This teacher guide- book is producedby the Ballet Arts, Inc.for Arts Education. Inorder for students toreceive the full benefitof understanding thearts, they must notonly attend the eventor exhibition, but alsoengage the work withcuriosity and artisticawareness so that itbecomes a learningexperience. Thisdocument will helpyou prepare students to attend the selectedevent or exhibitionwith an understandingof the elements of theparticular art form, itsthemes, its history, and the way it relates to other subjects. Alsoincluded are specialactivities, which allowstudents to engage intheir own creativeprocesses in regards to this selected arts event.

CinderellaAct I

Scene 1, The KitchenScene 2, Fairyland

In a kingdom far away, lives an orphan girl – lovely Cinderella – with a domineering stepmother and two selfish stepsisters. Recently, an invitation had arrived announcing a ball in honor of the Prince, to introduce him to eligible young ladies of the land. Cinderella’s jealous stepmother would not allow her to go. The stepsisters prepared for the ball with dancing lessons and choosing finery to wear. Cinderella, left alone, dreams of the ball. She twirls and curtsies, as if before the Prince himself. Suddenly, her Fairy Godmother appears, and with her are the fairies of the four seasons. Cinderella’s rags are transformed to a lovely ball gown. Before she leaves for the ball, the Fairy Godmother summons the Gnomes of Time and warns Cinderella that she must return home by midnight. After twelve o’clock, Cinderella will again be a lonely girl in shabby clothes. Cinderella promises her Fairy Godmother she will not be late, and then, she is shown the way to the ball by the Fairies.

Act IIScene 1 – The Palace Ballroom

In the brilliant ballroom, a jester greets the guests as they arrive. The stepmother arrogantly enters with her show-off daughters, confident that the Prince will want one of them for his Princess! Escorted by the five Fairies and their attendants, Cinderella timidly arrives at the ball. Not even her family recognizes her. To the guests at the ball, she is a beautiful princess. During the evening, Cinderella and the Prince meet and fall in loiv

love. The Prince offers Cinderella oranges, a rare fruit in his country, but the stepsisters snatch them from him. As Cinderella dances with the Prince, she forgets the Fairy Godmother’s warning. The clock’s striking midnight brings back the Gnomes of Time. Cinderella flees from the palace in rags, leaving behind one of her magic slippers – the only clue to her identity.

Act IIIScene 1 – The KitchenScene 2 – Fairyland

The Prince sets out in search of his new love, Cinderella. Meanwhile, Cinderella dreams of the ball and the happiness of love. The stepsisters busily prepare for the Prince. They hear that he isto try the dancing slipper on all the maidens in the land. Surely it will fit one of them! The Prince arrives and is relieved the shoe does not fit either stepsister. As he begins to leave, Cinderella’s slipper falls from her pocket. The Prince is overjoyed to have found his lovely Princess. Cinderella kindly forgives her stepsisters and asks her Fairy Godmother to bless them. Then, the Prince and Cinderella, the young girl who rose from cinders to a royal throne, travel to the palace, led by the beautiful fairies, where they live happily ever after.

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Major Musical ThemesAct I

Children’s Dance –MarchGrandfather’s Dance- ¾ Heavy rhythm

Tree Grows-Wave after Wave of OrchestraThe Battle-Fanfares of Energy

Dance of the Snowflakes-Whirling WaltzAct II

Waltz of the Flowers-Familiar WaltzPas de Deux – Adagio

Tarantella Sugar Plum solo Coda

CinderellaThis Teachers guide is presented by

Ballet Arts, Inc. Jackson, Tn.731-668-7353

Ballet BeginningsMan has danced since the beginning of time. It was used as a form of religious

expression and celebration. It later became a medium of entertainment and recreation. Dance is considered the oldest to the arts and a forerunner of the other performing

art forms, such as music and drama. In dance we find elements of many other art forms: poetry, literature, painting, sculpture, design, mime, and movement.

The roots of ballet come from public celebrations such as parades, masques, and pagents of Italy and France in the 15th, 16th and 17th centuries. When Henry II of France married Catherine de Medicis in 1533, she brought to France the Italian balleto, where it became the ballet. Louis XIV was a patron of the arts, and himself a dancer in court ballets. The Paris Opera became the home for the French ballet, and from that time, terminology for ballet technique was given in the French Language (see the accompanying Glossary of Ballet Terms).

In the early eighteenth century, ballet became a profession, with the founding of schools, theaters, paid performers, and rival aesthetic movements. In Russia, at this same time, the tsars wanted anything that would imitate European court manners. Russia imported dancing masters, choreographers, and dancers throughout the 18th century. Frenchman Marius Petipa established a Russian classical school of dance, which is now known as the Kirov Ballet.

In the years that have passed since then, ballet spread to North America and around the world, many talented individuals made their mark as performing artists or choreographers. History of Cinderella

Cinderella is a classical ballet in three acts and seven scenes with variations, adagios, and pas de deux. The music is by Sergei Prokofiev. Cinderella is portrayed not only as a fairy tale character but as a real person, feeling, experiencing, and moving among us. Prokofiev began composing Cinderella in 1940 but the war intervened. Later the ballet was put aside in the interests of his opera, War and Peace. He did not take it up again until 1943, during a six-month sojourn in the Urals in the company of the Kirov Ballet artists who had been evacuated from Leningrad (St. Petersburg). Completed in 1944, the work was first performed in 1945 at the Bolshoi in Moscow. Sergei Prokofiev, The Composer

Sergei Prokofiev was born on April 23, 1891 in Sontsovka in the Ukraine. He learned to play piano at a very early age. By the time he was six, he was composing music. He became known as a brilliant pianist, often performing his own compositions. In 1918, Prokofiev left Russia to live in the United States.

Prokofiev wrote the ballets Romeo and Juliet and Cinderella. He also wrote a musical fairly tale for children, Peter and the Wolf.

Prokofiev wrote of the ballet, “Musically, Cinderella is characterized by three themes: the first represents aggravation, the second is pure and thoughtful and the third expresses being happy and in love. I also attempted to describe with the music, the characters of the charming and dreamy Cinderella, her retiring father, her exigent stepmother, her authoritarian and self-willed sisters and the young ardent prince so that spectators would not remain indifferent to their difficulties and their joys.”

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0301.2.10 Participate in group discussions.0301.2.12 Participate in creative and expressive responses to text (e.g., choral reading, discussion, dramatizations, oral presentations).0301.3.1 Write on a predetermined topic to a specified audience (e.g., self, peers, adults).0301.3.2 Write for a variety of purposes: to entertain, persuade, inform, demonstrate knowledge, answer questions, tell a story, or respond to literature.0301.3.15 Use a rubric to evaluate own and other people’s written work through small group discussion and shared work.0301.5.3 Compare and contrast two characters, ideas, or stories.0301.8.5 Build vocabulary by listening to literature and participating in discussions.0301.8.7 Read and review various literary genres (e.g., short stories, fairy tales, folktales, poetry, plays, and nonfiction).0301.8.9 Compare and contrast different versions/representations of similar stories, legends, or events reflecting different cultures.

Fourth Grade0401.2.7 Participate in creative responses to text (e.g., choral reading, discussion, dramatization, oral presentations). 0401.2.8 Express reactions, personal experiences, and opinions orally.0401.2.11 Interpret and use a variety of non-verbal communication techniques (e.g., gestures, facial expression, posture).0401.2.13 Continue to develop group discussion skills and to work in teams.0401.3.7 Write creative, imaginative, and original responses to literature (e.g., poems, raps, stories).0401.8.4 Build vocabulary by listening to literature, participating in discussions, and reading self-selected and assigned texts.0401.8.7 Read, view, and recognize various literary genres (e.g., poetry, novels, short stories, plays, historical fiction, nonfiction).0401.8.8 Determine the problem in a story, discover its solution, and consider alternate solutions.0401.8.11 Compare and contrast different versions/representations of the same stories/events that reflect different cultures.

It’s Alive! It Walks! It Talks! It Dances!

Language Arts0001.2.8, 0001.3.5, 0101.2.8, 0101.2.8, 0101.3.8, 0201.2.8, 0201.3.10, 0301.2.10, 0301.2.12, TLW create his/her own character from an object brought from home. Students will divide into groups of 3 or 4 and create a scene with character interaction.Materials Needed:An object from home, pencil, paper, and an open space.Warm Up: Have students imagine that their objects come to life. Have each student write a description of the object’s personality, movements, style, voice, and habitat.Teaching Activity:

1. Have each student become his character and explore the following movements as the character: Locomotor (traveling) movements, greeting of others as they travel, conversing with others through body language, performing daily tasks.

2. Divide into groups of 3 or 4 and create a scene (defining the setting and focus) with each of the developed characters interacting through movement and the spoken word.

Closure:Have each group perform it’s scene for the rest of the class. After each performance discuss how the students portrayed their characters through movement, and how they combined the different personalities to create their scenes.

Orchestrating the Dance

MusicK- Objective 2.2, 1st – V.2, 2nd – III.1, 3rd

– II.4, 4th – II.3, 5th – II.1TLW demonstrate that both sounds and movements can form rhythmic patterns.

Warm-up: Read a simple sentence to the class in a monotone. Read it again adding different rhythmic patterns to your voice each time. Vary the speed, tone, or energy level of your voice. Clap the rhythmic patterns. Discuss which patterns are more interesting and why.

Teaching Activity:1. Invite students to form a circle. One at a time, have each student speak their own name in a rhythmic pattern of his/her choice. Ask the group to echo each person.2. Have each student speak his/her name and clap the rhythmic pattern. Encourage them, to explore different patterns. Again, have the group echo their pattern.3. Have each student add a movement pattern to their rhythmic pattern. Encourage them to use different body parts. Again, echo the rhythm and the movement.4. Invite students to get in pairs. Give each student pair a simple sentence about a character in Cinderella. Students create a rhythmic and movement pattern to their sentence.5. Have the pairs take turns being the “orchestra” (clapping the rhythm) and the “dancer”, dancing the rhythm.

Closure:Discuss other rhythmic patterns that are a part of daily activities. Examples: the rhythm of the school bus, brushing teeth, eating, walking to class, running to class, watching television, skipping rope, bouncing a ball, etc.

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Emotions Through Motion

Language Arts0001.2.8, 0101.2.8, 0101.3.5, 0201.2.8, 0201.3.7, 0301.2.10, 0301.2.12, 0301.5.3, 0401.2.7, 0401.2.8, 0401.2.13TLW Express a feeling through movement.

Materials needed: Several different emotional situations written on pieces of paper. Ex: angry with sister, lonely for friend.

Warm-up: Discuss the different situations in Cinderella in which the characters feelings were expressed through their movement. Using many adjectives, describe various feelings and the movements that coincide with each feeling. Example: anger-stamp, explode; fear-shiver, tremble, sad- slow, heavy, downward movements.

Activity:1. Call out different emotions and ask students to express the feelings. Encourage the students to explore different movement qualities as teacher calls them out.2. Invite students to get into “pairs”. Let each pair draw an emotion situation to “dance”. Remind them to have a beginning, middle, and an end to their dance.3. Ask each pair to perform their “dance” for the rest of the class. Have the observers try and determine the emotion situation from the movement.Closure:Discuss the various movements each group selected for it’s situation and how these movements conveyed the emotion to the audience.Discuss ways we all move in relation to how we feel at a particular moment.

Variation: Do the same exact movement but with a different feeling. How does this change the movement? For example, stamp your foot in anger, and then stamp it with joy. Does your posture change? Does the placement of your head and arms in the movement change?

Time to Mime!Lang Arts 0401.2.11TLW become more familiar with some of the basic gestures used in mime and ballet.Mime Gestures: You – Point to person with open hand (with pointed finger when angry).Beautiful (or girl) – Circle the face gently with the back of the hand, letting the back of the index finger outline the face.Princess – Lift arms and hold hands just over top of head, as if enclosing a crown.Dance – Circle the hands around each other above the head.Kiss – Touch lips with finger.Love – Hold both hands over the heart.Marry – Point to wedding-ring finger with index finger of right hand.Me – Point toward self with index fingers of both hands simultaneously.King – With a flourishing gesture raise the right hand above the head, indicating the feather commonly worn in the hats of nobility.Queen – Let index finger of right hand touch top of forehead at points where crown touches.Stop – Hold up hand, palm out.Angry – Raise arms above the head, elbows front, and shake fists.Sad – Let fingers trace tears as they fall down the face.Teaching Activity: Have students stand. Read through each gesture description and demonstrate. Allow students to mimic the gesture. Ask volunteers to make a mime gesture for the class to identify. Ask students to watch for these gestures at the performance and be ready to share what they saw when they return.

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Insert picture, clipart or text here!

History and MovementMusic Kindergarten VI.1TLW move to the beat using simple dances to relate music with geography. Activity: Using a globe or map, point out France,. Read Ballet Beginnings to students and explain. Demonstrate plie and releve. TLW demonstrate and practice moving from releve to plie. Closure: TLW will move on the beat doing releve, then plie to one of the selections.

Contrasts Music Grade 1 V.4,II.2Grade 4 VI.6Grade 5 VI.6, IX.2Grade 7 VI..2TLW recognize the difference in mood of contrasting pieces of music. Warm-up: Children observe while the teacher tosses a balloon in the air and allows it to float to the ground.Activity: Have children toss their balloons in the air and observe as it floats to the ground. Duplicate the movement with their bodies. Do several times. Ask children to keep their balloons in the air while maintaining their own floating, sustained movement. Use different body parts to keep the balloon in the air. Come to a soft slow ending.

Activity 2:TLW move on the beat to “March”. Teacher directs movement (i.e. pat knees, clap, tap ) as music plays. Students pattern.Closure: Discuss differences between movements.

Compare and DefineMusic Grade 6 IX. 2TLW describe the differences between two dances.Warm-up: Discuss with students the different types of dances (solo, duets, corps) before the performance Activity: Using the program as a guide, TLW write descriptions of each dance using musical terms-tempo, dynamics, meter, and tone color to compare and contrast two dances.

Be a Great AudienceMusic Grade 2 VIII.2 TLW demonstrate appropriate audience behavior. Activity: Teacher will read and discuss “Student Behavior at a Live Performance”. Closure: After performance, TLW state specific example of appropriate behavior.

Listen - ListenMusic Grade 3 VI.3TLW demonstrate through movement same and different sections in larger musical forms.Activity: Pat rhythm of “A” section of “March”. TLW repeat rhythm. When student s are familiar with the rhythm, listen to March and identify rhythm each time repeated. Listen again and pat the rhythm each time it is heard. Students will listen quietly to string section. Closure: Students will pat rhythm of “A” section and march in place to “b” section.

Composer LinkMusic: Grade 3 IX. 2, Grade 6 IX.3, Grade 7 IX.2, Grade 8 IX.4TLW be able to identify Prokofiev as the composer of Cinderella.Activity: Read the information about Cinderella and Prokofiev. Identify Russia as the home country of Prokofiev.

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On Your ToesMusicGrade 4 VII.2, Grade 7 IX.1, Grade 8 IX.3TLW use appropriate terminology to explain personal preferences for ballet. Warm-up: Pronounce and spell ballet terms for students. Students will repeat terms. Activity: Identify and describe movements. Try movements in class (as demonstrated by teacher). Create a simple combination of movements (i.e. releve, plie, passé, first position) and perform with music. Complete “On your toes “ identification chart. Closure: After the ballet performance, students will describe a specific dance in terms of steps observed stating why the dance was a personal preference.

THE FIVE POSITIONS

Demi-plieIn 1stposition

Passé

Grande Plie

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Glossary of Ballet TermsAdagio A passage in a pas de deux (dance for two) in which the man supports the woman in turns,

lifts and balances.Arabesque A position in which the dancer stands on one leg with the other leg extended to the back.Ballerina A female dancer, but usually one who dances leading roles: prima ballerina (first dancer)Ballet Shoes Slippers made of soft leather or canvasBarre The horizontal wooden bar that runs around the wall o the ballet studio at which the

Dancer holds onto during the first part of the class.ChangementA step where the dancer jumps into the air and changes their feet to a new position.Choreographer The one who plans the dances.Coda The fast final section of a pas de deux, in which the dancers may have brief solo passages as

well as dancing together in a brilliant conclusion, as in the “Sugar Plum and Cavalier” in

Nutcracker or the “Bluebird” in the Sleeping Beauty.Company Dancers who have agreed to perform as a group under a particular name.Corps de Ballet the ensemble or group of dancers in a ballet company, who appear to dance group

dances or minor solos.Danseur A male ballet dancer.Elevation The ability to jump high in the air and give the impression of remaining suspended

there for an instant.Frappe An exercise at the barre to teach the foot to open sharply and return quickly to the ankle

without injury.Glissade A step that changes smoothly from one position the next.Pas de chat Step of the cat. When the dancer jumps in the air from one foot to the other with their legs

bent under then

VOCABULARY

Passé A pose with one leg straight and the other turned out, bent and toe at the knee.Plie An exercise at the barre in which the dancer bend both knees very deeply with the legs

Turned out. A halfway bend is called demi-plie.Pirouette A complete turn of the body performed on one leg.Pointe Dancing on the tip of the toe. Point shoes are satin shoes handmade by wrapping many

layers of canvas and glue to forma box at the toe. Female dancers who perform

“Sur les Pointe” (on the toes) may begin practicing in them at about eleven or twelve years of

age.Positions There are five basic positions of the feet in which all steps in classic ballet begin, dance

through and end with the legs turned out at the pelvis.Relive A movement when the dancer rises to their toes.Tutu the usual term for the fluffy skirt worn by female dancers in classical ballet.

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ANS: 1-G, 2-H, 3-B, 4-M, 5-C, 6-K, 7-P, 8-A, 9-L, 10-I, 11-N, 12-D, 13-J, 14-F, 15-F

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Act It Out and Write It DownLanguage Arts: 0301.2.10, 0301.2.12, 0301.3.2, 0301.8.7, 0301.8.9, 0401.2.7, 0401.2.13, 0401.3.7, 0401.8.7, 0401.8.8, 0401.8.11

Make several copies of the Multicultural Cinderella Stories pages. Divide the class into four groups, and give each group one of the four synopses. Ask them to create a performance based on that synopsis. Appoint a head writer or director to keep the group focused. To integrate drama concepts into the piece, add the following question: How do we use our voices, bodies, and imagination to create a character for the audience? Give students a short time to prepare, then ask each group to introduce what culture the story represents and to perform it. After the four performances, students can write down their version of one of the four stories in either script or story form.

Multicultural Cinderella Stories

The Cinderella story is perhaps one of the most well-known fairy tales in our culture. But did you know that the story has more than 3,000 variations around the globe as well? The version most Americans know best first appeared in Frenchman Charles Perrault’s Tales of Mother Goose, a collection of fairy tales for children, in 1697. The popular Walt Disney animation was based on this version. Perrault simply wrote down a story had been well–known all over the world for more than 1,000 years. The story is known as “Ashputtle” in France, “Yeh-Shen” in China, “Mufaro’s Beautiful Daughters” in Africa and “Vasilisa the Beautiful” in Russia.A few important details stay the same in all of the stories. The Cinderella character’s mother has usually passed away, and the father has remarried. She is forced to perform menial tasks for her stepmothers and stepsisters, like starting fires and cleaning. In some stories, the girl’s name (Cinderella or Ashputtle) refers to her daily chore of cleaning up the cinders and ashes. The stories usually mention the stepmother and stepsisters’ jealousy of Cinderella’s natural beauty and gentle personality. Then, when a prince or king begins searching for a wife, competition develops between the sisters. Because of Cinderella’s kindness, though, she is given help from fantasy-like people: a fairy godmother, magical animals, etc. Below are a few Cinderella stories from around the world.

FranceIn the French version, “Ashputtle,” the fairy godmother takes on the

form of a little white bird. The bird perches on a tree near Ashputtle’s mother’s grave and grants wishes to the young woman. On the night of

the prince’s ball, Ashputtle is left at home because of her filthy, messy appearance, while the stepmother and stepsisters travel to the party. The bird dresses Ashputtle in a gold and silver dress with silver and silk shoes, and she sneaks off to the palace. At the ball the prince falls in love with her beauty, but her stepfamily does not recognize her in her pretty clothing. After the ball the prince searches for the woman who lost the slipper. The stepsisters try to fit their feet into the tiny slipper by cutting off a toe or a chunk of one’s heel, but neither attempt works. Then Ashputtle tries on the shoe, and the prince realizes she was the woman he had fallen in love with.

ChinaThe Chinese fairy tale involves a cave chief’s young daughter, Yeh-

Shen, and a secret pet fish. Yeh-Shen’s stepmother is angry when she finds out the girl has kept the fish secret, so she kills it and cooks it for dinner. A spirit tells Yeh-Shen what happened to the fish and that the fish’s bones contain magical powers. After taking the bones out of the garbage, Yeh-Shen asks the bones to dress her nicely for the spring festival. The spring festival is where young men and women find husbands and wives. Her wish is granted, and she gets a pretty gown, a feather cloak, and golden slippers. Yeh-Shen loses one of the slippers at the festival, but a merchant finds it. The merchant takes it to a king as a gift. The king then looks for the owner of the slipper, and when he finds Yeh-Shen, they get married.

AfricaAn African version of the story, “Mufaro’s Beautiful Daughters,” is

different than most other versions in that there are only two daughters, and their father is the only parent alive. Nyasha is the Cinderella character, Manyara is the evil sister, and Mufaro is their father. A serpent appears in Nyasha’s garden one day, and she treats it nicely but thinks nothing about it until much later. When word arrives that the king is searching for a wife, the family gets ready to go see the king. Manyara sneaks off during the night before everyone leaves so she can meet the king first. On her trip through the woods by herself, she meets a hungry little boy, an old woman and a strange man. Manyara is rude to all of them. When Nyasha follows the same trail later that day, she meets the same three people and is polite and helpful to them. When she finally reaches the kingdom, she finds Manyara, who has been frightened by a serpent in the king’s chambers. Nyasha enters the chambers and realizes the serpent cornering her sister is the same one that she helped found in her garden. The serpent then changes into the king, and he tells Nyasha that he was also the little boy, the old woman and the strange man in the woods. Because of the kindness she showed him when he was in different forms, the king chooses to marry Nyasha.

RussiaThe Russian tale is called “Vasilisa the Beautiful.” This version is

different than most other Cinderella stories because there is no prince or king and no glass or golden slipper. Vasilisa’s evil stepmother sends the girl to get a needle and thread from her aunt, but it is a trick: the aunt is not an aunt at all – it is Baba Yaga, a witch whose house walks around on chicken legs and is surrounded by a fence made of bones. Inside the house is Baba Yaga’s pet, a talking cat. Out of kindness, Vasilisa feeds the cat, who rarely gets any food from the witch. When Vasilisa meets Baba Yaga, she is locked in the house and told that she will be eaten the next morning. To thank Vasilisa for the food, the talking cat gives her a towel and a comb and helps her run away. If she is close to getting caught, she should throw down the towel and it will turn into a wide river. If that doesn’t stop Baba Yaga, Vasilisa should throw down the comb and it will become a thick forest. Vasilisa runs home and throws down the towel and comb on her way. When she gets home safely, Vasilisa tells her father what happened and he kicks the stepmother out of the house for her evil actions.

BooksWalt Disney’s Cinderella : A Read-Aloud Storybook by Della Cohen, Mary Hogan (Editor);Cinderella : A Creative Tale from the collection Once upon a Time by Charles Perrault, Roberto Innocenti (Illustrator)Cinderella : The Story of Rossini’s Opera by Alan Blyth

The Gift of the Crocodile : A Cinderella Story by Judy Sierra, Reynold Ruffins (Illustrator)

Alternative Cinderella StoriesCindy Ellen : A Wild Western Cinderella by Susan Lowell, Jane K. Manning (Illustrator) Smoky Mountain Rose : An Appalachian Cinderella by Alan Schroeder, et alLittle Gold Star : A Spanish American Cinderella Tale by Robert D. San Souci, Sergio Martinez (Illustrator)Cendrillon : A Cajun Cinderella by Sheila Hebert Collins, Patrick Soper (Illustrator)Petite Rouge : A Cajun Twist to an Old Tale by Sheila Hebert Collins (Narrator)Sumorella : A Hawaii Cinderella Story by Sandi Takayama, Esther Szegedy (Illustrator)Domitila : A Cinderella Tale from the Mexican Tradition by Jewell Reinhart Coburn, Connie McLennan (Illustrator)Angkat : The Cambodian Cinderella by Jewell Reinhart Coburn, Edmund Flotte (Illustrator)Abadeha : The Philippine Cinderella by Myrna J. De LA Paz, Youshang Tang (Illustrator)Kongi and Potgi : A Cinderella Story from Korea by Oki S. Han (Illustrator), Stephanie H. PlunkettTam Cam : A Vietnamese Cinderella Story by Nguiyen NhuanYeh Shen : A Cinderella Story from China by Ai-Ling Louie, Ed Young (Illustrator)Naya, the Inuit Cinderella by Brittany Marceau-Chenkie, Shelley Brookes (Illustrator)The Golden Sandal : A Middle Eastern Cinderella Story by Rebecca Hickox, Will Hillenbrand (Illustrator)The Persian Cinderella by Shirley Climo, Robert Florczak (Illustrator)Cendrillon : A Caribbean Cinderella by Daniel San Souci, et alFair, Brown and Trembling : An Irish Cinderella Story by Jude Daly (Illustrator)The Egyptian Cinderella by Shirley Climo, Ruth Heller (Illustrator)Rough-Face Girl by Rafe Martin, David Shannon (Illustrator)Sootface : An Ojibwa Cinderella Story by Robert D. San Souci, Daniel San Souci (Illustrator)The Turkey Girl : A Zuni Cinderella by Penny Pollock, Ed Young (Illustrator)