Artsource
THEATRE MUSIC ®
The Music Center’s Study Guide to the Performing Arts
TRANSFORMATION
ENDURING VALUES
CLASSICAL
1. CREATING (Cr)
CONTEMPORARY
2. PERFORMING, PRESENTING, PRODUCING (Pr)
EXPERIMENTAL
3. RESPONDING (Re)
MULTI-MEDIA
4. CONNECTING (Cn)
FREEDOM & OPPRESSION
Title of Work: May Day Parade and Festival
ARTISTIC PROCESSES
TRADITIONAL
THE POWER OF NATURE
THE HUMAN FAMILY
manipulating imaginative floats, wearing colorful masks and headdresses, and showcasing skills such as stilt-walking and juggling. The parade and festival are
Creators:
designed to honor the red and green roots of May Day
Producer: In the Heart of the Beast Puppet and Mask Theatre Artistic Director: Sandy Spieler b. 1953
- the red symbolizes the blood of people and the work
Background Information:
of their hands and the green symbolizes the change of seasons, the passing from winter to spring.
In the Heart of the Beast Puppet and Mask Theatre of
Creative Process of the Artist or Culture:
Minneapolis, Minnesota is a unique, professional theatre
Each year the parade is built around a theme chosen
company which has received international recognition
to embody different aspects of May Day’s red and
for its visually spectacular events. Using the ancient
green roots. In a community meeting at the theatre,
tradition of puppet and mask theatre, their work is
suggestions are offered and a particular theme is
strongly grounded in exploring the events and values of
selected. The May Day staff and artists then meet and
contemporary society. Founded in 1974, and under the
propose a story board. In the theatre lobby, the parade
artistic leadership of Sandy Spieler since 1976, In the
and ceremony storyboards are presented and divided
Heart of the Beast produces original and imaginative
into sections from which participants choose a specific
works, built by hand with recycled materials. The theatre’s
part to build and present. For one month prior to the
performance style combines sculpture and painting with
grand event, free workshops are open to volunteers of
poetry, music and dance to create striking and evocative
all races, ages and cultures who gather to construct the
puppets which they magically bring to life. By providing
parade’s masks and puppet creations out of wheat
opportunities for hands-on participation, the theatre
paste, cardboard, paper and paint. The theater space
empowers its audience by involving them in building a
itself is transformed into a giant
vital and healthy culture through art, festivity and play.
workshop, a-buzz with creative
The company’s productions include full-length puppet
activity which culminates on May
plays, touring shows, circuses and street parades.
Day with the joyous parade and festival in Powderhorn Park.
About the Artwork: The May Day Parade is a glorious pageant and ceremony celebrated annually on the first Sunday in May. The hallmarks of the parade are giant rod puppets over twenty feet tall which symbolize Prairie, Sky, River, Woods and the Tree of Life. Since its inception in 1975, hundreds of participants walk the parade route
Minnesota Photo courtesy of Sandy Spieler
“We must acknowledge and honor the incredible power of our hands, hearts and minds, and the creativity of people working together.” Sandy Spieler
Discussion Questions:
Behind the Mask, courtesy of In the Heart of the Beast
After the video has been viewed:
Puppet and Mask Theatre.
• Have you ever watched or participated in a parade
• All photos and the drawings on page 6: courtesy of In
or pageant?
the Heart of the Beast Puppet and Mask Theatre.
• Did the large puppets remind you of anything you
Additional References:
have seen before?
• Hamilton, Virginia. In the Beginning; Creation Stories
• How does the art of making sculpture relate to the
from Around the World. Harcourt Brace Jovanovich,
way In the Heart of the Beast creates puppets?
Publishers, San Diego, CA: 1988.
• What did you feel as you watched the creative
• Nunley, John W., Bettelheim, Judith. Caribbean
process evolve from the workshop sessions to the
Festival Arts: Each and Every Bit of Difference. St. Louis
actual parade?
Art Museum in association with The University of
• How was the metaphor of a wheel used to illuminate
Washington Press. Seattle, WA: 1988.
the parade’s theme, “Wheel of Change Ever Whirling”?
Sample Experiences:
• What did the walls symbolize and what did it
LEVEL I
mean to break through them?
• Look at pictures of other parades or pageants, such as
• What astonished or amazed you about the May
Mardi Gras, Chinese New Year, Day of the Dead, etc.,
Day Parade and Festival?
and discuss each one’s purpose, theme and visual trademarks.
The May Day Ceremony:
* • Make a prayer or wish wheel like the ones seen in the May Day 1990 videotape, attaching messages written on
The Ritual of Life is enacted each year: the Tree of
streamers to decorated umbrella frames.
Life is carried through the streets wrapped in a black
• Study the design of Native American masks, such as
shroud and laid to rest on the bank of the park’s
those of the Eskimo and Zuñi, and read myths of their
small lake; the Sun is called forth and a flotilla of
tribal cultures.
brightly bannered canoes bears it across the lake; the
• Research the history of May Day celebrations;
Tree of Life is unveiled and raised; and silken
construct a Maypole; learn or create a Maypole dance.
streamers flowing from her trunk are grabbed for a jubilant Maypole dance.
LEVEL II
* • Refer to theatre history sources to find out about the
Multidisciplinary Options:
use of masks in Ancient Greek theatre and the masques
Create a parade celebrating the independence of a
and pageants of the Middle Ages.
particular nation or embodying a specific cause.
• Make a mask modeling the method used by In the
Choose historical figures to feature, events to
Heart of the Beast Puppet and Mask Theatre.
highlight, and cultures to represent. For example, a
• Improvise pantomimes wearing the masks you made.
parade focused on the cause of civil rights and liberation
Work first in pairs, then quartets to create short
from racial prejudice might be held on Dr. Martin
pantomime scenes.
Luther King Jr.’s birthday. Scenes portraying the
LEVEL III
Birmingham bus boycott and the Poor People’s
• Design and construct totem poles representing your
March on Washington, D.C., as well as African folk
community, school, or family clan.
art and music, could be part of the parade and festival.
• Choose a ritual from your daily life and perform it as
Audio-Visual materials: Artsource® video excerpt: May Day 1990, Faces
a stylized movement piece or ceremony.
* • Select one of the Artsource® universal themes and create a parade in celebration of it.
*
Indicates sample lessons
2
THEATRE
NATIVE AMERICAN MASKS AND MYTHS ENDURING VALUES
LEVEL I Sample Lesson INTRODUCTION: Many tribes in the Native American culture used masks as part of their ceremonies, sacred rites and entertainments. Some are still in use today. Each mask represented a specific god or entity, with imagery symbolizing concepts such as nature and the changing seasons, the four directions, the heavens, and the underworld. Some employed animal hair, claws, bone and teeth; others, ivory, feathers and shells. The masks were worn by warriors, hunters, harvesters, maidens, high priests and dancers, depending on the particular ceremony. Mythology and legends of the specific tribes help explain the significance of the masks. OBJECTIVES: (Student Outcomes) Students will be able to: • Study the masks and myths of Native American tribes, such as the Inuit of the Northwest and the Zuñi of the Southwest. (Connecting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Mask designs from resource books and a collection of Native American myths and legends; paper, markers, crayons, etc., to design and color a mask.
Native American Masks
3
PROGRESSION: • Look at pictures of various masks such as those depicted below. Examine each one, asking questions such as: • What is the mask made of? • How is it carved? • Is the mask of a human, animal, bird, fish, or supernatural entity? • Is the image powerful? • Is the image frightening? • What overall impression or feeling does the mask convey? • Does the shape or decoration remind you of anything else with which you are familiar? • Does the style look like that of a particular culture or region of the world? • In what kind of ceremony or entertainment do you think this mask was used? • Read a selection of myths such as Creation Stories or Trickster Tales. Each tribe explained the creation of the world and the origin of man in their own folklore. Contrast stories from tribes who settled on the plains and near lakes to those who settled in the mountains and mesas. A vast tradition of Trickster Tales has also been transcribed or written down. In the Northwest, the trickster was called Raven; in the Southwest, he was known as Coyote. Compare Trickster Tales from several regions, noting their differences and similarities. • Match mask designs to the tribes whose myths and legends you have read and shared in a storytelling session. Do the masks reveal any connection in their form and decoration to the beliefs or concepts set forth in the stories? In what ways? • Have students design their own masks inspired by the authentic Native American ones you studied. EXTENSIONS: • Act out a Native American legend. Be sure when you select a legend that you honor the ritual and ceremony observed by the particular tribe. For example, Ojibway legends can be performed only when snow is on the ground. Choose a narrator and cast the various parts. Please refer to the step-by-step progression of this story theatre technique in the Artsource Unit, Geri Keams, Level II Sample Lesson, “Indian Legends Come Alive!” VOCABULARY: Creation Stories, Trickster Tales ASSESSMENT: Connecting)
(Responding
&
DISCUSS: Discuss the similarities and differences between the authentic Native American masks and the students’ own creations. Emphasis on: Common Core CA State Standards for Language - Reading; Writing; Listening; Speaking
Zuñi masks
4
THEATRE
MAKE A MASK TRANSFORMATION
LEVEL II Sample Lesson INTRODUCTION: Putting on a mask allows us to play characters, assume attitudes, and project emotions from the depths of our experiences and imaginations. Masks can represent animals, spirits, totems, gods, concepts, historical figures, family members, and even ourselves as self-portraits. Intriguing possibilities present themselves when masked performers improvise together to create mask theatre and movement. OBJECTIVES: (Student Outcomes) Students will be able to: • Make a original mask following In the Heart of the Beast’s step-by-step process. (Creating & Presenting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Wheat paste, brown paper, newspaper, clay, Vaseline, a knife to cut out the eyes and nose, brushes and paint. PROGRESSION: • Talk about the different masks and puppet images the class saw on the videotape, Faces Behind the Mask. Which masks had great impact on them? Why? How did the molded shapes and use of color achieve certain qualities or convey particular characters and emotions? • Think of our faces as a form of masks. How do we project our moods and ideas using facial expressions? Are some expressions universal, needing no words or dialogue? • Practice projecting a variety of emotions using only your facial expressions: happiness anger fear sorrow shock
love
• Think about the kind of mask you would like to make. Take some time to daydream or visualize what it might represent and look like. • Begin to make your mask following the steps outlined by In the Heart of the Beast Puppet and Mask Theatre on the next page.
5
EXTENSIONS: • In pairs, improvise an exchange between your masked characters. • Create a presentation where you show your mask character being born, learning to walk, or exploring a daily activity. VOCABULARY: mask, rhythm, physical attribute ASSESSMENT: (Responding & Connecting) ANALYZE: Analyze what would be communicated if your character could portray emotions opposite from what would be ordinarily expected. (e.g. a policeman who was silly or shy) Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
Drawing courtesy of In the Heart of the Beast
6
THEATRE
CREATE YOUR OWN PARADE TRANSFORMATION
LEVEL III Sample Lesson INTRODUCTION: In the Heart of the Beast’s May Day Parade and Festival can be used to model a parade of your own conception and construction. The necessary materials are inexpensive; most of them are recyclables. The process of transformation includes selecting a theme, storyboarding the visual components, constructing the puppets, totems, headdresses and masks, and then presenting what is sure to be an astonishing event! OBJECTIVES: (Student Outcomes) Students will be able to: • Create a parade within the class or school community embodying one of the Artsource® universal themes, using In the Heart of the Beast’s May Day Parade as a model and guide. (Creating & Performing & Connecting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS:
Rod Puppet from the May Day Parade Photo courtesy of In the Heart of the Beast
• Cardboard, newspaper, wire, wire cutters, wallpaper paste, scissors, buckets, water, paint, brushes, fabric, etc. PROGRESSION: • Discuss the five Artsource® universal themes and brainstorm a list of ways each theme could be visually depicted. Examples: •Transformation - the journey from caterpillar to butterfly; the stages of the human life cycle. •Freedom and Oppression - any nation’s struggle in the name of independence from oppressive forces (El Salvador, Chile, Czechoslovakia); the war on poverty or illiteracy. •Enduring Values - symbols embodying love, truth, beauty, justice, honor, etc.; scenes enacting global and personal friendship; peace. •The Power of Nature - the seven natural wonders of the world (the Grand Canyon, Niagara Falls); the changing of the seasons; planting and harvest. •The Human Family - scenes showing family roles, rituals, and clans; a multi-cultural tableaux of heritages and personal histories. • Select a theme and compile a list of all the ways you could create a parade to represent it. 7
• Storyboard your ideas by drawing penciled rough drafts of your visual concepts on 8 1/2" x 1l" paper. • Arrange your panels in a sequence on a classroom blackboard or bulletin board. • Divide the storyboard sequence into sections and assign groups to build each one. • Within each group, decide what the central image, float, or puppet will be and construct it. Design and paint costumes and masks or headgear which complement your artwork. • When all the building and painting is completed, script a short ritual or ceremony in which you proclaim and illuminate your theme and ideas. • Practice your parade and scenario without your puppets, props, or costumes. • Next, rehearse with the large floats or puppets. • Finally, present a fully-costumed performance for your school community. EXTENSIONS: • Team your parade with those created by four other classrooms, each choosing one of the Artsource® themes. • Hold your grand parade as a special community event. VOCABULARY: totem, tableaux, pageant, masks, headdresses, headgear ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe your theme and specific ways you intend to illustrate it puppet characters, music and costumes
the with
DISCUSS: Discuss how you went about organizing your parade into tasks and responsibilities. ANALYZE: Discuss the importance of your theme and why you think it is universal. CONNECT: Discuss other parades you have seen or know about and identify the things that make parades successful. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
Eight foot tall Indian prophet with the words of Chief Seattle’s famous speech, “We May Be Family After All,” the theme of the 1987 May Day Parade.
8
May Day Parade Themes, 1981-2012 2012: The End of the World as We Know It
1996: Be A Bridge
2011: Caws to Unite!
1995: Gorgeous Fever of Consciousness: Honor
2010: Uproar!
Your Senses
2009: Our Common Treasury - Dig It
1994: Seeds: Awesome Vessels of Power
2008: A New Bridge - Infrastructure for the
1993: Let The Sleeper Wake
Future Beings
1992: I Am Another Yourself
2007: Somos Agua - We Are Water
1991: Return to Turtle Island
2006: The Time is Now!
1990: Wheel of Change Ever Whirling
2005: Where Do We Go From Here?
1989: Voice of the Trees
2004: Leap! Into the Wondrous Possible
1988: When the Dragon Speaks
2003: This Is Our Child
1987: We May Be Family After All
2002: MayDay! MayDay!
1986: Corn
2001: Prayer for the Flowering of Compassion
1985: Our World Home
2000: Divining Economy-Calling Forth Our
1984: 10th Birthday: Looking 10 Years Back
Common Wealth
1983: Water
1999: Somos Uno
1982: Water
1998: Sing!
1981: The Year of the Child (United Nations)
1997: May Abundant Blessings Flow
The Mother of All Nations rides on the back of a turtle as she tends the infant Tree of Great Peace. MayDay Parade line-up site, 1991. Theme: “Return to Turtle Island.” Photo by Sal Salerno
9
Drawing courtesy of In the Heart of the Beast
10