Levels Are Indicated. Exhjition Themes Include

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AUTHOR Donley, Susdn K.; And Others TITLE The Pittsburgh Children's Museum. Study Guides. INSTITUTION Pittsburgh Children's Museum, PA. PUB DATE 93 NOTE 75p.; Funded by the Vira I. Heinz Endowment. AVAILABLE FROMPittsburgh Children's Museum, Education and Outreach Department, 10 Children's Way, Pittsburgh, PA 15212. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher)(052)

EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Anatomy; Architecture; *Art; *Art Activities; *Built Environment; Elementary Education; Health Activities; Health Education; *Human Body; Museums; Mythology; Physical Health; Preschool Education; *Puppetry; United States History IDENTIFIERS Henson (Jim); Mister Rogers Neighborhood; Ohio River; Pennsylvania (Pittsburgh); Portraits; *River Occupations; Silk Screen Printing; *Warhol (Andy); X Rays

ABSTRACT These five study guides present ideas for activities based on museum exhibition themes. The learning activities are designed for coordination with museum visits, but may be adapted for. independent use. Activities appropriate for preschool and elementary levels are indicated. ExhJition themes include:(1) "Space Exploration," whiz): explores the built environment and building's space;(2) "Warhol's Myth," which considers how American media myths reveal shared beliefs and experiences;(3) "Puppets," which introduces the art of Mister Rogers, Jim Henson, and other puppet masters; (4) "Riverscape," which re-enacts the hustle and bustle of a Pittsburgh workday of the past, for instance, children steer a boat down a theater-like set, loading fruits and vegetables, and selling them in a storefront; and (5) "Looking at You: Urban X-Ray/Self-Portrait/Stuffee/Heart Works" which views portraits from inside and outside the body and instructs in the care and feeding of the body. The guides include background information, instructions, suggested projects, worksheets, reproducibles, and when appropriate, musical scores, poetry, and illustrations.(MM)

*********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** -tudy Guides to Pittsourgh Children'sMuseum. Spaceexplorations U S. DEPARTMEN' OF EDUCKI-ION tfice of EatiCatiOnal , 60alch and Invovement EDUCATIONAL Rr .OURCES INFORMATION CONTER (ERIC: This document has been ,eproduced as received from the person or organization originating it Teacher's Guide 0 Minor changes have been made lo Improve reproduction quality

Points of view or opinions stated in this document do not necessarily represent official OEM position or policy i_et the play begin Feel mind and lkidy working together to nav- 'lay is a child's work. The Pittsburgh Children's igate a two-story maze reaching up into the Auseum is dedicated to providing children with rotunda. Explore the buildings space with .xciting environments for active learning. This your eyes, mind, and iinagination. cries of guides will help teachers stimulate their tudents learning through play. Here are strat- gies to make learning fun before, during, and fter your visit to The Children's Museum.

2 A word to teachers Andy Theme Silk tudio KWarhol's Classroom connections Myths Luckey's Climber 3 Before vour visit 3 During your visit 4 After your visit 4 The space you are in: The Old Post Office 5 "Sky" sculpture (above) Background information < to Before your visit Courtyard During your visit 6 Atter your visit Changing exhibits

A/1tfstory activity sheet 8 Heads up in the Sky 9 Background about Sky 9 During your visit PERMISSION TO REPRODUCE THIS Surprises Eleator After your visit MATERIAL HAS BEEN GRANTED BY 10 in Store Little st Theater! Readings ))1-7 11

TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC).- FIRST FLOORentranceMuseum Rotunda

The Funded by the Vira I. Heinz Endowment. Pittsburgh Susan K. Donley, author, illustrator, designer; Lois Winslow, project director. Children's )1993, the PittsburNh Children's Mum'uni andSINallK. non- Museum lett. All $i0fq Re-wrved.

BEST COPY AVAILABLE seum. OnLuckey's Climberchildren use both A word to teachers physical and mental skills to navigate space. Think of this guide as a menu of ideas from The Old Post Office is one of Pittsburgh's which to choose activities to meet your own few examples of enclosing vast interior instructional objectivesyou won't have space with a classical dome. Sky celebrates time to do or even read everything here! this space with imagery from outer space. Several navigational features will help you The art u. sculpture uses space, as well as find the information you need at a glance: line, shape, color, and texture. /Learning activities are grouped for ap- The Pittsburgh Children's Museum also propriateness before, during, or after offersTerminal Café,a dramatic performance your museum visit. Consider doing one about the environment. Call 322-5059 to activity from each grouping so that your schedule an in-school presentation. students are prepared for their visit and able to connect their museum and classroom learning. Classroom connections /Titles of learning activities are literally Presi7kol written as activities. Skim through them Although most children realize Luckey's quickly to find activities that suit you. Climber is quite safe, some may be afraid of /Activities appropriate for various ages climbing so high. Practice ahead of time are marked: detailed belowshould calm their fears. Most preschoolers need little motivation to preschool (three-five-year-olds) start climbing, but might need encouragement to try something new. The activ- early elementary (kdg.-second grade) ities suggested involve them in cooperative problem-solving using language, creative elementary (third grade and older) dramatics, and gross-motor skills. Besides being a great kinesthetic experience giving But don't let these age designations stop you them a thrilling view from above, the Climb- from adaptinganyidea that suits your goals. er is an ideal review of body parts and direc- The worksheets in this guide are not tional and spatial vocabulary. Children also available at the museum. If you use them, develop spatial skills in solving the maze. make copies for your students and bring Preschoolers can relate architecture to their them with you. Don't forget pencils! own building experiences by identifying the shapes the architect used in the Old Post Of- Theme fice building. Science and visual arts vo- Space Explorationsbrings under one theme cabulary can be used to name the parts of three exhibits in the towering rotunda of the Sky. Colors, shapes, and textures are ma- Pittsburgh Children's Museum:Luckey's nipulated as they continue exploring space. Climber, the Sky sculpture in the rotunda, Ele ntary and The Pittsburgh Children's Museum Elementary children enjoy releasing energy building itself.Luckey's Climberis hard to on the Climber and readily tackle spatial miss, but visitors often overlook the archi- siv&Iproblem solving on the maze. As they see tecture of the Old Post Office building and their world from a new vantage point, you the wonderful Sky environmental sculpture can challenge them to imagine other three- that hovers in the rotundas upper reaches. dimensional environments from different These diverse exhibits share the theme of ex- points of view. By this age students are ripe ploring the spatial environment and con- for studying architecture using science to veniently share the same area in the mu- figure out how the Old Post Office stands up and social studies to discuss how the building and its neighborhood have changed over time. Earth science images in Sky lead into the detective work of art criticism deciphering the meaning of a work of art. Back in the classroom, students solve science, social studies, and visual arts problems to create their own environments.

2/Space explorations 3 children to act out the storyor any other Airs"11 theme you may be studying (the zoo, circus, medieval times, the rain forest, etc.)on the Climber. Below are poems that may be used before, during, or after visiting Luckey's Climber.

Every time I climb a treel Every time I climb a tree Every time I climb a tree Even/ tillW I climb a tree I scrape a leg or skin a knee And every time I climb a tree I find some ants Or dodge a bee titil.! .1 .Lv.t111.1E. and get Hit' ants all over me

Every time I climb a tree Where have you been? They say to me But don't they know that I am free Every time I climb a tree? I like it best to spot a nest That has an egg Or maybe three And then I skin The other leg But every time I climb a tree I see a lot of things to see Swallows rooftops and TV Luckey's Climber And all the fields and farms there he Before your visit Every time I climb a tree Though climbing may be good for ants Preparing pre-schoolers for Luckey's Climber. It isn't awfully good for pants AChildren instinctively know what to do on But still its pretty good for me Luckey's Climberclimb! Most children re- Every time I climb a tree. alize that fact the enclosed structure is quite --David McCord safe, but some preschool children may be afraid of climbing so high. So, before vis- Teach children this Danish nursery iting the museum, build children's con- rhyme about cats climbing a tree and let fidence in their ability to climb on classroom them pretend to be cats on Luckey's Climber. slides, ladders, and monkey bars. Review The children can learn and repeat the Dan- the names of the body parts used to go ish line kritte vitt(' vit born bom: through the maze and 'directional/spatial vocabulary: up, down, over, under, left, Two cats were sitting in a tree, right, top, bottom, etc. Just before using the kritte vitte vit bom born Climber review some safety rules about tak- a cat called Lew, ing turns and counting the number of chil- a cat called Lee, dren who are on the Climber. kritte vitte vit bom bom. Tell a story or read a poem to encourage Now follow me, creative play on Luckey's Climber. said Lew to Lee, kritte vitte vit born born, Add a verbal dimension to students kin- tor I,ui loriger like this tree, esthetic experience of the Climber by telling kritle vitte vit bmn bom! a story like lack and the Beanstalk or The cd;oSpooky Old Tree in the classroom h,4ore your visit. lust a brief reminder will encourage

Space explorations/3 So Lew and Lee the structure of a tree with trunk, branches, climbed down the tree, and leaves without resorting to the common kritte both Ihmt. stereotype lollipop trees.I Once down the tree to Lew salt! Lee, Construct an imaginary three-dimensional kritte z,itte born bom, environment. cM, Leie, I rather liked that tree! kritte bom !Join. Ask students to name animals who build in So Leie mid Lee lip the tree, their natural environments: birds, bur- kritte born limn! rowing animals, ants, beavers, bees, etc. Bodecker, frau,. Then ask them to choose an animal and elaborate on its building scheme to design A-maze your classroom! an imaginary super tree house, under- AYou can continue the theme ot mazes in ground ground hog city, an ant hill farm, an your classroom in several \yays. Set up a underwater beaver lodge, a bat or hear cave mate in classroom using chairs and tables to condo, a spider and bugs living in a garden create an obstacle course. Ask children to apartment, or a bee hive high rise. Two pos- demonstrate "under," "over," "through," sible methods for creating their environ- etc. in the maze. Ask one student to be the ments include: play-by-play sports announcer who de- Two-dimensional method: Create an scribes what is happening to the rest of the architectural drawing called a section, class as another child navigates the obstacle which is a eut-awaY or x-raY view of a course. Design mates on paper, then trade building. A useful way to think of a sec- to let anothei- child solve the puzzle. Create tion is how a building would look if one a maze with blocks and let toy cars or fig- of its outside walls was removed or ures go through the maze. If the class has a made of glasslike a doll house. Use 18 X pet hamster or guinea pig, put food at one 24-inch drawing paper and fine drawing end of the maze and see if the animal can tools, like small crayons, fine-tipped navigate the maze to find it. Be sure that the markers, or colored pencil and encour- maze is not precarious so the anithal does age as much detail in the drawings as not topple it and get hurt. possible. Three-dimensional method: Use a tall, During your visit skinny box as a diorama to built the en- Move through the Climber like another vironment in. Use cut, folded, and creature. curled construction paper, cardboard, As the children climb, encourage them to string, and found ct,iects to build the en- iichange identitieN and move through the vironment and the creatures in it. maze like ants in -in ant hill, worms under Des4a play ground "make-over." the ground, spic-krs in a web, bats in a cave, Now that they have been inspired by Luck- moles underground, or mice in the walls of ey'sClimber,ask students to dream up new a house. Let children take turns calling out (74playground equipment for their school. Pro- animals for the children on the Climber to vide large paper for drawings of a new play- act out. 'Cjr6)ground. Or have them create a three- After your visit dimensional model of a new climber for the playground out of cardboard, found materi- Recreate the complex life of a tree. als, and pre-cut paper strips. They can build Before class, glue 2 X I8-inch brown paper their climber design from a cardboard base strips down the centers of 12 X 18-inch or build it inside a cardboard box so they white drawing paper. Read the poem "Eve- can attach parts to the walls and ceilings, as ry time I climb a tree." Ask children to close in Luckey'sClinther. their eyes and imagine themselves climbing a tree. What would they be feeling? What would they see? I lear? Smell? I lave children draw themselves climbing a tree and all the things they might see. [The brown paper trunk is effective in getting children to draw

4/S1)(1(1'("iplOrall011S was designed to be an impressive building The space you are in: The Old to show the power of government, but not Post Office so huge that it intimidated its customers. The public only glimpsed the awesome Background information dome inside through a screen when they The building that now houses The Pitts- came to do business. Only postal workers burgh Children's Museum was constructed used the inner core of the building: the pub- for 5900,000 in 1897 as the central post office lic was restricted to the outside corridors. of what was then an independent city. The In 1907 Allegheny became part of Pitts- city of Allegheiw was established in 1788 as burgh and gradual]..V 1 t..s own downtown character. By the late 1960s, plans were made to tear down most of the buildings, including the post office in Allegheny Square, and to replace then, with the apartments and mall of today's Allegheny Center. Pitts- burgh History & Landmarks Foundation raised money to save the building and used it as The Old Post Office Museum. They created the garden courtwhich vou max' visitwith artifacts from demolished Pitts- burgh buildings, including huge sculptures rescued from the Manchester Bridge. The Pittsburgh Children's Museum moved in to share the Old Post Office in 1983 and took over the entire space in 1985. Before your visit Experience how this building stands up. Gravity can either hold a building together 1276(stones stacked in a wall stand without mor- tar) or tear it apart (the same wall tumbles if a careless opening is made in it). All buildings must be constructed to manage gravity so that it works to the buildings benefit, not its destruction. One of the best \ vavs to learn about how buildings manage the stresses of gravity is to feel them in your Own body. a square of blocks and streets (now Al- Students can do the following exercises in legheny Center) surrounded by a commons class before discussing how the structures in for grazing cattle and sheep. Allegheny the Old Post Office have allowed it to stand Town was supposed to be the Allegheny so many Years: County seat, but since it was still just a plan on paper, Pittsburgh across the Allegheny Masonry wall. In a masonry structure, River became the temporary counts, seat. bricks or stones are piled up to control When Pittsburgh held on to the title, a cen- and use the crushing force of compres- tury of rivalry between the two cities began. sion. The pressure of each stones weight The Allegheny Post Office overlooked is absorbed by the block below it until the Alleglwny town square with its loon- all the pressure is absorbed by the lain. Its neighbors were the Allegheny City ground. All the stones are in direct (where the old Planetarium now equilibrium when they are balanced stands), (_ arnegie I ibrarv1 vast market carefully On top of each other as in a house where tanners came to sell t heir wall. goods, and a whole variety ot shops, ;Il- i hiding the Boggs and Buhl Department Column.reating an opening in a ma- store. Ser\ ing a city of over 100,000 people, sonry wall disturbs the dired equi- the Allegheny I I(_(e")._Il i was busy at the librium and the wall tumbles. Indirect enter of downtown hustle and bustle. It equilibrium mtP-4 be created with

\Plobltiolys/5 6 beams and columns. The beam transfers is called a rotunda. Any ideas why? the weight of thewall to [Think about other similar-sounding the columns, words.l What are which safely some of the struc- carry the tures that take weight in- advantage directly around of the the opening to lofty the ground. To spaces feel how a column works have two stu- of the dents hold a stack of books as shown in rotunda the diagram. Who lasts longer: the col- at The Chil- umn or the cantilever? At The Chil- eren's Museum? [Luckey's dren's Museum try to identify columns Climber," "Sky."[ that bear weight and columns that are just decorative. How can you tell the difference? Decipher architectural clues hidden in stone. While standing in the rotunda, ask students: Arch. An arch is another way to use in. What supports the ceiling in this room? direct equilibrium to create an on:.--ang What do you think this rooM was originally used in a masonry walI. An arch pses corn- for? WInf are the stairs uneven in the center? pression to baLinct its ow l,. weight anc Which columns are structural (support weight) the weight piled on 4.op ot it. An arch and which are ornamental (just for decoration). works by transferring weight through Where do you think the space was divided be- each of its stones, then into the wall between the public and the postal workers? Try to side it and the ground uoder it. It is easi- find clues showing where the screen was that di- er to feel how stress travels through an vided the public space from the work space. arch than it is to imagine it: have pairs Take the class outside (or wait until you of students build an arch by leaning are leaving the museum) and ask: against each others hands. Ask them to What shapes can you see making up the out- slowly step backwards as far as they can tieside of The Children's Museum (point out the without collapsing the arch. Stand quiet- progression of geometric shapesa large ly for a minute. Ask where in their bod- rectangular box topped by a smaller rec- ies they feel the most stress. Most people tangular box topped by a square box topped are surprised to feel some stress in their by a half-sphere dome topped by a cylinder arms, but most in the and another half-sphere dome). Which build- Achilles tendons. ings do you think were the post office's neighbors Look around the before Allegheny Center was built (Buhl Plan- interior and the etarium and the Carnegie Library)? What are exterior for the clues? If the Old Post Office could talk, what arches at The do you think it would say about the changes it Children's has seen and experienced? Museum.

Dome. A dome works like many arches arranged in a circle. Start to make a dome by having two people make an arch, leaning their hands against a large rubber ball (like a basketball). Keep adding pairs around the ball until there is no more room. What would happen if someone took the ball away? Once built, domes are very strong, but since they are difficult to construct, we do not find them very often. An igloo is a good e. ample of a dome. At the museum explain that the space enclosed by a dome 7 6/Sp1ce explorations Ask children to use all they've learned After your visit about architecture and environment to de- Write The Old Post Office's autobiography. sign the Old Woman a deluxe shoe apart- GjZ)If weather and time permit, this makes a ment that will make her less frustrated and good quiet-down activity right before leav- abusive with her children. ing the grounds of the museum, otherwise it Create structures with blocks. is an effective post-visit activity for the class- Use building blocks to review the basic room. kinds of structures that allow buildings to Ask students to put themselves in the stand up: masonry walls, columns and place of the Old Post Office (The Pittsburgh beams, arches, etc. See how tall students can Children's Museum): What is it like to be a build a structure with blocks. Can they try senior citizen building? What was it like to build the Old Post Office? Where do prob- when you were first built? How have you lems start to set in [domes are difficult to changed over the years? How did you feel build with blocks]. Find examples of these about the changes? Was there ever a time structural types in use to hold up your when you were afraid? proud? angry? hurt? school. What do you think about the people who Adapt this activity to two dimensions. have visited you? What is the expression on Supply students with a variety of pre-cut your face? Write a short story of yourlife, construction paper geometric shapes to as- including the best and worst of your mem- semble on a piece of background paper. Or ories. cut geometric shapes out of cardboard, Redesign a house for the Old Woman Who sponge, or potato to make stampsfor print- Lived in a Shoe. ing a building (see Warhol's Myths teachers Living in unsuitable environments can be guide for more information). Arrange the very stressful for people, whosometimes buildings into a town for display as a mural. react in unacceptable ways. What happened when the Old Woman tried to live in a shoe with her many children:

There was an old woman who lived in a shoe, She had so many children she didn't know what to do; She gave them sonw broth without any bread; She whipped them all soundly and put them to bed. 71All

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Allcxliny Square,C. 111_* 1900. Came Nie Library, Pit tburgh. Space explorations/7 MY STORY as told by The Old Post Office to

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WHEN I WASFIRST BUILT IN 1897, I never expected to see so much change inmy life.... w

LI 8/S1 )o( e e\ploralion,, Heads up in the Sky During your visit Learn to look at art. Before your visit Unraveling the secrets of an original work of art can be great fun for students, who are Background about Sky. rarely given the opportunity to do so. I lelp Skv, hanging in the rotunda of The Pitts- your students explore Sky with thefol- burgh Children's Museum, was designed es- lowing process called art criticism, a term pecially for this space in 1988 bY Pittsburgh that sounds like it couldn't possibly be fun!. artist Christopher Anse lmo Priore (Amer; Art criticismthe process of unraveling the ican, b. 1959). It is a painted mixed media meaning and value of an artworkinvolves sculpture that includes painted sections of four steps: description, analysis, inter- building. At 42 feet high, 265 feet wide, 36 pretation, and evaluation. As IN ith all the ac- feet deep, Ski/ is the second largest hanging tivities in this teachers guide, use as much of sculpture in Pittsburgh (the Carnegie's Al- this process as you wish and adapt freely. exander Calder mobile is the largest). The Describe: Without telling them its name, sculpture's label notes: "Priore's witty and I.ask students to look at the sculpture care- whimsical interpretation of the universe fills fully for one minute in silence (without try- 40,000 cubic feet of space. It honors The ing to guess Ivhat they are hjoking at or Children's Museum's magnificent archi- whether they like it or notthat would be tecture, drawing attention to the space it so jumping to wnclusions). Now have them dramatically tills. At the Same time, its im- turn away from the sculpture and discuss: age," trom the heavenssome familiar,oth- Without looking back, lets test Your obwrya- ers lc ,s soinvite viewers to join in the tions. What familiar things did you see in timeless and fanciful tradition of star- the sculpture? Describe the parts of the ga/ing."

Space explorations/9 0 sculpture that seemed unfamiliar? What col- After your visit or were they? What words would you use to describe their texture? Lets turn around and Create a classroom environmental sculpture. look again. What else do you see now that Students can work together to create a large we missed the first time? What other correc- scale sculpturea man-made environ- tions should be made to our observations? mentin a corner of the classroom or by What shapes, colors, and textures did we hanging it from the ceiling. Build your en- miss talking about? What materials did the vironment from found materials"junk" artist use to creates this sculpture? like Christopher Priore did: cardboard box- Analyze: Where is the focus of action in es, tubes, spools, packing materials, con- qOpithis sculpture? How has the artist drawn struction materials, household junk, paints, your eve to this spot? Why has the artist and paper. Talk about the theme you might drawn your eye to this spot? Where is the want to use for your sculpture. Suitable front of the sculpture? the back? What is in themes for an environmental sculpture in- the middle? What are the most important art clude: the seasons; weather; night/day; the tools in this sculptureline, shape, color, or elementsfire, water, air, wind, earth, etc. texture? At the end of this section are poems on some Interpret: What is happening in this of these themes to help inspire sculpture im- sculpture? What happened just before? agery. Other possibilities result from look- What is about to happen next? Where is the ing at a common environment from a differ- scene taking place? What kind of day is it? ent point-of-view: an insects view of a What season? What sounds would go well garden (see "Green Stems" below), or a with this sculpture? What smells? What feel- fish's view of the ocean. Divide the idea into ings does the sculpture make you feel? What logical parts, and assign groups of students name would you give to this sculpture? The to work on each part. It might be helpful to artist Christopher Priore calls it Sky. How think of this project as a three-dimensional close did we come to guessing the artist's mural big enough to walk into. meaning? Now that you know the title, do Another way to involve everyone would you want to change your ideas about what be to do four different sculptures in each is happening? If yov were a reporter, whai corner of the room. The sculpture can have questions would you ask Christopher Priore different themes or the same theme, but dif- about Sky? ferent interpretations. Evaluate: Would vou call this sculpture Create a miniature environmental sculpture. realistic? Why or why not? How easy is this sculpture to understand? How could the art- Each student can be in charge of their own ist have made it easier for you to under- environment if they work in miniature scale, stand? What are the reasons he might have diorama-style, within a cardboard box. Use decided not to do it that way? Why do you the same kinds of found materials only on a think Christopher Priore created Sky? How smaller scale and glue them into the box. Or do you think he feels about the sky? How do use only cut, torn, and folded construction you feel about Sky? Would you like to own paper to create the environment. Cutting Sky? Why or Why not? Would it fit well in holes in the top, front, or sides of the box your house? If you would not like to own will allow light to enter and can create dra- Sky, why do you think The Pittsburgh Chil- matic backlight or spotlight effects. dren's Museum had it created for them? Create a "Night Sky,/ sculpture. Mention that when the class is visiting Create an environnwntal sculpture (see the Museum's second floor, they will be able 14above) of the night sky. Darken the class- to view Sky at its own level (you may wish room while you work and add spotlights, to hold this discussion from the second floor fluorescent paint, cellophane, shiny foil pa- to eliminate some of the distractions of the pers, etc. to the materials available for build- Climber and spedal exhibits. If you plan to ing. Project shadows on the walls as part of create one of the individual or group en- the environment. Find or write some night- vironmental sculptures later in the class- time stories to read while sitting in the en- room, von might mention that to students vironment. Talk about what makes the now before continuing your visit, while night-time scarier than day-time. This activ- their interest is high. ity is a natural for Halloween! Following are some poems about night to inspire the class.

10/Space expkgdtions 1.1 Nighttime The Star3 Twinkle, twinkle, little star, The night will never stay1 How I wonder what you are! The night will never stay, Up above the world so high, The night will still go by, Like a diamond in the sky. Though with a million stars You pin it to the sky; As your bright and tiny spark, Though you bind it with the blowing wind Lights the traveler in the dark And buckle it with the moon, Though I know not what you are, The night will slip away Twinkle, twinkle, little star. Like a sorrow or a tune. Eleanor Farjeon Jane Taylor The Moon2 The Middle of the Night3 The moon has a face like the clock in the hall; This is a song to be sung at night She shines on thieves on the garden wall, When nothing is left of you and the light On streets and field and harbor quays, When the cats don't bark And birdies asleep in the forks of the trees. And the mice don't moo The squallaig cat and the squeaking mouse, And the nightmares come and nuzzle you The howling dog by the door of the house, When there's blackness in the cupboards The bat that lies in bed at noon, And the closet and the hall And a tipping, tapping, rapping All love to be out by the light of the moon. In the middle of the wall But all of the things that belong to the day When the lights have one by one gone out Cuddle to sleep to be out of her way; All over everywhere And flowers and children close their eyes And a shadow by the curtain3 Till up in the morning the sun shall arise. Bumps a shadow by the chair Robert Louis Stevenson Then you hide beneath your pillow With your eyes shut very tight Windy Nights2 And you sing Whenever the moon and stars are set, There's nothing sweeter that: Whenever the wind is high, The middle of the night. All night long in the dark and wet, I'm extremely fond of shadows A man goes riding by. And I really must confess Late in the night when the fires are out, That cats and bats don't scare me. Why does he gallop and gallop about. Well, they couldn't scare me less And most of all I like the things Whei..ver the trees are cnying aloud, That slide and slip and creep. And ships are tossed at sea, It really is surprising By, on the highway, low and loud, How fast you fall asleep. By at the gallop goes he; Karla Kuskin By at the gallop he goes, and then By he comes back at the gallop again. Seasons and weather Robert Louis Stevenson The Months3 Night Comes3 January brings the snow, Night comes Makes our feet and fingers glow. leaking February brings the rain, out of the sky. Thaws the frozen lake again. March brings breezes loud and shrill, Stars come Stirs the dancing dafiodil. peeking. April brings the primrose sweet, Scatters daisies at our feet. Moott comes May brings flocks of pretty lambs, sneaking Skipping by their fleecy dams. silvery-sly. June brings tulips, lilies, roses, Who is Fills the children's hands with posies. shaking, Hot July brings cooling showers, shivery- Apricots and gillyflowers. shaking? August brings the sheaves of corn, Who is afraid Then t,harvest home is borne. of the night? Warm September brings Hie fruit,

Not I. --Beatrice Schenk de Regniers Space explorations/11 1 2 Sportsmen then besin to shoot. TO pietl:,e the Child, tO paint the rOSe, Iresh October brinss the pheasant. ganIcncr of the World, he Noes. Then to gather nuts is pleasant. --Robert 1..ouis Stez'enson Dull November brinss the blast, Harvest Home' l'hen the are whirling first. The maples/tare among the spruces, Chill December brings the sleet, 'The bursting favsrape spills its juices, 13111.:ing fire, and Christmas treat. The Nod ions lift their sapphire fringes C-Otel'ittNe On roaduiaus rich with Nolden tin,Nes, Spring' The waddlins woodchucks fill their hampers, I'm shout ins The deer mouse runs, the chipmunk scampers, I'm sinsins The squirrels scurry, never stoppinN, l'in szeinsins throuNh 1 or all tlu'y hear is apples dropping liii zeiming And walnuts plumpins faq and faster; tVith the buz:ing black bees. The bee weights down the purMe aster I'm the SUll hiz,e uour holey, little !manner, I'M the moon The woods are wavins, I'm the dew on the rose, Sunimer. l'in a rabbit --Arthur Guiterman Whose habit Is twitchins Ins nose. l'in lively I Heard a Bird Sing' I hear a bird sins I'm loz,ely I'm kickins my heels. In the dark of December I'm cryins A magical HUHN Come dance to the freshwater eels. And sweet to reillelliber. MehIS through mythicizes Without any coat We are nearer tO I'm a stab° ling lamb Than zu,e were in September, I'm a lisht leaping Niiat I hear a bird sing In the dark of Dei ember. l'irr a bud ---Olieer I lerford I'm a bloom l'in a dove on the wins. I'm running on rooftops Environments And welcoming sprinN! Kuskin Green Stems' Little thinss that crawl and creep Summer Sun2 In the Nrcen grass forests, Great is the sun, and wide he Niies Doli in their lomstemnied world Thrash empty heaven without typose,11111 in Where ferns uncurl the blue and glowing days To a greener world More thick Oar, rain he showers his 1711/;. Beneath the leaves above them: And every flower upon its stein Thoush closer the blinds we !lull Mines above them there To keep the shady parlor cool, 'ow bottom of a Neranium, Yet he will find a clunk in. two The back side of a trillinm, To slip his golden fin,Ners through. The belly of a buniblebee Is all the& see, these little things The dusty attic spider-clad Down so low I le, thrinigh the keyhole, tnaketh glad: Where no bird sings And through the broken edge of tiles Where no winds blow Into the laddered hayloft smiles. Deep in their long-stemmed world. --Mar,Naret Wise Brown Meantime his golden face around Ile bares to all the garden ground, I Clifton Fadiman, ed. The World Treasury of Clairol's Aud sheds II Walln and glittering look erature (Boston: I ittle, Brown, and ('ompany, 1984). A moliN the ivy's inmost nook. 2 Robert Louis Stevenson, A Chitirs Garden et Verse, ( New York: Grosset & Dunlap, 1957). Above flu' alinN the bltw, Jack Prelutskv, ed., Randon House Rook of Poetry for Chil- Round the brislit air with footing true, dren (New York: Random I Itmse, 198'1).

12/Space explorations 13 ol's Myths 1 Teacher's Guide

Let the play begin! Consider how American media myths reveal Play is a child's work. The Pittsburgh Children's our shared beliefs and experience. Experiment Museum is dedicated to providing children with with silk-screen printingthe process that exciting environments for active learning. This Pittsburgh artist Andy Warhol made famous. series of guides will help teachers stimulate their students' natural impulse to learn through play. Pick and choose from our suggestions to find activities that suit your class goals before, during, and after your museum visit. Inside A word to teachers 2 Andy Silk tudio KWarhol's Theme Myths Curriculum connections Background information on Andy Warhol 3 Background information onMyths 4 Activities Before your visit 4 "Sky" sculpture CD Fabled family members activity sheet 5 (above) CD < to During your visit 6 Courtyard lAllurt do the Myths mean? activity sheet 7 co A myth for me activity sheet 8 Changing exhibits After your visit 9 Background on the silkscreen process 10 Stencil and silkscreen in the classroom 10 Surprises Elevator in Store Little sta Theater

FIRST FLOOR Museumentrance Rotunda

The Funded by the Vira I. Heinz Endowment. Pittsburgh Susan K. Donley, author, illustrator, designer; Maureen Al- bano, co-author; I,ois Winslow, praject director. Children's ©1993, The PittsburNh Children's Museum and Susan K. Don- Museum ley. All RiOts Reserped. 14 A word to teachers Classroom connections Think of this guide as a menu of ideas from The Myths gallery introduces the style and which to choose activities to meet your own themes of one of Pittsburgh's most notable instructional objectivesyou won't have artists, Andy Warhol. Next door in the Silk time to do or even read everything here! Screen Studio, children try the printmaking Several navigational features will help you method Warhol brought into contemporary find the information you need at a glance: art. /Learning activities are grouped for appropriateness before, during, or after Preschool your museum visit. Consider doing one Preschool children love recognizing the activity from each grouping so that your characters in the Myths gallery. They are not students are prepared for their visit and yet ready to consider Pop Art and the mean- able to connect their museum and class- ing of myths. However, they are able to ap- room learning. preciate the prints as "pictures a famous art- /Titles of learning activities are literally ist from Pittsburgh made of his heroes" and written as activities. Skim through them to discuss who some of their own heroes are quickly to find activities that suit you. and why. Make the transition to the silk /Activities appropriate for various ages screen studio by explaining that Andy are marked: Warhol printed these pictures exactly how they will be printing in the next room. If you vio preschool (three-five-year-olds) have printed or stamped in class, make the connection that just as they printed shapes c'o early elementary (kdg.-second grade) again and again, artists use printmaking to make many copies of their pictures. The two elementary (third grade and older) galleries allow children hands-on manipula- do& tion of materials as they consider basic But don't let these age designations stop you themes in character values and education. from adapting any idea that suits your goals. Elementary The worksheets in this guide are not Elementary students can make connections available at the museum. If you use them, to heroes in literature, and between multi- make copies for each of your students and cultural myths that further explain what bring them along on your visit. And don't people think is important. Through activ- forget pencils! ities in this guide they use language arts, creative dramatics, and art skills to build Theme on character and value education themes in- Myths and heroes of today and the past, of troduced in the gallery. Students will also our families and otl,er cultures. use the art disciplines of printmaking, drawing, art history, and art criticism as they explore the methods, style, and message of Warhol's work.

2/Warhol's Myths Background information on Andy Warhol All around us are images designed to communicate, persuade, entertain, sell, or Andy Warhol xvas barn in1928in the Sol- decorate. Even the products these images section of Pittsburgh. He attended Schen ley advertise are designed with shapes and col- High School from1942to 1945, when he en- ors to make them appealing. These images tered Carnegie Tech (now Carnegie-Mellon are everywhere, jumping out at us from University). After graduating in1949,Warh- road signs, television, newspapers, and su- ol left Pittsburgh for New York where he permarket shelves. To carry on our lives we did extremely well in commercial art. become adjusted to all this "visual noise" Warhol started painting in 1958-60 in and learn to block most of it out. the prevailing art style of Abstract- Andy Warhol and other Pop Artists Expressionism, where artists painted huge used several methods to make us pay atten- canvases with color, shape, line, and texture tion to what our world has become: large for their own sake, not to create any rec- scale to grab our attention; repetition, a ognizable subject. Andy Warhol brought his method used by TV commercials to make us commercial art background to his paintings, remember things we are not even interested and vice versa, incorporated some of his ear- in; anonymity to hide the originality of the liest paintings into windows he was dec- artist behind the "everything-looks-the- orating for a big Manhattan store. same" look of popular culture. Critics asked Warhol's early "Pop Art" paintings in whether the Pop Artists were fascinated or 1960,like "Coke bottle" and"200Campbell disgusted with the kinds of images they pro- soup cans," were hand-painted with brush- duced, but they just answered that their es, just like other painers were doing. But work depicted the images of our time with- painting with a brush took a lot of time on a out judging. large canvas and didn't produce the flat ma- Many in the art world said that Andy chine-made commercial look Warhol want- Warhol's work wasn't original, so it wasn't ed. In early 1962, he looked into the possibil- art. He was always involved with some sort ities of using silk-screen printing. He found of controversy, often provoking controversy he could use photographs to make the sten- on purpose, just to get people to talk about cil, working very much like he had as a art. Andy Warhol died in 1987 in New York commercial artist. Other artists, gallery own- City. ers, and art critics were bothered by his work's "commercial" look and the fact that he used a screen over and over again to make multiples of his work. Warhol used silk screening to experiment freely without spending time simply applying paint on canvas. His subjects were people or objects that everyone had seen many times before. But by treating ordinary subjects in unexpected, intense colors and bold Shapes, he jolted viewers into seeing his subjects in new ways. His work looked flat without shading or perspective. Back- grounds were simple to isolate subjects like "Liz," "Marilyn," or the "Coke bottle" as modern myths or idols out of their everyday surroundings. The silk screen process allowed Warhol to repeat images just as they appeared on a supermarket shelf or in a showroom of televisions all tuned to the same show. Warhol and other artists N'ho took their images from popular culture were called "Pop Ar(k.k,"

Warhol's Myths/3 16 Background on myths I low do people get rich? I "ripping people off," hard work ("a rags-to-riches story"), a What is a myth? m...y_As are stories created to: good education, "the rich get richer and the -Explain unanswered questions:How poor get poorer"I was the world created? Why is there Think of as many answers as possible night and day? How do people get rich? for each. Compare the different ideas about these questions within our culture: How are -Teach moral lessons:Honor your family, Hwy the same? flow are they different? treat others kindly, be honest, money Ask students to list charactersreal or isn't everything. imaginarywho are important in our cul- -Describe real or imaginary people:He- ture: Think of who yon see on magazine covers roes personifying the best people can be or television. What characters are being made physically, morally, or intellectually; or into children's toys? List heroes, but also name characters personifying the worst in people we "love to hate." people, like greed or dishonesty. At the time of this writing, Teenage Mu- All cultures have mythsincludingour own. tant Ninja Turtles were a good example of Contrary to popular definitions, myths the kind of popular myth that changes rap- aren't "false"in fact, they are about ul- idly. A little longer lasting are movie myths timate truths. Myths and mythical char- like Rocky, Clint Eastwood, or Darth Vader. acters help describe and personify beliefs Still longer lasting are popular images like and values that are important to people. cowboys and gangsters, holiday myths like Santa Claus, or patriotic heroes like George How are myths communicated?_ome myths Washington and Abraham Lincoln. Myths are told as stories from one generation to an- about people are not complex. Political mo- other. Other myths are shown with pictures tivations of presidents are often ignored in and symbols painted on the walls of church- favor of myths that express higher ideals. es and tombs, illustrated in books, or sculpt- The John F. Kennedy myth survives re- ed as sacred objects. Modern myths can be peated revelations about his private life and found in magazines, movies, or television. politics. Myths are what we WO/It to believe. Many times myths are part of a culture's rit- Describe the personalities of each of the uals and ceremonies and are often ac- characters on your list. What ideas or human companied bY special clothes, masks, music, characteristicseither good or baddo these food, gift-giving, and dancing. characters symbolize for lion ? other people? Myths are repeated within familiesto pro- Why art'these qualities important? n-ote values to younger generations. These Compare myths across cultures personal stories, sayings, events, and tradi- Find myths from other cultures that explain tionscalled "family folklore"signal what the same questions asked above. CimIpare is important to the family. Family myths of- the ideas. How are they the same? I low are they ten begin, "MY mother would have said..." different? Now reverse the process: match a or "I'll never forget when...." myth from another culture to one in your The following activities will help your culture. For example, how do Greek and Ro- students identify the myths of their own cul- man gods c(mipare to today's super-Writes? ture and families, and compare them to myths from other families and cultures. Fabled family members. Then they will learn how artist Andy War- Families myths teach family beliefs to hol used the silk-screen process to point out younger generations. Ask students to recall some of the myths of American culture. xvhen they have heard grown-ups at home say, "Well, my mother would have said..." Before your yiE:i or "I'll never forget when...." What kinds of stories usually follow? These traditional sto- Discover the myths of your culture ries signal ideas that are important to the Explain myths, then ask students what sto- family and form our "family folklore." ries they know to answer questions like: Have students ask older family mem- ! low was the world (reined? IGod, Rig bers the Fabled family members questions (p. Rang I 5). Their goal is to discover hidden family WInit niakes it rain? IThen, why do peo- heroes. Ask them to write or tell and il- ple blame meteorologists for the weather?I lustrate a family hero's story.

4/Warhol's Myths 1? /

Fabled family members Look for myths and heroes on your family tree. Ask an older adult at home these questions to discover hidden family heroes and the beliefs your family treasures.

J How did members of your family make What members of the family served in a living? What training did they have the military? What were their duties? to have for their jobs? What were job Did any see active service? What war? conditions like? Where? What stories have been told about their experiences?

J What stories have you heard about how How did wars affect the lives of others hard their work was or of things that in the family? happened at work?

J What were the responsibilities of the J Who in your family has come through women of the house? What jobs, if ar1V, really tough times? What is their story? did women hold outside the home? l low did they manage to do both?

-1 What big events occurred in the life of J Who are the "pioneers" in your fami- vour family or your town? What stories lythe first people in the family to do are told of natural disasters like floods, or accomplish something? What is their tornados, bli//ards, etc.? story?

h a t. family stories have been told J Who do you admire most in the family? about good times or hard times?

J What storie," has your family told of J Who is your hero outside the family? great fortunes made or lost? Are they Why? funny or sad? During your visit Discuss how Warhol created Myths. Explain that to create each of the Myths, Discuss Andy Warhol's Myths. Andy Warhol used a special process called APreschool children love recognizing the photo silk screen. First he made a stencil characters in the Myths gallery. They are not from a well-known photograph of each of vet ready to consider Pop Art and the mean- the characters and attached it to a piece of ing of myths. I lowever, they are able to ap- silk tretched on a frame. Then he experi- preciate the prints as "pictures a famous mented by painting with different colors. To Pittsburgh artist made of his heroes." In the make us pay attention to his Myth, Andy gallery discuss who some of their own he- Warhol used some Pop Art tricks: he made roes are and why. Make the transition to the the myths large in size and go to the very silk screen studio Lw explaining that Andy edges of the square; he used repetition by re- Warhol printed these pictures exact! .y I:low peating lines in the prints and also by mak- they will be printing in the next room. Ask: ing myths a series of prints instead of just /bow many colorsCan Van Minn in Ont' print? one painting; he emphasizes parts of the Thatis also the number of screens Warhol used print by using the bright colors and smooth to make that print! textures of commercial artists and sign Andv Warhol created a seriez, of photo- painters. silkscreen prints that he called Myths. For Ask: How does the large size of Warhol's his subjects, he chose very recognizable Myths make you feel? How ihk':4 he use color in 4bcharacters, or "heroes" from American cul- Myths? flow is the color different from theoriS- ture. Then he used the techniques of Pop Art builphotograph? Where has he repeated part of to make us look at them in a new way. Seat the image? Why? lOne possibility: the repeti- students on the floor in the Myths gallery tion in Superman helps give the illusion of and ask them: motion.] Where is your eye drawn on each of the Which characters do you recoglrize? Who prints? How has Warhol emphasized this spot? are they? How woudd you descrilie each of these What precious material has he added to his characters "personalities'"? What is important prints? [Diamond dust.1 Why did he choose about each character? Why do people like or dis- this material? Is the silkscreen printing process like this character? and the Pop Art style the best choice Warhol Myths an' "'super-people." For example, Su- could Ilan' made to communicate his ideas about perman is super good and super strong. What Myths? Win, or why not? What art process and ovidd uon call the other Myths: ;1117er------? style would you Ihu'e used? Why? IVhy did IVarhol include himself in his Create your own silk screen print. Myths series? What it'as he tryinN to say about his own niyth about himself? Whit does his ,Inid- In the silk screen studio next to the Myths ow take up more :pace than his We itself ? I.gallery, students will work with a museum staff member to create their own silk screen What do the myths mean? (now or after visit) print. Two options are availablewe strong- I lave students complete the "What do the ly encourage you take the first: myths mean" worksheet (p. 7) now as a Make stencils in class ahead of time ac- Off° wrap-up of their discussion or back in class To cording to the directions for class silk- as a review. Evaluation is an important part screening on pages Y and 10. When you of this activityfor each character students make the reservation for your museum on)will theorize why Warhol chose it for the visit, tell the staff person you will be Alyths series and state what they believe bringing your own silk screen stencils about these ideas the characters represent. with you. Act out the myths. Ljse a stencil provided by the museum. The theme for the print is usually tied to Ask volunteers to role-play one of the myth the changing exhibit in the rotunda, but characters in the gallery to show its mythk there is always a chance for student traits. Then have them interact with each creativity. other in their roles. What might happen if Superman and I howdy Doody met? What Encourage children to continue working on would the conversation be like between the their print with the art materials available Wicked Witch and Mickey Mouse? on work tables in the silk screen studio.

6/Warhors Myths 10 WHAT MYTHS MEAN? eh,

AIL What is the myth behind each of these Name of character: popular characters? This character is a symbol of: Whatdoes each of these characters make you think of? Myth (ideas, beliefs) the character helps explain: Whydo you think Andy Warhol chose each as a myth? Howare the three myths the same? Howare they different?

P.10

Name of character. Name of character: This character is a symbol of: This character is a symbol of: Myth (ideas, beliefs) the character helps explain: Myth (ideas, beliefs) the character helps explain:

BEST COPYAVAILABLE Warhol's Myths/7 20 )0IIIWhoreallike to add or to imaginarywould the Myth gallery? you II t vork can hong ill the museum along RI\\ Think it h \H\ Write:Draw his. her, or it-, pik lure in Pop Art ,,tyle. or beliek that \ ou believeiIIi1 in. ',0111C011e WhO -,tarld for a -,et. 01 !lend \ oinI he \I\Pitt-Aiurgh Ilithe1 \\nomination namehe ot in\ your to: i hard( ter; he, -lie, or it -,houldIii hi ddiled to \lyth-,. he, -die, or it tor; TheMy name myth of stands my myth for thesecharacter: ideas and beliefs: 21. )lic I alhimark-, r,\ H212 Iiri My namemyth shouldand hometown: be added to the Myths gallery because 15-1 After your visit Cardboard print Cut and arrange shapes to create your char- Write about a myth. acter out of oak tag or light cardboard. Glue Andy Warhol told his Myths stories visual- the shapes onto an oak tag background lywith pictures. Ask students to choose "plate," overlapping if desired. Allow glue one of Warhol's Muths and tell its story with to dry before printing. To print, roll block words. They can write their stories, tell them printing ink over the plate's surface with a out loud to the class, or dramatize them. special roller called a "brayer." Lay lightly dampened paper on the inked plate, rub- A myth for me. bing its back to pick up ink. Ask children who else they think should be included in Andy Warhol's Muth series: If he Symbol stamp were doing the Myth series today, it,ho do eon Mold small pieces of clay into shapes that think he would haz'e chosen as myths or heroes symbolize your mythical creature's char- from this year? Have students use Warhol's acteristics. Flatten symbols on one side, dip style to create a picture of someone they into a shallow pool of paint, and stamp- sqki)would like to nominate for the Muth series. print the symbols around the border of your On the nomination form (page 8) explain mythical creature print. Vegetable and what ideas thi:i myth stands for and why it found object printing are particular favorites is important. The class can send finished among preschoolers. nomination forms to The Pittsburgh Chil- Continue your story... dren's Museum. Have students develop stories about the ad- Transformations: What do you dream of ventures of their mythical creatures: Who being? they encounter, what amazing feats they ac- 14 Ask students to imagine that they have the comphsh, what problems arise that they power to transform into a nwthical character must solve. Write and illustrate a comic- that is everything they dream of being. What book-style folding or scroll book. powers, abilities, or character trails would you liketohazT? I Fly through the universe, see things very far away, swim faster than any Pop Art: Take another look. fish, bravery, generosity, intelligence.] What Andy Warhol and the other Pop Artists features would yoll IleCd to help you with these tried to make people look at familiar objects powers? tWings, muscles, many eves or one in a whole new way. Why do you think Mull- big telescoping eye, fins and webbed feet.I 01 may hiliT wanted 17cople to Mitiff stqlp cans or What animals could lion bomm, (rim, who haz,e a C(ike bottle? flow did he make people notice some of these abilities or character traits? I Dogs, them? IBy choosing such everyday objects as myls, dolphins, haks.I subjects for paintings to he hung in a gal- "Mike Fink's Brag" in the Rii.erscape c\- lery, by repeating the soup cans, enlarging hibit guide is an example of one person's the Coke bottle.] myth about themselves. Create a self-portrait What familiar everyday images would yon of you transt)nned into acreature that repre- like to make people take a eltiser look at? Why? seats your mythabout eon. Use one ot the tOl- What is important about the object or the idea tOWilIN print-making methods to create your that it npresents? 1-h)ip ciodd you inake people myth: notice your object and understand your message? Use Warhol's o your own stele tornake Styrofoam print people lo(ik differently at yota: object. Cut the edges off a styrotoam tood tray, leaving a flat plate. Draw the mythical creature into the styrofoam with a blunt pencil, creating textures with different pencil marks. Roll block printing ink oyei the surface of the plate with a special roller called a "brayer." 1.ay lightly dampened paper (m top of the inked plate and rub the back care- lolly to pick up ink.

9 3 Warhol's Myths/9 Background on the silkscreen process from the inside, or separate paper shapes ar- Silkscreen printing is a stenciling prccess. ranged to create the design. Either way, ink Silk or another fine fabric is stretched tightly will pass through areas of the screen the over a frame making a screen. A stencil of stencil leaves open. paper, acetate, or other material is cut to Step 3. To print... make a design and adhered to the screen. ...mark with masking tape where the print- Printing paper is placed beneath the sten- ing paper and frame should be placed on ciled screen and ink is pushed through the the table. Lay the printing paper on the ta- the screen with smooth even pressure using ble, arrange the stencil on the paper, and a rubber squeegee. Ink passes through the place the screen silk side down on top of the screen in the open areas of the stencil to stencil. Clamp the screen to the table to keep print the paper underneath. it from moving. Apply water-based printing For a design of more than one color, dif- ink across one end of the screen and pull the ferent stencils are cut for each color and are ink across the screen with smooth even pres- printed in lavers that must be perfectly sure of the squeegee (ink and squeegees are aligned. available from art suppliers). Make a second Host a PCM Silkscreen Printing Workshop. pass with the squeegee to make sure ink has Invite a Pittsburgh Children's Museum staff penetrated. Lift the screen and remove the c'evemember to your school or community group printthe stencil should adhere to the for a Silk Screen Printing Workshop. We screen. To print the same design again, lay a (MDprovide all the equipment for students to new sheet of printing paper within the print their own stencils on our screens. If marks and repeat the process. you wish, students can create their mythical creature as a paper stencil (see above), then print their stencils during the workshop. We Ifcut orrefullv, can also tailor our workshop to meet any every stencil has other curricular theme you have in mind! twovariations a positive and a Call 322-5059 for details, cost, and booking negative persion! information. Stencil and silkscreen in the classroom AIf you have access to a silk screen or the abil- itv to construct one, try silk screening with an elementary class using paper stencils. If Gv6notit least use the following directions to cut oak tag stencils to bring to the museum to print, or to print them by dabbing with a sponge or spraying or spattering paint over the open stencil areas. The principle is the same as a silk screen, although printing does /W4\ not go as quickly or neatly. IN,RA Step 1. To build a frame...... for a class silk screen, nail four strips of wood together to form rectangular frame (art suppliers also sell kits to make screens). Stencil with holes prints a "positiz,e- image Stretch fine organdy fabric over the frame, wrap it over the edges, and fasten to the wood with a staple gun. Step 2. To make a stencil...... draw a design on paper (perhaps the face of a mythical character) and simplify the de- t sign into shapcs. Fill in the shapes to be cut out with a black marker then cut out the black areas with scissors. Ihe stencil can be either one sheet of 1.iper with shapes cut "Ihe cut-outsprint a "negative" image 10/Warhol's Myths 24 Puppets Teacher's Guide

Let the play begin! Experience the magic of hometown favorite Play is a child's work. The Pittsburgh Children's Mister Rogers, Jim Henson, and other puppet Museum is dedicated to providing children with masters who used television to create a com- exciting environments for active learning. This munity. Share with people all over the world series of guides will help teachers stimulate their through puppets that speak every language. students' natural impulse to learn through play. Pick and choose from our suggestions to find activities that suit your class goals before, during, and after your museum visit. I nside A word to teachers 2 Museum Offices The puppet collection Curriculum connections Background information 3 Jim Puppet history Henson's s Types of puppets Open space Activities to the first 4 The floor below; Before your visit Work Pop puppets activity sheet 5 to "Sky" Shop sculpture 6 American During your visit above Puppet Type-casting puppets scavenger hunt 7 Gallery What a character! scavenger hunt 8 Puppets from other places scavenger hunt 9 After your visit 1 0 Making puppets: Ideas 10 International Mister Making puppets: Methods 10 Puppet Rogers,/ Creating a puppet play 14 Gallery uppet Performing a puppet play 14 Stages and scenery 15 SECOND FLOOR Bakony

The Funded by the Vira I. Heinz Endowment. Pittsburgh Susan K. Donley, author, illustrator, designer; Lois Win- Children's slow, project director. ©1993, The Pittsburgh Children's Museum and Susan K. Oon- Museum ley. All Rights Reserved. 9 5 changing exhibit of American puppets from Theme the Lovelace collection and on loan from other sources. Here at various times you Bringing a puppet character alive to feel, might see famous media puppets like learn, celebrate, and much more. Howdy Doody, or masterworks by puppeteer Bil Baird, creator of The Sound of A word to teachers Music's "Lonely Goatherd" marionettes. In other parts of the gallery you can see pup- Think of this guide as a menu of ideas from pets the museum has added to the Lovelace which you can choose activities to meet your collection. In one corner are the puppets 0-d own instructional objectivesno one expects neighborhood of another famous Pittsburgh vou to have time to do everything! Learning puppeteer, Mister Rogers. In the other cor- activities are grouped for appropriateness ner are the fantastic puppets of the late Jim before, during, or after your museum visit. Henson, who brought high-tech.to TV We suggest that you consider at least one puppets. activity from each grouping so that your students are both prepared for their visit Classroom connections and able to make the connection between Puppets are a natural extension of children's their museum and classroom learning. Ac- innate urge to give voices and action to their tivities appropriate to various age levels are toys. Take advantage of students' natural marked: love of puppets by using them as a mo- tivator in almost any skill or subject area. preschool (threefive-year-olds) Try bringing puppets into any theme in- volving people or animals (or even plants!): early elementary (kdg.-second grade) community, family, celebrations, zoos, wildlife, Middle Ages, outer spacethe sky isn't elementary (third grade and older) even the limit! Use the international gallery to spark good discussion about living in a Don't let these age designations stop you multicultural world. from adapting any idea that suits your Preschool goals. The worksheets in this guide are not airMaking and using puppets develops visual available at the museum. If you choose to and language arts skills and inspires crea- use them, make copies for each of your stu- tive free play. dents from the duplication masters in this Elementary guide and bring them along on your visit. And don't forget pencils! Creating puppets and puppet shows develops visual arts, communication, and or- The puppet collection ganizational skills in cooperative learning The Pittsburgh Children's Museum is priv- situations and can reinforce learning in ge- ileged to be home to One of the best puppet ography, history, science, health, language collections in the nation! In 1984 Pittsburgh arts, creative dramatics, music, and art. puppeteer Margo Lovelace donated to the museum her extensive collection of puppets from all over the world. Half of the puppet gallery on the second floor is devoted to international puppets from her collection. These puppets show the diverse range of human creative expression while at the same time reminding us how much we share with people everywhere: the need to play, celebrate, and tell stories, the desire to communicate our heritage, and the convic- tion to pass on our values to our children. The other side of the puppet gallery is devoted to puppets from the United States. In the center of the American gallery is a

2/Puppets Background information Types of puppets (with exhibitexamples): Puppet history Hand puppets (King Friday XIII) A hand puppet suddenly comes to life Puppetry is a marriage of visual art and when its head, clothes and arms are slipped drama. The puppet maker teams with the over the puppeteer's hand. Usuallythe puppeteer to create characters that assume head is moved by the index or middle fin- lives of their own to dramatize a story. ger and the arms by the thumband little Because of their relationship to the pup- finger. peteer, puppets differ from dolls, sculp- If the head is hard and hollow the pup- tures, and other figures. Without the puppeteer gives the puppet its expression by peteer, the puppet is lifeless. Through the manipulating the body and tilting the head. talent of the puppeteer, puppets become in- If the mouth is hinged or flexible, the face dependent beings. Ideally, we ignore the can be manipulated to match thecharacter's puppeteer and concentrate on the story. speech. Soft-headed puppets can even be No one knows the exact origin of pup- given facial expressions by the puppeteer's pets, but one theory suggests that adults hand operations underneath. took the idea of childhood play with dolls Hand puppets are usually composed of one step further. Others believe puppets head, hands, and a shirt-like costume. If arose out of religious observancesrather legs and feet are included they usually are than recreation. Priests would manipulate not manipulated, but simply hang out from idols or fetishes to move their followers. the stage. The first puppet figures were moved by hand, but later they were moved mechan- Marionettes (Bil Baird's dancers) ically by strings or weights. Other figurines, Marionettes are flexible puppets moved by sometimes with entire scenes, were set to one rod or string from the head. Armsand moving by water, warm air, wind, or steam. legs are moved by gravity or strings. Not all mechanized scenes are puppet Although marionettes are shown in the shows. A puppet show is a dramatic form in museum's puppet gallery, this exhibit which the characters are moved by ma- guide will not include directions for mak- nipulation. The puppet show tradition ing or using them. Because marionettes are evolved independently in several parts of difficult to build and manipulate, they are the world thousands of years ago. Shadow frustrating and not developmentally ap- puppet shows originated in China and In- propriate for preschool and elementary dia. Puppet and marionette shows were children. If you are working with older stu- popular in ancient Greek theaters, markets, dents and wish to make marionettes, check and streets. The Ro.nans preserved the the books on the reading list for directions. Greek puppet show and passed it along to Rod puppets (Sicilian knights) the European civilizations that followed. The Church in the Middle Ages used Rod puppets are flexible like marionettes, mechanized figures of Christ, the Virgin but their movements are guided from Mary, and other biblical figures to teach re- above or beneath by rods. ligious lessons to their parishioners (in fact, Shadow puppets (Javanese) the word "marionette" means "little Marv"). Shadow puppets are flat, opaque or trans- Puppet shows dramatized history, legends, lucent figures moved from beneath by small and religion, as well as comedies for sheer rods behind a backlit screen. entertainment. In colonial America itinerant puppet- Robotic puppets (Jim Henson's eers would travel from town to town,set- puppets) ting up shop for a week or two to perform Robotic puppets are moved mechanically, their repertoire for the entire community. sometimes by remote control. This brand Some puppeteers have expressed con- new form of puppetry has mademovies troversial political ideds. Chinese Com- with many strange, wonderful, but realistic munist revolutionaries and Czech na- creatures possible. tionalists spread their ideas through puppet performances. Today the Indian government uses puppets to convince citizens of the wisdom of family planning and other policies.

Puppets/3 Before your visit Create instant sock or hand puppets. Pop Puppets Bring several socks into the classroom. Ex- iiplain that part of the puppets expression Puppets have been popular for generations. comes from its design, but part of it comes Many of the most popular children's char- from the the puppeteer's movements. Ask acters have been puppets. After students several volunteers to put the socks over c'oguess as many of the famous "Pop Puppets" their hands and create a mouth by tucking (worksheet, p. 5) as they can using the pic- the toe of the sock between their thumb and GJItture and riddle clues, have them finish the fingers. Then ask them to make the sock game with older adults at home. Encourage look happy, sad, or show other emotions, students to ask their adult friends to tell just with their hand movements. How dif- them memories they have of the puppet ferent were each of the sad expressions? character. The puppets identities from left to How many ways can we create to make the right starting from the top are: puppets look sad? Give others a turn with the socks and ask class members to give the King Friday XIII puppeteers other expressions to act out. Punch and Judy This exercise also works well with the plain Charlie McCarthy "hand" hand puppet (see page 11). Howdy Doody Challenge them to imagine how to Kermit the Frog make the puppets they will see at the mu- Lamb Chop and Hush Puppy seum show some of these expressions. Pinocchio Kukla and 011ie Topo Gigio (with Ed Sullivan)

After the students return the worksheet, ask them to tell what they found out about some of the famous puppets from the past. Then ask them to name some of their favorite famous puppets and tell what they like about them.

4/Puppets Pop puppets Can you name these famous puppets? Write your guess in the space under each picture. Some of the puppets were popular when your parentsand grandparents were kidsask them to help!

He was a radio star. He has an unlucky name.

They were Shari's Saturday morning stars.

He made a stony face smile. His nose grows. They had a human friend name Fran.

2 Puppets/5 'APnr pug tiound IIIX Appg 6tof .019 odol. '61110epfny 'onpoouid 'Addnd tisnHdotO qwel toj eqj puney .4p000 Aphiopi 'Apepak11 allietiO During your visit What a character! (p. 8) Scavenger hunts Students will find puppets that look like they are funny, scary, regal, cuddly, goofy, Scavenger hunts can be a great way to focus angry, or shy characters. Later when they student attention when viewing a museum make their own puppets they will use ex- exhibit. Having a goal for their browsing aggeration and contrast to create characters makes them look more critically and spend that will "read" from the audience. Explain more time than they would in a casual, un- these two concepts and ask them to go back directed visit. On the following pages are on their scavnger hunt sheet and mark with three scavenger huntschoose the one that a V puppets that use exaggeration and with best fits your goals. Don't forget to bring a X puppets that use contrast to create em- pencils! phasis (see below under "Making Puppets" for more information). Type-casting puppets (p. 7). This exercise can also be done back at Students will find and draw an example of the classroom as a memory-jogger. each of the five main puppet types: hand, rod, shadow, marionette, and robotic. Pic- Operate the puppet pull-outs. GR6tures of puppets from the collection are giv- Ask a museum staff member for help with: en to help students tell the difference be- African toe puppet tween the types of puppetshowever, their examples should be different than the ex- Japanese Bunraku puppets amples in the pictures! Begin by reviewing Javenese shadow puppets the characteristics of each puppet type (see Improvise a shadow puppet story. descriptions on page 3), then asking them to search first for the examples pictured on the The puppet exhibit includes a walk-in shad- worksheet. I.ow puppet stage where students can improvise their own shadow play. The pup- Puppets from other places (p. 9). pets and scenery at the shadow theater The puppets in this exhibit represent the change often with the seasons or special GM)heritage of many cultures around the world. events at The Children's Museum. Some of these puppets came from the same Divide into groups of two to four stu- places that the students' ancestors migrated dents. Show everyone the puppets available from before becoming part of Pittsburgh's and allow about two minutes for them to cultural mosiac. talk in their small groups to make up a brief In this scavenger hunt, students will story using those puppet characters. Then look for puppets from each of the continents let each group take a turn performing their (if possible), draw pictures of the puppets story on stage while the other students and write the names of the countries in the watch. appropriate box. Then, they will find and write the country's name on the outline map. Have a world map or globe available for students to refer to or finish this step later in class. Then, discuss: Flow are these puppets the same? How are they different? Which continent(s) were you unable to find a puppet for? What are some reasons for a lack of puppets from this area of the world? [Few people live in Antarctica, an exhibit this size can't possibly contain all the types of puppets fromeverywhere,etc.] Back in the classroom, they can use the library to find out more about the countries.

3 0 6/Puppets Type-casting puppets Scavenger hunt Explore the puppet galleriesand find an example of each of the five main types of puppets (differentfrom our examples!).

M Draw a small sketch of the puppet. aWrite its name, if given. 11 Write the name of the puppet's maker(or the country where it was made if the maker's name is not given).

Name of puppet: Maker or country:

Name of puppet: Hand puppet Name of puppet: Shadow puppet Maker or country: Maker or country:

Name of puppet: Name of puppet: Puppets/7 Maker or country: Maker or country: Whatacharacter! Scavenger hunt Explore the puppet galleriesand find a puppet whose character matches each of the words below.

Draw a small sketch of the puppet. Write its name, if given. Write the puppet's maker or country.

3 2 ofExplore thePuppets continents the puppet(if possible). from galleries other places and find puppets from each Scavenger hunt 111 Draw a picture of theFind puppetCompare andancestorsglobe and write theif write vou thepuppets:lived needdown country's before to). theHow Didcomingname name are any theyof on toofits thePittsburgh?thesethe country. mapsame? puppets (look How comeat area world theyfrom different? mapplaces or your North America 3 -:A6stralia scare them, to do the job you most After your visit hate to do. Provide "high-tech' ma- Making Puppets: Ideas terials like foil papers and cellophane. *Think about scary shadows on Several approaches can be used in school room walls, then make the scariest puppeteering. For preschool children mak- shadow puppet of all. ing puppets and simply playing freely *Create puppets of favorite story char- with them without a planned production is acters. Act out a sequel to the story or quite appropriate. show what happens when characters Older children need more structure to from different stories interact. maintain their interest and to attain the (gitlanguage development goals they are Making Puppets: Methods ready to achieve. Two approaches can be Below are some simple puppet forms to followed to create a structure for creative help your students bring their characters to play with puppets. One is to make the pup- life. These methods were chosen for ease of pets first, then write a play suggested by classroom adaptation. Puppets that involve the puppets. The other is to write a puppet sewing or modeling are not included be- play, then create the puppets to go with cause they tend to be difficult for young the play. The latter method is closer to the children. These puppet-making methods are way professional puppeteers work and no substitute, however, for an inspiring mo- yields a well-planned production. The first tivation. Begin your planning by deciding method, more suited to prevent frustration on a theme or idea starter (see previous sec- in younger children, allows more in-. tion), then choose a puppetmaking method dividual freedom, but sometimes results in that suits the theme. a highly improvisational and unlikely dra- The following methods are shown in ma! Depending on your own teaching style their most basic formthe underlying and your students' learning style, you may "skeleton" of the puppets. The fun and crea- prefer one over the other. tive thinking begins when students build A compromise between the two pro- three dimensional characters on their skele- cesses would be to choose a theme for the tons with line, shape, color, and texture. puppetswildlife, space, dance, etc.and No matter what the character is or what allow children freedom to create their own method is being used to create it, re- individual character within that theme. member: A puppet is an actor, not a doll. A Then create the puppet show, whose plot puppet is more like a cartoon than a por- will at least have a clear plot suggested by trait! Exaggerate. Concentrate on the big fea- the theme. Choose themes related to the tures like eyes, nose, and mouth, rather than curriculum or use some of the idea starters on details. If a puppet must be happy and below: sad in the same play, give it a neutral ex- I dream of being... pression. Most fixed-mouth puppets are pic- Time machine puppets (character tured with their mouths open to give the ap- from another time) pearance of speaking. Wildlife puppets (after museum, zoo Think about how the puppet will look or aviary trip) including plants, in- on stage. Use the textures of paper and sects, etc. Suggest ecology plot. found materials to create a character's cos- Monster puppets ( Where the Wild tume. Contrasting bright colors or textured Things Arc) materials draws attention to a puppet on Portrait puppets (self, family, etc.) stage. Real hair looks lifeless on stage, but *Occupation puppets ("What I'd like thread, cord, fur, and other found materials to be," community helpers). catch light. Puppet dancers. Emphasize current A week or two before beginning the music, fashions or study different his- puppets start a scrap box of "junk" that stu- torical periods. (Flappers from the dents bring in to help create the characters: 1920s or disco puppets from 1970s fabric and wood scraps, foils, buttons, rib- provide fringe, fluorescent papers, bons, feathers, rick-rack, pipe cleaners, glitter, etc.) paper doilies, silk and pl stic flowers, sty- *Create a robotic puppet to do your rofoam shapes and pack.ng material, plastic chores around the house, to send into silverware, cardboard tubes, etc. Encourage a brother or sister's room at night to

1 0/Puppets students to use the class paper scrap box by heads. You might even make it a homework challenging them to see how many ways assignment to find crazy things to turn into they can find to make paper "un-flat" puppet headsno rule demands that the folding, crinkling, pleating, curling, etc. entire class must use the same materials for their puppets! Add features to the puppet Hand puppets with paint, glued-on textures or three- Fixed mouth hand puppets: dimensional construction paper features. Hand puppets with non-movable mouths Movable mouth hand puppets: usually have bodies that a puppeteer can "Hand" hand puppets move to show expression. The bodies of hand puppets are usually soft and pliable The simplest movable mouth hand puppet fabric so that the puppeteer can manipulate 14is the hand itself! Even if your ultimate goal the head and arms. Several ways to make a is to make one of the other movable mouth fabric body are pictured below. The sim- puppets in this section, spend some time en- plest way is to drape a cloth over the pup- couraging students to use their hands as a peteer's hand and place the head on the in- "talking head" and to act out a full range of dex finger to hold the fabric on. To better emotions by changing the "expres- define the arms of the puppet simply wrap sion" of their hands. This ex- rubber bands around the fingers to hold ercise gives them good puppet- the fabric tightly. The advantage of these eer practice for later. Adding methods is that they don't require sewing. features to their hand-faces The disadvantage is that costumes can't be with face paint or other non- decorated very easily. The third method toxic paints or markers adds to the shown requires sewing the traditional T- fun and gives them practice de- shaped puppet body. By not sewing the veloping a character that puppet's arms shut, the tips of the puppet- "reads" on stage. Hair, eer's fingers show like hands. This type of beards, hats, and other body is easier to costume because its shape three-dimensional addi- stays the same on and off the hand. tions can be attached with white glue or rubber ce- ment. A piece of fabric rubber-banded around the wrist makes a simple costume. Since these puppets must be created and used at the same work session, simplicity is the best approachreally ambitious ideas can wait for a more permanent project. Folded paper puppet A sheet of construction paper can be folded into a movable mouth for a simple, but more permanent puppet. Fold a sheet of 9 X The head of a fixed-mouth hand puppet 12-inch construction paper in thirds as if can be made of most anything. Tradi- folding a letter. Then fold in half as pictured tionally, hand puppets like King Friday XIII in the diagram and fold the edges back on and Punch and Judy were made of papier each side, to make an "M" or "W." Put fin- mache. This method is not recommended gers andthumb in the for preschool and elementary students. Pa------, holes created to make a pier mache is difficult to control and time- \ mouth foundation for consuming, so students often lose interest \a head of any shape. before the end of the project. There is also And don't stop with some question about the safety of wheat the head: you can add paste dust in the classroom. a body to any puppet in However, many other materials make this section. terrific puppet heads. Styrofoam balls, paper cups, small boxes, stuffed nylon stockings (gathered with pulled thread to make features) can all be used for puppet

Puppets/11 36 Paper bag puppets Sock puppets The venerable paper Sock puppets are among the few puppets bag puppet takes on flexible enough to allow facial expression, new life if you so they are well worth trying in the mid- think of the bag elementary classroom. Sewing is not always as a mouth in- necessary, since white glue works well on stead of a fabric if used generously and given enough whole puppet. drying time. To help solve the problem of Students can trying to cut fabric with dull school scissors, build elab- use plenty of felt, which is more easily cut orate heads and/or arrange students in tables to share a and bodies pair of "teacher" scissors. onto this Add fabrics, yarn, and materials like mouth using lace, rick-rack, nettings, vinyl, sequins, and

paper and the . buttons to your "junk" collection. Supple- "junk" collec- ment the collection with a few skeins of tion. The di- yarn and several yards of felt in various col- agram shows ors. Cut large pieces of fabric into smaller how to hinge to- squares to reduce waste. Of course, have a gether an almost scrap box and limit throw-aways. child-size puppet Begin with an adult-sized sock in a col- with parts cut or that suits the character being created. Stu- from 12 X 18- dents can bring in clean used socks or you inch paper. can buy cotton tube socks, which are available in economy packs. Tube socks can even be batch-dyed with standard fabric dyes. Milk carton puppets This is especially helpful when making animals or culturally diverse characters. Before beginning encourage stu- A sturdier movable mouth puppet can be dents to experiment with the sock as de- made with a pair of half-pint milk cartons or scribed in "Create an Instant Sock Pup- small boxes (like variety pack cereal boxes). pet" on page 4. Give each student a Each student-will need two cartons. Hinge piece of red felt to glue inside the the cartons together with an "H"-shaped ar- mouth. Once the puppet has this rangement of one-inch masking tape. Cut beginning of a shape, eves, hair, one-inch holes in the back of each of the ears, and noses made of fabric boxes as shown in the diagram. Glue a fold- or found materials become ed piece of red construction paper (cut to easy to place. Patience while the correct size for your cartons) into the open "mouth." Glue the basic face cut at the glue dries ithe biggest challenge for most students. the mouth line to make a chinto the front Tube socks are long enough of the boxes and add three-dimensi(mal fea- to go almost to the elbow, tures and textures. Attach the bodies to the giving plenty of back of the "chin" box using glue and brass room for a body. fasteners for security. Although the diagram For human char- shows paper attached for a human face, you acters, costumes can can make an animal's rnuzzle by attaching be glued on at the neck. the upper face to the back of the top box. Legs and other animal parts can be folded or given a pipe cleaner "skeleton" to make Glue folded red them three-dimensional. Re- paper into mouth mind students that exagger- ating textures and shapes gives lite to their characters on stage.

1 2/Puppets Rod puppets: Spoon puppet Rod puppetseasy to make Plastic spoons make excellent little stick and useare ideal for pre- puppets. The back of the spoon is the front school children. of the puppet's face. For best results, draw features with permanent markers and finish Stick puppets with plinty of textured paper or materials. Stick puppets can range Shadow puppets akifrom finger-sized to almost life-sized depending on Draw the character's head, trunk, arms, and the stick. Anything from pop- legs on oaktag. In traditional shadow pup- sidle sticks to broomsticks pets the head was shown from the side and can be used as the "spine" the rest of the body from the front. G)of a stick puppet. Attach a Cut out each part with scissors and head on top and a body underneath to create pierced decoration with scis- cover the puppeteer's hand. sors or paper punches. Color both Use crayons or markers to draw fea- sides of the puppet's parts with tures right on the stick for smaller sized markers Wipe the puppet parts puppets. With older children, hinge the with salad oil to make them arms of larger puppets and attach sticks to translucent (colors the wrists to control arm movements. En- will bleed slightly courage students to work in three- and small drawn dimensions and shop through the "junk" details may be lost, so collection for inspiration. for best results, concentrate on showing detail Paper bag rod puppet through cutting and pierc- Students can stuff paper bag and attach ing the paper). Join the parts them to a stick with a rubber band to create with brass paper fasteners. At- a three-dimensional head. Drape a costume /tach wooden sticks or corrugat- over the hand as in the diagram or attach a ed cardboard strips to the body more two-dimensional body from thefront and arms to control puppet of the puppet's neck. movements.

white areas pierced or cut away 12 x 18 In. oaktag I-.

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Puppet0 3 Creating a puppet play Performing a puppet play Frustration and Lonfusion can be avoided Puppeteering by teaching students a simple "all- To bring life to their motionlesE figures, purpose" plot scheme revolving around a puppeteerslike actorsmust identify problem and its solution. A simple plot can with their characters. To concentrate on be summarized in one sentence (like a TV creating the character with voice and mo- Guide program description!): The main tion, the puppeteer should be completely fa-

character is trying to _ but miliar with the workings of the puppet, the happens or someone scenery, and the stage. Rehearsal is as im- appears to frustrate the plan. To solve the portant to a puppet show as it is to any per- problem the main character formancethe production must become as second-nature as possible. Students should The problem is presented through dra- practice using the stage, scenery, and the matic action in the introduction of the play, puppet's different expressions. Even in the the main part of the play develops a solu- improvisational plays suggested above, tion to the problem, and the problem is practice allows students to concentrate on solved in the conclusion of the play. the improvisation. They will be better able Then, plan the rest of your production to "think on their feet" (as opposed to re- around your plot scheme by following peating memorized lines) if they have prac- these steps: ticed the mechanics of puppeteering. 1. Name characters and make puppets (if not yet made) Sound effects 2. Outline plot Sound effects can really liven up a play. Ex- 3. Write or improvise script periment with rhythm instruments, a spoon 4. Find or make props beating on a metal pan, a kazoo or comb 5. Design scenery wrapped in tissue, wooden blocks clapped Even if you plan to improvise the di- together or wrapped in sand paper and alog and action, planning the plot ahead of rubbed together, a cap gun, blow bubbles time gives performers direction and helps through a straw into a glass of water, slam the audience to follow the story. You can two books together. Ask: What do each of even use storyboards to plan the plot, just these sound effects remind you of? as real puppeteers do. Storyboards look *Crumble cellophane (fire). like blank comic strips. The puppeteer *Shake a large sheet of cardboard (thun- draws what the action will look like in the der). frame and writes the dialogue underneath. Sprinkle uncooked rice on a cookie This method helps the puppeteer visualize sheet (rain). the action better than a script alone. Shake a steel can filled with pebbles Both action and dialogue are impoitint (marching). to bring the story and the characters to life. Knock empty plastic containers on a As you work on your play, think of how table open end down (horse hooves). dialogue can provoke action and action can suggest what the characters will talk about Other special effects: next. l'lan the action each character will Place colored cellophane over stage take along with its dialogue. lights. There are practical limits to the num- Blow soap bubbles for an underwater ber of puppets that can appear on the stage scene. at one time. Plan for reasons and ways Sprinkle confetti from above for snow. characters can exit and enter so that no Squeeze a baby powder bottle to make more than three or four characters are on a smoke puff. stage at once. These entrances and exits Use a flashlight as a spotlight on a will add to the action, too. darkened ;-,tage.

14/Puppets Stages and scenery Below are directions for making simple puppet stages and backdrops:

Hang butcher paper on the front of a table. Cut holes in the paper for the stage.

Hang old sheets or mural paper from two parallel lines. Cut a hole in the front sheet for the stage and paint scenery on the back sheet.

Slit a large box to create a cardboard screen with four panels. Cut the cardboard into the shape of a building with holes as windows for the puppets' to perform. Other variations: Cut cardboard into a hill shape and set the action both on the hill and under it (especially good for wildlife puppets). Or cut it into a tree shape and set the action on the limbs and in the trunk.

0 Puppets/15 Cut a hole in a large cardboard box. Paint Wrap ends of a sheet around boards and scenery on the inside and decorate the out- hang to ,:reate a taut shadow puppet screen. side. Place light behind the puppeteers standing behinU the screen. Darke,i uhe room. For scenery backdrops try painting scenes on butcher paper, window shades, old tablecloths, curtains, or sheets non't ; limit yourself to two dimensionsbuild scenery out of cut construction paper fold-

tV. ed, rolled, torn, crinkled, or curled to re-

A semble the textures of the scene.

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Lay a table on its side to hide the puppeteers. Hang butcher paper with scenery from poles tied to chairs. Related reading Baird, Bil. The Art of the Puppet. New York: Bonanza Books, 1971 Philpott, Violet and McNeil, Mary Jean. The Funcraft Book of Puppets. New York: Scho- lastic Book Services, 1976. Puppets: Art and Entertainment. Washington, DC: Puppeteers of America, 1980. Ross, Laura. Hand Puppets: How to Make and Use Them. New York: Dover Publications, 1969.

16/Puppets Iverscape Teacher's Guide

Let the play begin! Play is a child's work. The Pittsburgh Children's Capture the hustle and hustle of a Pittsburgh Museum is dedicated to providing children with workday of years ago: steer a packet boat exciting environments for active learning. This down the Ohio River, load vegetables and pro- series of guides will help teachers stimulate their students' natural impulse to learn through play. duce, and sell them in our storefront. Pick and choose from our suggestions to find activities that suit your class goals before, during, and after your museum visit. Inside... A word to teachers 2 Riverscape theme HeartWorks Stuffee Curriculum connections Background information on Pittsburgh's rivers 3 Forks of the Ohio 3 Fort Pitt 4 Shape Shop Gateway to the West 4 I crSteamat Iron City 5 Steel City 6 -2 Renaissance City 1(iverscape Activities Limbender Before your visit 8 During your visit 1 0 Al Pete's Meats Riperscape rolesactivity sheet 13 After your visit 1 4 Rest Steps & Elvator The Glendv Burke 15 rooms hv Stephen Foster Slides

Playpath for Toddlers

BASEMENT ic) The Funded by the Vira I. Heinz Foundation. Pittsburgh Susan K. Donley, author, illustrator, designer. Children's I .ois Winslow, project director. 't )199.3,The Pit l,burgh Children's Museum and Museum Susan K. Donley. A word to teachers Preschool Think of this guide as a menu from which Preschool children immediately begin to you can choose activities to meet your own .4sort the groceries into categories and begin instructional objectivesno one expects you to play store. On the boat they quickly dis- to have time to do everything! Learning cover the steering wheel and, with help in activities are grouped for appropriateness learning to use the dollies, begin to load and before, during, or after your museum visit. unload the boat. Preschoolers usually need We suggest that you consider at least one little motivation to become involved, but activity from ea( 'grouping so your stu- might need encouragement to try something dents are both prepared for their visit and new. They are ready to make the connection able to connect their museum and classroom to class discussion of transportation sys- learning. Activities appropriate to various tems and stores. Links to math and science age levels are marked: can be made with sorting, counting (groceries in the bins or money in the cash register), weighing (heavy vs. light). They also may be preschool (three-five-year-olds) ready to talk about how goods were delivered and what stores were like in Pittsburgh early elementary (kindergarten-second a long time ago (basic history). The sug- grade) gested activities below provide ways to structure the children's play to involve them elementary (third grade and older) in cooperative problem-solving using language and hands-on manipulation of mate- Don't let these age designations stop you rials as they learn basic knowledge of from adapting anv idea that suits your goals. Pittsburgh's river past. The worksheets in this guide are not available at the museum. If you choose to Elementary use them, make copies for each of your stu- When left alone elementary students also dents from the duplication masters in this euintuitively load and unload the boat, sort guide and bring them along on your visit. groceries, and play store, hut soon these And don't forget pencils! activities lose their challenge. For third and fourth grade students, Riverscape is the ideal way to introduce or review the required Riverscape theme Pittsburgh history unit through challenging, Pittsburgh's past as a trading place; the cooperative play. For all elementary stu- rivers as transportation; the economics of dents, Riverscape can reinforce social studies buying and selling goods. themes about history (how stores, transportation, jobs, etc. have changed; how Pitts- Classroom connections burgh has made its living over the years), Riverscape is theater-like set that can serve as economics (trade; where food conies from; a stage for active learning on several themes how a storekeeper buys goods and sells at various age levels. The scene is an "abbre- them again), and geography (how trans- viation" of 1880-1920 Pittsburgh called to portation systems meet our needs). Math life through murals of actual photographs of and science concepts are also used: count- the era and scale reproductions of a steam- ing, sorting, weighing, making change, boat, gangplank, bridge, and retail store. A using simple machines (wheel, balance, steamboat docked on the Monongahela ramp, etc.). The background information Wharf waits to be loaded or unloaded. and activities for before, during, and after Crates of chickens, baskets, and fruits and Your museum visit will help you direct your vegetables can be delivered on dollies to the students' play to make these classroom con- boat or store. The store has bins and a cooler nections through language arts, creative for grocei les .ind a scale and cash register on dramatics, music, and ari. the counter.

2/R iverscape nomads, hunting big game with a stabbing Background information spear, roasting meat, and wearing clothes Riverscape is a natural extension of an ele- made of animal skins. Gradually they began mentary school unit on Pittsburgh history, to live in family territories and their diet or a brief introduction to Pittsburgh's river became more varied through fishing and (44)history to younger elementary students. Use gathering roots, nuts, and berries. the brief summaries below to introduce or Six thousand years ago they had review Pittsburgh's riverboat days with stu- developed canoes to travel the rivers and a dents before your museum trip or simply as spearthrower to allow them to hunt more background material to refer to as you dis- accurately. cuss your Riuerscape experience before, By three thousand years ago, Indian during, and after your museum visit. livelihood had evolved from dependence on The following is based upon Pittsburgh hunting, fishing, and gathering wild plants, I listory & Landmarks Foundation's popular which required them to wander, to a more school outreach program Portable Pittsburgh. stable economy based on agriculture, which Many children are already familiar with this encouraged village life. They cultivated approach from having a docent visit their corn (maize), squash, and beansgreat classroom (call PHLF at 47:-5808 if you are agricultural discoveries, which became the interested). Portable Pitt.thurgh breaks Pitts- Indian's chief gift to the rest of the world. burgh history into six eras, each named after Since Pennsylvania's uncleared forests an easy to remember Pittsburgh nickname provided little grassy grazing land for from the era: livestock, hunting wild animals for meat Forks of the Ohio: Native American was easier than caring for them in captivity. Crossroads (before 1755) Hunting parties provided meat for the Fort Pitt: Military/Frontier Outpost whole village. (1755-1795) Trade between Indian towns was brisk. Gateway to the West: The Commercial All of Pennsylvania was covered with a Town (1796-1851) network of I8-inch-wide footpaths, at least Iron City: Early Industrial Citv (1852- as nunwrous as todav's roads. Without 1876) beasts-or .burden or knowledge of the wheel, Steel City: Manufacturing Metropolis they carried everything in back-packs or (1877-1945) other specialized packs. Renaissance City: Corporate Center Western Pennsylvania Indians also put (1945-present) the rivers to good use as "roads." They Riuerscape depicts Pittsburgh's riverfront travelled the yaters with canoes hollowed as it was during the Gateway to the West, out of lygs ("dug-outs") or boats made of Iron City, and Steel City eras. animal skins stretched over a frame of tree Forks of the Ohio: Native American saplings lashed together in a bowl shape. Messages were painted on trees along Crossroads (before 1755) the way in a picture language that any kople have lived in Indian could read regardless of tribe )ennsylvania between twelve language. The forest was full of "gossip" and eighteen thousand years. about battles and hunting e\cursions for The original Americans alert eVes to read. descended from the Asian migrants who I ndian population was increasitv town crossed over the Bering Strait tventy life had developed, hunting had declined, thousand years ago and slowly inhabited and farming had become intensive. Then North and South America. the white Europeans came to America. In a The first Americans brought little from very short time the Indian population was Asia e\eept language, the mastery of fires1 decimated by gunpovder and European lew tools, and simple forms of social diseases. In trade for guns and metal tools, organi/ation based on kinship. They knew white traders required the Indians to supply nothing about pottery or farming. They urs. The tor trade disastrously depleted the were no more and no less advanced than supply of game and radically changed the huinans in F u ropi', ,'\sia, and Atrii a were at Indian economic and social structuretor the time. the worse. Eleven thousand years ago Indians MT('

Riverscape/3

4 4t as possible for itself to avoid the high cost of Fort Pitt: Military/Frontier Outpost goods from the east and to sell what it made (1755-1795) downriver more cheaply than eastern cities Without the rivers there would could. So Pittsburgh started manufacturing. not have been a city of Pitts- Boatmaking was Pittsburgh's first burgh. On an exploration visit important industry. Boatyards made flat- just before the French and boats shaped like rafts to sell to settlers who Indian War, George Washing- came over the mountains and stopped in ton chose a site for Fort Prince George in the Pittsburgh on their way further west down wilderness at the Point because "it has com- the river. For their trip they would buy mand of all the rivers." During those early flour, corn, chickens and other food supplies Years canoes supplied transportation for the brought to Pittsburgh by nearby farmers. French and British soldiers who fought over After reaching their destination, settlers this little piece of land. (Whoever controlled broke their flatboats apart and used the the "Forks of the Ohio" would command lumber to build new houses or barns. the Ohio and Mississippi Rivers, which Pittsburgh boatyards also made keel- became water highways through the middle boats with pointed fronts that could float of the future United States.) The French had down the river and be poled back up. River captured the brand-new Fort Prince George tradesmen bought supplies from farmers and built their own Fort Duquesne, which and manufacturers in Pittsburgh and took they defended for three years. After the them by keelboat downriyer to sell. Keel- fighting was over in 1758, the British had boatmen took four to six weeks to make the won back the Point, built Fort Pitt to defend trip downriver from Pittsburgh to New it, and started the little village of Pittsburgh. Orleans, but four to six months to pole their boats back upriver. After 1811 Pittsburgh Gateway to the West: The Commercial began to make steamboats that used coal Town (1796-1851) and steam instead of muscle power to push As the frontier moved west- the boats upriver. Everyone except keelboat- ward over the Allegheny Moun- men liked the steamboats' speed and their tains and beyond, Pittsburgh lower shipping costs. with its rivers became a vital In addition to downstream traffic on the link in trade and communication between Ohio River, steam towboats pushed barges the eastern cities and the Ohio and Mis- full of coal along the Monongahela as early sissippi Valley. Manufactured goods from Pittsburgh as the 1830s. Steamboats were not used the east were difficult and expensive to ship IS17. much on the Allegheny, but by the end of over the mountains by Conestoga wagon. 1)111,1,ttrNIt the 1820s great lumber rafts drifted into On the other hand, the rivers made shipping I fisforir Pittsburgh from forests in the north. goods to the west easy and inexpensive. 1.11,h1nhirh, Pittsburgh also began to make glass Pittsburgh's goal became to make as much lolohlatiott. during this period. Glass was one of the hardest things to ship over the mountains, so people in Pittsburgh started their own glass factories. And the rivers were smooth highways to ship the glass downriver without breaking. Most people around Pittsburgh, however, still farmed for a living. Once farmers started growing more than their own families needed, they sold the extra to river traders to take downriver to sell. Some of Pittsburgh's other early industries depended on farm goods for raw materials: wool and flax became cloth; grain became liquor; livestock became meat, lard, and tallow for lamps and Ca odle,,, and leather tor saddit.`,, 00~-, ":"^ 4 =.01 shoes.] hese gtiods were alm) ,,hipped downriver to sell. D.r.f}Ji.' P.1111-113 IJ EIU .1J1 1 31-L TAL (now by III% I. 4 Col....1%dr t.1.10..6,1 oat 1.,1 f O 11. %tide "It hvir Welliltiosalloi sit Iltl:

4/R iverscape 4 5 and others who carried goods in horse- : drawn wagons across the rivers to Pitts- burgh's neighboring towns. Pittsburgh's river traffic was so impressive in 1828 that Mrs. Ann Royal a celebrity from Washington, D.C. wrote: "Of all the towns in our country Pitts- burgh excites most astonishment. Every- thing done in other cities is thrown into the shade in Pittsburgh. Even in the building of steamboats it excels by a long way our great city of New York. You see nothing but columns of smoke rolling out of manufactories in every part of the city and in every street. Go to the River Monongahela and you see nothing but steamboats two stories high and two tiers of windows precisely like a house with gable ends." Iron City: Early Industrial City l'ith-burgh The rivers were a wonderful form of ni IS59. transportation for Pittsburgh during the first (1852-1876) Pittsburgh half of the 1800swhen they worked. How- When the first trains came to Pittsburgh in fistom ever, they froze in the winter; without locks 1851, the rivers did not go out of business, Landmarks and darns their summer water levels were as many people feared. Shipping by water Foundation. too low to float a boat. In the spring, the was still much cheaper than by rail. One river was high and fast for boats to travel towboat could maneuver many barges that easilyexcept when they flooded and it was each carried more than several railroad cars. too dangerous! And the rivers did not flow Going downri'er was especially econom- to the east, so wagon roads were still the ical, because the current helped supply the only link to the east until a canal was built in energy to transport f.he load. The railroad's the 1830s to connect Pittsburgh by water to big advantage was being able to run any- Philadelphia. Even the canal was not a where, while riveN had to flow on course. money-maker because of the ingenious, but The trains and rivers often worked expensive, incline system needed to portage together. Whenever possible, railroads ran the canal boats over the mountains between their tracks on the flatlands along the rivers, flat areas. which had a knack for choosing the flattest Of course, as convenient as the rivers route between two points! Often train:, were for travelling on, they were terribly would dump their cargo into barges to con- inconvenient to travel around! People made tinue the journey down the river or barges a good living operating ferry boats, which would be unloaded onto trains to disperse were the only way to cross Pittsburgh's their loads across the countryside. rivers at first. The first bridgescovered The nationwide demand for coal to run wooden spans with six to eight pierswere trains was a boost to western Pennsylvania's built across the Monongahela and the Alle- economy, and tons of that coal was trans- gheny in 1820. Unlike today, people did not ported by barge. Demand was also great for commute across the rivers--most people Pittsburgh iron for building trains and track lived yithin a short walk to work. The throughout the nation. Innovations in the bridges mostly carried merchants, farmers, iron-making process allowed iron furnaces to burn cokea purified form of coal rather than charcoal as fuel. As a result, iron factories moved from the country where the wood was to the flatlands along the rivers. At riverside coke could be delivered by barge or train and iron finishing operations requiring water could have an unlimited, tree supply. Although these factories were

Riverscape/5 North Side), built in 1874, was an old- fashioned wooden covered bridge that lasted into the 20th cenwry. The coal pushed up and down the rivers to heat buildings and tuel factories, trains, and steamboats created the black smoke that Pittsburgh was becoming famous for. Trav- 1.011A1'1:." eler Anthony Trollope wrote in 1860: "Pittsburgh...is without exception the AL- blackest place which I ever saw.... As .0"*.- 7re6 regards scenery it is beautifully situated, being just at the juncture of the two rivers, Monongahela and Allegheny.... Nothing can be more picturesque than the site.... Even the filth and wondrous blackness of the place are picturesque when looked down upon from above.... I was never more in love with smoke and dirt than when I stood here and Pittsburgh, C.small by later standardsthey usually watched the darkness of night close in 1880. Carne-employed less than 200 workers, most upon the floating soot which hovered gi Litwin-ie. highly skilledthey were larger than ever over the housetops of the city." Pittsburgh.before. Pittsburgh's glass factories multiplied Steel City: Manufacturing Metropolis and also located on the flat river shores. The 77-1945) rivers were a source of raw materials for During the Steel City era, Pitts- glassmaking. Coal for firing glass furnaces burgh's wav of travelling the was shipped in on barges and sand to melt rivers did not change, hut the was dredged from the river bottoms. 13y scenery from the rivers 1870 Pittsburgh made half the nation's glass. changed dramatically. When To make the rivers more reliable during Andrew Carnegie's Edgar Thomson Works periods of high and 1.ow water, the Army opened at Braddock in 1875, it introduced Corps of Engineers built training walls cheap, high-volume steel to the Pittsburgh along the Ohio to force the meager summer region and started a revolution that changed flow into deeper channels. Dams for the the riverscape forever. river were under discussion, but none had In the 1880s and 1890s steel mills and been built by the 1870s. The Monongahela coke plants came to rural river towns that had a series of toll dams and locks built by cl had hardly existed before: Hazelwood, private company to create sluggishly flow- I lomestead, Munhall, Duquesne, Clairton, ing pools ot water deep enough for year- Aliquippa, and Ambridge. Great steel plants round navigation. extended for miles along the river shores, Boatyards continued to build steam- encouraged by cheap, flat riverside land and boats and flatboats. River packets carried barge and railroad transportation for raw passengers cl nd package freight to towns materials and finished products. The scale near and far. A new type of boat appeared was colossal, with a row of blast furnace on the Allegheny in the 1860s after petro- turning out great volumes of iron and leum was discovered in Titusville and Oil clouds of black smoke. Bessemer converters City: the bulkboat, a primitive tanker that and later open-hearth furnaces converted supplemented the flatboat-like guipher that the iron to steel as they lit the sky orange carried oil in barrels. During the 1860s Pitts- during the night. Rolling mills and other burgh became the nation's largest oil refiner. huge machines converted the steel ingots Bridge construction continued. Roe- into usable products that were loaded onto Hingwho later became famous for build- trains or barges. A large steel plant had ing the 13rooklyn Bridge-- bu:It two wire everything nearby: coke ovens, foundries cable suspension bridges, but otherwise iron and machine shops to make plant equip- was still not always chosen for bridge- ment with boiler and power houses located building in the Iron City. The Union Bridge next to the plant to keep it independent. All between Pittsburgh and Allegheny ((he

6/ffiverscape of these buildings and machines were astated shore areas of Pittsburgh in 1907 and crowded into the river flats wherever they even worse in 1936. To prevent that kind of fit. Densely populated company towns destruction again, reservoirs were built housed new immigrants close to the mills upriver on the Allegheny and the Monon- where they worked 12-hour shifts. gahela to hold back excess water. On the rivers, traffic was never heavier. The water that ran in Pittsburgh's rivers, Barges clogged the rivers with their loads of however, was filthy and polluted. Steel coal, limestone, and iron ore bound for the plants and other mills dumped hot waste steel mills. Boatbuilding was still strong and water full of dangerous chemicals right into some of Pittsburgh's steel went into build- the rivers. Fish no longer survived in the ing more barges and riverboats. water. Human waste was dumped In 1885 the Army Corps of Engineers untreated into the rivers, too. Worst of all, began dredging and damming the Ohio the city drinking water was pumped River to create a channel that was deep directly from this same river to homes and enough for boats to travel year-round. The businesses without treatment. As a result same processcanalizationwas finished Pittsburgh lead the nation in typhoid fever on the Allegheny River in the 1930s. In 1897 until 1907 when it built the waterworks in the toll lock and dam system on the Monon- Aspinwall to treat the water. The fish still gahela was turned over to the Army Corps had to wait until water pollution laws went of Engineers. The result was a minimum into effect in the 1950s, 1960s, and 1970s Pittsburgh,C. 1950's. Pitts-depth of nine feet year-round on all three before they could make a comeback. burgh I iSfOryriversin the past a drought could interrupt Through the 1920s the Monongahela Landmarks river traffic for weeks and people could Wharf was still a busy place for steamboats OUndat wade across the rivers! Great floods dev- to load and unload packets of freight and passengers. Many customers would go marketing directly on the Wharf to pick up bar- gains in fruit, vegetables, and live chickens right off the boats. After the 1920s drivers desperate for parking places for their new automobiles would park on the Wharf and gradually the marketing and steamboats began to fade away. l'ittsburgh's rivers and ravines have been great breeders of bridges. Allegheny County has almost 1800 bridges today, most of them built in this period. Before 18% every river bridge charged a toll, but starting with the Brady Street Bridge, passage became free on one bridge after another. Renaissance City: Corporate Center ('I 945present) Rivers have been and still are Pittsburgh's most important physical feature. River traffic has slowed down tre- mendously: Pittsburgh's boat building industry and the other heavy indu,,tries it served no longer thrive. Today the rivers separate our living space into con. neighborht)tds and we cross their bridges on the wav to school and work. Now that the rivers are clean, we love the way they look and use them to have fun fishing and boating. As in the past, the rivers may be a key to future economic devehipment as steel mill ,..ites find to other use-,

Riverscape/7

11 3 RIVERSCAPE

out for a bottle of old Rye! I love the women Before your visit an' I'm chockful o' fight! half wild horse and half cock-eyed alligator and the rest o' Tell the story of Mike Fink, Pittsburgh's own me is crooked siiags an' red-hot snappin' Paul Bunyan-style folk hero. turkle. I can hit like fourth-proof lightnin' A real person whose exploits later became an' out-jump, out-shoot, out-brag, out- clouded in Icgend, Mike Fink was born at drink, an' out-fight, rough an' tumble, no Fort Pitt in 1776. l le became a keelboatman bolts barred, ary man on both sides the river on the Ohio and Mississippi Rivers. The trip from Pittsburgh to New Orleans and back cg),took about four to sixweeks from Pitts- ag'in to St. Louiee. Conic on, you flatters burghto New Orleans in the spring when I flatboatmenl, you burgers, you milk-white the water was high and four to six months mechanics Isteamboat ment an' see how to return against the current poling the boat tough I am to chaw! I ain't had a fight for or dragging it by rope from the shore. two days an I'm spilein' for exercise. Cock- Many people looked down on keelboat- a-doodle-do!Lerrors" in original] men because they were often Scotch-Irisha new immigrant groupand they never set- Ask students to make up a brag they tled down in one place (naturally!). To raise would vell across the river to another flat their own self-esteem and to pass time on boat crew: What kind of brag would you the river, keelboatmen would create brag to another boatman from Pittsburgh? impromptu speeches and yell them across What would you brag to a crew from Cin- the river to the crews of other keelboats. cinnati or New Orleans? Bring your brags Crews would brag back and forth until they with you when you visit The Children's were out of voice range. Mike Fink's biggest Museum and brag them off the how of our rival on the river was Davy Crockett. Mans' riverboat! of the brags and other stories of the frontier Play store and discuss how stores get the boatmen were repeated from memory by groceries they sell. riverboat crews long after keelboat time,. Set up a grocery store in the preschool dra- Read "Fink's Brag," one of the brags that vematic play area. Stock the ,,tore with modern Wati handed down, to the class: pre-packaged foods (empty boxes and car- Fink's Brag tons). If space and number of groceries per- Slut River roarer! I'm a ring-tailed ca*mits, set up the store with self-service aisles, 5queater! I'm a reg'lar !,creanier train tlu' baskets or carts, and a cashier at a check-out I'm the cery intant that retii,ed counter, like a modern supermarket. Discuss hi, milk beton' it, eye!, were open, Mt (111101

8/Riyerscape RIVERSCAPE ftIf AL PETE'SMEATS

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the process of shopping with the children: important in small towns where they were making a list, driving or walking to the the only store in town. Read and discuss the store, getting a cart, wheeling it down the following poem about an old general store. aisles and filling it with food, going through Flow was it the same as and different from the check-out, packing the groceries in bags, Al Pete's Meats? ...a modern department taking them home and unpacking them. store? Ask questions to start a discussion of General Store how the store gets its food: I low does the store get its Nroceries to sell? Has anyone ever seen a Sonteday I'm going to hai'e a store truck unloading at the store? When' did the With a tinkly bell hung oi'er the door, tnwk get tlw groceries? Explain that food is With real glass cases and counters wide grown on farms and sold to factories to be And drawers all spillii with things inside. made into our favorite foods (ask them to There'll be a little of even/thing: name favorite foods that come in pack- Bolts of calico; balls of string; agescereal, hot dogs, soup, ketchup, etc.). Jars of peppermint; tins of tea; The factories sell the food to the groceries Pots and kettles and crockery; stores, then the grocery stores sell the food Seeds in packets; scissors bright; to us. Food is bought and sold several times Kegs of sugar, brown and white; before we buy it! Sasiwrilla for l'icnic lunches, Tell children when they go to the Bananas and rubber boots in bunches. museuln they %vi I I see what stt)res were like fix the windozt, and dust each shelf. long ago and how they got their groceries to And take the Molit'l/ in all mvself, ,-;e11. (Follow-up with "Set up an old-time It will be Illy store and I will say: store and steamboat..." in After your visit "What can I do for you today?" section below). Read a poem about an old-time general store. --Rachel Field Alter discussing the difference between Clifton Fadiman, ed., The World Treasto 1/ of lömodern supermarkets and Al Pete's Meats, Children', I iterature (Boston: Iittle, Brown ask the children where they think people and Company, 19(4), p. 106. bought things that were not food in Pitts- evbburgh long ago. 1)ry goods stores sold cloth- ing, fabric, hardware, furniture, etc. (like a department store). General stores sold a

I ille bit of everything and were especially

Rivers( ape/9 Learn "Glendy-Burke," a Stephen Foster song During your visit about a riverboat. olioStephen Foster was a famous composer who Suggestions for using Riverscape with early was born and grew up in Lawrenceville, a preschoolers. small Allegheny River town that is now part Quickly introduce the parts of the River- of Pittsburgh. He wrote many songs that are scape exhibit: Ilereis(1place to play that looks still famous today: "I Dream of Jeannie with like Pittsburgh looked many wars agobefore the Light Brown Hair," "My Old Kentucky your grmulparents were even born. Over here is Home," "The Camptown Races," "The a steamboatit sailed on the river and pulled up SwaneyRiver," and more. Many of these here to unload and pick up things to sell some- songs were meant to be sung in minstrel where else. There is Al Pete's Meatsremember showsthe entertainment on long riverboat I told vim we would see a store from Pittsburgh a cruises. long time agowell, that's it. Al and the steam- Foster wrote one song about an Ohio boat crew probably have sonic work to dowhat River steamboat, the "Glendy-Burke." Have do you think they will do? I-low will Al get his your music teacher teach students the song, groceries to sell?Then divide the group and which is reprinted on pages 15 and 16, or let part start out on the boat, part in the borrow a tape of the song from The Chil- store. Or see the next two activities below dren's Museum if musical talent is lacking for help structuring the play. on your faculty! The Stephen Foster Memo- As the children play they will probably rial granted permsission for us to reprint need help learning to use the dollies. Let this song. When you are in Oakland, stop by them try loading the boat first without the Mouongallela and visit their museum right next to the Uni- dollies, then demonstrate the dollies and Wharf, c. point out how much more they can carry 1900. Pitts- versity of Pittsburgh's Cathedral of Learn- ing. The singing groupDear Friends with the help of wheels. As children begin burgh II:stall, settling into their jobs, you might encourage 6, Landmark,. performs Stephen Foster songs there Foundation throughout the year. them to try a new activity by giving them a problem to solve: HowIlluch do you think Al

4111

10/Riverscape 5 the storekeeper will pay for that food Oil your leave boat on gangplank and begin to dolly? What are you buying food fin'? Do you unload the boat with the dollies and crates have a large f.amily? Are you having a party?, at the general store. Goods can be loaded etc. Even if you do not structure the plav as back onto the boat for a continued trip down suggested below, those activities help you the Ohio if you wishi. spark new play action if children are settling Assign roles for riverfront play. into patterns. visChildren past pre-school age may not be as "Side-coach" activities on the boat. spontaneous in their play and may enjoy This activity is a way to focus children, who having roles assigned and problems to solve will probably be "wound up" from the Lim- as they play. Cut out the cards on page 10. bender, the clio-.bing exhibit in front ofRh-- As children leave the boat give each a card erscape. Let a couple of children be the with their role and what their character's captain and crew. This is one way to review goal or problem is. 4-4) some of the information about Pittsburgh Reading a photograph. during its river heyday that they have talked The four photographs in this exhibit are about in class. from the the City Photographer's Collection, 010'reon our way down the Monongahela a special collection in the University of Pitts- River to Pittsburgh. burgh's Archive of Industrial Society at lull- Uh-oh, Captain, I see a snag in the river up man Library. Old photographs contain ahead! What are you going to do? IVIzeze, that valuable information about the past to his- was a close one, l'm glad we have an exilerienced torians who can interpret them. Kids learn crew! well from visual sources and havefun What are we carrying to Pittsbuiwh? Who is taking on the role of history detectives deci- traveling on this boat (let children make up iden- phering photographs to find clues about life titiesI? Where are lion corning from? Where are in the past. Before leaving the exhibit gather you going? students around one of the photos and What do we see along show? Who is that unlock its meaning by asking the questions waving to us let's wave back! What else is in the following three step method. travelhig oll the rhyr? What cargo are they car- reacher's "script" is in italics, but please ruiiig? What cargo is going up the river? What feel free to improvise.) You may wish to is goi) ig down the rii,er? practice this skill in class before your visit Oh no, the Water is low here? We'll have to you can borrow old Pittsburgh views from wait till after a rain beton' ice continue. What the Carnegie Library photo collection. shall we do while we wait?lSing a song, read Mike Fink's Brag, brag some of the students' Reading a Photograph photographs. III Brags, or play a gamer tlh-oh, rain, Let's not hist "esc bet if we slozi.' down and take a good look we'll everybody take «),'er----we're getting all wet! I.Vhew.' I'm glad the rain is over now we tall find some clues about Pittsburgh's past. I.et'!, tuis/d. to Pittsburgh. Reath/ Captain? Blow think about this idiot() like a detective the whistle Ieveryone make a steam whistle Step One:Identify sound I.I low do uoll think we'll know when we Your firq step iii retidiHN a photograph is hist to get to Pittsburgh? 1Vhat will you see! !tear? look at the photo and list what uou : Smell? Someone tell us as soon as uou see one of ook at the photo quietly for tInrty seconds (Inc..I When they do... I CrWO WE' 11111./ lime non).IWait thirty secondsl wan. back, ,lo,e to Pit tsburgh. (Vhat else do umi see? Now etviyolic turn annuli,/ !encourage them to name Pitkburgh land- to the photo. Without looking ba,k, name marks--steel incline,-, bridges. etc.l. ei'crything (Veil the "Mitheq we're Nett1/1:.: ilo

Riverscape/1 1 04. tion, let's siwe your other idea about the hot Compare with photographs of Mon wharf and day to talk about later."I East Ohio Street today. When they think th, y have everything A copy of Pittsburgh Then and Now is named, turn around to look at the photo available at the exhibit to help you discuss again and ask them to point out anything how the Monongahela Wharf and East Ohio that was missed. Street have changed since the early Step Two: Interpret twentieth century. If the book is not Our second step is to think about what our fiii-ts available, ask a museum staff member for it. mean. What theories do you have about: What is happening in the photo? Who are characters? Where the photo takvn? VVhen was the photo taken (wear, season, time of dino? After each offers a theory ask students what clues they used to get their theory. Then, before going to the next question, ask if anyone has a different theory. Step Three: Imagine Now the really fun partwe can urake up stories about the picture: What do you imagine happened just before this photo was taken? INhat do vou imagine is about to happen next? What wouhl von like to know that the ;Photo does not tell you? How can Wolf find more information about indus- fru raani logs what you would like to know? dozen rioer. . 1890's. tVestern Pa. Conseroahirv

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1 2/Riverscape Riverscape roles (see page 11)

The owner of the store. How The dairy farmer tries to can the store owner sell meat make a profit by selling chickens, eggs, milk, and and produce to make a profit? MI Store owners need to sell AI.rriv sMEATS cheese to the store owner for goods for more than they pay as high a price as possible. for them and they need to sell as much as possible.

The shipping clerk meeting the boat. How A new immigrant to the rt. does the shipping clerk make a profit? The !I United States is shopping for clerk trys to buy goods as cheaply as pos- groceries, but does not know sible from the boat captain, AL PEWS M KAM how to speak English. then sell them at a higher price to the store owner.

The boat's captain wants to get a good A customer with ten children price for his goods and get the boat loaded is shopping to feed the family and unloaded as soon as possible so it can for 3S !it'ie money as possible sail on its way again down Al. PEWS VI EMI,. on a regular weeklyshopping the river. trip.

-61

A dock worker unloads the k )at and deliv- A customer who lives alone ers goods to the businesses thatordered HFAJI-P:is shopping for small portions shopping them. Dock workers work hard enough to FlajfP'on a regular weekly impress the captain, but not so hard that Al. PEW S MEAN trip. they are given more work. 1174 F

A dock worker unloads the boat and deliv- A customer is shopping for a ers goods to the businessesthat ordered big fancy, family reunion. them. Dock workers work hard enough to impress the captain, hut not so hard that they are given more work.

Riverscape/13 L-; After your visit Plan Pittsburgh's riverscape of the future. Point out the photomurals of Pittsburgh's Set up an old-time store and steamboat and rivers in the exhibit (which means you will discuss similarities and differences between need to begin this exercise during your visit) today's stores and Al Pete's Meats. or show students photographs from one of After your museum visit discuss the differ- the many excellent hookss.lowing Pitts-

ences and sin-1H..ar...es1 I een modern burgh's rivers in the past. Ask the students: supermarkets and Al Pete's Meats store in What is different from today? What were scane Rirerscape. Ask: How was Al Pete's Meats thnIgs that are gone that you zonild like to see different than the supermarket where you back? Whin are some things that Pittsburgh is shop ("live" chickens, no pre-packed foods, better off being rid of? Most of the features no self-service aislesyou tell the clerk that characterized Pittsburgh's riverscape what You want and they get it for you). during the Iron and Steel City eras I low did Al get his groceries to sell? flow is steamboats pulled up along the Mon Wharf, that different from your supermarket (truck coal barge traffic jams, steel mills lining the from factories vs. boat directly from farm- banks, black smoke clouding the airare all ers)? To put the time period in context suit- gone. able for pr2schoolers, explain that this is the Many people believe that Pittsburgh's way Pittsburgh was e en before their grand- rivers are its best resource for creating new parents were born. ways to make a living in Pittsburgh and new Ask children if they would like to reasons for people to want to live here. With change their class store to be like Al Petc's more riyerfront land being cleared the time Meats and what they would need to do to to plan Pittsburgh's future riverscape is make the changes? Make the changes to the now. Have students create a map of the store and create a play "steamboat" with three rivers or draw pictures of scenes along class furniture. the river showing what the riverscape will look like in the future. Things to consider: Discuss how Pittsburgh has changed. How will people make a living, travel, and Debrief after your visit and prepare students have fun? Where will they live? f low impor- tor the next activities by briefly discussing tant is it to preserve something of Pitts- how Pittsburgh has changed since the burgh's river past for future generations? steamboat era shown in RiPerscape. I IOW htl I low will your plan do that (a preserved transportation changed? How did most people iron furnace, a steel museum, a restored make their licing then? ...now? I hiw luny our steamboat fleet, etc.)? ways of shopping chfmged ? What has causol the changes? I hitt' t1:-.life chanNedfor kid, your Plan a transportation system for the rivers. age.' I low has Pittsburgh', appearance changed ? Discuss how Pittsburgh's transportation 1.1.'hy? system has changed:What forms of trans- Use old photographs of Pittsburgh to portation do we hape today that we did not see at help stimulate discussion. I Live students do Riverscape? l\lhat kinds of transliortation (lo some quick research on one or more of these zee use most often? I low do they make trwcel questions and report back to the group. more coni-enient ? What problem, do these form-; Better vet, ask students to invite grandp,.r- of transportation COUN'. in Spite cif their con- ents or older friends to class and ask them i'enience? (traffic iams, pollution, ener:o use, some ot the questions they have about Pitts- etc.! I low could Pitt,hurgh", ricers be usoi to burgh's past (this special kind of research is help sohne these problems. I Vow and write a plan (.alled "oral history"). If necessary, you can (bat ,how, how the ricer, «mid be ft,,,1 to ,olce find information cm most of these questions some of thetraffic problem-. l'ittsburNh ha, in the background information at the begin- today. ning ot this guide. If students become par- Read books and sing songs about the river. ticuhrly interested in this process they Reading: might create drawings or murals siltnVing ittle loot Pittsburgh in the past and present. Songs: "Old Man River" "Monongehela" (Oak Ridge lh,vs) "!";W,111(.4.` River," Stephen Foster "The Barge Song"

1 4/R iverscape 53 tlivOcr'fietVietoMes. ifV4bia.

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La Lookingat You Teacher's Guide Urban X-Ray/Self-portrait/Stuffee/Heart Works

Let the play begin! View portraits of your one-and-only self from Play is a child's work. The Pittsburgh Children's inside and outside and learn about the care Museum is dedicated to providing children with and feeding of those valuable insides with our exciting environments for active learning. This lovable seven-foot mascot. series of guides will help teachers stimulate their students' natural impulse to learn through play. Pick and choose from our suggestions to find activities that suit your class goals before, during, and after your museum visit. Inside A word to teachers 2 HeartWorks Stuffee Background information on human anatomy 3 Urban X-Ray During your visit Match body with machines activity sheet 6 Shape f3) After your visit 5 'Shop Steamat Self-portrait During your visit 7 After your visit 7 oat- --1cS/12(iverscape Looking at you Before your visit 8 Limbender During your visit 9 After your visit 9 Al Pete's Meats St uffee Rest It's Stuffee inside activity sheet 10 ooms Steps & El yator Before your visit 11 Slides !FIW dip During your visit 11 After your visit 11 Playpath for Toddlers Robot activity sheet 13 Analyze your amazing anatomy activities 14 BASEMENT Heartworks 1 6

The Funded by the Vira I. Heinz Foundation. Pittsburgh Susan K. Donley, author, illustrator, designer. Children's Lois Winslow, project director. 61993, The Pittsburgh Children's Museum and Museum Susan K. Donley. A word to teachers Theme Think of this guide as a menu of ideas from From food for you to food for your cells, which to choose activities to meet .yourown Your bodythe chemical factorydoes it all instructional objectivesyou won't have with its disgestive, circulatory, and res- time to do or even read everything here! piratory systems. Several navigational features will help vou find the information you need at a glance: Classroom connections /Learning activities are grouped for ap- There are two major, paradoxical, themes in propriateness before, during, or after Looking at You Your museum visit. Consider doing one you the human machine: how we're all activity from each grouping so that your alike students are prepared for their visit and you the unique individual: how we're able to connect their museum and class- all different. room learning. TheLooking at Youexhibits and this /Titles of learning activities are literally teacher's guide are not meant to be com- written as activities. Skim through them prehensive guides to the human body's sys- quickly to find activities that suit you. tems. The background information we pro- /Activities appropriate for various ages vide in this guide will give you enough are marked: information to lead students through PCM's collection of exhibits on the human body preschool (three-five-year-olds) and self. This information will be expressed conciselyin images that will help students early elementary (kdg.-second grade) remember the main body functions. Fun body trivia and before-and-after activities qVD elementary (third grade and older) help illustrate the jobs of the body systems. Detailed, systematic information about hu- But don't let these age designations stop you man biology is readily available in many from adaptingany ideathat suits your goals. other sources, including school health text- The worksheets in this guide are not books. available at the museum. If you use them, The body has parts that all work togeth- make copies for each of your students and er to keep us alive if we do a few simple bring them along on Your visit. And don't things to keep it safe and healthy.Stuffee, forgetpencils! I!cart WorksandUrban X-Raypresent the jobs of some of these important body systems and a few things we can do to keep them functioning well. The exhibits can be approached from several directions, depending on your wish- es for the class: From outside to inside, from inside to outside, how we're alike (our bio- logical functions) to how we're all different. Use them to reinforce a multitude of class themes, including the human body, nutri- tion, the sense:;, movement, and figure drawing and sculpture in art.

2/Looking at You 6i Background information The signaling system (Meand My Shadow) The nervous system and endocrine system control and adjust all the body parts to help Organ systemsin Looking at You them work together. The brain, spinal cord, Everything a living thing does depends on nerves, and sense organs together make up the physical and chemical changes that oc- the nervous system. Nervcs use electrical cur in its body parts. Altogether these impulses to communicate messages to and changes are called metabolism. from the brain, nerves, muscles, and organs. Glands of the endocrine system send chem- Climate control (Urban X-Ray) ical messengers called hormones, which The body covering of skin and hair protect travel in the body fluids to the special body the organs underneath, regulate the internal part that understands its message. Nerve climatetemperature and moistureof the messages are delivered in a split second, but body, and sense touch and motion. hormones deliver their messages giadually Support and movement (Urban X-Ray) over time. The bones of the skeleton, and the muscles Processing/transporting (Stuffee, Heart Works) attached to them with ligaments and ten- The digestive, respiratory, circulatory, lym- dons form a system to protect, support, and phatic, and urinary systems all are involved move body parts. Bones also do the im- in processing and transporting food, oxv- portant job of producing blood cells. Besides gen, and water the body needs to create the helping us to move around and stand up energy for life and the wastes given off dur- straight, muscles are the body's furnace, its ing production and use of this energy. main source of heat. The digestive system receives foods from the out- Our skeletal system gives us our shape side and converts them into simpler and and allows us to move any place in almost any waywalking, running, crawling, hop- simpler forms that can be absorbed through the cells' membranes. Food products that ping, dancing. It provides the structure to are not absorbed are transported as waste "hang" all the other important parts from, back outside the body. The digestive sys- allowing the whole body to resist the forces temalso known as the alimentary canal of gravity so it can function. includes the teeth, tongue, throat, stomach, A good analogy for the human body's liver, gallbladder, pancreas, and the small skeletal system is the structure of a building. and large intestines. The rigid steel frame of a modern building, Food enters the alimentary canal like a skyscraper, acts as its skeleton, al- through the mouth where the digestive pro- lowing the building to stand up against the cess begins when food is chewed and mixed f(irce of gravity and giving the building its with saliva. The muscular movement of the basic shape and space inside for rooms. The esophagusswallowingpushes the food outside walls, called "cladding," are at- to the stomach. The stomach physically tached to the frame and give the building its mashes up food into smaller parts, like a appearance to the outside world, acting as food processor, and breaks it down into a its skin. But most importantly, cladding soup with the help of strong digestive acids. keeps out rain, snow, wind, cold, and heat The duodenum finishes mashing the food so the environment inside is comfortable to then pushes it the length of the small in- the people living or working there. The testine (hardly small at 21-feet!). Most of the building's frame is like the body's skeletal nutrients are absorbed from the small in- system and the cladding is like our skin. 01 testine into the blood to be used as fuel by course, buildings don't have muscles-- the rest of the body, but the food parts that onles,, you ct)unt elevattirs, escalators a Ild can't be used are sent on to the large in- other moving parts. They do have plumb- ing, ventilation, and power systems that a re testine. The liver is a complex organ with sever- a little bit like the body's. al jobs. Partly it acts like a big chemical I ai- Incredible inside information tory. Nutrients from food digested in the wYour body has Nil bones. Mammals all have roughly the small intestine are carried by the blood into same number of bones in their bodies, regardless of siie. the liver wliere they are manufactured into Giralles, humans, and chipmunks all have seven verte- proteins the body can use as building brae in their necks, but the bones are very different si/es!

Looking at You/3 blocks. It also makes the enzyme bile, which wLungs have no muscles of their own. it excretes into the small intestine to help arAn adult's lungs normally hold about three quarts of air, with digestion. The liver also acts as a ware- but in vigorous exercise, they may expand to breathe four quarts of air may be inhaled and exhaled. house to store extra glucosethe special 4rOnly 1/6 of the air in your lungs is exhaled at a time. form of sugar the body makes to use as fuel. As if that wasn't enough work, the liver also filters toxins out of the bloodstream. The circulatory systemtransports oxygen, food, hormones, and wastes through the blood to Incredible inside information and from the body parts where they are $4.The average person eats about three pounds of food a day used or excreted. In the road and factory or 1,095 poundsmore than a half tona year. analogy above, the heart is the central pow- 6" Your mouth makes about 1/2 quart of saliva daily. Your whole body secretes more than seven quarts of assorted er plant (like in a trolley and or subway) that digestive juices every day. pumps vehiclesfluid and cells of the Food must be dissolved in saliva for you to taste it. bloodthrough a vast road system of ar- £4-Children are born with taste buds all over their mouths. teries, veins, and capillaries. Arteries carry By adulthood most of them disappear, leaving just 3000 food and oxygen "trucks" to the factories mostly on their tongues. (organs) were they are used and veins carry The small intestine is about 21 feet long. garbage trucks of waste from the factories to 11,--The digestive system is really one long tube from mouth to anus. It changes in size and shape along the way de- other organslike the urinary system and pending on the job each part does. Food takes two days to the lungsthat are waste disposal plants. make the whole journey through your body. 1:"An adult's liver weighs three to four pounds, making it Incredible inside information ur Every cell in your body is no more than a hair's width the largest internal organ. Skin is the largest organ of all. away from a capillary. " Fresh urine has no bacteria in it. gi,Capillaries are so tiny that blood cells must file through "Each kidney contains about one million tiny tubes that them single file. would measure 40 miles if stretched out. c,13,000 blood cells lined up would measure an inch. ta.The la.jer the animal, the slower its pulse rate. Humans The respiratory systemtakes air in and out of the average about 70 beats/minute, elephant's about 25 body and exchanges oxygen and carbon di- beats/minute and a mouse about 500 beats/minute. oxide between the blood and the air. The The heart circulates the body's blood more than 1,000 times a day. lungs function as a traffic regulator in a Laid end to end, all of the body's blood vessels would busy intersection where the light changes 15 measure about 60,000 miles. times every minute. The inbound lanes are g The heart is the body's strongest muscle. filled with oxygen and the outbound lanes .An adult has 3-6 quarts of blood depending on body size. are filled with carbon dioxide. The cells of c,-Your heart is about the size of your fist. the body need this oxygen to burn the glu- " A complete heartbeat usually takes less than one second. cose fuel from food to make energy to do their jobslike a factory burns fuel. The The lymphatic systemdefends the body against in- waste from this processlike the smoke vading viruses and bacteria by removing from the factory's stackis carbon dioxide. them in lymph fluid flowing through lymph The job of the lungs is to make this exchange vessels. Think of this system as the police both ways: when the diaphragm contracts keeping law and order in the system so eve- the lungs inhale fresh air, the heart sends ryone else can go about their work. blood to the lungs to pick up oxygen and bladder, uretersind leave carbon dioxide it has carried away The urinary systemkidneys, urethramaintain the body's fluid balance, from the cells, then the diaphragm expands remove waste materials from the blood and to force the lungs to exhale the carbon diox- transport them outside the body through ide plus all the other gases in the air the urine. They are the waste disposal and wa- body doesn't need. ter treatment systems in our factory/traffic Incredible inside information analogy. The kidneys are a "smart" filter: ir Your lungs are about the size of footballs. they pick out the good nutrients left in the or-Lungs are the only organ in the body light enough to float blood that passes through them to store for on water. later and send the bad stuffthe "ashes" .The surface area of the lungs is about 25 times the skin's. left over after nutrients are burned to make +-A cough can leave your lungs, throai, and mouth at up to 70 miles per hour. energyout of the body through the urine or An adult may breathe more than 20,000 times a day. Chil- in the bladder. dren breathe even more.

4/Looking at You Urban X-Ray Urban X-Ray is an exhibit that helps visitors imagine what an everyday sidewalk scene might look like if we could be empowered with x-ray vision for just a moment. A person walking a dog, pigeons and a cat on pa- trol, fish in an aquarium look strangely familiar when pared down to the bare bones! During your visit Looking at the skeletons in Urban X-Ray: 0741How mavy different kinds of animals can you see? How are tlieir structures different? Which bones are thickest in each :,keleton? Why? In all of the skeletons, hones join together to provide special protection to certain areas of the body. One set of bones are strung together like heads and give animals with internal skeletons their group name. What are these hones? (Vertebrae join end-to-end to create the spinal column. The group name for these animals, of which people are one, is vertebrates.1 Another set of bones in each skeleton are arranged like a cage. What are these hones called? Iribsl What organs do these special hone groups protect? Ispinal cord; heart and lungs! Why do these organs de- serve such special protection? After your visit Look at pictures of skeletons of animals. Find pictures of skeletons of different an- .41imals (check books in the libraryseveral x- ray and skeleton books exist) and try to guess what animals they are. Create a monster skeleton and silhouette. Cut a monster silhouette out of black paper. r10Draw the skeleton that gives it its scary shape in white chalk. (Use Where the Wild Things Are for inspiration.) Match body parts with machines (p. 6). 1.4 Urban X-Ray makes a subtle point that me- chanical devices like umbrellas often remind us of the human body. On the right side of the worksheet on page six are seven body parts; on the left are seven machines. Ask students to match the body part to the machine that does basically the same job. Some scholars claim that every tool is in some way an extension of the human body. If so, the following tools extend what parts of the body? a hook [brain!, binoculars leyesl, purse [handl, car, telephone, lamp, computer, knife. Challenge students to come up with other body/machine match ups.

Looking at You/5

6' 4 Many machines work like parts of the human machine. Match the machine on the left with the body part that does the same job. Which are the simplest machines? ...the most complicated? How many more body/machine match-ups can you think of?

/- fingers

6/Looking at You PCM for information on their tele- Self portrait communications program, which will help The electronic self-portrait in Looking at You you make these connections. Hang the self- reminds us that as much as we are alike in portraits around the room. Compare them in the way our bodies work, we are all com- a multicultural discussion: How are we all pletely unj.que in the way we look, feel, the same? Flow are we all different? dream, imagine, hope, and relate to others. What's on your mind: A self-portrait of inside During your visit your head. Think of Self-Portrait as electronic finger Your skin is just the surface of you and al- painting. Children ;tart with a video image though your face is different than everyone of themselves captured on computer then else's, it is inside your head that you are transform themselves by applying paint really different than everyone else. You have tools on the computer touch screen. If stu- different hobbies, interests, likes, dislikes, dents seem at a loss for what to do or bog fears, accomplishments, people you care down ih uncreative stereotypes (drawing about, secrets, dreams, and ideas. Trace each mustaches, but little else), challenge them to students' silhouette on light colored paper, think of ways they would like to transform then have them cut out their silhouettes and themselves. Ask them to name other ways glue them to a darker colored background. they transform themselvesthrough dress, Ask them to draw an "Inside-of-my-Head make-up, masks. Self-Portrait" showing the things that they Make connections to other exhibits that think about and care about. Or they may deal with transformation of people into look through magazines for pictures sym- something else. How do people transform bolizing the things they think and care themselves through puppets? ...masks? Re- about and create a collage "Inside-of-my- mind them of the wonderful ways Andy Head Self-Portrait." Warhol used colors to transform the media charactersincluding himself in a self por- traitinto the Myths series seen upstairs. After yourvisit Andy Warhors Myths self- Computerized self-portraits. portrait in- If your school is equipped with computers con 'oia tes a and a scanner or video equipment, you can shadow duplicate this activity by scanning in pictures of students or using video capture soft- ware and transforming the image with a col- or painting program. What ways can you find to use the resulting images (videos, la- ser print-outs, color print-outs, etc.)? Photocopy self-portrait magic. Photok opy photographs of students and hand-color them with colored pencils, oil pastels, and paints. Experiment with differ- Q0:.)ent effects that you can get from transparent (Z:i)and opaque paints. Now really experiment: photocopy multiple images, move the photo on the glass as you copy it for a blurred effect. Cut out features, exchange them with other students, reassemble into a new lace, then copy again. Your L lass can even arrange with a class from another school to exchange faxed self-portraits. Combine this with letter writing or voice phone calls for an exciting exchange program with classes from another state or country. Contact the

Looking at You/7 vegetables, fruits, or starches.] What mis- Looking at You takes have you made when you've over- Before your visit eaten? Change the stomach on your body outline to show how you felt when you've The Shape of You eaten too much. Now draw what your in- The traditional early childhood life-size sides might have looked like with all of that body tracing exercise is a natural follow-up food. Alternatively: show what foods are to your class visit to Looking at You. 1For the good to eat in a meal together (not as much uninitiated: have children lay on a piece of fun, but a little more positive!). sturdy kraft ("butcher") paper (kraft paper Into the third dimension rolls are usually brown but can be ordered Body tracings deal with the projected, flat in white or colors from school art supply shapes of our bodies, which are all different. catalogs), trace around their bodies, have Our three-dimensional shapes are even them cut around the outline to create a full- more unique. Explore three-dimensional body silhouette.] Here are a few different body shapes through sculpture. twists on :his old favorite: Movable puppets: Body sculptures. To challenge children to look at the three- aCut through the joints of the body and re- dimensional shape of the body and not just attach the joints with brass fasteners to make its outline or surface, try a "pillowcase" cov- it move. See the Puppets study guide for fur- er-up. Make a "pillowcase" by sewing up ther directions on making movable body có one end of a four or five-foot length of puppets. Cut the faces apart through the stretchy tubular knit fabric (buy at a fabric mouth and use the directions for milk carton 44)1 store). Making two allows from more crea- puppets to make moveable mouths as well. tive sculptures. Ask for volunteers to be- Sonograms: come a human statue. Place the "pil- Draw what your internal organs might look lowcase" over the model's head (warn c'olike if you had a full-length sonogram or preschoolers that they won't be able to see CAT scanthose special pictures hospitals and ask if that is OK before covering their qiZ),take to show your insides. Remind children heads). Ask the model to make three differ- that they have the same organs Stuffee has. ent shapes out of their body, then choose You may wish to use the "It's Stuffee In- someone else to be a sculpture. Encourage side" worksheet (p. 10) as a review of Stuf- them to stand, lie down, bend over, and fee's organs. most of all stretchthe fabric will stretch with them. When ideas slow down, ask X-rays: them to create a slowly, constantly moving Use white chalk on dark paper (brown, blue, sculpture. Move to music of different tem- or black) to draw your skeleton how it pos and rhythms. Let two children create would if you were part of the Urban X-Ray sculptures together. display. Ask to borrow some real x-rays from a hospital or doctor's office. Clay body sculptures. After some practice, children can record pil- Too much of a good thing: 14lowcase sculptures in a lump of play dough, Lead a fun discussion of the importance ot modeling or ceramic clay. Students can take eating the right kinds of foods, but not too turns being the sculpture model while the much of them. Before having students cut rest of the class molds them in clay. For in- their body outline, discuss times when they spiration, show children examples of 1 lenry have eaten too much: Did you ever eat too Moore's and Alberto Giocometti's sculp- much? What did you eat? I iow much? tures of people (see following page). Next, When? I low did you feel? I las anyone look at figure sculptures from other periods heard a famous story or song about some- and cultures (Rodin, Michelangelo and other one who ate too much? Read the story or Renaissance sculptors, or African and pre- teach the song "There Was An Old Lady Columbian figures, for example). I low are Who Swallowed a Fly." What mistakes did they the .41w? iii ta' do they differ? Challenge the old lady make? Ishe ate too much at one students to change their sculptures to im- time, she solved her overeating problem by itate the styles of these artists. eating even more, she ate only meat and no

8/Looking at You ow skit performed with voices or in pan- After your visit tomime. Create a mood or "scenery" for the Shadow play is an excellent way to focus play with the lighting techniques below. "looking at you." Use the directions for the shadow screen in PCM's Puppets teacher's Add color to your shadow performances. guide to create a panel for projecting real Create a different effect for your per- human shadows instead of puppets. Here formance by coloring your light source: are a few ways to inspire creative shadow Use colored cellophane or gels over play in the classroom: your light source. Use several models, lit by their own Make a shape different than everyone else's. different colored light sources Challenge students to take turns making a Use an overhead projector from behind 14efferent shape than the ones made by the the screen. Project marker drawings on scudents before them. transparencies and overlapped shapes Make amoving shape. cut out of colored plastic sheets. Ask students to take turns making a moving Use red, blue, and green gels over slide shape, but give them a spark: projector lenses or red, blue, and green Make a shape that depicts a feeling spotlights as light sources. Place each word: scary, funny, mopey, happy, an- color approximately three feet apart. gry, powerful, weak, etc. Videotape your shadow production. 44) Make the shape of an animal in mo- For best results use a tripod and frame the tion and have other class members picture so that only the screen can be seen. guess what it is. Create a series of moving shapes to the beat of music. Try a dance step or sing with your shadow dance. Right: Strike a silhouette pose. ,`..lberto Gin- Ask one student to strike a pose while the cometti,Man Walking.The others draw the silhouette. Have the model Carnegie Mu- change poses after a few minutes and the seum of Art, artists draw the new pose right over their Pittsburgh; first drawing. Change poses againa third Gift of Mr. drawing gives an effect of motion. and Mrs. G. David Thomp- Create a dramatic shadow play. son in m('mory Use the directions given for puppet plays in of l)avid the Puppets exhibit guide to develop a shad- Thompson.

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Looking at You/9 It's Stuffee inside (its stuffyinside you, tool) What would Stuffee's x-ray look like?

Circulatok y system Respiratory system Write and draw in red the parts of Write and draw in blue the parts Stuffee's circulatory system: of Stuffee's respiratory system: 1. 2. 2. 3. 3. 4.

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Digestive system Write and draw in green the parts of Stuffee's digestive system:

2. 5. 3. 6.

10/Looking at You The body systems and organs covered in the Stuffee Stu fleepresentation are: Before your visit I. Digestive system a. The organs of the alimentary canal: The emphasis of PCM's Steitiv exhibit goes 440 mouth, tongue, teeth, esophagus, stom- further than just descriptive anatomythe ach, small intestine, large intestine. more important issue for preschoolers is b. Other organs that assist digestion: liv- feeling good about their bodies and how er, gall bladder, pancreas. they are made so they can learn to take care of themselves. The intricacies of human 2. Respiratory system: trachea (wind pipe), anatomy are beyond the developmental lev- lungs, alveoli. el of preschoolers. They understand their 3. Circulatory system: outsides better, so begin with what they a. Heart, arteries, veins, capillaries. know: they know what goes in and what b. Kidneys are really part of the ex- comes out of their bodies.Stuffeetells them cretory system, but are explained here what goes on in-between. A few children because their job is to filter the blood will pick up some of the anatomy; those and excrete waste materials into the who aren't ready will enjoy seeingStu ffeVs bladder. parts, but relate better to his lunch. Dis- Time permitting, the presentation will in- cussion at the museum and in class can help cludeStuffee'slunch to show how he keeps preschoolers connectStuffeeand their own his body in healthy working order. insides to the outside beha iors grown-ups are trying to teach them: why it's important After your visit to eat well, what does it mean to eat well, Review what the children have learned why we should wash our hands before about their insides. You may wish to sched- meals, Ivhat things make the inside of your ule a performance of PCM's "The Ad- body dirty (smoky polluted air, germs), how ventures of Corporal Corpuscle" at your the inside of your body cleans itself (sneez- school. ing and coughing are ways your body It's Stuffee inside (p. 10). cleans out cold germs that get inside). Don't ReviewStuffee'sbody systems with an imag- force the issue if a few preschoolers are inary x-ray picture. Remind students how reassurance afraid ofStuffeeone-on-one crowded it is inside SteffeVsand every %yin help them until their imaginations ma- else'sbody. Organs will overlap other or- ture enough to accept Steffee. Point out that gans and may be hard to keep straight. By theyare even Steffee is "pretend"and that using different colors for each body system, theirparts work. more special because or overlaying different sheets of tracing For older students who are better able to paper for each system, they can keep the understand anatomy, Stuffce reinforces what G.441) confusion to a minimum. You can make this they are learning in health and science by worksheet into an overhead with overlays to helping them make the connection to their review with the whole class together. GO)own bodies. My personal robot (p. 13). During your visit The human body is so incredibly talented UsingStuffeeas a reference, a museum stalt and complexjust ask the engineers who la- member will lead your group through an in- bor to build computerized machines to do teractive discussion of their bodies, noting even one of the many things we can do: me- cd'athat while we are quite different on the out- chanical arms that can pick things up, robots side, we are all remarkably alike on the in- that can walk around obstacles, computers ,4?)1side. The speaker will return to a few major that can understand speech. Ask students to concepts throughout the talk: design a robot to do the three things they What we have on the inside makes us dislike doing the most. Encourage them to work on the outside. think about all the parts of each job and all Our insides are not frightening or em- the abilities the robot would have to have to barrassing. do each of those parts. Have them draw the Each of our organs does an important outside of the robot on the worksheet and job. the insides of the robot on tracing paper laid Our organs work together to do all the on top of the worksheet. jobs that keep our bodies running.

Looking at You/11 70 Analyze your Amazing Anatomy (p. 14-15)... of the waste gases that are given off in the ...is a self-explanatory activity sheet of ex- process. c'eoperiments children can do to get better ac- ...digest food to change it into simpler 4?&Iquainted with how they work. You may forms its body parts can use. choose to do the activities as a class or send ...absorb thgested food through its mem- the sheet home to encourage family in- branes into body fluids. volvement. "Living Without" is a special ...circulate food, oxygen, water, and waste section to raise student awareness of various products through their bodies through disabilities. fluids. Paper sculpture food feast. ...assimilate food, oxygen, and water by IAFollow up on Stuffee's lunch by introducing changing them into other chemical forms it students to the USDA's Food Guide Pyr- can use. 4.40"0amid. Assign uneven sized groups of stu- ...excrete wastes produced by their body dents to each of the food groups in the pyr- parts as they work. amid. Have each student make paper sculptures of a favorite food from their Hotspots group. Remind them to include the many Hot Spots can help you lead a discussion of textures of the fooda sculpture is an un- the difference between living humans and flat work of art. Display in a pyramid or a Stuffee: Why does your hand make a pattern cornucopiaa Pop-Art cornucopia if you r::eeon the plastic? Why are you warm? Do you are also studying Andy Warholif you think Stuffee's hands would make Hot Spots wish. 44)work? Why isn't Stuffee warm? (warm- Food group scavenger hunt. blooded creatures generate heat as they Give students a limited amount of time to burn fuelthis is called metabolism) collect pictures of food from magazines or bring in empty boxes, bottles, and cans. Sort into the food groups from the food pyramid. Have them choose from the class' food FATS 44)"stash" to create a paper plate meal that includes a healthy balance of foods. Food for discussion. How is Stuffee different than you and me? Stuffee is a special character loved by almost everyone who comes to The Pittsburgh Chil- r;rodren's Museum. But as special as St uffee is, we humans are even more special because 44)we are alive. Ask students to name ways Stuffee or the robot they designed is different from real humans. The list of attributes of living things below and the exhibit Hotspots may help you lead this discussion. What makes a body alive? Humans and other living things can...... move from one position or place to another or their body parts can move inside. ...respondsense and reactto changes inside or outside of their bodies. ...grow, producing new tissues faster than they use them up or wear them out. GRAIN FOODS ...reproduce new beings just like themselves. ...respire, taking oxygen from the air or wa- Food Guide Pyramid ter, using it to burn up food, and gel ting rid U. S. Department of Agriculture

12/Looking at You o Engineers are developing computerized machinesrobotsthat imitate our bodies. In the space below,drawyour plan for a robot to do the three jobs that bug you most. On tracing paper,drawan x-raof the robot's insides.

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Looking at You/13

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Amazing digestion a-Make a pulse meter to measure your ,-squeezea tube of toothpaste or pastry tube pulse rate: to see how waves of muscle «mtractions Place a soda straw (paristalic action) move food through the di- across the inside of gestive system. your wrist. Digestion starts in the mouth. Chew a piece The straw of white bread and hold it in your mouth jiggles every time the wrist ar- for five minutes. What happens? tery pulses, so count the jiggles per r;vTo see how stomach acids continue di- minute. gesting food, place a bone in a jar of vin- Anchor a toothpick in a small piece of egar. Check it every day. What happens? clay and place it where the pulse is strong- ,-Investigate: What happens when the kid- est pulse is on your wrist. Count the up and neys fail? How does an artificial kidney down movements. work? What is diabetes? What can someone a-Chart the difference in pulse rates between do to help prevent diabetes? children and adults; between resting and after a minute of jogging or jumping in Amazing circulation place. How are body size, exercise, and Iv-Squeeze a tennis ball 70 times per minute. pulse rate related? Test your hypothesis by That's how hard your heart works! taking the pulse rate of various sized pets. a-Construct a stethoscope by connecting a or Use a mirror to observe blood vessels on funnel to a ruhber hose. the underside of your tongue. The thin blue lines are veins; the thick pink lines are cap- \ illaries. Pull down you-r lower eyelid for an even better view of capillaries. a-Examine a drop of blood under a micro- scope and identify the blood cells. alnvestigate: What happens during a heart atm( k? ...stroke? What is arteriosclerosis? What can we do to keep our hearts healthy?

14/Looking at You Amazing respiration utes. Do you want to try longer? What are the hardest things to do? 1,Measure with a tape measure around someone's chest when they have fully exhaled, 1'.Balance on one foot while blindfolded. then again when they have fully inhaled. Have a friend throw you a ball ten times. What is the difference in the size? How many times can you catch it? Cover one eye and try again. Now what is your c, Take a very deep breath, then blow into a balloon to see how much air you breathe in score? and out in One breath. , Pour glasses of orange and grapefruit juices. Blindfold yourself and pinch your nose shut. Pour a bag of regular air over a candle burn- Ask a friend to rearrange the glasses, then ing in a jar. Breathe "lung exhaust" into the taste each and try to guess which is orange bag, then pour the "exhaust" over the burn- ing candle. What happens each time? What and which is grape- gas does the candle need to burn? What fruit. gases does the lung exhaust contain? Try wearing nose uMnvestigate: Is coughing good or bad? What plugs for half an hour. Exercise for is asthma, emphysema, and pneumonia? What happens to your lungs when you get a three minutes. cold with bronchitis? What does smoking How do you feel? This is how it feels do to your lungs? to have al- Amazing bones and muscles lergies. 4r Cover your ears with your thumbs. Now iAfter exercising, try breathing through squeeze your hands into fists. The "earth- a straw in your mouth. This is how itfeels to quake" sound you hear is the sound of mus- have asthma. cle fibers at work. 1Haye a friend tie your thumbs to your or Measure yourself first thing when you get up hands, then go about your everyday activ- in the morning. Measure yourself again right ities. What seems hardest to do? What is before bed. What happened? Why? easier than you thought? Can you imagine Living without living without your hands at all? On a weekend ask an Why do I adult's help to go feel all thumbs without my about your regular thumbs?? activities blindfolded. Does your house seem as familiar as you thought it was? Ask someone to time you for fifteen min-

Looking at You/I 5 74 Heart Works There Was an Old Lady (seep. 8) In their tenfifteen minute tour ot Heart Tiwre was an old lady, she swallowed a fly. vioWorks children role-play the blood and take I don't know win/ she swallowed a fill. an incredible trip as they are pumped Perhaps she'll die. r.:rothrough the heart and body. A museum staff There was an old lady, she swallowed a spider. member will take children through the It squirmed and wriggled and turned inside her. (41blood's complicated never-ending cycle of She swallowed the spider to catch the fly. picking up oxygen in the lungs, delivering it I don't know why she' swallowed a fly. to the body, and exchanging it for carbon di- Perhaps she'll die. oxide, and make the process understandable There was an old lady, she swallowed a bird. and fun. How absurd! She swallowed a bird. Heart Works explains in three dimen- She swallowed the bird to catch the spider, sions the following concepts that students She swallowed the spider to catch the fly. may have learned in books or class: I don't know why she' swallowed a fly. The heart, blood, and blood vessels Perhaps she'll die. make up the circulatory system. There was an old lady, she swallowed a cat. The heart is about as big as a fist and is Think of that! She swallowed a cat. located a little left of center in the chest. She swallowed the cat to catch the bird. The heart is the strongest muscle in the Size swallowed the bird to catch the spider, bodyit never stops pumping blood. She swallowed the spider to catch the fly. Blood is the body's delivery system. I don't know why size swallowed a fly. Blood is pumped through the heart's Perhaps she'll die. four chambers and the body. It picks up oxygen at the lungs, delivers it to the There was an old lady. size swallowed a dog. body, takes away carbon dioxide, and What a hog to swallow a dog! gets rid of it back at the lungs on its next Size swallowed the dog to catch the cat, trip. Nutrients, antibodies, and hor- Size swallowed the cat to catch the bird. mones are also delivered to the body She swallowed tiw bird to catch the spider, and other waste products, besides car- She swallowed the spider to catch the fly. bon dioxide, are eliminated when the I don't know why she swallowed a fly. blood goes through the liver and kid- Perhaps she'll die. neys. Good health habitssleep, good food, There was an old lady, she swallowed a cow. and especially exercise--are needed to I don't know how siw swallowed the cow. keep the heart healthy. She swallowed the cow to catch the dog. For preschoolers, the basic message is She swallowed the dog to catch the cat, that the heart is a pump that makes the She swallowed the cat to catch the bird. blood flow and deliver good stuff (oxygen) She swallowed the bird to catch the spider, and take away bad stuff (carbon dioxide). Size swallowed the spider to catch the fly. Older children will learn more about the I don't know why she swallowed a fly. four chambers of the heart. Perhaps she'll die. There was an old lady, she swallowed a horse. Size died of course. Related reading Anonymous Burns, Marilyn. Good for Me! All about Food in 32 Bites. Boston: Little, Brown, and Com- pany, 1978. Caselli, Giovanni. The Human Body and How it Works. NY: Grosset & Dunlap, 1987. Linda Allison. Blood and Guts: A Working Guide to Your Own Insides. Boston: Little, Brown, and Company, 1976. Miller, Jonathan and Pelham, David. The Hu- man Body. NY: The Viking Press, 1983 Parker, Steve. Skeleton: An Eye Witness Book. NY: Alfred A. Knopf, 1988. 7 16/Looking at You