this book to be poorly organized and lacking in substance.