Frightful Witches and Kissable Toads: the power of folktales

One day Baba Yaga’s two trusted toads said,

”You are truly terrifying!”

            “Good!” said Baba Yaga, “because that’s what I’m here for.”

from The Wise Doll by Hiawyn Oram.

Dear Reader, A few years ago I wrote this article for 'Kindred Magazine'… Some of my ideas have stayed the same and a few have changed since then, which I will write about in the coming months. I hope you find it thought provoking. Feel free to respond in the comments section. Jenni

As a professional storyteller, I have to confess my prejudices. I am totally and passionately in love with the genre of folktales. Yes, there are folktales that are boring or overly violent or model terrible values. These are the toad stories and yes, sometimes one has to kiss a few toads before finding the princes and princesses of story. Also, if your main exposure to the classic fairytales has been Walt Disney films or books, you may be unaware of the earlier, earthier and more satisfying versions. As my friend and master storyteller Brian Hungerford often wryly asides, ’There is a special place in hell for Walt Disney.’ (1) Many adults seem also to have lost the ability to decode the metaphors in folktales, which leads them to confuse princes and princesses with toads. This means many parents miss the potential in folktales to heal, soothe and model ways of being for their children and themselves, in an entertaining and gripping way. Thus I want to write in defense and in praise of my good friends and lovers.

Folktales are often rejected for their violence, their ‘sappy idealism’ and happy-ever-after endings and for being all about kings and queens. For me, those things didn’t worry me, but the gender stereotypes did. So I avoided telling the classic Grimm’s tales and chose to tell more unusual folktales with active heroines. But two experiences reversed that rejection. The first was my son’s obvious delight in Little Red Cap (Red Riding Hood), Rapunzel, Goldilocks, Rumplestiltskin and Jack and the Bean Stalk. (2) He was then two years old. The second was reading a book called The Uses of Enchantment by Bruno Bettelheim (2a). Firstly, why are there so many kings and queens in folktales? Perhaps you associate the monarchy with dictatorial power, inbreeding and financial inequity. Yet symbolically, the king and queen represent our whole, mature and evolved selves. Kings and queens in an archetypal sense, have high self-esteem and the wisdom to make important decisions. They manifest loyal supporters, can withstand opposition and live in a state of abundance.

Brono Bettelheim wrote,

Every child at some time wishes that he were a prince or princess - and at times, in his unconscious, the child believes he is one, only temporarily degraded by circumstances. There are so many kings and queens in fairytales because their rank signifies absolute power, such as the parent seems to hold over the child. So the fairytale royalty represent projections of the child’s imagination.

Violence in Folktales

Now, let’s address violence in folktales. There are two things I’d like to consider here. The first is age appropriateness. The second is sorting out positive stories from destructive stories.

"Brave Vasalissa and Baba Yaga- Finding Our Way through the Forest" Workshop for Women

'Brave Vasalissa and Baba Yaga' is a Russian and Eastern European folktale which has ancient mythic and Goddess roots. The tale was most probably a part of an ancient initiation for young women. The may have been sent into the centre of the dark forest to meet the fearsome witch, but instead they met wise but feirce crones who set them challenging tasks. If they succeeded they would be considered marragiable.

In the the Cindarella-like tale, Vasalissa relies not upon a fairy Godmother, but upon the doll her mother gave her before she died. This doll guides her and represents feminine inuition. (If you haven't already, do take a look at the Grimm's version of Cindarella- which is far richer than the Disney version!)

Many years ago a wonderful Australian storyteller Chardi Christian (who mentored me when I began as a storyteller) developed a fantastic workshop around the tale, which involved making a doll like the one in the story. I invited her here to Mullumbimby to lead the workshop. Unfortunately family circumstances intervened and she couldn't come. We tried again and again Chardi couldn't come.

The local Byron Shire women, many of whom have interest in Goddess mythology and/or are very crafty still wanted the workshop. I was asked repeatedly to lead one myself. Not being the least bit crafty, I declined. Then I attended a doll making workshop. I failed utterly to produce a doll- which was very frustrating and disappointing, but I was so determined top succeed that I cross-questioned my crafty neighbor, and then realised how to make doll-making easier. I procured ready made calico dolls that just needed stuffing, so that most of the time and energy could be spent on the fun part: making the doll come to life with hair and simple clothes.

Last December I ran my first and long-awaited Baba Yaga workshop. A group of women gathered at my house and together we explored the fabulous tale.

First I told the story. Then we discussed the very rich commentary written by Clarissa Pinkola Estes in 'Women Who Run with Wolves' as well as our own resonances with the myth. (Estes has recorded itunes of the tales from the book- just google them.) Then we each made our own Vasalissa doll with materials I provided. The looks of delight on the women's faces was priceless as you can see.

I was too busy during the workshop facilitating to do my own doll, so I finished it after the workshop which I found extremely satisfying. I incorporated scraps that were significant to me which heightened the sense of the divine in my doll. My doll's brown lap-lap was made from the suede sole of a baby slipper I had started, but never finished for my first child Tamlyn. She had pearls as a necklace, which represented my mother as I had given her pearls as a thankyou. Her clothes were made from silk that had been made for a storytelling backdrop with my favourite colours and my favourite symbol: spirals. My daughter then got inspired and together we made her two more to sit with mine- which prompted a tale by Layla of the three Goddess-like 'princess sisters'.

If you live in Sydney look up Chardi Christian as I am sure she still runs these workshops which I hear are completely wonderful. If you can't find her email me.

I am running another 'Brave Vasalissa and Baba Yaga: Finding Our Way Through the Forest' day at my house in Mullumbimby (Byron Shire, NSW, Australia) on July 16. If you are a local and would like more information, please email me jenni@storytree.com.au for more details.