Regal magical folks and fairy tales from the diaspora are an important aspect of diverse storytelling. These stories present characters from different cultures and backgrounds who possess extraordinary abilities and powers. They often showcase multicultural perspectives, amplifying the narratives of marginalized communities. Fairy tales from the diaspora highlight the experiences of individuals who have migrated or are descendants of migrants. These stories not only entertain but also serve as powerful tools for cultural preservation and identity formation. They provide a platform for the exploration of memory, heritage, and a sense of belonging.
Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. (CROWNED)
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. From the New York Times bestselling authors of GLORY, Kahran and Regis Bethencourt of CreativeSoul Photography, comes CROWNED, a collection that completely reimagines how we see our favorite and most beloved childhood fairy and folk tales.
They provide a platform for the exploration of memory, heritage, and a sense of belonging. Within these tales, regal magical folks often take center stage. These characters are portrayed as royalty, possessing both physical and metaphysical prowess.
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 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.
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)
In 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.
SponsoredPerhaps 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)
“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.
Candyland, from the book ‘CROWNED’, which retells familiar stories with Black children. (CROWNED)
CROWNED 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)
The 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.
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.
CROWNED 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.
The regality signifies their importance and power within their respective communities. Their magical abilities further reinforce their exceptional status. The regal magical folks in these tales are often imbued with mystical powers that are deeply rooted in their cultural traditions. These powers might include shape-shifting, spell casting, or possessing superhuman strength. These abilities not only make them extraordinary within their communities but also allow them to navigate and overcome the challenges they face. These characters also serve as symbols of resistance and empowerment. Their abilities enable them to challenge societal norms and expectations, often pushing the boundaries of what is considered possible. Through their journeys, they inspire readers to embrace their own uniqueness and stand up against injustice. Furthermore, regal magical folks and fairy tales from the diaspora contribute to the representation of diverse voices and perspectives in mainstream literature. They challenge the dominance of Eurocentric narratives and expand the literary landscape. These stories open doors for exploration, education, and celebration of cultures often overlooked or marginalized. In conclusion, regal magical folks and fairy tales from the diaspora play a vital role in storytelling. They showcase the power, resilience, and cultural richness of marginalized communities. These narratives provide a platform for cultural preservation, identity formation, and representation. By featuring regal characters with extraordinary abilities, these tales inspire readers to embrace their own uniqueness and challenge societal norms..
Reviews for "Cross-Cultural Connections: Regal Magical Folks in Fairy Tales"
1. Jane - 2/5 stars: I had high hopes for "Regal magical folks and fairy tales from the diaspora" but was ultimately disappointed. While the concept of exploring magical stories from diverse backgrounds is commendable, the execution fell flat for me. The stories lacked depth and failed to fully immerse me in the world of magic. The characters felt one-dimensional, and I struggled to connect with any of them. Overall, this collection left me wanting more, and I believe there are better options out there to explore diverse fairy tales.
2. Mike - 3/5 stars: As someone who enjoys reading fairy tales and mythical stories, I was intrigued by "Regal magical folks and fairy tales from the diaspora." However, I found myself underwhelmed by the overall content. While some stories had their moments of brilliance, others felt disjointed and lacked a cohesive flow. The storytelling style varied greatly, which made it difficult to fully engross myself in the book. I appreciate the effort to introduce diverse narratives, but I believe there is room for improvement in terms of storytelling techniques and character development.
3. Emily - 2/5 stars: I was excited to discover "Regal magical folks and fairy tales from the diaspora" as it promised to offer a fresh perspective on traditional fairy tales. Unfortunately, it didn't live up to my expectations. The collection felt disjointed, with some stories being overly complex and convoluted. The characters lacked depth, and their motivations were unclear. Overall, I found it difficult to connect with the stories and struggled to maintain interest throughout. I would recommend exploring other options in the genre that offer a more engaging and captivating reading experience.