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Vivian Yenika-Agbaw
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Pedagogy, Culture & Society, 2014
Vol. 22, No. 2, 233250, http://dx.doi.org/10.1080/14681366.2013.819027
This article discusses diversity issues evident in fairy tales and explores
the pedagogical implications for adding counter-narratives in the school
curriculum. Critical Race Theory is employed. In order to uncover
contradictory discourses of race within Black cultures, four Africana
(African, African American, and Caribbean) Cinderella tale types are
analysed. The conclusion is that although the tales are racially similar
and full diversity requirements in a literature-based curriculum, such
tales are not necessarily interchangeable. Rather, there are ample differ-
ences that warrant further attention. It is important that schoolteachers be
aware of this, as they develop criteria that may enable them to make
informed decisions about childrens books for their classrooms.
Keywords: fairy tales; Cinderella; multicultural literature; childrens lit-
erature; Critical Race Theory; race/ethnicity; Black cultures; African;
African American
Introduction
Contemporary childrens literature, to some degree, has now begun reecting
the myriad of cultures that permeate our diverse global community. While this
is so, it is no indication that all voices are represented equally, or that the
same attention is given to issues of quality, accuracy, and/or authenticity.
Culture, however, is revealed in many ways in childrens books. In novels,
the dense or elaborate descriptions of characters and settings in the plot attune
readers to a particular culture. In picture books, the pictorial representations
provide a concrete image of these characters perceived physical features,
their surrounding environment, and how these shape their daily reality as a
people. But culture in childrens literature can be unsettling to those who want
to retain certain hegemony, especially when the culture in question contradicts
the stereotypes we already have of others. However, this should not be so; for
if we adopt the Intercultural Education perspective of respect instead of mere
tolerance of all cultures as has been advocated in the past in some
multicultural discourses (Portera 2011), this may enable our classrooms to
become spaces for democratic practices.
*Email: vxy102@psu.edu
2013 Pedagogy, Culture & Society
234 V. Yenika-Agbaw
But like Taxel (2002), Haney Lopez (1995) explains that the economic
interests of various stakeholders of white supremacy play a signicant role
not only in the publishing industry, but also in racialising groups of people
in general. In this case, then the prot margin usually trumps everything else
from the publishers perspective, and thus enables authors to serve the
psychological necessity (Haney Lopez 1995, 197) of white supremacy in
our institutions. Are authors of colour now co-conspirators? Perhaps so, but
this question is beyond the scope of this article. Has this reality also been
complicated by the business model of schooling that politicians now
pressure public schools to adopt (Pinar 2012)? Maybe so, but more research
needs to be done on this as well.
School
Another site where racialisation of childhood occurs is the schools, for they
are involved in framing ideas about race [serving] as a sorting
mechanism, providing different students with access to different kinds of
Pedagogy, Culture & Society 237
four). Some of them also have a rags to riches motif, with a heroine who
ascends rapidly from the hearth to a throne (Tatar 1987/2003, 222). In the
introduction to The Classic Fairy Tales, Tatar references two Cinderella tale
types: AT510A (Cinderella) and AT510B (The Dress of Gold of Silver, and
of Stars (Tatar 1999, 102; as cited from Aarne-Thompsons index). The
plots of Cinderella, she adds, are driven by the anxious jealousy of
biological mothers and stepmothers who subject the heroine to one ordeal of
domestic drudgery after another (102). If this is so in Eurocentric versions,
there are no guarantees that Black Cinderellas (or tales reminiscent of this
tale type) may conform to this plot prototype. Thus, as multicultural texts
they also exhibit a level of diversity with which teachers should be familiar
in order not to essentialise Black people. I discuss briey the four tales,
highlighting their inherent diverse approaches to transform the classic tale
type, and conclude with a discussion of their signicance as multicultural
texts in the school curriculum. In particular, I focus on the power structures
in these narratives, looking closely at the family, gender, class, and/or racial
dynamics, and noting how the authors constructions of the characters rela-
tionship are situated within their socio-cultural reality and the geographical
settings of the stories.
Counter-narratives or versions?
Admittedly, Mufaros Beautiful Daughter: An African Tale is considered one
of the most popular Africana Cinderella tales in the United States, but
240 V. Yenika-Agbaw
nowhere in the book does John Steptoe refer to it as such. Set in a Shona
village in Zimbabwe, Mufaros Beautiful Daughter revolves around the lives
of a father and his two beautiful daughters, kind Nyasha who eventually
marries the king, and unkind Manyara whose ill-temperedness alienates
everyone. To be worthy of the king, the girls must face a series of cultur-
ally specic challenges, all of which the ill-tempered sister fails. First, she
refuses to share food with a hungry child, and secondly, she is impolite to
an elderly woman. For her negative attitude toward both the young and the
old, and her excessive self-centredness in a culture that values community,
Manyara meets a ve-headed monster instead of the king.
As African females, Nyasha and Manyara are racialised types; one of the
girls is perpetually seless and the other is vain, aggressive, rude, and
manipulative. Racialised consciousness can be traced back to travel logs of
early European and American explorers (Hickey and Wylie 1993). These
travellers, Hickey and Wylie (1993) add, successfully implanted binary
opposite images of Africans and Africa into the consciousness of their
Western readers. On the one hand, Africans are primitive, barbaric, and live
in a capricious jungle; conversely, they are noble savages who live in an
untainted paradise of which they are a part. If we agree that these colonising
images of Africa do exist and might have inadvertently impacted the works
of contemporary Western writers Steptoe included then his constructions
of these girls accentuate their otherness. Beyond the pastoral settings that
localise Mufaros Beautiful Daughter within this colonial discourse, the
verbal text itself could be construed though as a form of counter-narrative. I
will return to this later.
Onyefulus (1994) Chinye: A West African Folk Tale brings another
perspective to the tale type. Set in an Igbo village in Eastern Nigeria of long
ago, the story dwells on the experiences of an impoverished orphan girl,
Chinye, who is mistreated by her stepmother, Nkechi, and stepsister,
Adanma. Like some popular traditional versions, the rags to riches motif
drives the plot. However, in this variant the material success is not
connected to marrying a prince, a king, or an important male gure. Rather,
it revolves around the desperate need for material independence to free one-
self from the indignities that are usually attributed to, or that emanate from
poverty, but not necessarily through marriage. In this regard it could be
conceived as a counter-narrative.
Conrming the verbal narrative, the illustrations depict Nkechi, Adanma,
and Chinye as three desperate females living dangerously on the edge:
physically close to a precarious forest, psychologically traumatised by the
lack of basic material needs, and emotionally distraught by their social
responsibilities within their family unit and the village community. This
image contradicts in many ways the account that readers encounter in
Mufaros Beautiful Daughter, a tale that is also set in an African (Shona)
village.
Pedagogy, Culture & Society 241
Unlike the rst two Cinderella tale types, Cendrillon: A Caribbean Cin-
derella is set in the Caribbean. Robert San Souci, known for his adaptations
of Creole tales, asserts in the authors note that, Cendrillon is
Counter-narratives of the nation that continually evoke and erase its totalizing
boundaries both actual and conceptual disturb those ideological manoeu-
vres through which imagined communities are given essentialist identities.
For the political unity of the nation consists in a continual displacement of the
anxiety of its irredeemably plural modern space representing the nations
modern territoriality is turned into the archaic, atavistic temporality of
Traditionalism. The difference of space returns as the Sameness of time
turning into Tradition, turning the People into One.
One gets a sense of this complexity in San Soucis narrative that at once
blends the old and the new, discourses of colonialism and traditionalism in
the form of Creole dialogue but not as though in competition with each
other. He integrates narrative discourses that conrm the hybridity of the
culture to recreate a unied entity, albeit the contradictory cultural reality of
the people of Martinique as local, foreign, ancient, modern, and a
combination of these and more.
Identities are problematised beginning with Cendrillons stepmother who
is part French and part Martinique; consequently, she was a cold woman
[who] puffed up because her grandfather had come from France. In
contrast, the godmother to whom Cendrillon is attached, while signifying
old Martinique, is mythical and powerful even as she is constructed as an
antithesis to Cendrillons stepmother and new family. As the focaliser of the
story, Martinique voice is ever present in this cultural mesh; but she also
reminds us of this Caribbean islands ambiguous subservient status
vis--vis the supposedly French superior colonial heritage. This subversive
narrative technique perhaps bets the theme of hybridity that runs through-
242 V. Yenika-Agbaw
out the tale. San Souci takes artistic liberty, making the narrator an eyewit-
ness to the account. Thus, the experience seems to immediately echo CRTs
basic belief that alternative narratives from a minority point of view are of
extreme importance (Fletcher 2008).
What sets the story apart from the Perrault version are references to the
local fauna and ora, and the allusions to Martiniques colonial ties to
France, and thus the characters colonised consciousness (Fanon 2004)
whereby people in the colony mimic lifestyles typically credited to the col-
onising country. In addition, social hierarchies that position those closer in
skin colour, education, and class to the coloniser are intricately interwoven
in the dialogue, prose, and illustrations.
San Souci (1998) juxtaposes this French colonial tradition with other
traditions long established by Blacks to whom Martinique now serves as
home. This blending of history reconstructs a new culture and value system
that sets this Black community apart from the communities readers encoun-
ter in the Shona and Igbo villages of Steptoe and Onyefulus recreation
where conicts remain at the local level in settings that may be perceived as
pre-colonial. To complete the colonial legacy and discourse, San Souci
(1998) exits with a wedding that is attended by the Queen and King of
France. The celebration of French patronage remains a footnote to the story,
however, as Cendrillon and Paul dance the night away.
Joyce Carol Thomass (2004), The Gospel Cinderella, like San Soucis
tale, reminds readers of the European variants of Cinderella. The author
declares early that her story is a variation on the traditional Cinderella
story, although it is not immediately clear if by traditional she is referring
to the German (Brothers Grimm) or French (Perrault) versions.
Notwithstanding, by acknowledging this fact, she establishes a subjectivity
that intimates a counter-narrative. In regards to the setting of the book the
southern swamp that she mentions we may infer this as her town of
origin, for Bishop (2007, 228) postulates that,
but her oppressive foster mother, for fear of what Cinderella may do with it,
attempts in vain to silence this voice. As a counter-narrative, Cinderella
reclaiming her voice in the end is of particular interest to potential young
readers, since it may enable them to see themselves not as victims of fate/
circumstances but as human beings who can actually overcome unjust
institutionalised social practices (racism, sexism, classism, etc.).
Cultural complexity
The four Cinderellas in varying degrees reect the complexity and diversity
of Black cultural experiences within continental Africa and the African dias-
pora. For example, though Mufaros Beautiful Daughter and Chinye: A West
African Tale are set in African villages, the local traditions of these distinct
settings impact the events that drive the plots and the resolutions of the
ensuing conicts. Likewise San Soucis Cendrillon: A Caribbean Cinderella,
though representative of Black customs of a particular island in the
Caribbean, is heavily inuenced by Martiniques French colonial heritage.
Readers read about these Black characters whose experiences in Martinique
tie them to Africa, France, and the Caribbean island that serves as their
current home, and whose social positioning within their communities and
families affect their overall quality of life and the opportunities opened to
them. They may be of African descent but are now culturally situated differ-
ently from their counterparts still residing in Africa, and those residing in
the United States, primarily because of their unique trans-Atlantic and
French colonial histories.
But on a closer look at characterisation in all four tales it is obvious that
the authors grant agency to their Cinderella-like character in subtle ways,
with Thomas (2004) going the furthest. The protagonists suffer some form
of oppression that is consistent with their respective socio-cultural histories
and are constructed as such. Nyasha and Chinye are simpletons who easily
forgive the wrongdoing of their selsh stepsister (Manyara and Adanma),
and depend on divine retribution for the injustices they might have faced at
the hands of their selsh sister(s) or exploitative/abusive parent (Nkechi).
This basic stereotype can also be traced back to imperial and colonial narra-
tives on Africa that portray Africans as noble savages (Hickey and Wylie
1993). Cendrillon, a simpleton at some level, on the contrary, makes strate-
gic decisions about her life. She wants no more spells to earn the love of
the prince, and when the story ends it seems she has forgotten about her
stepmother and half-sister and perhaps is ready to move on as Paul
Thilbaults bride.
The illustrations of the settings as counter-narratives, especially of Africa,
refrain from displaying half-naked characters though both books have char-
acters sharing space with animals, another popular stereotype. If one consid-
ers Mufaros Beautiful Daughter a counter-narrative, it becomes necessary to
244 V. Yenika-Agbaw
escape songs [that] present a dialectic power, deceit and identity [whereby]
[b]y appearing to live out the identity of beasts of burden, loyal and unintelli-
gent, slaves were able to carve out time and space for resistance and could
formulate their escape plans in the very presence of their captors.
transcending her oppressive reality. For Pyke, domination should not be cel-
ebrated in any way as something positive, for there is always some damage
done to the oppressed individual regardless of the effectiveness of his/her
coping strategy. On this note, I would admit that while some characters in
the four books I analysed are clearly granted more agency than others, and/
or are able to resist family (Manyara, Nyasha, Chinye, Cendrillon, Cinder-
ella), class (Cinderella, Cendrillon, Chinye, Manyara), patriarchy (Manyara,
Cinderella, Cendrillon), and colonial (Cendrillon) domination(s), I do not
want to recast domination as a positive force (Pyke 2010, 563) in these
stories. Rather, like Pyke, I agree that these female characters feel pain, even
as they struggle to liberate themselves from family tyranny that may be
interwoven with institutional power structures within their local, national,
and international communities, and students must be guided to understand
the intricate nuances of social injustices that undergird such practices within
text worlds and their real world. Pyke (2010, 564) writes: If the oppressed
feel no pain, the oppressors can easily deny its afiction. How true this
statement sounds!
When we think about these characters more carefully as representative of
real girls in our social worlds, starting with Steptoes Manyara, it becomes
evident why she was not destined to marry the King. From our rst encoun-
ter with her we notice what Patricia Williams (1996, 809) would describe as
a girl with an attitude, who unknowingly invents her own ending to the
courtship narrative she aggressively plays out. The King is the object of her
desire but her method of pursuit of this goal is not the preferred one within
this text world. It is Nyasha, the sister who understands gender expectations
when it comes to malefemale relationships, that wins. More so, she still
concedes to marriage even after the King professes his trickery and tests in
the courtship process. This begs the question as to whether she was aware
of these tests throughout and was simply playing along to get her man and
all that he and the relationship represent in their society, or whether she was
truly oblivious to the game.
This can be said of Cendrillon too, although as the story unfolds, it
becomes more evident that she is in control of the game, even if it is with
her godmothers help. Regardless of both girls marrying the men of their
fantasies, there is some degree of pain and suffering involved in the pursuit
of such fantasies.
In both Mufaros Beautiful Daughter and Cendrillon, the good girls
marry their prince charming and make us forget their pain; rst, as siblings
always in competition for their fathers affection and attention; and next, as
young females in contest for a powerful males affection in the public arena.
In the process, they face varying degrees of humiliation and play games of
being perfect with minimal reciprocity from the men. So while they are
granted agency in some ways, as discussed earlier, readers can easily over-
look their pain and celebrate their newly found status as the spouses of pow-
246 V. Yenika-Agbaw
erful men. As Pyke (2010, 564) explains, further, Mystifying the Black
woman as super-resilient creates an undue strain by denying the psychologi-
cal, physical, and spiritual costs of their oppression. Nyasha gets the hus-
band but at what cost? She is also forever entrapped in a role of the good
woman who puts everybody rst above her needs. Chinye and Cinderella
(Gospel) gain riches and fame, and then what? In Chinyes case, she is
isolated without a family to fall back on; and Cinderella, though not in any
relationship, is simply content to be reunited with her ageing mother. Her
foster mother, like Chinyes stepmother, we hear nothing more about. It is
as though, since they are completely out of these girls lives, readers should
overlook the emotional harm they have inicted on the girls. Cendrillon
remains distant from her family and, though now the governors wife, is still
a second best racially to her biracial half sister with connections to France.
The narratives of these girls lives as females in Africa, the Caribbean,
and the United States remain unnished! It is up to teachers with imagina-
tion to encourage children in their classrooms to invent other endings and/
or possibilities for these characters. It becomes essential that students read
these stories not solely as versions of a classic European tale that celebrates
material success through marriage (Nyasha, Cendrillon), hard work (Cinder-
ella), and/or dumb luck (Chinye), but also as counter-narratives that explore
the complexity of human relationships regardless of race, gender, class, and
the dynamics involved in these relationships at the local, national, and
global levels.
conversation between teachers and students over the past and its meaning
for the present as well as what both portend for the future (2). Immersing
children in literature that is representative of multiple realities and voices
across and within racial groups is therefore paramount as one engages in
this complicated conversation. The rst step, however, is to locate books
for children that push our collective thinking as educators in the classroom,
four of which I have examined here. Granted, a few teachers may already
be familiar with one or two of these texts; but they see them simply as
Cinderella stories and not necessarily as counter-narratives that explore race/
ethnicity and gender constructions within Black cultures in complicated
ways. What is needed is for them to probe further the signicance of these
constructs (race/ethnicity, class, and gender) within Black and other tales.
CRT allows readers to notice and to question contradictory discourses of
Blackness and/or race embedded in childrens texts. In this way, retellings
challenge the liberal monolithic notions of Blackness (Delgado and Stefancic
2001) that ignore global, and local geography, and social histories that con-
tinue to impact local consciousness of what it means to be a Black character
living in a ctional pre/colonial village, a ctional colonial island, and a c-
tional Southern swamp. These stories as counter-narratives expose readers to
what Black ctional characters may have in common and also how their
unique histories and social locations have shaped their realities in the varied
geographical spaces they occupy. The stories add something to the fairy tale
discourse, nudging readers (including schoolteachers) to be more inclusive
and to notice agency ascribed to underrepresented characters, for as Delgado
(1990, 109) observes, Heeding new voices can stir our imaginations, and let
us begin to see life through the eyes of the outsider. These voices do have the
capacity to enrich our literary and literacy experiences as readers of childrens
texts, and/or further complicate our readings of these texts as we participate in
democratic reading practices. Either way, they may compel us to rethink our
understanding of how race/ethnicity is constructed in fairy tales and in chil-
drens literature, and how these multiple constructions may impact the curricu-
lum our key conveyance into the world (Pinar 2012, 2). They may also
enable teachers to reconsider ideas about cultural groups that are transmitted
directly or indirectly to children through the books they include in their curric-
ulum, and the way they facilitate discussions around pertinent issues. It is of
utmost importance, therefore, for teachers to understand that although they
may have what they consider as multicultural collections of childrens books
in their classroom libraries, oftentimes, these books may not reect the com-
plex diversity evident even in one racial group. If this is the case, in order to
further democracy and inclusionary practices in the classroom, they must
rethink how they make curricula decisions to supplement the often narrow or
limited list of approved resources/texts mandated by school districts. It is
imperative therefore to include diverse literatures in the curriculum as a step
toward social justice, a practice that should no longer be simply negotiable!
248 V. Yenika-Agbaw
Acknowledgment
I wish to thank Cary Fraser for reading and providing feedback on an earlier draft
of this manuscript.
Note
1. See Kenneth B. Clark and Mamie P. Clark (1947). Racial Identication and
Preference in Negro Children.
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