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2700fstreet · 6 years ago

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OPERA / 2018-2019

THE ME I WANT TO SING

TEACHER AND PARENT GUIDE

Created and written by Tom Minter Originally commissioned by the Washington National Opera Roderick C. Demmings, Jr., piano Christine Lyons, soprano Laree "Ree" Simon, soprano

Student Guide: The Me I Want to Sing

Parents, Teachers, and Caregivers: Get the Conversation Going

Marian Anderson and Leontyne Price—their voices helped change the soundtrack of the twentieth century. Their determined efforts to perform were also instrumental in eroding prejudices that were barring African Americans from classical voice performance and opera, as well as other artistic and social realms.

The Me I Want to Sing interweaves the music, narratives, and images of Anderson and Price. It dramatizes the changes they helped bring to the American cultural landscape by means of their artistry and resolve.

This adult guide is designed to facilitate conversations about the living links between present and past for artists of color.

Conversation Starters

To set the tone for discussions with young people, consider sharing something from your personal experience that relates to the show and its themes—perhaps the story of a public figure or personal hero who successfully challenged convention. The intention is to invite reflection and conversation among your young theatergoers.

In leading discussions of The Me I Want to Sing, you can use open-ended questions to help students spot details they may have missed in the show, to dive deeper into the show’s content and themes, and to engage with potentially controversial content that may come up in discussions—issues such as racism, discrimination, and prejudice. When necessary, you can encourage students to back up their views with supporting evidence from the production itself or a trustworthy third-party source.

Here are a handful of open-ended discussion points to consider together:

What were the social and racial landscapes during the careers of Marian Anderson and Leontyne Price? How do they compare to the social and racial landscapes of the United States today?

As a collaborative exercise, recount notable moments in The Me I Want to Sing: What got your attention or surprised you?

What new information or ideas came to mind by the end of the performance?

How do we define, describe, and demonstrate identity? What role do people’s identities play in their creativity, artistry, and the arts?

Work with your young people to create a list of performing artists of color—singers, actors, dancers, etc. Why do some artistic disciplines seem more diverse than others? What is the historical context of that diversity?

What are ways media, especially social media, shape today’s ideas about artists and their artistry?

Before the Show

Along with your young theatergoers, discuss and decide how they want to prepare for attending The Me I Want to Sing. First stop, review the Student Guide together. Follow their lead, but you might pose questions like:

What do they already know about race relations and segregation in the first half of the twentieth century? What more would they like to learn?

What do they know about African American performing artists of that period?

What do they know about—and what are their feelings toward—opera and classical music?

Would they be interested in listening to recordings of Marian Anderson and Leontyne Price?

Would they like to take an online tour of the Kennedy Center?

Follow their lead on how they want to prepare, from theater etiquette and stagecraft to background research on Marion Anderson and Leontyne Price. You will find some ready resources below.

After the Show

Collaborate with your young theatergoers to determine how they want to process the production afterward. Let them brainstorm ways to get the most out of the experience and make the subject relevant to them. You may also revisit the questions discussed in the “Before the Show” section above.

The Student Guide

Revisit “Check This Out…” and “Think About This…” in the Student Guide. Use these sections to stir discussion about the production, its music, and the social realities the show recounts.

Consider the Themes

Consider focusing on three main themes in The Me I Want to Sing: Identity, Empowerment, and the motto, “Lifting as We Climb.”

Identity relates to how we see ourselves and others, and how we form and apply ideas about who we are. Ideas of identity profoundly affected Marian Anderson and Leontyne Price, as dramatized in The Me I Want to Sing. Their identities were front and center in the racial discrimination they encountered, as well as their presence as women of color in the world of classical music and opera.

Empowerment is the active effort of individuals or groups to tend to and meet their needs. Empowerment can be as simple as making breakfast for ourselves or taking on a job to pay our own way. It can be as complex as pursuing a long-range personal dream or organizing with others to overcome barriers to equity and fairness.

“Lifting As We Climb” is the motto of the National Association of Colored Women’s Clubs (NACWC). The motto refers to ways communities and individuals of color can work together to help each other reach their potential. In Marian Anderson’s case, her church community supported her efforts to receive classical training as a young woman. For Leontyne Price, her family and community also helped her begin her life as a vocalist. Along their journeys, both women continued to act on a responsibility to help other young artists achieve their ambitions.

Use activities in the “Take Action” section of the Student Guide, such as creative writing and artistic projects, that students can use to explore these ideas in relation to their own lives. These activities are designed to be scalable for a diversity of learning styles and/or abilities.

Q & A with Tom Minter Creator and writer of The Me I Want to Sing

The work of playwright and author Tom Minter explores the dynamic nature of diversity. In the 2014 commission of Blues for a Royal Flush, he weaves together the lives of singers including Ethel Waters, Ella Fitzgerald, Lena Horne, and Billy Strayhorn, all in the orbit of D.C. native son, Duke Ellington.

Along with Washington National Opera, Minter has focused on creating work that reflects the individuals who make up the tapestry of our communities. The libretto for his one-act opera, Graffiti Corner, celebrates the life and neighbors of Washington’s Northeast neighborhoods. Most recently, Just Out the Window examines the gentrification of Washington, D.C. through music, and the eyes and cameras of students from the Duke Ellington School of the Arts.

Caption: Playwright Tom Minter

Kennedy Center: Was there a specific seed of inspiration that The Me I Want to Sing grew from?

Tom Minter: This show was a commission from the Washington National Opera, and meant to specifically celebrate Marian Anderson, who is a Kennedy Center Honoree [1978]. With that I saw an opportunity to celebrate intergenerational connections, between classical singers of color, in the ways in which Marian Anderson opened doors for others.

Marian Anderson wanted the freedom to sing art songs; opera came later in her career. From the beginning, she embraced a mission to show “what is possible,” especially to people of color, and possessed an innate understanding that dreams need nurturing, especially those of children. In the span of her long career, Marian Anderson crossed thresholds into rooms that had been closed to others, and in so doing opened doors, and windows, and eyes along the way.

One significant pair of eyes she reached were those of a nine-year-old Leontyne Price whose mother had brought her to the balcony in a segregated theater in Mississippi to watch a woman of color sing. That little girl didn’t necessarily know what Marian Anderson was singing, but she saw a woman of color onstage, in dignity, looking magnificent, singing beautifully, and seemingly speaking to her.

KC: You’re a playwright and writer with a strong relationship with classical music. What does that relationship stem from?

TM: My father started out as a teacher of choral music in junior and senior high schools in East Harlem. My mom was [a] singing artist and sang opera. So the legacy of music in my family runs very deep.

As a child I experienced first-hand what opera allows to be amplified, in terms of storytelling. There’s a family story about when I was growing up. I was with my father in the car, driving somewhere, with the classical music station on. The “Triumphal March” from [Verdi’s] Aïda came on and I apparently got very excited. Dad, being an educator, immediately followed up on this teaching moment. He went out and bought a recent recording that featured Leontyne Price and Jon Vickers under the direction of Georg Solti.

My father introduced me to the libretto, showing me how the Italian appeared on one page and the English translation on the other. He didn’t know what to say when he found that I was captivated, and sat between the stereo speakers for three straight hours!

I have had a several great passions in my life. They include the career of Leontyne Price, as well as studying the journey of Giuseppe Verdi and his revolutionary impact in melding words, emotion and music into drama.

KC: What would you say to young people who might roll their eyes at classical music or opera?

TM: Music is a natural form of expression for children. Too often, I think we over-mystify music. We need to knock down every single wall that stands between young people and musical experiences. I am deeply grateful to my family for creating an environment where music was not mysterious. I have had the freedom to roam in any kind of music that engages me.

Opera is a way of amplifying stories in a unique way. For parents and caregivers, they can facilitate how a child interacts and responds with the world-enhancing experiences of word, music, and story as part of their inherent playfulness.

In Italy, France, and other countries, there is a rich history of connecting music to word and storytelling. (Perhaps not as much in the United States in such fashion.) The reason Marian Anderson and Leontyne Price are so incredible is the way they glow as they perform their art, imbuing an audience with desire to experience their own gifts of song in such a way. How can we not have children understand that empowerment and the gift in this art form?

KC: In The Me I Want to Sing, you make a point of emphasizing how Ms. Price’s career in a sense stood upon the opportunities of Ms. Anderson’s. How important has that solidarity been in developing the talents of artists, especially artists of color?

TM: I think it’s critical. Audiences need to be able to see themselves reflected in the art—any art. And that solidarity is important for people of color, youth of color, who are interested in any of the arts, or anything in life.

In Marian Anderson’s case, it was her church community that gave her the support she needed as a young person and vocalist. Historically, the church has been such a mainstay for black families, especially at that time. They saw that this young woman should be allowed to sing anything that came out of her mouth!

It is unfortunate, but in the case of opera, artists of color continue to be underrepresented, or find themselves involved in new iterations of Porgy & Bess, Showboat, or even Scott Joplin’s Treemonish. Perhaps having focus on newly composed operas, such as Champion, by Terrance Blanchard, there can be room for Troubled Island, by William Grant Still with a libretto by Langston Hughes, which speaks for itself as legacy of black talent in this art form.

But in saying that, we should not forget such talent should also be represented across every facet of performance, from stagehand to Executive Director.

KC: What would you say to educators and school administrators about the importance of this artistic process in our schools?

TM: We need to educate on a spectrum that includes the arts in the mix of other aspects of critical thinking that our youth are already aware of. They are doing things with technology, for example, that are astonishing to me! They are already being creative artists every day, creating intuitively on social media and in their own paths as young artists, and not always within the scope of a classroom’s stream of education.

What do we educators have to offer? In my mind what’s slipping most is context. We must remember that “context is everything” in being able to apply critical thinking, and that our collaborative help in framing events and experiences is valuable for young people.

That’s a realization Marian Anderson came to early on. She wanted her music, her art, to reach beyond the limits of what American culture allowed at that time. It was important to her that African Americans be able to see and hear her without being segregated and treated as second-class citizens. In doing so, and in igniting the dream of a Leontyne Price, she was instrumental in showing the way to breaking down some of the barriers that were blocking African Americans from the arts—and the arts from the contributions of African American artists.

Resources

“The Rise and Fall of Jim Crow.” California Newsreel. Online guide to the award-winning PBS series. newsreel.org/video/the-rise-and-fall-of-jim-crow

“Marian Anderson.” PBS Biography. An hour-long program that explores Anderson’s life.

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“NEA Opera Honors: Interview with Leontyne Price.” National Endowment for the Arts. June 3, 2010. Reflections on her life and career.

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“How to Start Appreciating Classical Music.” Deep Cuts. March 21, 2017. A video survey course defining and exploring classical music.

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“Opera 101, Opera Basics.” The San Diego Opera Podcast. June 10, 2013. When we want to know more about the art form. Start at about the two-minute mark (2:00).

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STANDARDS CONNECTIONS

English Language Arts—Literacy in History/Social Studies (RH.2, RH.7)

Writer: Sean McCollum

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President Education

Presenting Sponsor of Performances for Young Audiences.

Additional support for The Me I Want to Sing is provided by A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Paul M. Angell Family Foundation; Anne and Chris Reyes; and the U.S. Department of Education.

Funding for Access and Accommodation Programs at the Kennedy Center is provided by the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

#opera #forteachers #themeiwanttosingat2700f

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klarolinegivesback · 8 years ago

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Only $70 to go!!

Hello KC Family!

Thank you so much for all your support of the fundraiser to the ACLU so far! We’ve now raised $930, and we only need $70 more to reach our goal! You can donate here!

If you donate to the fundraiser, you receive an incentive.

For $25, you may pick the artist/author to provide your incentive

For $15, you may pick two artists/authors and one of them will provide your incentive.

For $10, you will receive an incentive from a random artist or author.

If you have donated to the fundraiser already, remember to go to this google form and put in your incentive request.

If you donated enough to get two (or more!) incentives, you need to put in a separate form for each incentive so that I can keep track in the spreadsheet.

Because it can be difficult to figure out who is who from the donation page, we’re not going to follow up, so please make sure to remember to put in the form(s) so we can get you your incentive!

Artists and authors also have specified how many incentives they’re willing to do, and it’s first-come-first-serve.

Here are the artists currently available to give incentives:

@3tinkgemini

@ashleigh-jewitt-xx

@austennerdita2533

@blackefaeriequeene

@captnswann

@childoftimeandmagic

@fleshandbonetelephone

@honestgrins

@hummingbirds-and-champagne

@itsnotacrimetoloveyou

@joey-prue

@josephmorqans

@klarolinedrabbles

@lilbreck

@misssophiachase

@princess-of-the-worlds

@purestheartslove

@sicklyscribe

@that-wandering-belle

Make sure to follow us on twitter here!

Again, thank you so much for your support!

Hugs! - Angie

#klaroline #klarolinegivesback #klaroline gives back #kc fandom #kc family #klaroline coven

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supremeuppityone · 4 years ago

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Thank you so much for making everyone feel so welcome!

I would just like to say thank you so much for compiling and making this. It's a very helpful feature. We are very lucky! and to see one of my fics in the library. I was totally stunned by that.

Hi corinalannister,

We are incredibly relieved to hear that you find the library helpful. That was one of our main goals when we thought about the idea, so your message means a lot to us. We hope we can include more of your stories in the future. Thank you again!

Sincerely,

Librarians Ness & Sabrina

#klaroline stuff #supporting kc authors and artists #you guys are awesome

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cheapggdbshoes-blog · 6 years ago

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klarosummerbingo · 4 years ago

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Klarosummer Bingo Event

Hey Klaroliners!!! We’re hosting a Klarosummer Bingo Event @klarosummerbingo for the month of July! The bingo cards will feature prompts with summertime themes.

FAQs:

If a prompt has a quote, please use that quote within the item you create for that prompt.

One prompt per creation (i.e., please don’t combine several prompts into one drabble, aesthetic, etc.)

Feel free to add new content to your existing work! We’ve grown VERY attached to SO many of the ongoing and completed projects out there and would LOVE to see you get inspired to create more!

You can request a bingo card from this blog — just send an ask or message @klarosummerbingo. You can start requesting a card whenever you like — but please wait to post your creations until July 1, 2021.

Be sure to follow this blog so you won’t miss out on the fabulous KC content!

Traditional bingo rules apply (five squares in a row or five squares diagonally earns a bingo.)

Within the first few tags, please tag your creations as #klarosummerbingo and tag us within your post @klarosummerbingo. You also can send us a link to your post so we can reblog. (Please let us know if we missed your post — we want to celebrate everyone’s work!!!)

Please post your creations anytime between July 1st and July 31st, 2021.

Once you’ve completed a full bingo card, you can request another one.

#klarosummerbingo #klaroline fandom event #support kc authors and artists #klaroline #we can't wait to see what you create!!#we know it is really early but thought you might want to get started!

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klaroline-event · 4 years ago

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Spotlight Sunday Has Begun!

Quick info:

· The event will run from 12:00AM EST – 11:59PM EST.

· Recommend current WIPs or old favorites completed years ago.

· Make sure links are active if reblogging an older fic.

Ideas for honoring your favorite Klaroline authors and artists:

· Reblog your favorite Klaroline fics or Klaroline art - OR -

· Include in the reblog at least one line about why you love it - OR -

· Write new reviews for existing fics - OR -

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Be sure to tag @klaroline-event and #klaroline spotlight sunday so we can see and reblog your post for the entire fandom!

#klaroline spotlight sunday #klaroline #klaroline events #klaroline fic rec #klaroline art #klaroline aesthetics #klaroline manips #klaroline fanfiction #klaus and caroline #support kc authors and artists

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saleoutletsneakers-blog · 6 years ago

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kansascityhappenings · 6 years ago

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Taye Diggs, Shane W. Evans meet with kids for Literacy KC event

KANSAS CITY, Mo. — Actor Taye Diggs was in Kansas City on Saturday along with local author, Shane W. Evans, for Literacy KC’s ‘Let’s Read!’ event.

FOX4’s Sherae Honeycutt spoke to the pair about the importance of representation and strong, positive role models for people of color.

“As fathers ourselves, we realize the importance of this, and we are very excited to come spread the word, and help in any way,” Diggs said.

Hundreds of kids came to the event, along with parents, teachers, librarians, and supporters. Diggs and Evans spent time with them signing books, and saying hello. They put together three books together discussing issues of race and representation.

“We want them to have a good time,” Diggs said. “Obviously, we want them to be inspired to read, but it’s kind of an energy thing, and whatever anybody takes from it – we’ll accept that.”

“It’s just magical to see an author, to see an illustrator, right in front of you,” Literacy KC executive director, Gillian Helm, said. “Especially someone so magical, and so artistic, and creative as Taye and Shane. To have them here in front of them is just a special opportunity for kids.”

The pair read their book, Chocolate Me. It discusses blackness, rejection among childhood friends, and finding beauty in your own skin.

“The importance of things like friendships, and relationship to me is vital,” Evans said. “Recognizing that this happened to a friend, and recognizing that it could happen to others, was the moment of recognizing the importance of it.”

“I think it’s important for all people alike to be able to relate to the characters they’re reading about,” Diggs said. “Simply because, they can see themselves, and it gives them – it’s almost like a mirror effect, it’s much easier to kind of understand and relate to characters that have similarities to ourselves.”

Parents and kids listened to their stories and saw celebrities as new friends. Kids like Romero Campbell who didn’t know who Diggs was, but was excited once his teacher told him he was meeting someone famous. Campbell says meeting them was a great experience.

“They were super kind, and nice, and I asked them questions,” Campbell said.

“I hope that they took away that you can do and be whatever you want,” Romero’s mom, Xavier Campbell said. “Whatever you set your dreams to, and you’re hearts to. Whatever superhero you want to be you can be that.”

Literacy KC said their organization works to advance literacy skills to increase lifelong success for families in the area. They say having Diggs and Evans visit helps shine a light on what they do in the community.

from FOX 4 Kansas City WDAF-TV | News, Weather, Sports https://fox4kc.com/2019/04/27/taye-diggs-shane-w-evans-meet-with-kids-for-literacy-kc-event/

from Kansas City Happenings https://kansascityhappenings.wordpress.com/2019/04/28/taye-diggs-shane-w-evans-meet-with-kids-for-literacy-kc-event/

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klarolinelibrary · 4 years ago

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Welcome to the Klaroline Library!

Thank you for joining us at the grand opening of the Klaroline Library. We extend our services to the KC community to assist in searching for your favorite stories and shining a light on talented authors and loyal readers.

Aside from the library, Klaroline Gallery was designed and planned to provide a dedicated place where both artworks and artists can be appreciated and celebrated among the community. As a library, we have collected resources for people seeking assistance and support when writing their stories or creating artwork.

We have many things planned to get everybody involved. Keep an eye out on our calendar on the right-hand side and follow us for more updates. Check out our mailbox if you have any further questions or require assistance.

Overall, Klaroline Library is here for all writers, artists, readers, and simply avid supporters of Klaus Mikaelson and Caroline Forbes.

Sincerely,

Librarians Ness & Sabrina

#klaroline library #klaroline #klaroline fanfiction #klaroline edits #the vampire diaries

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2700fstreet · 6 years ago

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THEATER / 2018-2019

CARTOGRAPHY

TEACHER AND PARENT GUIDE

World premiere Kennedy Center co-commission Written by Christopher Myers Directed by Kaneza Schaal

Student Guide: Cartography

Parents, Teachers, and Caregivers: Get the Conversation Going

Human migration is an ongoing theme in human history. Whether the people on the move have been refugees fleeing war or natural disaster, or migrants relocating somewhere they hope will offer greater opportunity, much of humanity’s story has been about people seeking a new home in a new land.

Today’s stories of refugees and migrants are no different. Cartography, written by Christopher Myers and directed by Kaneza Schaal, invites people to make the connection. “I really want young people to see themselves in that context, whether their stories are personal or farther back in their family’s history,” says Myers. (You can find an interview with Myers below.)

For this production, 2700 F St. invites teachers, parents, and caregivers to take a break from interpreting “the big picture” of today’s news coverage about refugees and migrants, coverage that often presents these people and their circumstances in simplistic ways. Instead, we can let the documentary voices of young people onstage speak directly to young people in the audience.

This adult guide is designed to facilitate the start of a conversation.

The Human Journey

The play Cartography is one in a series of programs in The Human Journey, a season-long artistic collaboration among The Kennedy Center, National Geographic Society, and National Gallery of Art. These identified performances and exhibits invite audiences to investigate human experience through the performing arts, science, and visual art.

Cartography features all of the main themes that form the framework for The Human Journey project—namely migration, exploration, identity, and resilience. These four themes are described here:

Migration is the movement of people from one place to another, whether by force or choice, in search of a better living situation. “This movement of people has historically brought together cultures from around the globe, shrinking our planet and bringing the cultural identities that define us into sharper focus,” said Tracy Wolstencroft, chairman and CEO of the National Geographic Society.

Exploration is the human endeavor to discover and better understand the world. The urge to discover can mean turning inward to reveal the mysteries of human biology and psychology, outward to explain secrets of our planet and universe, or toward each other to untangle the jumble of humanity and its relationships and social systems.

Identity relates to how we see ourselves and others, and how we form and apply ideas about who we are. In Cartography, this theme is central as the identities of these young refugees leave their familiar lives and cultures behind.

Resilience describes our ability to endure and function, especially under pressure and stress. Cartography dramatizes the various ways the characters stay strong and hopeful under life-churning circumstances.

With migration and refugees frequently in today’s news, the central ideas of The Human Journey programs are very relevant. Keeping them in mind can help us relate the stories in Cartography to our own lives.

Video: “What Does It Mean to Be a Refugee?” by Benedetta Berti and Evelien Borgman. June 16, 2016. https://www.youtube.com/watch?v=25bwiSikRsI

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A Different “Kind” of Theater

Cartography is a type of theater known as “devised documentary theater.” This style of stage performance is developed by a collective where performers collaborate and improvise on specific topics or themes—that’s the devised part. For example, the director may call out a word and have the performers act out their responses. As a group, they see and discover effective scenes and onstage moments and craft them into a script. New York’s Wooster Group and Elevator Repair Service are two well-known theater companies that specialize in devised theater.

“Documentary theater” draws on news stories and interviews with real people. The performance dramatizes a story by portraying events, sometimes using people’s actual words. Documentary theater includes “investigative theater” that is based on investigative/exploratory journalism. The Laramie Project (2000)—which recounts the murder of gay college student Matthew Shepard based on interviews with people in Laramie, Wyoming—is a frequently produced example. “Verbatim theater” is another form of documentary theater, performed using only the words of people interviewed. The works of Anna Deavere Smith are examples, including Fires in the Mirror and Notes from the Field.

Using Open-ended Questions

To set the tone for discussions with young people, consider sharing something from your personal experience that relates to the play and its themes. The intention is to start conversations and keep them going. However, avoid putting any students on the spot about their own identity or family history.

You can use open-ended questions to help students spot details they may have missed, to dive deeper into the play’s content and themes, and engage with potentially controversial content that may come up in discussions such as issues of religion, race, and poverty. When necessary, encourage students to back up their interpretations or views with supporting evidence from the play itself or a trustworthy third-party source.

Here are several open-ended points of discussion to consider:

Have students describe the set of Cartography and how it is used.

As a collaborative exercise, recount notable moments in the performance: What got your attention or surprised you?

How did you feel when the cast left the stage and interacted with audience members?

What new information or ideas came to mind by the end of the performance?

What are examples of major human migrations in history? What factors contributed to them?

Before the Show

Along with your young people, discuss and decide how they want to prepare for attending Cartography. First stop, review the Student Guide with them. Then ask: What do they already know about human migration? What more would they like to learn? Do they want to research their family’s own migration history? Are they interested in the asylum process? Do they want to learn more about documentary theater? Would they like to take an online tour of the Kennedy Center?

Consider following their lead on how they want to prepare, from theater etiquette and stagecraft to background research on human migration to themes in Cartography. Below are some ready resources to draw on.

After the Show

Collaborate with your students or young people to determine how they want to process the play afterward. Let them brainstorm ways to get the most out of the experience and make the subject relevant to them. Do they want to go deeper into the play’s themes? Talk about acting and stagecraft? Learn more about migration and refugees in their community or state?

The Student Guide

Revisit the two sections from the Student Guide: “Check This Out…” and “Think About This….” Use them to stir discussion about the production, scenes in the play, and its characters and themes.

Consider Activities on Three Main Themes in Cartography

Cartography zeroes in on three main themes, or big ideas: Migration, Home, and the Role of Storytelling. Review activities in the “Take Action” section of the Student Guide, such as creative writing, geography, and artistic projects that students can use to explore these ideas in relation to their own lives. These themes overlap with those of the Human Journey series: migration, exploration, identity, and resilience.

The activities in the Take Action section of the Student Guide are designed to be easily scalable for a diversity of learning styles and/or abilities. For example, the acrostic poem exercise can use shorter words and the identity collage activity can be presented with a limited scope, say five pictures and five favorite things.

A Classroom of Pen Pals

Refugees and detained asylum-seekers face a long and often lonely road as they seek to start a new life in a new land. Receiving a letter in the mail can be a highlight of their day, even from someone they may never meet. To find out how your young people can use their writing to connect with other young people who could use a friend, check out: https://www.care.org/get-involved/letters-hope.

Q & A with Christopher Myers

Christopher Myers is an American author and illustrator of children’s books. His illustrations in Harlem won a Caldecott Honor in 1998, and Black Cat earned a Coretta Scott King Award in 2000. He has illustrated and/or written some 20 books and is also a visual artist who designs clothing. Cartography is his first play. He lives in Brooklyn, New York, but travels worldwide. You can visit his website at https://www.kalyban.com.

Kennedy Center: How did the idea for Cartography take shape?

Christopher Myers: In 2016, there was a massive influx of refugees into Europe from Afghanistan, Syria, Somalia, Eritrea, West Africa. I was spending time at the International Youth Library in Munich, Germany, and that area was receiving thousands of refugees every day. I had this thought, that while there was obviously a need for social services, there was also a need for storytellers, too. The act of migration is an act of storytelling, an imagination of a future, a rewriting of the past. Storytelling is central to the process of moving, and it is essential that alongside medical assistance and social assistance that we think about the stories that have drawn our borders and our needs to cross them.

The library provided space and support for myself and my collaborator Kaneza Schaal to talk with and work with these young refugees. They ranged from 11 to 17 years old and came from all across the world.

KC: What role did director Kaneza Schaal play in developing the play?

CM: Kaneza is an ideal collaborator. We were working with young people who spoke Arabic, Pashto, French, and other languages, and communication presented its own challenges. But Kaneza brought the language of theater and performance which is more than just words—it’s movement and action and sound and images. She created a framework to allow these young people from a mix of cultures to express whatever they wanted to say. It was her idea that we could build a community around the conversations we had seen the need for in Munich, take the work we were doing outside the walls of the library, and that her art form, theater, would be an ideal way to do that. Our process is very collaborative. I write scenes and texts and then bring them to her and she asks for more or less, hones the vision of the piece, brings the team of performers together, makes the piece truly breathe as theater, and not just as words on a page.

KC: The importance of stories is a recurring theme in the play. Why is storytelling important, especially for refugees?

CM: These young people urgently wanted to share the stories about their lives, and I think young people in general are desperate for stories—to tell as well as hear them. In a very real sense, they all are in the process of writing their own.

What I found is that, more than most people, these young people must contend with stories being told about them in newspapers and other news coverage. They, themselves, rarely have a chance to tell about their experiences. Journalism is important, but it can have a flattening effect on the human side of the experience of being a refugee or migrant. It has a way of erasing their individuality and humanity. That’s why I say it’s important to have storytellers on the front lines of any crisis, to shape both our human reaction to the crisis, and to shape our understanding of the people who are undergoing such radical change in their own lives.

In the end, we are the sum total of the stories that have come before us and the stories we tell about our futures. That’s true of anyone. We’re also hungry for stories to help us make sense of what’s happening to us and around us. For a young person, it’s about having the opportunity and ability to write the next chapter of their lives, and by developing this show we want to have a part in that. Storytelling is a source of empowerment. If you don’t write your own story, someone will come along and write it for you.

There was a young man from Syria. I asked him what he wanted me to bring back to the world from our time working together. He told me he didn’t want to be invisible anymore. He wanted us to make a place for people in crisis like himself to be seen.

KC: Often, we don’t think of the stories of refugees as having much humor in them, and yet there are laugh-out-loud moments in the show. Were you surprised at all by the jokes and humor shared by the young people you worked with?

CM: I think too often when we create art about people in crisis, we focus on the crisis and not the people. So many people who I’ve met, who are going through a crisis have had a way of finding the humor. Humor is a kind of a way out, an escape or safety valve. Humor is how we fully acknowledge the challenges we face but still give ourselves agency.

These young people we worked with used humor as a tool. They are not simply poster children with tears in their eyes. We want nothing more from this piece than to remind ourselves and our audience of the personalities behind the statistics.

KC: You have mainly written and illustrated children’s books in the past. Why create Cartography as a play?

CM: Theater has all kinds of unique storytelling devices. It combines light and sound, spoken words and action. It can communicate in ways that pictures and the written word can’t. These stories are better told on stage.

Every theater audience is an instant community. It gives us a chance to think about these and other issues as a community and not just as individuals, and that is super important to Kaneza and me.

KC: Stories of human migration run throughout human history. Why is this show particularly timely now?

CM: Everyone has a story of migration in their past. My grandfather came to the United States from Germany in the 1920s. Kaneza’s family fled strife and genocide in Rwanda. We are all on the continuum of migration; we are all part of this story.

Movement is part of what it means to be human. It helps us see our place in the grand scheme of things and in relation to each other. I really want young people to see themselves in that context, whether their stories are personal or farther back in their family’s history.

I was visiting an art museum in Germany with Makhtar, a boy from Mali [in West Africa]. And there was this painting from the 1700s of Mary, Joseph, and the baby Jesus. I explained it was the story of their flight into Egypt. They were fleeing great violence. Makhtar looked at that painting, that story, and said, “They were refugees, too.”

This interview has been edited for clarity.

Data Bank

Here are a handful of graphs to help you and students examine the context and the bigger picture of migration patterns. They present some of the numbers behind the news coverage as well as the play.

A clear definition of what constitutes a refugee was adopted after World War II as part of the United Nations’s 1951 Refugee Convention. According to Article 1(A) of the convention, a refugee is a person:

who owing to a well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion, is outside the country of his nationality and is unable or, owing to such fear, is unwilling to avail himself of the protection of that country; or who, not having a nationality and being outside the country of his former habitual residence as a result of such events, is unable or, owing to such fear, is unwilling to return to it.

Today, there are more than 63 million refugees in the world, according to the United Nations High Commissioner on Refugees. That figure surpasses the estimated 60 million Europeans displaced during World War II (1939-1945).

Online source: https://www.vox.com/world/2017/1/30/14432500/refugee-crisis-trump-muslim-ban-maps-charts

Refugees and people seeking asylum 2017, by country of origin

Online source: https://www.refugeecouncil.org.au/getfacts/statistics/intl/global-trends-2017/

Refugees and people seeking asylum 2017, by country of asylum

Online source: https://www.refugeecouncil.org.au/getfacts/statistics/intl/global-trends-2017/

Where Migrants and Refugees Are Coming from and Going, 2015

Source: Human Rights Watch: https://www.hrw.org/report/2015/06/19/mediterranean-migration-crisis/why-people-flee-what-eu-should-do

Video: “UNHCR Global Trends 2017 Report.” UNHCR, The UN Refugee Agency. Overview of the world’s refugee crisis. https://www.youtube.com/watch?v=1MGRB5ZmKpU&t=41s

youtube

Standards Connections:

English Language Arts - Reading: Literature (RL.7, RL.9)

Writer: Sean McCollum

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

Cartography is part of the Kennedy Center's Human Journey www.kennedy-center.org/humanjourney

The Human Journey is a collaboration between The Kennedy Center, National Geographic Society, and the National Gallery of Art, which invites audiences to investigate the powerful experiences of migration, exploration, identity, and resilience through the lenses of the performing arts, science, and visual art.

David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President Education

Bank of America is the Presenting Sponsor of Performances for Young Audiences.

Additional support for Cartography is provided by A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Paul M. Angell Family Foundation; and the U.S. Department of Education.

Funding for Access and Accommodation Programs at the Kennedy Center is provided by the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

#theater #forteachers #cartographyat2700f

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klarolinegivesback · 8 years ago

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Hugs! - Angie

#klaroline #klaroline gives back #klarolinegivesback

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