Jabuti Puppetry Unit

SAN DIEGO GUILD OF PUPPETRY

PUPPET THEATRE EDUCATION PROGRAMMING

WHY PUPPET THEATRE?

PUPPET THEATRE IS THE PERFECT VEHICLE FOR DEVELOPING AND PRACTICING life, curricular, theatre and social skills, among them: cooperation, concentration, communication, problem solving, listening and speaking skills, and creative and physical expression

A NUMBER OF THEATRE STANDARDS ARE MIRRORED IN OTHER AREAS OF THE CURRICULUM, especially in language art. For example, Theatre 2.2 and Language Arts 2.5 deal with restating and sequencing story/play details.

Unlike other forms of theatre, IN PUPPET THEATRE, ANYONE CAN PLAY ANY PART. One is not limited by size, age, gender, ethnic origin, or physical /verbal ability. What matters is their ability to imagine and create a believable character, and bring it to life as a puppet.

PUPPETRY CAN HELP BUILD EMPATHY. It allows the puppeteer to try out different roles, learn what it is like to walk in another person’s shoes

PUPPETRY HELPS UNLOCK CREATIVITY, RELEASE INHIBITIONS, AND FOCUS ENERGY. Puppetry accesses many different learning styles and multiple intelligences. Puppetry offers opportunities to explore a wide variety of skills including performing, speaking, writing, and Puppetry teaches… building. Puppetry offers a positive outlet for emotional, physical and verbal expression. Creative problem-solving skills; Students with reading difficulties often forget their problems in their excitement at bringing a Cooperation & teamwork; story to life. Students learning a new language often excel at acting out a scene, and portraying Verbal expression & language meaning through movement rather than words. development; Bringing a puppet to life brings a unique sense of satisfaction, freedom and pride. Large & fine motor skills; Communication & listening skills

LEARNING OBJECTIVES:

All these objectives are inherent in puppet theatre and important learning in developing both puppet theatre and curricular skills. Everything we do with Three Billy Goats Gruff will work toward these learning objectives.

 Focus: developing students’ ability to concentrate  Improvisation: developing students’ ability to think on their feet  Verbal and Physical Expression: developing students’ ability to speak to an audience with emotional range and evocative movement (both as live and/or masked actors and as puppeteers, bringing a puppet to life through growing manipulation skills  Projection: developing students’ ability to be heard, be seen and be present, as both actors and puppeteers  Understanding: develop students’ cognition and critical thinking skills  Problem Solving: developing the thinking skills necessary to lead to logical and positive conclusions

TABLE OF CONTENTS

LESSON PLANS PAGE

LESSON 1 5

LESSON 2 8

LESSON 3 11

LESSON 4 14

LESSON 5 17

LESSON 6 21

LESSON 7 24

LESSON 8 27

APPENDICES

A/PUPPET TYPES 30

B/HISTORY OF PUPPETS 31

C/FOLK PUPPETS 32

D/GLOSSARY OF TERMS 33

E/FLYING BIRD PATTERN 34

F/TWO-TIER STAGE DESIGN 35

G/CERTIFICATE OF COMPLETION 36

H/CAST LIST/PARTS ASSIGNMENT SHEET 37

I/JABUTI SCRIPT 38

JABUTI – LESSON 1 TRICKSTER TALES AND TYPES OF PUPPETS CONTENT STANDARDS 1.1 Use the vocabulary of theatre, such as plot (beginning, middle, and end), scene, conflict, character. 3.1 Identify theatre and storytelling forms from different cultures. 3.2 Identify universal characters in stories and plays from different periods and places.

ESSENTIAL QUESTIONS • How do I reflect upon, describe and make meaning of theatre and puppetry? • What skills and vocabulary do I need to create and appreciate theatre and puppetry?

OBJECTIVES & STUDENT OUTCOMES • Students will identify story elements from familiar stories: scene, main characters, plot (beginning, middle and end), and conflict. • Students will identify 5 types of puppets and their origins

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets Words to know: • trickster tale: story about an animal who fools or tricks others • character: personality or part an actor recreates • plot: structure of a play: beginning, middle, end, problem, solution • scene: the place or location of a story or play • setting: where story takes place • conflict: problem to be solved in the play • audience: people who watch/experience live theatre • types of puppets: hand puppets: puppets that fit on and are operated by the puppeteer’s hand rod puppets: puppets that are operated by rods string puppets (marionettes): puppets that are operated by strings shadow puppets: puppets that are operated behind a screen, with a light shone on them from behind tabletop (Bunraku): full bodied puppets of varying size that are operated by 1-5 puppeteers on tabletop or similar stage, with puppeteers visible to audience, bringing the puppets to life with their hands or rods OPT’L: mask: a construction placed over the head, or held with a rod in front of the face of the performer OPT’L: giant puppet: A larger than life puppet with the puppeteer operating it from beneath or inside it

RESOURCES • Worksheets showing: a) major puppet types and b) traditional puppets from around the world • Examples of puppets of different types and from different cultures from around the world, and simple puppet types that teachers may check out to use in their classes from the puppet studio Traditional/Cultural examples: Hand Puppet: Mr. Punch- from England and his brethren from other European/Middle Eastern countries Rod Puppet: Sicilian Rod Marionette Shadow Puppet: Wayang Kulit from Indonesia Marionette: Kathputli from India Opt’l: Masks: Mexico/Central and South America Simple Puppet examples: HAND: Ping pong ball eyes inspired by Henson Prod’ns or Hobey Ford’s “Peepers” ROD: Simple foam ball head puppets that can be either hand or rod puppets SHADOW: Patterns for simple shadow puppets for shadow screen or overhead projector MARIONETTE: Scarf marionettes inspired by Albrecht Roser TABLETOP/BUNRAKU: Trash bag tabletop puppets by Lynne Jennings Plus, opt’l: MASK: Simple file folder mask templates

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning) •Count out loud and clap: 1,2,3,4,5,6,7 Hands on hips, turn head from side to side with each syllable: “In my head count win-dows seven” •Count out loud and clap: 1,2,3,4,5,6 Point index finger of right hand back and forth over left hand, extended at waist with thumb on top, little finger down, and say “Point this way, that makes six” •Count out loud and clap: 1,2,3,4,5 As hold hand out and extend fingers one at a time, starting with thumb “Fin-gers I have five” •Count out loud and clap: 1,2,3,4 As raise, slap, and lower each leg in unison, then hold out first one hand, palm up, and then the other, say, “Limbs I have four” •Count out loud and clap: 1,2,3 Do following 3 gestures: 1) Bend down and put palms close to floor; 2) stand and reach arms as high in air as possible; and 3) standing upright make wave gestures going out at right angle in front of body as say “Earth…air…sea…” •Count out loud and clap: 1,2 Point to self and then to others as say, “Me, you…” •Count out loud and clap: 1 Clap hands in front of yourself, turn and clap hands behind yourself as say: “DONE!”

Do first time slowly, explaining as you go, second time: increase speed.

MODELING (Presentation of new material, demonstration of the process, direct instruction) • Review what students remember from previous year’s puppet theatre residency. Discussion prompts include: What is a puppet? What does it do best? What is the job of a puppeteer? How is a puppeteer the same as an actor (performer), and how different? What is the job of an audience? Name of the type of puppet they used. • Introduce the 5 major types of puppets and their origins. • Demonstrate how to manipulate the puppets, finishing with tabletop (focus of this residency) • Discuss the pronunciation of the word “Jabuti” (zha boo chee). Discuss the story’s origin. The author has provided a page about it in front of book. Discuss and define what a trickster is and what a trickster tale is. Discuss how trickster tales are found in various countries and traditions, and their role. Discuss why they remain a popular form of story and why they are important. • Read the book. • Lead students to retell the story and include beginning, middle and end. Have students describe the characters and the setting as well. GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) • Working in small groups of four give each group a puppet to manipulate. • After group member has manipulated the puppet, rotate the puppets until each group has had a turn with each puppet. DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?) • “What did we learn today about story structure?” • “What did all the puppets have in common?” “What were some differences between the puppets?” • “What was it like to manipulate the puppets?” For further discussion: • “What would the characters’ movement look like?” • “What choices did the characters make that you agreed with? That you disagreed with?” EXTENSION (Expectations created by the teacher that encourages students to participate in further research, make connections and apply understanding and skills previously learned to personal experiences.) • Experiment with different voices and ways of saying lines from the story. • Experiment with different movements that the Jabuti characters might use. • Choose a different book that you enjoy and identify the story elements.

JABUTI – LESSON 2 INTRODUCTION TO CHARACTERS, PARTS, PROPS AND STAGE DIRECTIONS CONTENT STANDARDS 1.1 Use of vocabulary of theatre: script, plot (beginning, middle, end), scene. 2.1 Perform in group improvisational theatrical games that develop cooperative skills and concentration. 2.2 Retell familiar story, sequencing story points and identifying characters, setting and conflict. 5.1 Use problem-solving and cooperative skills in dramatizing a story.

ESSENTIAL QUESTIONS • How do I reflect upon, describe and make meaning of theatre and puppetry? • What skills and vocabulary do I need to create and appreciate theatre and puppetry?

OBJECTIVES & STUDENT OUTCOMES • Students will identify story elements from Jabuti: scene main characters, plot (beginning, middle and end), and conflict). • Students will begin to build collaborative and concentration skills. • Students will begin to build puppet manipulation skills.

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets

NEW Words to know: • actor: someone who plays a part in a performance (in live theatre, TV and/or the movies) • performer: one who creates a distinct character to play a part in a play • puppeteer: one who brings a puppet to life to tell a story to the audience. • puppet: an inanimate object that represents a character in the story • playboard: the actual area that is the “ground” where the action for the puppet performance takes place • entrance: place onstage where puppet is first seen by audience • exit: place onstage where puppet disappears from audience’s view • working cast list: temporary assignment of parts for early practices and rehearsal • manipulation working a puppet • focus: concentration • collaboration: working together • part: character in a play • sound effect: an imitation of a particular sound used in a play or other theatrical performance * prop: an object carried or set on the stage by an actor/puppeteer • cooperation: doing what is asked and needed to accomplish something

• cheating: to position a puppet so that it can be fully seen by the audience (without the body of the puppeteer(s) getting in the way • walk through: going through a story from start to finish, stopping to explain each action, discussing what comes next, and how best to act it out

RESOURCES • Set of multi-person puppets provided by puppetry teaching artists will be available for check out during non-puppetry days in puppet studio WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning) This is done in unison with all standing up, following instructions of teacher.

•Count out loud and clap: 1,2,3,4,5,6,7 Hands on hips, turn head from side to side with each syllable: “In my head count win-dows seven” •Count out loud and clap: 1,2,3,4,5,6 Point index finger of right hand back and forth over left hand, extended at waist with thumb on top, little finger down, and say “Point this way, that makes six” •Count out loud and clap: 1,2,3,4,5 As hold hand out and extend fingers one at a time, starting with thumb “Fin-gers I have five” •Count out loud and clap: 1,2,3,4 As raise, slap, and lower each leg in unison, then hold out first one hand, palm up, and then the other, say, “Limbs I have four” •Count out loud and clap: 1,2,3 Do following 3 gestures: 1) Bend down and put palms close to floor; 2) stand and reach arms as high in air as possible; and 3) standing upright make wave gestures going out at right angle in front of body as say “Earth…air…sea…” •Count out loud and clap: 1,2 Point to self and then to others as say, “Me, you…” •Count out loud and clap: 1 Clap hands in front of yourself, turn and clap hands behind yourself as say: “DONE!”

Do first time slowly, explaining as you go, second time: increase speed.

MODELING (Presentation of new material, demonstration of the process, direct instruction) • Work through the book Jabuti writing down beginning, middle and ending scenes on board and discussing possible puppet movement possibilities. • Discuss importance of teamwork (cooperation and collaboration) in manipulating multi- person puppets. • Bring out the playboard. Define term and discuss how the puppets will perform on it. Discuss possible exits and entrances. • Ask if anyone knows what a prop is. Define it. Bring out Jabuti’s flute and explain that this is the only prop used in the play. Bring out the Jabuti puppet. Show how he plays his flute. Ask who would like to do the sound of the flute. Pick someone to try it.

• Demonstrate how to manipulate the Jabuti puppet, Have student volunteers try it out, including the flute sound effect. • Lead the students to come up with movement possibilities for the puppet and have volunteers experiment with their ideas • Discuss the concept of “cheating” in theatre, and how the puppeteers need to position themselves so they do not get in between the puppet and the audience. • Discuss the care that must be exercised in using the puppets so that they remain in good performance condition. • Talk about how some of the puppets that are one-sided, and discuss their stage limitations and possibilities.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) • Working in small groups of four give each group a puppet from the story to manipulate. • Have each group try out different movements for that particular character in the story. Start with simple movements and add more complex ones through exploration. • Have each small group demonstrate the movements of one puppet

Following the guided practice, create a working cast list to use in the next lesson.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?) • “Which movements were difficult? Which were easier?” • “What problems did your group have to solve when you were trying out movement?”

For further discussion: • “What did the different characters’ movement look like?” • “What choices did the characters make that you agreed with? That you disagreed with?”

EXTENSION (Expectations created by the teacher that encourages students to participate in further research, make connections and apply understanding and skills previously learned to personal experiences.) • Continue to experiment with different voices and ways of saying lines from the story. • Experiment with different movements that the Jabuti characters might use. • Examine one scene from the story in detail. Explore movement possibilities for the puppet. Try adding a voice or narration. Try it just with movement.

JABUTI - LESSON 3 INTRODUCTION TO STAGE DIRECTIONS, BLOCKING AND ACTION/REACTION CONTENT STANDARDS 1.1 Use of vocabulary of theatre: script, plot (beginning, middle, end), scene. 2.1 Perform in group improvisational theatrical games that develop cooperative skills and concentration. 2.2 Retell familiar story, sequencing story points and identifying characters, setting and conflict. 4.1 Critique an actor’s performance and the use of voice, gesture and movement to create character. 5.1 Use problem-solving and cooperative skills in dramatizing a story.

ESSENTIAL QUESTIONS • How do I reflect upon, describe and make meaning of theatre and puppetry? • What skills and vocabulary do I need to create and appreciate theatre and puppetry?

OBJECTIVES & STUDENT OUTCOMES • Students will continue to build collaborative skills. • Students will practice puppet manipulation skills. • Students will begin to interpret the story in puppet form, working on movement and blocking.

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets • Small stage and playboard

NEW Words to know: • stage directions: names of areas of the stage to help with blocking • blocking: positioning of puppets onstage how they enter, exit, move • action/reaction: one puppet performs a specific action, and other puppet reacts appropriately to it RESOURCES • worksheet showing stage directions • cards with scenes from the beginning of the book as outlined by students in previous lesson. WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning)

This is done in unison with all standing up, following instructions of teacher.

•Count out loud and clap: 1,2,3,4,5,6,7 Hands on hips, turn head from side to side with each syllable: “In my head count win-dows seven”

•Count out loud and clap: 1,2,3,4,5,6 Point index finger of right hand back and forth over left hand, extended at waist with thumb on top, little finger down, and say “Point this way, that makes six” •Count out loud and clap: 1,2,3,4,5 As hold hand out and extend fingers one at a time, starting with thumb “Fin-gers I have five” •Count out loud and clap: 1,2,3,4 As raise, slap, and lower each leg in unison, then hold out first one hand, palm up, and then the other, say, “Limbs I have four” •Count out loud and clap: 1,2,3 Do following 3 gestures: 1) Bend down and put palms close to floor; 2) stand and reach arms as high in air as possible; and 3) standing upright make wave gestures going out at right angle in front of body as say “Earth…air…sea…” •Count out loud and clap: 1,2 Point to self and then to others as say, “Me, you…” •Count out loud and clap: 1 Clap hands in front of yourself, turn and clap hands behind yourself as say: “DONE!”

Do first time slowly, explaining as you go, second time: increase speed.

MODELING (Presentation of new material, demonstration of the process, direct instruction) • Explain stage directions. Go over the diagram several times. Then have all students stand. Explain that they will be playing a game to help them learn the stage directions. Explain that the room is going to become a stage, for the purpose of the game. Designate one wall of the room as the place where the audience is sitting. Explain the rules: 1) No talking. 2) No running. 3) No bumping into anyone or anything in the room. Explain that a stage direction will be called out, and that you want them to go to that spot. They freeze when they get to the correct location. Then another direction will be called out and the students move to that spot and freeze. When done, have students sit down, facing the board. • Bring out the cards with scenes from the beginning of the story. Have student volunteers place them in the proper sequence on the board. Discuss whether the order is important to the story, or whether they could be interchangeable. • Lead students in retelling the rest of the story Jabuti in their own words. • Using the scene with Tapir and Whale (the tug of war), discuss and define action and reaction. Then have student volunteers demonstrate it.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Using the working cast list from the previous session, walk through each scene, discussing where characters should go and when (blocking)and how it can be presented most powerfully. Review concepts of cooperation, collaboration, and cheating from previous session. Students can work in small groups with specific short scenes and then all come back together, perform for the rest of the class, and get feedback.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?) • “What did you discover when performing your scene with your group? • “What did you notice when watching other groups perform?” • “What ideas did you get for performing better the next time?” • “What problems had to be solved during the blocking?”

EXTENSION (Expectations created by the teacher that encourages students to participate in further research, make connections and apply understanding and skills previously learned to personal experiences.) • Practice reading a scene from the story with one student as narrator and other students acting out the narration as live actors. Discuss the differences you find between using live actors and puppets. What parts are harder? What parts easier?

JABUTI - LESSON 4 SCRIPT, NARRATION, BLOCKING CONTENT STANDARDS 1.1 Use of vocabulary of theatre: script, plot (beginning, middle, end), scene. 2.1 Perform in group improvisational theatrical games that develop cooperative skills and concentration. 2.2 Retell familiar story, sequencing story points and identifying characters, setting and conflict. 5.1 Use problem-solving and cooperative skills in dramatizing a story.

ESSENTIAL QUESTIONS • How do I reflect upon, describe and make meaning of theatre and puppetry? • What skills and vocabulary do I need to create and appreciate theatre and puppetry?

OBJECTIVES & STUDENT OUTCOMES • Students will continue to build focus and collaborative skills. • Students will practice puppet manipulation skills. • Students will continue to interpret the story in puppet form.

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets • Small stage and playboard • Flat black panels for wings

NEW Words to know: • script: written version of the play that includes characters’ and narrator’s lines, plus blocking/staging instructions • wings: sides of the stage that are just out of sight of the audience. • narrator: someone who helps tell the story that is being acted out (the storyteller)

RESOURCES • Script Samples • cards with scenes from the middle of the book as outlined by students in lesson two. WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning)

This is done in unison with all standing up, following instructions of teacher.

•Count out loud and clap: 1,2,3,4,5,6,7 Hands on hips, turn head from side to side with each syllable: “In my head count win-dows seven”

Do first time slowly, explaining as you go, second time: increase speed.

MODELING (Presentation of new material, demonstration of the process, direct instruction) • To review, play the stage directions game from the previous session. Review of directions for game: Designate one wall of the room as the place where the audience is sitting. Give the rules: 1) No talking. 2) No running. 3) No bumping into anyone or anything in the room. Explain that a stage direction will be called out. The students should walk to that spot and freeze. Then another direction will be called out. The students should walk to that spot and freeze. After a few times, add a movement or a gesture to the directions given (for example: “Everyone tiptoe to center stage. Freeze. Everyone slide up left. Freeze.” When done, have students sit down, facing the board.

• Introduce and define “wings”. Bring out and place flat black panels on each side of playboard.

• Bring out the stack of large cards that each have one of the scenes from the middle of the story (outlined in Session 2). Have student volunteers place them in the proper sequence on the board. Discuss whether the order is important to the story, or whether they could be interchangeable.

• Introduce and discuss concept of “Narrator”, and if it is important to have a narrator or narrators in this story.

• Introduce and discuss concept of “script”. Ask students to describe how it is different than a book. Use it during blocking and from here on out

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback) • Using the working cast list from Session 2, have students walk through each scene, discussing how it can be presented most powerfully. Reviewing concepts of cooperation, collaboration, and cheating. Students can work in small groups with specific scenes, then all come back together, perform for the rest of the class, and get feedback

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?)

• “What problems had to be solved during the blocking?” • “What did you notice about the narration?” How important is it to the play? • “How does working with a script help?”

JABUTI - LESSON 5 BLOCKING THE END OF THE PLAY AND SIMPLE PUPPET MAKING CONTENT STANDARDS 2.1 Perform in group improvisational theatrical games that develop cooperative skills and concentration. 2.2 Retell familiar story, sequencing story points and identifying characters, setting and conflict. 5.1 Use problem-solving and cooperative skills in dramatizing a story.

ESSENTIAL QUESTIONS • What beginning puppet building skills are needed? • What terms will aid in my understanding of theatre and puppetry?

OBJECTIVES & STUDENT OUTCOMES • Students will demonstrate ability to build a simple puppet of their own, following a sequence of directions? • Students will explore their creativity in designing and making an unique puppet from the same basic materials supplied to the whole class (diverse outcomes from similar materials)? • Students will practice manipulating their new puppet.

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets • Materials for puppet making as documented in included puppet making sheet • NEW Words to know: • choreography: a carefully planned and rehearsed series of movements for added dramatic effect

RESOURCES • Puppet making worksheet for creating small flying bird rod puppets ( All needed materials listed) • Cards with scenes from the end of the book as outlined by students in lesson two. WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning)

This is done in unison with all standing up, following instructions of teacher.

•Count out loud and clap: 1,2,3,4,5,6,7 Hands on hips, turn head from side to side with each syllable: “In my head count win-dows seven” •Count out loud and clap: 1,2,3,4,5,6

Point index finger of right hand back and forth over left hand, extended at waist with thumb on top, little finger down, and say “Point this way, that makes six” •Count out loud and clap: 1,2,3,4,5 As hold hand out and extend fingers one at a time, starting with thumb “Fin-gers I have five” •Count out loud and clap: 1,2,3,4 As raise, slap, and lower each leg in unison, then hold out first one hand, palm up, and then the other, say, “Limbs I have four” •Count out loud and clap: 1,2,3 Do following 3 gestures: 1) Bend down and put palms close to floor; 2) stand and reach arms as high in air as possible; and 3) standing upright make wave gestures going out at right angle in front of body as say “Earth…air…sea…” •Count out loud and clap: 1,2 Point to self and then to others as say, “Me, you…” •Count out loud and clap: 1 Clap hands in front of yourself, turn and clap hands behind yourself as say: “DONE!”

Do first time slowly, explaining as you go, second time: increase speed.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Bring out large cards that each has a scene from the end of the story (outlined in Session 2). Have student volunteers place them in the proper sequence on the board. Discuss whether the order is important to the story, or whether they could be interchangeable.

• Block out the ending sequences of the story with the working cast from three sessions earlier

• Describe the steps in the building process to the students: 1) We will pass out large (approx. 12 x 16 ) mats for students to work on. 2) We will pass out materials for students to make their puppets. 3) Students will be asked to follow the step by step making sequence outlined on the worksheet and by the teacher/teaching artist. 4) When puppets are completed, students will be asked to clean up their work area by collecting all tools and giving them to the teacher, putting all scraps in the wastebasket and mats on a stack as indicated by the teacher/teaching artist.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Once students have completed their puppets and put away all materials, have them sit in a circle with their puppets, and try each of the following as time allows. (Note to teachers: these are also excellent classroom exercises for growing and reinforcing students’ manipulation skills and abilities). . 1) Review what a puppet does best (Moves). Ask students what different movements their birds can perform (ex. Swoop, flap their wings, circle, soar, eat from a hand, sing, etc)

2) Ask when the birds appear first in the story, and how they move in that scene. Have students try out that movement with their small puppets. Go through the story in sequence, eliciting responses from students on both sequence and movement possibilities.

3) Discuss the term “choreography”. Have students divide into small groups and experiment with choreographing a specific bird scene, and when ready, perform it for their classmates. Discuss which worked best, and why. Add the most exciting choreography to the play.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?)

• “Is it was important to make the puppets in the order given? Would be problems trying to make it in a different order? Could some steps be done in a different order without a problem?” • “What was it like to make the puppets?” • “What are some differences between manipulating your puppets and the performance puppets?” • “What did you notice when you were working with the puppets you made? How did you feel?”

• Ask students to think about the different things they do, and see if the order they do them in is important or not important. (EX. Is it better to put your socks on before you put your shoes on, or does it make a difference?) • Rehearse the bird choreography on the way back to class, and several times during the week in the classroom.

JABUTI - LESSON 6 SET PIECES, PICKING PARTS AND START OF WALK THROUGH CONTENT STANDARDS 2.1 Perform in group improvisational theatrical games that develop cooperative skills and concentration. 2.2 Retell familiar story, sequencing story points and identifying characters, setting and conflict. 5.1 Use problem-solving and cooperative skills in dramatizing a story. 5.2 Demonstrate the ability to participate cooperatively in the different jobs required to create a theatrical production. ESSENTIAL QUESTIONS • How do I reflect upon, describe and make meaning of theatre and puppetry? • What skills and vocabulary do I need to create and appreciate theatre and puppetry?

OBJECTIVES & STUDENT OUTCOMES • Students will practice puppet manipulation and collaborative skills. • Students will practice the role of the narrator. • Students will rehearse the play.

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets • Small stage and playboard • Flat black panels for wings • Back drop

NEW Words to know: • backdrop: cloth suspended at the back of the stage. • set piece: a scenic piece(ex from Jabuti: a hill, water, rock) placed on the stage by an actor/puppeteer to help set the scene. • director: the person who is in charge of the entire process of staging a play. Words to Review: • walk through: going through a story from start to finish, stopping to explain each action, discussing what comes next, and how best to act it out. RESOURCES

• Worksheet showing stage design with wings • Cast List - Prior to this lesson, discuss the best way of selecting parts with the teaching artist the week before. It may be the same for each class, or different, depending on each individual teacher. An important side note: students frequently focus more intently and perform more powerfully with puppets than their regular classroom behavior might suggest.

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning)

This is done in unison with all standing up, following instructions of teacher.

Do first time slowly, explaining as you go, second time: increase speed.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Set up the downstage playboard and wings before students arrive. When they sit down after the warm up, bring out and start to set up the backdrop, explaining that this will be the final addition to the stage. This will represents the home of the King of Heaven who will rise from behind it. • Talk about the job of a director and what they are responsible for creating a play. • Review what a puppeteer’s job is (To bring an object to life to tell a story for an audience). If you perform your job well, the audience’s attention will be focused on your puppet and it will seem to be alive. •Ask who knows what a set piece is. Bring out first set piece (Jabuti’s rock) as an example, and set it on the stage. Then take it offstage and have a student volunteer try it. Bring out rest of set pieces one at a time, explaining where they go, how they are set, how long they stay in place, how they are removed and where they are stored. Have volunteers demonstrate each. • Explain that there will be a performance in two weeks. NOTE: Teachers may decide in advance if it will be for parents or peers, or they may want to let the students vote at this point on which they would prefer.

• Explain that today is the day that we’ll be picking (volunteering for) parts, and do so, including puppeteers, narrators, sound effects, prop and set people (Teachers and teaching artists should decide the week before how this should best be done). GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Review the term “walk through”. Explain that will be the focus of the rest of the session’s work. • Talk about the layout for the show. Everyone will sit in the audience until their turn comes. When their turn comes, they will get up, make their entrance, perform, exit and return to the audience. • Talk about how both the audience and the puppeteers are equally important. A puppeteer needs an audience to perform for. An audience needs a performance to watch and enjoy. • Start the walk through and go as far as time permits, using the script included in lesson plans. Stop and start as needed. • Audience watches and applauds at the end of the session.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?)

• “What problems had to be solved during the blocking?” • “What did you notice about the narration? Did it add to the performance?” • “What did the set pieces add to the show? Were they easy or hard to take on and off the stage?”

• Suggest students practice reading the story with different students as narrator and act it out, pretending you are doing it with the puppets. • Encourage students to practice their character and/or lines in front of friends and family members at home, during lunch, during class( if teacher can set aside time for it) or during breaks.

JABUTI - LESSON 7 RUN-THROUGH REHEARSAL CONTENT STANDARDS 4.1 Critique an actor’s performance as to voice, gesture, facial expression, movement. 4.2 Respond to a performance with appropriate audience behavior. 5.1 Use problem-solving and cooperative skills in dramatizing a story. 5.2 Demonstrate the ability to participate cooperatively in the different jobs required to create a theatrical production.

ESSENTIAL QUESTIONS • Have students given their personal best during the residency? • Have I consistently and positively praised my students’ successes? • In what ways can I incorporate their theatre learning into the regular classroom curriculum?

OBJECTIVES & STUDENT OUTCOMES • Students will practice puppet manipulation and collaborative skills. • Students will rehearse the play. • Students will display appropriate audience behavior. • Students will give positive critique of their rehearsal.

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets • Small stage and playboard • Flat black panels for wings • Back drop

NEW Words to know: • Run through: A rehearsal at which all the elements of the production are put together in their correct sequence. Sometimes shortened to “run”.

Words to review from last year: • bow: to bend the head or body forward as a signal of acknowledging the applause of an audience at the end of a performance

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning) This is done in unison with all standing up, following instructions of teacher.

•Count out loud and clap: 1,2,3,4,5,6,7 Hands on hips, turn head from side to side with each syllable: “In my head count win-dows seven”

Do first time slowly, explaining as you go, second time: increase speed.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Finish walk through if not completed in previous session. • Lead the students in review of the performance layout. Everyone will sit in the audience until their turn comes. When their turn comes, they will get up, make their entrance, place set pieces as necessary, perform with their puppet, exit as blocked in rehearsal and return to their seats in the audience. • Introduce the term “run-through”, and do at least one run-through, from start to finish without stopping. Take notes to discuss with students when finished. • Lead students in critique of their performance, give notes for further improvements, and praise positive performances with specific examples.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Describe how students will take their bows at the end of the show, and practice it several times (All will stand in a line at the front of the stage, hold hands. On a count of 1,2,3, all bow together, and enjoy the applause from the audience). • Explain the procedure for the performance in the next session. It will start with everyone putting on a black, long-sleeved shirt that we will provide, and maybe even black gloves. There will be a final dress rehearsal, and then the invited audience will arrive, the students will perform. Afterwards they will receive certificates and lots of applause.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?)

• “What problems did we solve during the rehearsal?” • “What did you notice about rehearsing the play without stopping? What kinds of challenges did you have?” • “Share something new you saw one of your classmates do that was successful.” • “Overall, brainstorm ways to make the show even better.” • Ask again, if they had tried their personal best during the session. Ask if there are things that they, as individuals, could practice at home and in the classroom to hone (grow) their skills. EXTENSION (Expectations created by the teacher that encourages students to participate in further research, make connections and apply understanding and skills previously learned to personal experiences.)

JABUTI - LESSON 8 DRESS REHEARSAL AND PERFORMANCE CONTENT STANDARDS 4.1 Critique an actor’s performance as to voice, gesture, facial expression, movement. 4.2 Respond to a performance with appropriate audience behavior. 5.1 Use problem-solving and cooperative skills in dramatizing a story. 5.2 Demonstrate the ability to participate cooperatively in the different jobs required to create a theatrical production.

ESSENTIAL QUESTIONS • Have students given their personal best during the residency? • Have I consistently and positively praised my students’ successes? • How can I best reflect their accomplishments back to them? • How can I best insert their theatre learning into the regular classroom curriculum and encourage ongoing growth?

OBJECTIVES & STUDENT OUTCOMES • Students will practice puppet manipulation and collaborative skills. • Students will rehearse the play. • Students will perform the play exhibiting good performance and audience behavior.

MATERIALS • The book Jabuti by Gerald McDermott • Multi-person puppets • Small stage and playboard • Flat black panels for wings • Back drop • Performance clothes (Long-sleeved black shirts and gloves (as needed) NEW Words to know: • Dress rehearsal: final rehearsal before the show will be performed for an audience for the first time, usually with full costumes and makeup.

RESOURCES • Certificates WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for learning) This is done in unison with all standing up, following instructions of teacher. •Count out loud and clap: 1,2,3,4,5,6,7 Hands on hips, turn head from side to side with each syllable: “In my head count win-dows seven” •Count out loud and clap: 1,2,3,4,5,6 Point index finger of right hand back and forth over left hand, extended at waist with thumb on

27 top, little finger down, and say “Point this way, that makes six” •Count out loud and clap: 1,2,3,4,5 As hold hand out and extend fingers one at a time, starting with thumb “Fin-gers I have five” •Count out loud and clap: 1,2,3,4 As raise, slap, and lower each leg in unison, then hold out first one hand, palm up, and then the other, say, “Limbs I have four” •Count out loud and clap: 1,2,3 Do following 3 gestures: 1) Bend down and put palms close to floor; 2) stand and reach arms as high in air as possible; and 3) standing upright make wave gestures going out at right angle in front of body as say “Earth…air…sea…” •Count out loud and clap: 1,2 Point to self and then to others as say, “Me, you…” •Count out loud and clap: 1 Clap hands in front of yourself, turn and clap hands behind yourself as say: “DONE!”

Do first time slowly, explaining as you go, second time: increase speed. MODELING (Presentation of new material, demonstration of the process, direct instruction) • Dress Rehearsal: Distribute the black shirts and gloves for students to wear. Run through performance a final time, and prepare for the audience to arrive. Have everyone sitting in their places and ready to go. Two students could stand at door to welcome audience to the performance.

PERFORMANCE •Words of welcome by teacher or student. • Performance. • Bows and Applause. • Presentation of Certificates

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss solutions and learning that took place. Did students meet expected outcomes?)

• Encourage students to share with families/friends what they especially liked about the performance, the puppetry program, and the puppets. • Audience invited to share with students. • Encourage students to reflect on what they learned. • Lead students in a discussion of what they would like to do next with puppets. EXTENSION (Expectations created by the teacher that encourages students to participate in further research, make connections and apply understanding and skills previously learned to personal experiences.) • Have students draw pictures of their favorite part of the puppet residency. Have the students write 2-3 sentences describing their picture. • Have students write thank you letters to program funders.

APPENDIX A

APPENDIX B

APPENDIX C

APPENDIX D

Glossary of Terms

• action/reaction: one puppet performs a specific action, and other puppet(s) react appropriately to it • actor: someone who plays a part in a performance (in live theatre, TV and/or the movies) • audience: people who watch/experience live theatre • backdrop Cloth suspended at the back of the stage. • blocking: positioning of puppets onstage. • bow: to bend the head or body forward as a signal of acknowledging the applause of an audience at the end of a performance • character: personality or part an actor recreates • cheating: to position a puppet so that it can be fully seen by the audience (without the body of the puppeteer(s) getting in the way • choreography: a carefully planned and rehearsed series of movements for added dramatic effect • conflict: problem to be solved in the play • collaboration: working together • cooperation: doing what is asked and needed to accomplish something • director: the person who is in charge of the entire process of staging a play • dress rehearsal: final rehearsal before the show will be performed for an audience for the first time, usually with full costumes and makeup. • entrance: place onstage where puppet is first seen by audience • exit: place onstage where puppet disappears from audience’s view • focus: concentration • manipulation working a puppet • narrator: someone who helps tell the story that is being acted out (the storyteller) • part: character in a play • performer: one who creates a distinct character to play a part in a play • playboard: the actual area that is the “ground” where the action for the puppet performance takes place • plot: structure of a play, beginning, middle, end, problem, solution • prop: an object carried or set on the stage by an actor/puppeteer • puppet: any object you bring to life to tell their story to an audience • puppeteer: someone who operates a puppet, bringing it to life for an audience • sound effect: an imitation of a particular sound used in a play or other theatrical performance • types of puppets: hand puppets: puppets that fit on and are operated by the puppeteer’s hand rod puppets: puppets that are operated by rods string puppets (marionettes): puppets that are operated by strings shadow puppets: puppets that are operated behind a screen, with a light shone on them

from behind tabletop (Bunraku): full bodied puppets of varying size that are operated by 1-5 puppeteers on tabletop or similar stage, with puppeteers visible to audience, bringing the puppets to life with their hands or rods mask: a construction placed over the head, or held with a rod in front of the face of the performer giant puppet: A larger than life puppet with the puppeteer operating it from beneath or inside it • run through A rehearsal at which all the elements of the production are put together in their correct sequence. Sometimes shortened to “run”. • scene: the place or location of a story or play • set piece: a scenic piece(ex from Jabuti: a bush, tree, rock,etc) placed on the stage by an actor/puppeteer to help set the scene • setting: where story takes place • script: written version of the play that includes characters’ and narrator’s lines, plus blocking/staging instructions • stage directions: names of areas of the stage to help with blocking( see included diagram) • trickster tale: story about an animal who fools or tricks other

• walk through: going through a story from start to finish, stopping to explain each action, discussing what comes next, and how best to act it out • wings: sides of the stage that are just out of sight of the audience. • working cast list: temporary assignment of parts for early practices and rehearsal

APPENDIX E

APPENDIX F

APPENDIX G

APPENDIX H

CAST LIST/ (PARTS ASSIGNMENT) for JABUTI

SCENE 1: Flute Player:______Narrator______Jabuti______and ______Jaguar______Lizard______Set/Strike Water______Tapir ______Whale ______

SCENE 2: Narrator______Jabuti______and ______Vulture______and______Toucan______Macaw______Hummingbird______Other Birds( Opt’l)______and______and______and ______King of Heaven ______

SCENE 3: Narrator______Strike Hill/Set Rock______Jabuti______and ______Vulture______and______Toucan______Macaw______Hummingbird______Other Birds( Opt’l)______and______and______and ______King of Heaven ______

SCENE 4: Narrator______Flute Player:______Jabuti______and ______Vulture______and______Toucan______Macaw______Hummingbird______

APPENDIX I

Suggested Script for Jabuti SCENE 1:

WHOLE CLASS CHORUS (chant or sing): Jabuti was a tortoise With a flute he liked to play, He played by night and He played by day.

Some creatures really liked it And thought how sweet his song And loved to listen to it, And even hummed along.

(As chorus is singing/chanting, Jabuti slowly enters from stage right wings, walks downstage center, climbs his hill and begins to play as narrator speaks:

NARRATOR 1: Jabuti’s shell was smooth and shiny, and his song was sweet.

NARRATOR 2: His music wove through the tangled vines and floated above the treetops. All the creatures of the rainforest listened.

NARRATOR 1: But for some, Jabuti’s song was sour.

(As narrator 2 starts to speak, Jaguar rolls in from behind wings, stage left)….

NARRATOR 2: Jaguar could remember when Jabuti tricked him into chasing his own tail… (And jaguar rolls off and exits behind wings, stage right)

(As narrator 1 starts to speak, Lizard walks in from behind wings stage right in from behind wings, stage right, and crosses, stopping to look at Jabuti)

NARRATOR 1: Lizard could remember when Jabuti tricked him into giving him a ride on his back…

(Set water between downstage left and downstage left wing. Tapir enters from stage right wing, pulling whale in to view in water that has just been set as narrator)

NARRATOR 2: Tapir could remember when Jabuti tricked him into a tug-of-war with whale.

(Action/Reaction tug-of-war until whale pulls tapir offstage behind left wing, and water comes down)

SCENE 2:

(Jabuti reenters from right wing, playing flute, and birds enter, circling above)

NARRATOR 3: But the birds of the air loved Jabuti’s music and they sang when he played.

(Vulture peers out from behind left wing)

NARRATOR 4: All except Vulture, who could not sing at all. He was jealous of Jabuti and waiting for the day when he could eat the little tortoise.

NARRATOR 3: Then came a time when all the birds of the air were invited to a festival in Heaven.

(King of Heaven rises up from behind upstage backdrop, saying, in a booming voice:

KING OF HEAVEN: Come! Sing! Rejoice! Receive my blessing!

(Birds fly up and around wings and up to join King of Heaven behind upstage backdrop as Jabuti looks longingly after them)

NARRATOR 4: When Jabuti saw the great gathering, he wanted to go too.

(Vulture watches Jabuti and the birds from his place behind the left wing)

JABUTI: (sadly) I want to play for the King of Heaven.

(Vulture flies out and lands on downstage left corner of playboard, as King of Heaven and birds disappear behind upstage backdrop)

VULTURE I may not be able to make music like you, but I can spread my wings and soar all the way to Heaven!

JABUTI: Take me with you!

(Vulture turns his back to Jabuti, saying:

VULTURE: Climb on my back, little friend!

(Jabuti does so. Vulture spreads his wings and they fly up and out in front of playboard, as high as students can reach, then circle back behind from stage right:

NARRATOR 3: Vulture spread his wings and rose into the air as Jabuti held tight. They flew high above the treetops. Dense forest and great river stretched far below

NARRATOR 4: And they had almost reached heaven when Vulture suddenly swooped and turned upside down. Jabuti lost hold of Vulture’s feathers and slipped off his back.

(Vulture rights himself and flies off stage left as Jabuti falls in slow motion)

SCENE 3: NARRATOR 5: Jabuti went tumbling down through the sky and as the earth came rushing toward him, he cried out:

JABUTI: Twigs and bushes, Flowers and trees, Move aside, Make way for me!”

(Jabuti continues to slowly tumble, and as narrator next speaks, stage hand places rock in place directly beneath where Jabuti is falling)

NARRATOR 6: Alll the plants and rees spread apart to make way for Jabuti, but he had forgotten to call to rock.

NARRATOR 5: Jabuti came down on it with a crack! And his smooth, shiny shell broke into pieces…

(Sound effect of crack echoes as narrator mentions it, and King of Heaven and birds suddenly reappear and look around)

KING OF HEAVEN: (continuing to look around) Where is Jabuti?

VULTURE (Flying up to heaven): How would I know?

KING OF HEAVEN: Jabuti wanted to play for me, and YOU offered to bring him! (Thundering) Where is he? Tell me!!!!

(Vulture turns away, flying slowly down, hiding his head beneath wing, just barely visible from behind left wings)

KING OF HEAVEN: (turning to other birds) GO! SEARCH! FIND HIM!!!!

(Birds leave heaven and fly around stage, out into audience, circling and looking everywhere, as narrator explains)

NARRATOR 6: THe birds filled the sky, flying over treetops, swooping low through tangled vines, looking everywhere for the little tortoise.

SCENE 4:

(All birds except Toucan, Macaw and Hummingbird fly back behind upstage backdrop, while these three swoop low over rock, downstage center:

NARRATOR 7: Toucan, Macaw and Hummingbird found Jabuti, lying helplessly in the forest. His beautiful was shell broken.

(Birds swoop down and around where Jabuti is lying hidden)

NARRATOR 8: The birds gathered the pieces and patched him together. When they were done, Jabuti played a song of thanks to them.

(Jabuti, with pieced together shell enters from behind rock and plays his flute. Birds swoop down behind him, momentarily out of sight, as narrator speaks, and switch to bird with more brightly colored feathers)

NARRATOR 7: And where the birds had touched Jabuti, they each took on a new color. Toucan got a red and yellow beak; Macaw, bright orange featers, and Hummingbird, an emerald green belly.

(Vulture peers out from behind left wings as Narrator mentions him, then disappears)

NARRATOR 8: Vulture stayed the same dull color. He still can’t sing.

NARRATOR 7: Jabuti’s music still weaves through the tangled vines and floats above the treetops. His shell may be cracked and patched….

NARRATOR 8: But his song is sweet, at least to some….

WHOLE CLASS CHORUS (chant or sing) as all come out to take bow: Jabuti was a tortoise With a flute he liked to play, He played by night and He played by day.

Some creatures really liked it And thought how sweet his song And loved to listen to it, And even hummed along. OTHER OPTIONS FOR SCRIPTING:

1) Have whole piece narrated directly from book by single student, selected students or teacher.

2) Students can create action outline with teacher in class (or use the one here below to help them create their own version of the script based on the story. They may want to investigate alternate endings, what would happen if scenes could be switched, etc.

ACTION OUTLINE for JABUTI

1. Jabuti plays sweet song on flute 2. Jabuti tricks Jaguar into chasing his own tail 3. Jabuti tricks Lizard into giving him a ride 4. Jabuti tricks Tapir into a tug-of-war with Whale 5. Birds sing with Jabuti, but Vulture can’t sing 6. Vulture is jealous of Jabuti. He wants to eat him 7. King of Heaven invites birds to a festival in Heaven 8. Jabuti wants to go, but he can’t fly 9. Vulture gets idea: says he will take Jabuti 10. Jabuti climbs on Vulture’s back, and they start off 11. Vulture turns upside down 12. Jabuti tumbles off 13. Jabuti cries out to jungle to get out of his way, but forgets rock 14. Jabuti lands on rock and his shell cracks 15. Vulture flies toward heaven 16. King asks: “Where is Jabuti?” 17. Vulture lies and hides head 18. King commands birds to:”Find Jabuti!” 19. Birds fly around looking 20. Toucan, Macaw and Hummingbird find him 21. They patch Jabuti’s shell 22. Jabuti plays song of thanks 23. Toucan, Macaw and Hummingbird get new colors 24. Vulture stays ugly 25. Jabuti plays flute. Vulture still jealous