sonia rodriguez’ rhinestone-adorned pointe shoes, which she wore during a production of james kudelka’s cinderella in may 2oo8 . on display at the bata shoe museum.
Dunno why, but I had the uncontrollable urge to make a Cinderella-themed ballet magical girl. I'm a little worried I didn't go far enough/went too far with her dress, but I'm overall very happy with her.
I was rethinking about how important the use of cultural details is when doing fairytale reinterpretations or adaptations. It is a way of adapting that people tend to forget due to some sort of general agreement that fairytales should escape any type of time-space setting and feel just like a "generic pseudo-medieval pseudo-European" world (except of course if they are set in modern day America, because for the US media the USA is, of course, a setting deemed "universal" enough that should speak to everybody... *cough cough* americanocentrism *cough cough*)
It was something I was already thinking about some times ago, ever since I discovered the Royal New Zealand Ballet's Hansel and Gretel, which has lots of very cool references to various states of German culture, ranging from cinema (the aesthetic of the setting, characters and special effects is meant to evoke the classic mute expressionist movies such as "Nosferatu" or "The Cabinet of Doctor Caligari")...
... to folklore (the show made the insanely clever decision of replacing the bird eating the crumbs in the forest with schnabelperchten brooming them away).
And more recently I have been looking into a 1930 black-and-white French movie called "Cinderella of Paris", that transposes/twists/parodies the Cinderella story within the context of the realistic 1920s Paris.
And the main ball, the equivalent of the titular Cinderella ball, is made into the Sainte-Catherine dance. Which is absolutely fitting and perfect for a Cinderella within an inter-war Paris. If you don't know, up until the mid-20th century, in France Saint Catherine's day was the time of a great popular ball/public dance whose entire purpose was to allow girls of 25 years old or more, yet without a male companion, to find a suitor/husband/boyfriend/fiancé. It was the big time to "solve the problem of the old maids", of which Saint Catherine was the patron - and it was THE big "love day" long before the overwhelming Americanization of Saint Valentine's Day.
All of that to say, I really love the inclusion of little cultural details and elements within fairytales retelling or transpositions - either of the original fairytale's culture, or of the culture in which the fairytale is transposed. Not only does it make the product quite cool, clever and/or interesting, but it also shows that you put a lot of thought into the tale's original setting and the point of moving up to another time period or geographical era. It is the opposite of just slapping a "That's X country" or "That's X time" sticker onto a fairytale without doing much more work.