Seeking Truer Forms of Folklore Subversion

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Reeves, Alanna Reeves Dr. Christine Garlough Gen/WS 310 Final Paper Due: May 18, 2012 Seeking Truer Forms of Folklore Subversion Through Creative Drama Fairytales and folktales have been used for hundreds of years to indoctrinate children, sometimes with values that are not in their best interest. Taking a closer look at a story like Beauty and the Beast for instance, one could make the argument that it reads like an allegory for submitting to domestic violence. Because Belle is patient and kind enough to “the Beast,” he eventually changes, and the implicit message to those hearing the tale is, “and maybe your ‘Beast’ will change, too.” Some theorists and authors have proposed subverting traditional folk and fairy tales by presenting them from a feminist (or otherwise “liberal/emancipatory”) lens, but I find that these tales can still be problematic. While these tales claim to be emancipatory by providing an alternative outlook on 1

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Transcript of Seeking Truer Forms of Folklore Subversion

Page 1: Seeking Truer Forms of Folklore Subversion

Reeves,

Alanna Reeves

Dr. Christine Garlough

Gen/WS 310 Final Paper

Due: May 18, 2012

Seeking Truer Forms of Folklore Subversion

Through Creative Drama

Fairytales and folktales have been used for hundreds of years to indoctrinate

children, sometimes with values that are not in their best interest. Taking a closer look at a

story like Beauty and the Beast for instance, one could make the argument that it reads like

an allegory for submitting to domestic violence. Because Belle is patient and kind enough

to “the Beast,” he eventually changes, and the implicit message to those hearing the tale is,

“and maybe your ‘Beast’ will change, too.”

Some theorists and authors have proposed subverting traditional folk and fairy tales

by presenting them from a feminist (or otherwise “liberal/emancipatory”) lens, but I find

that these tales can still be problematic. While these tales claim to be emancipatory by

providing an alternative outlook on the world, I argue that no fairytale can be truly

emancipatory for children as long as adults are the ones who are doing the re-writing. I

believe that instead of providing children with a different “answer” for life’s troubles

through unorthodox fairytales, we would better prepare our children to tackle life’s

struggles by asking them provide their own alternative to folk and fairy tales. By pairing

creative drama and forum theatre practices with folklore, we can use these popular stories

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to help children build empathy, develop multiple points of view on traditional stories and

find their own alternative solutions to the problems presented in the tales.

A SHORT HISTORY OF FOLKLORE, FAIRYTALES & SOCIAL INDOCTRINATION

In his book Fairytales and the Art of Subversion, Jack Zipes explores the ways that

fairytales and folktales are far from “harmless” stories we tell our children (56). He claims

that these tales have been told and retold throughout the ages as part of a “civilizing

process” that is educational at the same time that it is entertaining (31). Zipes notes that

the while the tales have their roots in the “folk” cannon, they have been appropriated and

changed over time by elite classes to reflect the social mores of those who hold power.

Because of this appropriation, Zipes says that his “foremost concern is how fairy tales

operate ideologically to indoctrinate children so that they will conform to dominant social

standards that are not necessarily established in their behalf” (33). He goes on to

demonstrate how the aristocratic-bourgeoisie used fairytales to indoctrinate children to

reflect their particular social attitudes and morals. These morals were often gendered,

classist, and repressive as they sought to influence both the inner feelings and outward

behavior of children (Zipes 43-44).

Zipes argues that during the post-1945 period, West German authors and critics

became aware that the nationally lauded Brothers Grimm folktales and fairytales were not

merely harmless bedtime stories, but tools used for social indoctrination of children in a

bourgeois society. In the 1960s, there was a backlash against the traditional fairytale and

authors began writing tales that pushed back against the racist, sexist and classist

overtones in the “classics” by subverting these tales to create stories that were more

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“emancipatory” for children (Zipes 58). These tales sought to “understand how the

messages in fairytales tend to repress and constrain children rather than set them free to

make their own choices” (Zipes 59).

As quoted by Vanessa Joosen in her article, Fairy-tale Retellings between Art and

Pedagogy, children learn “behavioral and associational patterns, value systems, and how to

predict the consequences of specific acts or circumstances” through fairytales and folktales

(129). As such, many feminists have pushed back against the gendered lessons that are

both implicit and explicit within many traditional stories. Many authors of subversive or

“emancipatory” fairytales do not question the didactic nature of the tales, but instead use

them to convey their own ideology and, in doing so, some of these tales may carry

messages that are just as harmful and prejudicial as many of the traditional tales are.

As a case study for the ways that these tales may still contain harmful messages for

children, I use Jane Yolen’s story, Sleeping Ugly. In this story, Yolen (rightly, I believe)

attacks the so-called “beauty contest” that is characterized in many traditional folk and

fairy tales. In the traditional tales, beauty is often equated with kindness, meekness and

industry, while ugliness is equated with the “evils” of the world. Yolen reverses this trope

in her story; however, she may be instilling other prejudicial attitudes in her young

readers. In the story, two young girls, Princess Miserella and Plain Jane (an orphan) have

fallen under a fairy’s spell and both have fallen asleep. When a Prince arrives many years

later and must choose which girl to wake up, the tale reads: “The prince looked at Miserella

[…] Even frowning she was beautiful. But Jojo knew that kind of princess. He had three

cousins just like her. Pretty on the outside. Ugly within” (as quoted in Joosen 132). The

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prince makes this judgment solely based on appearance and chooses to awaken the “uglier”

princess.

I argue that, far from creating a more equitable and understanding world, this

retelling may, in fact, simply be indoctrinating children with a different kind of bias. Joosen

briefly makes this connection in her article, but defends it by saying that simply exposing

readers to this kind of alternative retelling “teach[es] children and adults to be critical of

their own reading” by revealing a position that bucks the traditional discourse (134). She

argues that because the tale will very likely be read against a knowledge of traditional fairy

and folk tales, readers will be critical of both the original tales and Yolen’s tale as they

reading the alternative text. While I understand the argument, I do not completely agree

with it. Even if one agrees that Yolen’s story, when compared to traditional tales, can help

readers to develop a critical eye and multiple points of view, Yolen’s tale still equates outer

appearance with an “inherent” inner personality which does not buck traditional fairy tale

tropes and may reinforce damaging “lessons” about appearance.

While fairytale retellings like Yolen’s often claim to be emancipatory, they are re-

written and subverted to represent the morals and politics of yet another community of

adults. Throughout history, fairytales have been appropriated and rewritten by the

bourgeoisie, by socialists, by the Nazis, by feminists and by a whole slew of other political

and social groups. While I personally find some of these tales and the ideologies they

forward to be more problematic than others, most tales (regardless of the author’s best

intentions) run the risk of over-simplification and stereotyping. I argue that a better way

forward may be to ask children to unpack the messages in folk and fairy tales and to

facilitate them in subverting the genre in the way(s) they choose.

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CHILDREN AS AGENTS

According to Tadesse Jaleta Jirata, children are absolutely capable of analyzing and

interpreting folktales that they hear and tell. In his research, Jirata followed children in

Southern Ethiopia and listened to the ways they told tales and discussed them with one

another. While folktales in this culture still serve a didactic purpose when adults are

narrating for children, children are able to relate to the stories differently when interacting

in peer groups (Jirata 273). When children are performers of the tales rather than just the

consumers, they can practice agency by choosing the tales they feel are most valid.

Furthermore, in the context of peer-performed tales, the children can actively engage in a

discourse with the narrator and argue for or against points raised by the storyteller,

discuss the moral of the story, and explore the story’s implications for their lives (Jirata

270). From Jirata’s research, it is clear that children are capable of much more than

subconsciously absorbing and accepting fairytale indoctrination- they are capable of

unpacking the messages in a folktale and debating their legitimacy (275). As these children

tell each other stories, they are active in their own socialization. As such, Jirata argues that

it is important to encourage children to participate in “local expressive cultures” (289).

Facilitating spaces where children can interpret their own folk culture can help them to

explore their own opinions and help them to learn from, and perhaps even change their

own social environments (Jirata 289).

THE BENEFITS OF PAIRING DRAMA WITH FOLKLORE

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Beyond simply performing and discussing folk and fairy tales, students can enact

their discourse through drama. In her article, Crossroads of Folklore and Eduaction, Paddy

Bowman speaks to the ways that folklore can help teachers to achieve important

educational goals. She quotes Bert Wilson who says, “Folklore can help us learn what it

means to be human” and likens it to “’taking the pulse of another’s soul,’ dissolving time

and placing oneself in another’s shoes.” (67). Similar arguments have often been made

about theatre. Theatre practitioner Augusto Boal says that theatre is “the art of looking at

ourselves” (15), and many theatre practitioners have argued that theatre and dramatic play

can teach us about the human condition and foster empathy and understanding in ways

that more traditional forms of learning cannot. As such, I argue that the two disciplines

have much in common and are rife with intersections that can be potent in the classroom.

Furthermore, I believe that theatre is an excellent tool for helping children to unpack the

meanings behind traditional folk and fairy tales and can facilitate them in their own

retellings of these tales.

As Manon van de Water points out in her course reader Theatre and Drama 362,

drama is an especially successful tool for empowerment and awareness as it is able to

speak both to emotional intelligence (self awareness, self control, self-motivation, empathy

and relationship skills) and multiple intelligences (verbal/linguistic, logical/mathematical,

visual/spatial, musical/rhythmic, bodily/kinesthetic, interpersonal, intrapersonal, and

naturalist). She says that drama has an excellent ability to speak to each of these

categories, particularly when people participate in the drama as they might in forum styles

of theatre like Augusto Boal’s “Theatre of the Oppressed.” Van de Water says, “[p]erhaps

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one of the most holistic and practical aspects of using drama is that it can cut both ways:

dealing with subject matter while exploring the human condition” (47).

Theatre manages not only to give the facts, but also to speak to many different kinds

of intelligence. Drama is able to do this because it is immediate, occurring in the present,

right before our very eyes, and because it is interactive. A relationship exists between the

audience and the actors, and in the best kinds of drama, the line between the actor and

spectator is quite blurry. In these situations, many parts of the brain are stimulated at

once, providing a more complete learning experience that can resonate with a person on a

deeper level than perhaps simply reading a story or watching a movie might.

Forum theatre like Augusto Boal’s “Theatre of the Oppressed” can be very

empowering for children. Boal’s methods align closely with the system of creative problem

solving presented by Jerry Flack in A Goldilocks Problem With a Three-Bear Solution. Flack

argues that creative problem solving uses three basic stages: 1) Identifying a problem, 2)

Producing ideas, and 3) Implementing and evaluating ideas (50). Forum theatre, as

presented by Boal, closely aligns with this “creative problem solving” strategy.

Forum theatre seeks to create discussions about oppression and how it can be

overcome. Augusto Boal says, “[i]n Theatre of the Oppressed, reality is shown not only as it

is, but also, more importantly, as it could be” (6). This is typically achieved by presenting a

story in theatre-form that the audience, or as Boal likes to call them, the spect-actors, can

later participate in. After a story has been told a first time, it is re-told and spect-actors are

encouraged to yell “stop!” at a point in the story where the protagonist has made a

“mistake” in overcoming his or her oppression (compare to Flack’s “identifying the

problem”). The spect-actor who has stopped the action then takes the place of the original

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actor and presents his or her new tactics in-role in the scene, trying to find an alternate

outcome (compare to Flack’s “producing ideas”). The idea is then evaluated by other spect-

actors who can either accept the “solution” or enact solutions of their own. In theory, the

action on stage will help manifest action offstage; the drama continues into real-life where

tactics that have been addressed onstage can be put to use offstage in overcoming real-life

obstacles. Both Boal’s forum theatre and Flack’s creative problem solving methods posit

that as participants “practice” solving problems using their techniques, they are preparing

to confront problems in daily life (Boal xxiv, Flack 51).

Ron Smith, a theatre practitioner who worked with oppressed populations in

Taiwan has already explored some ways that the “Magical Realism” of folk and fairy tales

relate to Boal’s forum methods. Magical Realism is a style that inserts the fantastic into

real-life settings (like folk/fairytales) with the intent of facilitating a deeper understanding

of reality. Smith says it is “a mode suited to exploring and transgressing boundaries” and

that it “often facilitates the fusion, or coexistence, of possible worlds, spaces, systems that

would be irreconcilable” (110). Magical Realism can heighten the sense of liminal space

and can help participants to realize solutions that may not have seemed possible under the

constraints of daily life. This sense of liminal space is a trait that is shared with the forum

work in Theatre of the Oppressed methods, and points to the ways that the two disciplines

can easily blend into and borrow from one another.

PERSONAL CLASSROOM EXPERIENCE

I believe in theatre as a tool for dialogue and empowerment. In a culture that is

increasingly obsessed with minutia of the individual (see: facebook, twitter, and much of

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the blogging culture), theatre is, by nature, a collective gathering where ideas are

exchanged, both visceral and rational connections are made, and fruitful dialogue can

occur. Because it is couched in the imaginary, theatre is an excellent medium for breaking

down barriers, shattering the remnants of predetermined thought, and opening up new

ways of thinking. Through imagination, audiences are challenged to see beyond how things

are to how things could or should be. Theatre is a practical tool for discussing “hot-button”

issues because it is a liminal space. Dialogue no longer has to center around “you” and

“me,” but can now take place about characters and those characters’ choices. This allows

for a distancing effect where dialogue does not have be personal. By taking an outside-

looking-in perspective, audience members can learn about themselves or their peers in a

way that is difficult to do when one is in the moment.

My teaching philosophy and my philosophy as an artist are inextricably intertwined.

I believe in posing difficult questions rather than providing tidy answers. I believe that

good theatre and good teaching empowers audiences and students to seek their own

answers, to experiment and explore many options, and to open oneself up to the diverse

perspectives of one’s peers. Furthermore, good theatre and good teaching are both

accessible to the masses. While I strongly believe in the aesthetic quality of theatre, I

believe that strong craftsmanship can circumvent the need for big budgets. A back-to-

basics approach with minimal sets, costumes, and other production elements reinforces the

notion of liminality, positions the imagination as primary, and opens up the craft to those

who do not have access to the budget necessary for production-heavy shows.

Furthermore, by highlighting the theatrical space as liminal, I hope to encourage those who

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participate in the theatrical event to resist the urge for catharsis and to engage in it with a

critical eye.

In creating classroom experiences that align with my teaching philosophy, I propose

an alteration on Boal’s forum theatre methods and blend it with Magical Realism to address

fairy tales in classroom settings. Because most fairy tales end “happily ever after” and

already propose a solution, I often use “unfinished” fairytales or folk tales in my

classrooms. I tell the story to children but stop at the main point(s) of conflict and ask

children to enact the rest of the story with their own proposed solutions. This is often a

great way for children to try out multiple alternative endings to fairytales and can foster

great teamwork skills as children learn from and add to each other’s solutions. Because the

children are not given an answer, they must think critically to find their own solutions or

coping mechanisms to deal with the presented problems. In my personal classroom

experience, children often use very relevant “real-life” conflict-resolution skills in these

encounters, although I allow any suggestion (real or magical) to be played out in a scene.

As children try out different solutions, they may find that their solution can create more

problems that they may have to work to overcome. The stories are used to demonstrate to

children that there is no “one” appropriate solution to a problem and that many times what

one perceives as a solution can often bring up more struggles of its own. In theory, the

process is never-ending, as are the struggles that we must overcome in life. As Boal has

often been quoted, “theatre becomes a rehearsal for the revolution.”

I also deviate from Boal’s forum methods because I encourage children not only to

take on the role of the protagonist, but also to take on the role of the antagonist. In Boal’s

work, he refers to this replacement of the antagonist as “magic.” He argues that by

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changing the “givens” of the dramatic action, any solutions that are reached are of no use

and by taking on the role of oppressor and trying to make him/her more sympathetic, one

does not actually overcome any oppression (267). Especially when working with children, I

tend to disagree. Point of view is an especially important part of helping children to

unpack the messages in traditional (and even in so-called “subversive”) fairytales. By

asking children to assume the role of the oppressor, children may begin to empathize with

this character and may find “reasons” for that character’s behavior that were not apparent

at first glance.

In his work, Alvin Granowsky also believes in the benefits of asking children to look

at tales from another character’s perspective. He says that “Point of View” tales provide an

opportunity to understand the need for critical reasoning and fairness in conflict (76).

Asking students to look at a tale from the antagonist’s point of view can help children to

learn to refrain from making judgments until both sides of a story are heard and it can help

students to learn to question a story when only one side is presented (Garnowsky 77). This

practice has both academic as well as “real-world” benefits as students navigate their lives

both in and out of the classroom.

A recent classroom experience outlines the benefits of asking children to take on the

oppressor role in dramatic play. I often use a folktale with children in my classes called The

Ram in the Chile Patch, where a rude Ram wanders into a little girl’s garden and begins to

eat all her chiles. In this drama activity, I stop the story before a solution is reached and

asked the children to come up with a solution for dealing with the Ram. I typically play the

Ram at the beginning of these exercises and after several unsuccessful tries to get the Ram

to leave, I ask the children if they want to play the Ram. One by one, I allow them to enter

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into that role and come up with their own responses to the other farm animals who are

trying to convince him to leave the patch. One particularly interesting intervention

occurred in a recent class. When the “farm animals” chided the Ram by saying “If you don’t

get out of this patch, you won’t have any friends!” the Ram replied, “I don’t care – I already

don’t have any friends.” In role, the student playing the Ram suggested that perhaps the

Ram was acting like such a bully because he had no friends. This didn’t change the Ram’s

rude actions toward the other animals on the farm, but when the other “animals” in the

classroom were exposed to this suggestion, their tactics for dealing with the Ram changed

dramatically. Instead of “ganging up” on the Ram and (in my opinion) continuing the cycle

of bullying, the students tried to find ways to reach out to the Ram. One student

complimented the Ram’s big, strong horns and said she wished she had a friend with horns

like that because there was a big rock in her pen that she was always tripping over and she

was too small to move it (this student was a playing a duck). Suddenly all the other

students had tasks for the Ram to do and many of them offered social and economic

rewards for the Ram’s assistance. By finding a way to empathize with the Ram by finding

the “root cause” of his naughty behavior, students managed to convince the Ram to use his

horns for good, thereby earning himself a place in the farmyard “community.” None of

these solutions are in the original folk tale – the traditional tale ends with a small ant biting

the Ram on his bottom and causing him so much pain that the Ram runs screaming out of

the pen. While the original folktale asserts that sometimes the smallest person can also be

the mightiest, it did not address the point of view of the Ram, thereby missing out on some

of the complexities that might exist within the tale.

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In the discussion time following the drama activity, children reflected on how they

felt while playing the different roles. It was interesting to me that many of the children

described the Ram as frustrated, sad, and lonely rather than just as rude and hungry. Many

of them expressed that they felt less empowered in that role than they did in other roles

because everyone on the farm was “ganging up” on them and they felt like no one liked

them. While the Ram is traditionally thought of as an oppressive force in this play that one

should not feel sympathy for, the children were able to empathize with his position after

playing him in-role.

I argue that this kind of role-play is perhaps even better than a subversive adult-

written “Point of View Story” in helping students to see multiple sides of a given situation.

In the drama activity, the child who owns the chile patch is still “right” in her assertion that

the Ram should not be eating her chiles without her permission and the rude actions of the

Ram are not excused. Still, the students are able to empathize with the Ram and are able to

start asking why the Ram is behaving in such a rude manner. Rather than simply exposing

children to an alternative viewpoint, the students are able to discover possible multiple

viewpoints on their own. In this setting, children learn from each other just as the children

from South Ethiopia did in Jirata’s study. This kind of child-led play can encourage children

to ask questions about the information they receive and come to their own conclusions

about the equity of the stories as they are presented.

OTHER POINTS OF DRAMATIC INTERVENTION

Another interesting way that children can explore point of view is through what

Karen Hicks and Jordan Austin called “The Fairytale Trials.” While the forum-theatre and

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role-playing exercises mentioned above are great for asking children to solve problems as

the are happening, the mock trials are a way of exploring the fairy tales after the actions

have occurred. Now that the story happened, how do we analyze them using our own

social systems, like the legal system? The creative drama exercises that I presented above

ask children to solve problems on an interpersonal level, but the mock-trial activity asks

children to respond to problems on a community level. With this exercise, children are

learning to deconstruct fairytales while simultaneously learning about the inner-workings

of institutions and how they can be employed to resolve conflict between dissenting parties

(Hicks & Austin 39).

In her classroom activity, Austin gave her 5th grade students a list of fairytales and a

list of laws that the tales might violate. The students then analyzed each tale to see which

laws (if any) may have been violated in the story. For instance in the story Hansel and

Gretel, students found infractions like first- and second-degree trespass, harboring a

runaway child, and child abuse (Hicks & Austin 39). After the legal issues were discovered,

the classroom staged a trial to analyze the charges.

This activity takes on a decidedly “theatrical” tone as children are asked to role-play

a character from the tale and state that character’s position as a witness to the crime in the

story. “Point of View” stories like those written by Alvin Granowsky or Jon Sciezka could be

used as a starting point to help stimulate ideas for children who are struggling to provide a

“slant” to their story, but I would strongly suggest that teachers use a “Point of View “story

that is based on a different folktale than the one that class is using in the trial. To help

them further prepare for “trial,” students in Austin’s class were also encouraged to

consider how their word choice might influence their jury’s (or audience’s) perceptions.

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Through this activity, children were made aware of author bias (Hicks & Austin 41).

Finally, students were asked to consider how their body language, tone of voice and dress

could also be “unconsciously analyzed by spectators” (Hicks & Austin 41).

By participating in the mock trial, Hicks and Austin report that the students learned

that often it is difficult to differentiate “fact from opinion, hearsay, and circumstantial

evidence and true character traits from gossip” (42). Students also learned how effective

they were in communicating their position to an outside party, but perhaps the most

important results occurred after the trial ended. Austin reports a change in her classroom

after the trials took place. She claims,

The students began to be much more specific in their wording, careful in their

judgments, aware of bias and prejudice and slant, and more organized in the

processes they used to resolve conflict. No longer did they rely on the teacher to

resolve all disputes. They had learned their own power (42).

CONCLUSION

While adult-written fairy and folk tale retellings can be one part of addressing

the problematic messages contained in traditional tales, it may not be the best way to help

children unpack and question the messages they hear. By asking children to come up with

their own conclusions about fairytales and the equity or inequity contained in them,

children are given agency to draw their own conclusions about the tales and their

relevancy in their lives. Pairing drama with fairytales can help children build empathy,

learn both interpersonal and community-wide problem-solving techniques and learn that

all stories can contain multiple points of view. As Boal’s theories and the classroom case

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studies in this paper show, dramatic play really can be the “rehearsal for the revolution” as

children unpack and subvert the messages found in traditional tales.

Playwright Tony Kushner once said,

All art of every sort changes the world. Perhaps an artist aims at less direct,

precise, immediate an effect than a president or legislator will have; but more

effect, more potency, more agency than the ordinary is inevitably an artist's

aspiration .... Art is not merely contemplation, it is also action, and all action

changes the world, at least a little” (as quoted in Smith 112).

It is my hope that by pairing dramatic arts and folktales, we can help children to take

agency over and intervene in the messages of traditional tales and, in doing so, we will help

them to be agents who take action to change their world, at least a little.

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Works Cited

Austin, Jordan & Hicks, Karen. "Experiencing the Legal System: Fairy Tale Trials for Fifth

Graders." The Social Studies 85.1 (1994): 39-43. Ethnic NewsWatch; ProQuest

Research Library. Web. 18 May 2012.

Boal, Augusto. Games for Actors and Non-Actors. Second ed ed. New York: Routledge, 2002.

Print.

Bowman, Paddy. "Standing at the Crossroads of Folklore and Education." Journal of

American Folklore, 119.471 (2006): 66-79.

Flack, Jerry. "A Goldilocks Problem with a Three-bear Solution." Teaching Pre K-8, 28.8

(1998): 50-52.

Granowsky, Alvin. "The Other Side of the Tale." Teaching Pre K-8, 27.1 (1996): 76-77.

Jirata, Tadesse Jaleta. "Children as Interpreters of Culture: Producing Meanings from

Folktales in Southern Ethiopia." Journal of Folklore Research, 48.3 (2011): 269.

Joosen, Vanessa. "Fairy-tale Retellings Between Art and Pedagogy." Children's Literature in

Education, 36.2 (2005): 129-139.

Smith, Ron. "Magical Realism and Theatre of the Oppressed in Taiwan: Rectifying

Unbalanced Realities with Chung Chiao's Assignment Theatre." Asian Theatre

Journal 22.1 (2005): 107-21. Web. 25 Sept. 2010 < http://tiny.cc/79tad>

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van de Water, Manon, and Jinni Tenneyson. "Theatre and Drama 362." University of

Wisconsin. Madison, WI. 2001. Reading.

Zipes, Jack. Fairy Tales and the Art of Subversion, New York: Routledge, 2012. Print.

Taken from Adademia.com

https://www.academia.edu/1590239/Seeking_Truer_Forms_of_Folklore_Subversion_Through_

Creative_Drama on April 28 2014

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