One of the most fascinating fairytales to me has always been the ‘The Children of Hameln’ recounted by Wilhelm and Jacob Grimm in 1816 and 1818 editions of their famous fairytale collection. But there are several legends of similar figures like the Piped Piper from surrounding region of Saschen and wider Germany. Another fairytale I found intriguing is the ‘The Singing Bone’ and the variations, including the Scottish legends of an enchanted harp made from bone.
In crafting my own reimagining of the Pied Piper tale and the fate of the children from Hameln, I was inspired by of the gothic folklore of Forests, a common theme in many fairytales. The Forest often represents great dangers and only reason a community taught to fear it might enter would be unwillingly. The Pied Piper is often described as a troubadour or jester-like character, but in this reimagining, I wanted something darker and connected to the Forest. I thought of magicians, a failing harvest in the otherwise fertile valleys where an unspoken agreement between hamlets and magician to restore fertility and abundance to the lands would come at a high price. The magician is feared, not only for his magic but his appearance, a gaunt and physically deformed man, historically not welcome in many medieval communities for the ill-fortune to which they were associated. In keeping with the tales, the hamlets refuse to honour the bargain with the magician and an enchanted harp wrought from human bone becomes the tool to steal away the young and future generations of the hamlets, summoning them to wander forever among the groves and copses of the Forest.