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Described as a vibrant mix of Spitting Image and The Brothers Grimm, this Faustian folk-tale is told with masks, puppets and an original score, played live.
Schacker argues that twentieth-century folk-tale collections recommended for classrooms, such as Harold Courlander's Hat Shake Dance (1957) and Robert Rattrayy's Akan-Ashanti Folk Tales (1969) "extend the nineteenth-century practice of presenting a corpus of tales as the product of a particular nation, representative of national character, unified by worldview, manners, and customs, and modified for mass consumption" (142,).
While some carry a folk-tale thread, they're more about sharing a sense of feisty, flirtatious, and infectious exuberance.