Hello Everyone,

For my advanced children’s literature class this summer, I was required to research a topic in children’s literature and chose multicultural “Cinderella” stories. Below is my essay.

Often presented in picture book format, variations of “Cinderella” span continents, “countries,” communities, and “times” (Alexander & Morton, 2007, p. 35), each adapting through character names and descriptions, plot elements, and illustrations to mirror the norms, dress, occupations, habits, and, sometimes, the languages and dialects of their locations. These variants are “likely the result of continued cultural and literary exchange between countries” or “might have arisen because people in different cultures confront similar challenges in human life, such as sibling rivalry, scarcity, and oppression” (Hintz & Tribunella, 2013, p. 130). Regardless of the reason for cultural variation, “Cinderella” from any region of the world remains one of the most well-known and re-told tale from among the collection of stories commonly known as the “classic fairy tale cannon” (Hintz & Tribunella, p. 135).

Reportedly originating in China during the ninth century, the basic “Cinderella” story most often includes elements considered fundamental to the tale, such as “an evil stepmother and stepsister(s), a dead mother, a dead or ineffective father, some sort of gathering such as a ball or festival, mutual attraction with a person of high status, a lost article, and a search that ends with success” (Northup, 2000, para. 2). Non-European young women fitting the conventional “Cinderella model” are presented in children’s literature in such settings as the Smoky Mountains (Schroeder, 1997), Mexico (dePaola, 2002; Coburn, 2000), Africa (Steptoe, 1987),  an island in the Caribbean Sea (San Souci, 1998), a village near Lake Ontario (Martin,1992), a pueblo village (Pollock, 1996), Poland (Jaffe, 1998), southern China (Louie, 1982), Japan (Schroeder, 1994), and a fishing town in the Middle East (Hickcox, 1998). Although most “Cinderella” characters receive assistance with appropriate clothing, some get that aid from helpers significantly dissimilar to the European “fairy godmother,” such as a dead or live fish (Louie, 1982; Hickcox, 1998), a magic stick either the “Cinderella” or her human godmother possesses (Jaffe, 1998; San Souci, 1998), turkeys (Pollock, 1996), and a magical, talking hog (Schroeder, 1997). The eventful gatherings of a few variations differ from the traditional concept, such as Maha from the Middle Eastern version attending the henna of a bride (Hickcox, 1998), while Nyasha from the African tale is among the Most Worthy and Beautiful Daughters of the Land invited by the Great King to appear before him (Steptoe, 1987).

Although most conventional “Cinderella” story elements are common among several cultural variations, it is important to examine some notable exceptions. Some versions do not contain a special event where the “Cinderella” meets her future spouse; for example, the Japanese “Cinderella,” Lily, is quietly courted by the son of her adopted parents and made to undergo a test before they can marry (Schroeder, 1994). As an example of the differences in paternal effectiveness or absence across versions, Mireleh, the Jewish “Cinderella,” is actually driven away by her father, a rabbi, for saying she loves him the way meat loves salt (Jaffe, 1998). Refuting the trend that most “Cinderellas” are mutually attracted to individual persons of high status, the Turkey Girl dances among the proud maidens and handsome braves without being singled out by one particular brave (Pollock, 1996), and the Zuni tale is one of a few versions across cultures that notably excludes any search by an influential individual for the “Cinderella” (Pollock, 1996). Additionally, one particular story contradicts “Cinderellas” losing personally identifiable and traceable articles, usually shoes; Adelita from one of the Mexican versions is found by her hanging the shawl she wore at the fiesta out a window (dePaola, 2002).

Starting in the late twentieth century, the general character of “Cinderella” has become commonly regarded as “simpering, whimpering… [and] helpless,” yet examination of the character type through the multicultural versions of the fairy tale reveal the earlier “Cinderella” to be “self-reliant, devoted to family and ancestors, and willing to make her own future” (Northup, para. 4). For example, both girls from the Native American “Cinderella” versions are self-reliance. The Rough-Face Girl uses leftover items and natural materials to make her clothes before meeting with the sister of the Invisible Being (Martin, 1992); the Turkey Girl lives alone in a mud-walled hut, herding the turkeys of wealthy families (Pollock, 1996). Devotion to family is apparent in the African tale and one of the Mexican versions. Nyasha from Africa is too considerate of her father’s feelings to complain of her mistreatment from her sister (Steptoe, 1987), while Domitila from one of the Mexican versions never forgets her mother’s commands about completing tasks with care and love (Coburn, 2000); willing to make her own way, Adelita from the other Mexican version hangs her shawl out the window for the young man to see (dePaola, 2002). Similarly, Domitila and the Turkey Girl are the only two “Cinderellas” to work for wages. Domitila becomes a cook in the governor’s house at her father’s urging (Coburn, 2000) and the Turkey Girl is paid in corn and cast-off clothing (Pollock, 1996).

Enthusiastically,

Ms. Tyler

References

Alexander, L. B. & Morton, M. L. (2007). Multicultural Cinderella: a collaborative project in an elementary school. School Libraries Worldwide, 13(2), 32-45.

Coburn, J. R. (2000). Domitila: A Cinderella tale from the Mexican tradition. Auburn, CA: Shen’s Books.

dePaola, T. (2002). Adelita: A Mexican Cinderella story. New York, NY: G.P. Putnam’s Sons.

Hickox, R. (1998). The golden sandal: A middle Eastern Cinderella story. New York, NY: Holiday House.

Hintz, C. & Tribunella, E. L. (2013). Reading children’s literature: A critical introduction. Boston, MA: Bedford/St. Martins.

Jaffe, N. (1998). The way meat loves salt: A Cinderella tale from the Jewish tradition. New York, NY: Holt.

Louie, A.-L. (1982). Yeh-Shen: A Cinderella story from China. New York, NY: Philomel Books.

Martin, R. (1992). The rough-face girl. New York, NY: G.P. Putnam’s Sons.

Northup, M. (2000). Multicultural Cinderella stories. Book Links, 9(5). Retrieved from http://www.ala.org/offices/resources/multicultural

Pollock, P. (1995). The turkey girl: A Zuni Cinderella story. Boston, MA: Little, Brown and Company.

San Souci, R. D. (1998). Cendrillon: A Caribbean Cinderella. New York, NY: Simon & Schuster Books for Young Readers.

Schroeder, A. (1994). Lily and the wooden bowl. New York, NY: Doubleday Book for Young Readers.

Schroeder, A. (1997). Smoky mountain rose: An Appalachian Cinderella. New York, NY: Dial Books for Young Readers.

Steptoe, J. (1987). Mufaro’s beautiful daughters: An African tale. New York, NY: Lothrop, Lee & Shepard Books.