Morehead State University’s The Little Company Presents

Study Guide

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Authors

Research

Erin Sinead — Dramaturgy

Format Design

Zachary Fryman – Graphic Designer

Curriculum Research

Erin Sinead – Curriculum and Lesson Plan

The Little Company Staff

Octavia Biggs —The Little Company Director

Corinne Campagna —The Little Company Tour Coordinator

The Little Company Morehead State University 106 Baird Music Hall Morehead, KY 40351 606-783-2545 www.moreheadstate.edu/thelittlecompany

www.facebook.com/The-Little-Company 2

Table Of Contents

Title of Page Page Number

Synopsis/ About the Author Page 4

Director Notes Page 5

Designer Notes Page 6

Puritan Religion Page 13

Witchcraft Page 14

Salem Witch Trials Page 15

Possible Causes Page 16

The Afflicted Women Page 17

Lesson Plans/ Core Standards Page 24

KCAS Standards Page 52

Vocabulary Page 59 3

Afflicted: Daughters of Salem

Explores the possible reasons as to why five young girls, in Colonial Massachusetts, led a “crucible” of events known as the infamous Salem Witch Trials of 1692. Interestingly, historical accounts have been unable to fully explain what may have driven these adolescents to make such allegations that forever establish the legacy of Salem. This play examines the dangers of what can happen when young people are denied the sense of play and imagination, no matter what century. Through this denial, alliances are created and betrayed, promises are made and broken as the girls unite in a secret society. Laurie Brooks’ “Afflicted: Daughters of Salem” delves into a world of secrets, gossip, fear, lies and accusations and the dangers of spreading rumors. About the Author Laurie Brooks is an award-winning playwright and YA fiction author. Awards and grants include TCG’s National Theatre Artist Residency Program (with the Coterie Theatre), AT&T Firststage award, three Distinguished Play Awards and Charlotte Chorpening Cup from American Alliance for Theatre and Education, NY Foundation for the Arts Council Grant (Graffiti Theatre Company). Brooks’ Lies and Deceptions Quartet of plays for young adults includes The Wrestling Season, commissioned by the Coterie Theatre, featured at The Kennedy Center’s New Visions/New Voices 2000: One Theater World, printed in the 2000 Playscript Series and American Theatre magazine and winner of “Best of” awards in Seattle, Kansas City and Dallas. Additional award-winning plays include Deadly Weapons, The Tangled Web, Everyday Heros, Selkie: Between Land and Sea, Devon’s Hurt, The Match Girl’s Gift, Franklin’s Apprentice, The Lost Ones, Triangle, Atypical Boy, All of Us, and Brave No World, commissioned and premiered at The Kennedy Center. Brooks has worked extensively in Ireland and has been assistant professor, playwright-in-residence and literary manager for the Provincetown Playhouse at New York University. She has served as playwright-in-residence for the HYPE program at the Alley Theatre in Houston, guest lecturer at University of Missouri-Kansas City and University of Texas at Austin, and artist-in-residence at Arizona State University. Her article, “Put A Little Boal in Your Theatre: A New Model for Talkbacks” appeared in American Theatre magazine, and she was featured artist at the 2007 TCG National Conference at the Guthrie Theatre in Minneapolis sharing her after-play forum method. Brooks has served as site reporter and panelist for the NEA and Pew Charitable Trusts. Her newest plays are Jason Invisible, commissioned by The Kennedy Center, and Afflicted: Daughters of Salem, commissioned by the Coterie Theatre. Brooks’ book for young adults, Selkie Girl, was published by Knopf in 2008.

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A perfect storm is described as a combination of events or circumstances creating an unusually bad situation. From January through to September 1692, Salem Village, Massachusetts experienced a “crucible” of events that led to the “perfect storm” establishing the legacy of Salem. Many factors played key roles: local religious and political tensions, greed, fear, desperation, an imbalance of power, rebelliousness, spite, jealousy, Native American attacks, and psychological hysteria. According to an article in 1976 from Science Magazine, it was discovered there could also be a scientific reason for the extreme actions of this small village; a fungus called ergot which is found on the flower of wheat and rye with side effects including hallucinations, delusions, vomiting, and muscle spasms and is also a key element in the hallucinogen LSD. So many reasons, and yet historical accounts simply have been unable to fully explain what may have driven these young teens to make such allegations. Laurie Brooks explores the possible reasoning behind the most notorious teens in American history. As I began the process of putting this production together, I was struck by one main idea: this is the danger of what can happen when young people are denied a sense of play and imagination, no matter what century. Suddenly, exploring the idea of how to incorporate a contemporary feel into this historical story became my focus. The assistant director, William Murphy, had the brilliant idea of using the universal language of music to help connect the dots between history and current affairs. Therefore, through the use of music and movement we began the process of sharing the story of how our actions have consequences, no matter what year and how history does indeed repeat itself. The dangers of spreading rumors, gossip, secrets, and judgmental accusations can quickly burn out of control. When I first read the quote below, I was filled with outrage, especially for the last few words: “…and must be bent to the ways of the God.” I wanted to try and understand how an entire religious sect could feel so strongly that “our children are born evil and as sinners. I reminded myself, children need guidance, they should not be left to their own devices, and we do have to correct them to teach them. I thought about the Salem Village girls and the young people of today. We should be leading by example. Do I love unconditionally? In many ways I have felt the girls of Salem Village were victims. But, what about young people from this century? Can we say the same thing? I challenge myself and you, to lead by example, to advise, encourage and inspire young people. To find love in each person, no matter what their differences. Mahatma Gandhi perhaps says it best: “Be the change that you wish to see in the world.” The Puritan Mind: Reading 3 -John Robinson “There is in all children a stubbornness of mind arising from natural pride. Children are both wayward and full of passion. They hath a great heart that is altogether inclined to evil and must be bent to the ways of the God.” 5

The “Sphere of Life” is my guiding mental image for my concept. Think of a snow globe that you shake up with that transparent “sphere” surrounding everything. For me, this is an expanded metaphor of the “Circle of Life”. The basic idea of the life cycle, life and death, but to include everything that happens within that life cycle. One’s hopes, fears, beliefs, passions, what your perception is of others and what their perception is of you. Your own little bubble or sphere, if you will.

So with that idea and mental image, I wanted the scenery to envelope the actors and audience. The trees towering overhead and surrounding you like a huge sphere, and their roots underneath grounding you. The color palette of white and black represents good and bad or for this particular show, heaven and hell. The grey colors represent the hereafter; ashes to ashes, dust to dust, thus completing the life cycle.

As I was reading Afflicted: Daughters of Salem, the character Tituba really struck a chord with me. I started to research her and learned that she was originally from Barbados, a country that practices voodoo. As a possible practitioner, it would make sense she would utilize voodoo spirits to help her teach the girls magic. I wished that the play did more to emphasize this, so being assistant set designer gave me a chance to do just that. When Mark Hayes put me in charge of designing the floor I knew immediately I wanted to find a way to incorporate voodoo symbology. The first thing I decided, was to design veves, or voodoo sigils, into the floor. Many voodoo ceremonies utilize the drawing of these veves into the ground with either chalk or colored dust. The veves that appear were chosen to connect with the themes of the play. They represent protectors of the physical realm, the connection to the spirit realm, the masters of black magic, and the patrons of women. Mark’s concept for his design focuses on the aspect of the circle of life. With this in mind, I originally wanted the veves to be a deep blood red to symbolize lifeblood; but during a production meeting our director mentioned loving the idea of reveals during shows. This struck me with the idea to instead use fluorescent paint with black lights. When the UV lights aren’t on, the veves will appear to be faded much like a primitive cave painting. As soon as the girls start to dance the veves will be hit with a UV light causing them to have an other-worldly glow.

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AYIZAN: Voodoo goddess of the MAMAN BRIGITTE: Voodoo pa- Earth. tron of women.

KALFU: Voodoo god of dark PAPA LEGBA: Voodoo spiritual magic. gatekeeper

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As the stage manager, I am responsible for completing various tasks in a timely and efficient manner. During the rehearsals, I am in charge of noting the director’s blocking, movement for the actors, in my script, that includes tracking props and costume pieces, any and all questions by the actors and director are addressed, and everyone in the rehearsal space are focused and ready for rehearsal. Outside of rehearsal, I communicate with the designers about additions or issues that arise in any area, such as set, costumes, props, etc. My process involves knowing the show inside and out, being punctual, having clear and precise communication, working efficiently, and staying organized. Stage Managing is not always easy work, and each day is never like the last; but when you're working on a project that you love, you find every moment enjoyable.

“Because there is one thing stronger than magic: Sisterhood”. The girls in Afflicted form a sisterhood where they talk about their lives, share stories, and play music. Puritans in the 1600s, did not have the luxury of instruments and music. If caught, the musician would be sent to trial and punished. Tituba brought a drum to the gatherings in the woods with the girls. The girls wanted to join in and grabbed whatever they could find and joined the beat. These found objects also allowed them to hide their instruments if they got caught by someone from the village. A prop that I wanted to add to the design is lanterns. The lanterns light the way from civilization to the sisters’ gathering area. They act as a spiritual guide, a beacon, for the sisters to get to their fire.

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Afflicted: Daughters of Salem, is a piece that I found intriguing as a designer, and important for young audiences. Author, Laurie Brookes offers a thoughtful take on the six young women that sent so many to the gallows in1692. Brookes’ approach to the story gives some perspective and challenges the audience towards empathy or at the very least a little bit of understanding that the culture of Salem was equally to blame. At the start of the play we can see a glimpse of the inherent dangers that come out of theocracies and totalitarian states, but most importantly we witness just how quickly things can unravel when we allow ourselves to be ruled by fear.

The world of the play is set primarily within the cold and dark woods that surrounds Salem Village. Through clusters of dead birch trees, under the canopy of branches already touched by winter these young women gather and dance around Tituba’s fire and all the shadows seem to dance with them. These secret meetings deep in the brush hid under the black sky and protected by superstition is the only place these characters allow themselves to breath, and as they exhale and breath in deep once more the colors of night should glow and intensify around them. I want the audience to see anticipation of these young women like its hanging in air as dusk descends over Salem and the bright pinks and oranges give way to saturated blues and deep purples you only see on clear moonless nights. A blue that is good for secrets, and hushed tones shared between only your best friend. With every self-discovery, we can see the haze start to clear and rise allowing the girls to better see the world around them, unfortunately for them this only reveals how truly terrifying and small it is. In the end, a tension begins to reach its most fevered pitch the Daughters of Salem discover that Monsters do lurk in shadows, conjuring in the woods can be more than a game, and the color of survival is as red as blood or as red as the bracelets that bond them.

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When I finished reading Afflicted: Daughters of Salem, I made a list of significant images and concepts that were important to communicate through the costumes. Some of these images pertained to the script and show in general, and some pertained to specific characters.

One of the first images seared into my mind was the image of flames. The flames were symbolic of the passion the women felt inside, whether it was a passion for learning, to pursue love, or general independence. However, they were forbidden to act upon their yearnings. It was fitting, then, that the young women met over flames through the fire in the woods at night. Like the flames dancing and reaching into the night sky, the women were also free and uninhibited when they met in the woods. Yet, these same flames also represented danger and served as a warning to the women. These women knew that their evening gatherings in the woods could (and did) result in punishment by fire. I started the design by scribbling images of flames (Image 1). I kept returning to stylized images of the flames, and wanted to incorporate them onto the skirts of the women. Fortunately, the director of the script was interested in a stylized approach to the costumes as well, so I did not have to worry about a completely realistic look. However, when I first showed the director my sketches of the skirts with flame images on them (Image 2), she liked the overall idea, but expressed her desire to have the “flames” concealed at times, since the young women had to conceal their true feelings. Hence, we changed the design to skirts that had large box-pleats, and the stylized flames would be inside the pleat, only to be revealed in certain moments (Image 3).

Another image that was important to me was the red bracelets. This was a symbol of the bond between the women, and I felt the red color was an important aspect of that.

Though I did learn through my research that it is a myth that the Puritans were only permitted to wear black, I decided to stay in a monochromatic grayscale palette for the young girls’ costumes to emphasize the expected conformity and rigidness of the society in which they lived. With the overall palette being monochromatic, a few splashes of red within the palette became more significant. The only times color was used on the women were with the red bracelets, and one red flame on the skirts.

Finally, I wanted to indicate the silhouette of the time period, especially in regards to the confining, stifling aspects of the clothing—which I felt connected to the society itself. At the same time, I wanted to have a hint of our contemporary time period because there are still challenges women and young girls face. I wanted to connect the present day to our history. Therefore, I used a modern-day leotard as the base for the bodice, but I incorporated a stiff bodice resembling a corset to emphasize the stiffness of the attitudes towards women and young girls.

For the character Tituba, I interpreted her as someone in touch with the earth and the natural world around her. I felt a mixture of interesting and coarse textures would reflect nature. I also felt earth tones would represent the natural elements. I settled on the burnt orange color as the dominant color for her because it was an earth tone, but it also reflected the passion and fire that Tituba had and brought out in the other young women.

As a slave brought from the Caribbean, Tituba was forced to conform to the society around her, and forced to adopt the culture and social mores of her new society. Therefore, I settled on a rigid bodice to reflect that. However, I designed her costume with touches from the culture she left behind to indicate that she still valued the beliefs and culture she left behind.

As such, Tituba wears a turban-like headpiece, and continues to wear bright colors instead of the rigid grays and blacks. The bright colors were at first drawn as strips that connected to make a large skirt (Image 4). However, I felt her status as a worker and slave should be reflected in her costume. Therefore, the large strips that formed a skirt evolved into smaller strips that formed more of an apron (Image 5). Finally, I believe the distressed nature of her costume indicates her status as a slave and worker.

The last thing for me to consider as the designer was that it was essential that Tituba’s costume contrast greatly when compared with the young girls’ costumes. I believe the end result accomplished that. (Image 6 and 7).

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Image 1 Image 2

Image 3 Image 4 and 5

Image 6 Image 7

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For this production I was challenged with finding ways to draw connections between the struggle against oppression that these girls face and struggles against oppression throughout history. We hope to achieve this with a dynamic combination of contemporary movement and music. Often I attempt to present unorthodox solutions to specific challenges we come across, not in the hopes that all of them will make it in the show, but so we have an opportunity to break from convention. As well as having a hand in design and concept decisions, Octavia entrusts me with working with individual actors while she is working on big picture issues. This production offers a powerful and topical look into this tragic time which we want to make as applicable as possible to our lives today.

The sound design for Afflicted: Daughters of Salem involves many different responsibilities for what is heard. One of the first responsibilities was to find appropriate hymns for the girls to sing and drum rhythms for Tituba to play throughout the performance. Puritans in the late 1600’s did not sing songs or play music at all for its own sake, rather, everything they did was to worship God; therefore, hymns were the only music that they would know to sing. All of the hymns chosen were taken from the Bay Psalm Book that was printed about 1640 and was very popular throughout the colonial northeast. I took the original melodies and transposed them into minor keys to give the sense of darkness, mystery, and the oppressive nature of the Puritan way of life. Tituba’s drum rhythms were drawn from western African djembe rhythms. Knowing that Tituba was a slave from Barbados in the late 17th century I can assume that she is possibly a second or third generation west-African (meaning her parents or grandparents may have been born in Africa) and most likely had not lost her African cultures and had likely not had any other cultural influence other than the Puritan culture she was forced into. Her rhythms range from dance-like during lighter moods to extremely fast and heavy during very intense scenes, musically reflecting the action and also being accurate to how African tribes would have certain rhythms and dances for certain occasions. All of the recorded sounds that are heard were approached with the idea of sounding both natural and as a reminder that the girls are not truly alone in the woods. Different sounds heard during the play serve to draw the audience into the woods with the girls and make you wonder what could possibly be nearby in the darkness listening and watching what is happening, be it an animal, a person, a spirit, or God Himself. Making sounds distant and with heavy reverb/echo can transport the space aurally from being a room to being outside with the action. 12

The role of dramaturg is to act as a researcher for the play, and to teach the actors more about the world of the play, and, in the case of Afflicted: Daughters of Salem, to research the actual events that took place. I began this process by first reading through the play a few times. My first read was strictly for enjoyment. My second read-through was to determine what aspects of the play I wanted to research. I decided on multiple areas, namely the women at the heart of the story, and life in Puritan Salem, Massachusetts. This led to various other things to research like witchcraft, specifics about the village, and the Puritan religion. After this information was gathered, I presented it to the actors, along with some activities to help them understand their characters and the world of 17th century Salem. Finally, the work is gathered onto a board for audiences at the performances to learn from, and compiled into a study guide that goes to schools.

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The Puritans’ initial goal was not to break away from the church, but instead to reform the church. When this failed, they had no choice but to seek religious freedom by sailing to the New World. They remained connected to the Church of England, but were forming their own branch of the religion. They arrived in what is now Massachusetts, and created the Massachusetts Bay Colony, specifically settling in Boston. Their life in this New World was not easy, but they finally had the freedom to worship as they wanted to. The Puritans were strict Calvinists. This meant that they believed it was pre-determined whether a person would go to Hell or be granted salvation. This belief was caused by the thought that humans were “depraved sinners incapable of earning merit in the eyes of God.” Only a few could be granted salvation. Regardless of what a person did in their life, nothing they did would change this outcome. This contributed to the difficulties of a Puritan life in Salem. People were constantly looking for a sign as to their destiny, and this factored into everyday life. Anything from the way you are sitting to how successful your work is could be a sign that you are granted salvation or damned. Their religion itself had many strict beliefs. The most notable, which is how the religion got its name, is that they believed in “purity” of religion. They avoided “diluting” their services and churches with too many expensive artifacts, and their churches were simple. So were their services: musical instruments, including the organ, was banned, and all hymns were sung acapella. The basis of their beliefs was on the “righteousness and sovereignty of God. (He) directed all things by exercise of his will and directed all things to an intelligent end.” This was a major difference from the Catholics, as the Catholics saw Priests as a vital figure, and holier than others in the church. They also favored the teachings of the Old Testament. The Puritan belief also supported moderation. While they would occasionally drink and dress within their social classes, they were careful not to overdo anything. Doing anything in excess would lead to that person being condemned by the community. They also viewed the Sabbath differently than other religions. Instead of using it as a day of rest, it was a day to bring yourself closer to God. Citizens of the village would attend hours-long, required church services, and spend the rest of the day reading and learning Scripture. The community as a whole needed a certain level of spiritual health and welfare to prosper. Small levels of dissent were tolerated, but only in miniscule amounts. Too much dissent could lead to disorder in the community.

A page from the Old Testament book of Acts (27:30-28:6). This is a page from the Robert Aitken Bible, one of the very first printed in America.

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A fear of witches dates back to quotes from the Bible. "Thou shalt not suffer a witch to live" from Exodus 18:22. Thus, in heavily religious Puritan Salem, witches were greatly feared, and witchcraft was punishable by death. Witches were believed to be in leagues with Satan, having made a pact with him to serve him. Women were most often accused of being witches, due to the belief that they were more susceptible to Satan’s charms. Early witch trials began in Europe in the 15th century. This is when and where the “crime” of witchcraft began to take shape. Heretics were put on trial, and their “confessions” led to the concept of what witches are and what they do. Some accused admitted to flying on poles and animals, attending assemblies presided by Satan, casting spells on neighbors, having sex with animals, or causing storms. Others in Europe claimed that witches met with demons, casted spells to destroy crops, and aborted fetuses. There was also a belief that witches consorted with animal familiars that carried out the witch’s commands. European witch trials reached their peak in the late 16th century, and began to taper off after the 1640s. This is about when the concept of Witch Trials came to America, beginning with the Connecticut Witch Trials in 1647. The last known witch execution occurred in Poland in 1793. Although witchcraft was no longer considered a capital offense, those interested in witchcraft would hide their interests, as it was still heavily frowned upon. Only with the resurgence of Neopaganism in the early 20th century did witchcraft become more mainstream and acceptable, allowing those interested in the craft to practice openly. Witchcraft is a Pagan religion. Pagan religions are religions that believe in multiple gods, so Hinduism, Buddhism, Native American religions, and nature-based religions are all considered to be Pagan religions. Because of its wide definition, 50% of the world’s religions are considered Pagan religions. There are many types of witchcraft, including: African witchcraft, Appalachian folk magic, green witchcraft, hedge witchcraft, hereditary witchcraft, kitchen or cottage witchcraft, Pennsylvania Dutch hexcraft or “pow-wow,” traditional witchcraft, and Wicca. Wicca is perhaps the most well-known of witchcraft. Wicca is a more modern religion; it’s only about 60 years old. It is a nature-based religion, with its followers worshiping nature and the Earth. Witchcraft is viewed as positive and life-affirming. Wiccans take a vow to cause no harm with their powers. 15

The Salem Witch Trials began in January of 1692 after girls began complaining of having fits caused by witches. These girls began the trial by naming the first three suspects: Sarah Good, Sarah Osbourne, and Tituba, the Parris family slave. The first two women denied the charges against them, but Tituba made a scathing confession. Part of her confession included stating that there were other witches in Salem. This led to widespread panic and desire to find and exterminate these remaining witches. Many suspect that the witch trials became a way for people to get rid of or get revenge against people they disapproved of. People most commonly accused of being witches were outspoken women, people of color, people with prior criminal convictions or witchcraft accusations, those of other religions, especially Quakers, and those that criticized the Witch Trials. Life in Salem became dangerous during this time, with many innocent people being executed and imprisoned. These Trials led to the death of 24 innocent people, 19 of these were executed, one was tortured to death, and four died in prison. Two dogs were also executed for suspicions of witchcraft. All who were executed were hung near Gallows Hill, on Proctor’s Ledge. Fourteen of those executed were women; the remaining five were men. None were actually burned at the stake, contrary to popular belief. Other people who were accused but lived simply remained in prison, never reached trial, were never arrested, were released or escaped from prison, or pardoned of the charges. Over 200 people were accused of witchcraft during the Trials, but only about 150 were actually arrested for witchcraft. Sarah Good, one of the first to be accused, was one of the 19 executed. Most of the accused were women, but some men were accused too. Once the Trials ended, those that survived began to feel guilty about the horrors that had occurred during the trial. Though they still believed in witchcraft and the Devil, they began to doubt that so many people could have been guilty, and worried that many innocent people had been put to death. They also began to suffer many disasters, like Indian attacks, crop failures, and disease outbreaks. These disasters led to the fear that they had angered God with the Trials, and this was His way of punishing them. On January 15th, 1697, the colony held a day of prayer to ask for forgiveness for the Trials. This became known as the Day of Official Humiliation. On October 17th, 1711 the colony issued a bill pardoning several of the convicted witches. Restitution of 600 euros was also paid to the surviving victims and their families; the money was then divided amongst them. On August 28th, 1957 then-Governor of Massachusetts, Foster Furcolo, signed a bill into law pardoning most of the victims that were still considered guilty. The bill also included an official apology for the Salem Witch Trials. Over 50 years later, on October 31st, 2001, the state amended the 1957 apology to officially clear the names of the remaining victims with guilty verdicts. 16

Ergot is a type of fungus that can grow on rye. 1691 was a cold winter, followed by a humid spring and summer. These conditions were ideal for ergot growth. The people of Salem would eat the infected rye. The theory is that the fungus caused the symptoms of those that were accusers or “affected” by the witches. Ergot poisoning can cause hallucinations, burning sensations, muscle contractions, and headaches. These were the symptoms that the afflicted girls had. Some evidence contradicts this theory though. One of the biggest reasons that ergot poisoning is not the cause of the Trials is that the girls could “turn” their symptoms off and on at will. The girls would often have their fits during trials, and at other convenient times. They also didn’t show some of the common symptoms of ergot poisoning, including: strictures, weakness, and dementia. Other witchcraft trials have also occurred in places where ergot could not grow, which would rule out ergot poisoning in those areas. A similar theory is that the girls were suffering from a brain condition known as encephalitis lethargica. This is an inflammation of the brain, and it is typically spread by insects and birds. Symptoms of this inflammation are: fever, headaches, lethargy, double vision, abnormal eye movements, neck rigidity, behavioral changes, and tremors. The girls were showing these symptoms, and blamed it on witchcraft. Medicine at this time was minimal, and thus it would have been hard to diagnose such a condition as doctors at this time mostly looked for outright physical symptoms. This theory has the same pitfalls as the ergot poisoning theory: the girls seemed to be able to turn their symptoms on and off at will, particularly during specific trials. More often than not, witch-hunts happen during colder-than- normal time periods. Thus, there is a possibility that the Salem Witch Trials were caused, or at least influenced by, cold weather. This theory is influenced by the common belief during this time that witches could control the weather. Cold weather can lead to many problems, including a food shortage. There is evidence that Samuel Parris, father of Betty and pastor of Salem Village, was in arguments with the village people over a shortening food supply the winter before the Trials began. A dwindling food supply can lead to high tensions, which can lead to people looking for someone to blame.

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Abigail Williams was one of the first girls to be afflicted, and one of the first to become an accuser during the Salem Witch Trials. We know little about her life before and after the Trials, but it is known that she was born on July 12th, 1680. During the time of the Salem Witch Trials, Abigail was living with the Reverend Parris, his daughter Betty, who was Abigail’s cousin, and their slave Tituba. The problems began when these afflicted girls began dabbling with fortune-telling techniques. The specific technique they used was what is known as a “venus-glass.” This activity requires dropping the white of an egg into a glass of water. The egg white would form shapes, and the girls could tell their future from the shapes they saw. They were mostly looking to see what their future husbands would look like, or what their husband’s career would be, but the plan went south. Instead of faces, or other clues about future husbands, the girls saw what looked like a coffin. This terrified them. This event occurred in the winter of 1691-92. In January 1692, Abigail Williams and her cousin Betty Parris began behaving strangely, including having fits and screaming out that invisible spirits were touching them. They would also scream out in pain. Soon after Betty and Abigail became afflicted, Ann Putnam Jr. and the other afflicted girls began experiencing the same fits. By the end of February, Reverend Parris called for a doctor to examine the two girls in his care, as he was not sure what was wrong with them and the fits continued. After examining the girls, the doctor couldn’t find anything wrong with them. He determined the strange behavior must be caused by witchcraft. The girls were asked if they knew who the witch that was causing their fits was. A few days later, the girls named three women: Sarah Good, Sarah Osbourne, and Tituba, the Parris family slave. All women had low standings in the community. Throughout the Trials, Abigail was one of the main accusers: altogether, she accused about 57 people. However, she only testified against eight people. Her last testimony was given on June 3rd, 1692, after which she disappears from court records. It is possible Reverend Parris sent her away to end her involvement in the Trials, but this is unknown. Abigail never apologized for her role in the Trials. There is no information on what happened to Abigail after the Trials. There is a book written by Reverend John Hale that mentions “an anonymous afflicted girl who suffered from “diabolical manifestation” until her death and died a single woman,” probably in 1697. We assume this is Abigail, as she was one of the few unaccounted for at the end of the trials. The location of her grave is unknown. 18

Ann Putnam Jr. was the daughter of one of the ringleaders of the Salem Witch Trials, Thomas Putnam. The family was wealthy and had lived in Salem for four generations. She was born on October 18th, 1679, and is the oldest of ten children. Her role in the trials began soon after Abigail and Betty began complaining of having fits and pains, as she soon began suffering from the same afflictions. She joined the other afflicted girls in accusing Sarah Good, Sarah Osbourne, and Tituba. Soon after, she became one of the most militant accusers in the trials. She accused 62 people throughout the course of the trials. It is heavily suspected that the Putnam family’s involvement in the trails was spurned by a need for revenge against those they did not like or disproved of. As the girls were too young to file accusations themselves, Thomas Putnam and Edward Putnam filed most of the afflicted girl’s accusations. Some studies suggest that Ann was such a militant accuser because she suffered abuse at the hands of her parents, and this was her way of getting out her anger. Her anger was mostly directed at her neighbor, Rebecca Nurse. Ann was heavily involved in Rebecca’s trial. It is likely Rebecca was targeted due to a decades-long feud she had with the Putnam family. Rebecca was arrested March 24th. Most of the people that testified against her were Putnam family members, or close friends of the family. Rebecca was first declared not guilty but, upon reading of the verdict, the afflicted girls began having another fit. The jury reconsidered their verdict, and found Rebecca guilty. She was one of the 19 victims that were hung. After the trials ended, Ann remained in Salem Village. Her parents died suddenly in 1699, leaving her seven remaining siblings in her care. These children ranged in age from seven months to 16 years. She never married. In 1706, she wanted to join the Salem Village Church, but she was required to confess to past sins and other wrongdoings. This led to Ann making an apology for her role in the Salem Witch Trials. She is the only one of the afflicted girls to actually apologize for her actions. She became chronically ill after the Trials, and this led to her death at the age of 37, in 1716. She was buried near her parents in one of the Putnam family cemeteries. Her will divided land she had inherited from her parents to her four brothers, and her estate was divided between her sisters.

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Mercy Lewis, one of the afflicted girls, was a servant for Thomas Putnam. She was born in Maine in 1975. One year later, her family was attacked by a tribe of Wabanaki Native Americans. This attack claimed the lives of her grandparents, her cousin, and several of her community members. Herself and her parents barely escaped, and sought refuge on an island in Casco Bay, along with many other people who had survived the attack. The family briefly moved to Salem, before returning to Casco Bay. In 1689, there was another attack, and this one claimed the lives of both of her parents. After the second attack, she moved back to Salem village where her married sister lived. This is when she became a servant for Thomas Putnam. While working for Thomas, Mercy became friends with Ann Putnam Jr. When Ann began behaving strangely in the winter at the beginning of 1692, Mercy quickly followed suit and began experiencing the same symptoms. Unlike her fellow afflicted, she did not officially accuse anyone until March 26th, when she accused Elizabeth Proctor. She also eventually accused one of her fellow afflicted girls, Mary Warren, on April 18th. This accusation was because Mary had begun hinting the girls may be lying. She was not the only afflicted girl to turn on the others. On April 22nd, Mercy was accused by Deliverance Hobbs. Her name came up in his examination, but only briefly and she was never officially accused. Like Abigail, little is known about Mercy after the end of the Salem Witch Trials. She gave birth to an illegitimate child and married in 1701 at the age of 28. At some point after her marriage, she moved to Boston with her husband and child. The date and location of her death is unknown.

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Betty Parris was the first girl to be afflicted, allegedly after dabbling in fortune-telling techniques with her older cousin Abigail and some of Abigail’s friends. She became one of the chief accusers. She was born on November 28th, 1682. She was the youngest of the afflicted girls. After Betty began having fits, a local doctor determined the cause was witchcraft. In the hopes of curing Betty and keeping her out of the bulk of the Witch Trials, her parents sent her away to live with a relative. Her fits continued after being sent away, but she eventually recovered. She never testified, although her name does appear on the first complaint submitted. After the trials, Betty lived in Salem until her father was dismissed from his position as minister. He moved the family to Dunstable, and then Sudbury to serve as preacher. Betty stayed in Sudbury until adulthood. She married in 1710, and had four children. She died in 1760, on March 21st. She never showed remorse for her actions in the Salem Witch Trials, and never apologized.

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At age 20, Mary Warren was the oldest of the afflicted girls. She began having symptoms of affliction shortly after all the other girls had. She testified against many people, until she herself was accused of witchcraft. Mary was the indentured servant of the Proctor family. John Proctor thought the girls were lying about being afflicted, and threatened to beat Mary if she didn’t stop. On April 2nd, John got his wish as Mary’s fits stopped. She wrote a note asking for prayers of thanks from the congregation. Reverend Parris found this note and read it to the congregation. After the service, he questioned Mary about the note. During the questioning, she said “the afflicted persons did but dissemble.” It is possible that this statement is what turned the other girls against her, as people thought it meant the afflicted girls were lying. Almost immediately after this, her fits returned, and she began acting as a witness in the trials again. On April 4th, Elizabeth Proctor, the wife of John Proctor, was accused of practicing witchcraft. Soon after Elizabeth’s accusation, John himself was accused. Mary was not one of their accusers, but she did testify against them in court. On April 18th, Mary was officially accused of witchcraft, along with several others. Some argue that she said the afflicted girls were lying during her examination, but the court records show no proof of this. She was examined a total of four times. She initially gave vague answers, but eventually confessed. This most likely saved her life, as witches who confessed were often spared the death penalty. In her confession, she blamed the Proctors for making her a witch. After she was released from jail, she began accusing many people, and testifying as often as she could. The date of her death is unknown, as we know nothing about her after the Salem Witch Trials ended.

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Tituba was a slave in the Parris household. Various documents and books about the Salem Witch Trials portray her as black or mixed, but the court documents refer to her as an Indian servant. Little is known about her early life. During her childhood, she was captured and made a slave. Parris or an associate bought her in 1680, and then moved with her to Salem in 1689 when Parris became the new minister of Salem Village. Having worked with the family for over a decade, she was close with Abigail, but especially close with Betty. She ate meals with the girls, and most likely slept beside them at night. She was one of the first women to be accused of witchcraft once the trials started, and is the first to actually confess to being a witch. She was likely named a witch as she allegedly practiced voodoo and taught it to the girls, but this is uncertain. When Betty and Abigail started having fits, they soon accused Tituba, along with two other women, of being the witches that afflicted them. These arrests could have ended the witch-hunts, but Tituba confessed. In her confession, she stated that she saw a book with names of other witches, but she could not decipher the names. She also spoke of having conversations with evil animals, who order Tituba to do their bidding. She also stated that she saw Sarah Good and Sarah Osbourne transform into winged creatures. These dramatic confessions were possibly forced out of her by Reverend Parris, who may have beaten her until she agreed to confess. As a slave, she had no social standing, and therefor nothing to lose if she confessed. A confession also likely saved her life. Tituba’s religion is unknown, but if she was not Christian, she did not have to fear going to hell if she confessed, like many of the other accused men and women did. Her confession kept her case from going to trial, and thus she was saved from being hung. However, she did remain in jail and later recanted her confession. After the trials ended, Tituba was forced to remain in jail as she had no money to pay her jail fees, and Parris refused to pay them himself. In April of 1693, she was sold to someone for the price of her jail fees. It is likely her husband was sold along with her, as the Puritans did not like to separate married slaves. After she was sold again, it is unknown what happened to her.

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“The 1692 Salem Witch Trials.” Salem Witch Museum, Salem Witch Museum, 2016 “Afflicted: Daughters of Salem.” Stageplays, Stageplays. Blumberg, Jess. “A Brief History of the Salem Witch Trials.” Smithsonian.com, Smithsonian Institution, 23 Oct. 2007. Brooks, Rebecca B. “Abigail Williams: The Mysterious Afflicted Girl.” History of Massachusetts, 22 June 2017 Brooks, Rebecca B. “Ann Putnam, Jr. Villain or Victim?” History of Massachusetts, 6 July 2015 Brooks, Rebecca B. “Betty Parris: First Afflicted Girl of the Salem Witch Trials.” History of Massachusetts, 10 June 2013 Brooks, Rebecca B. “Mary Warren: Afflicted Girl Turned Accused Witch.” History of Massachusetts, 13 Aug. 2013 Brooks, Rebecca B. “Mercy Lewis: Orphaned Afflicted Girl.” History of Massachusetts, 21 Jan. 2014 Brooks, Rebecca B. “The Salem Witch Trials Victims: Who Were They?” History of Massachusetts, 19 Aug. 2015 Brooks, Rebecca B. “Tituba: The Slave of Salem.” History of Massachusetts, 2 Jan. 2013 Bruno, Garret, et al. “The Puritans.” Gettysburg EDU, Gettysburg College. “Elements of Literature.” Owl, Roane State Community College. “GCSE Weather and Climate Vocabulary.” Geography Fieldwork, Barcelona Field Studies Center. “God In America.” PBS, Public Broadcasting Service, 11 Oct. 2010 Lee Ann Obringer "How Witchcraft Works" 29 October 2004. HowStuffWorks.com. 30 August 2017. Leventhal, Asa K. “Finding the True Cause of the Salem Witchcraft Trials.” Best Midwestern High School Writing: A Celebration and Recognition of Outstanding Prose, vol. 1, no. 5, 2015. Winter. Mastin, Luke. “History of Witchcraft.” Witchcraft and Witches, 2009. Saxon, Vicki. “WHAT CAUSED THE SALEM WITCH TRIALS?” Daily JSTOR, JSTOR, 27 Oct. 2015. Schiff, Stacy. “Unraveling the Many Mysteries of Tituba, the Star Witness of the Salem Witch Trials.” Smithsonian.com, Smithsonian Institution, 1 Nov. 2015. “SIX ARISTOTELIAN ELEMENTS OF A PLAY.” Bellevue College , Bellevue College. Wolchover, Natalie. “Did Cold Weather Cause the Salem Witch Trials?” LiveScience, Purch, 20 Apr. 2012 Yost, Melissa M. “Abigail Williams.” Salem Witch Trials, University of Virginia 2002.

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CORE CONTENT:  Big Idea: Historical Perspective - 2.20 - Students understand, analyze, and interpret historical events, conditions, trends, and issues to develop historical perspective.  Big Idea: Cultures and Societies - 2.16 Students observe, analyze, and interpret human behaviors, social groupings, and institutions to better understand people and the relationships among individuals and among groups. OBJECTIVES:  To learn about the six women at the heart of Afflicted: Daughters of Salem.  To design a poster detailing the life of one woman.  To compare the information given in the show with the historical information. MATERIALS:  Poster board (one per group)  Markers  Tape/glue  Scissors  Difference Cards with Names Handout  Suggested Websites list VOCABULARY:  Ann Putnam: One of the afflicted girls and an early accuser in the Salem Witch Trials.  Abigail Williams: One of the afflicted girls and an early accuser in the Salem Witch Trials. The niece of Reverend Parris.  Betty Parris: The daughter of Reverend Parris and one of the afflicted girls.  Mercy Lewis: One of the afflicted girls and an early accuser in the Salem Witch Trials.  Mary Warren: One of the afflicted girls and an early accuser in the Salem Witch Trials.  Tituba: A slave in the Parris household and the first to confess to being a witch.  Reverend Parris: The Reverend of Salem Village. 25

PROCEDURE: 1. Put students into groups. 2. Assign each group one of the six women in the play: Ann Putnam Jr., Mercy Lewis, Abigail Williams, Mary Warren, Betty Parris, or Tituba. 3. Students will research their assigned woman. Students should gather a biography on the woman they researched, their role in the Salem Witch Trials, and be able to identify three differences between the show’s information and the historical information. They should use the handout to note the differences. 4. Students should then create a poster to share this information. 5. Have students present their findings to the class, making sure to note the differences between the play’s information and the historical information. Suggested Websites: www.salemwitchmuseum.com http://historyofmassachusetts.org http://www.salemwitchtrials.com/ https://www.britannica.com http://salem.lib.virginia.edu

26 POSTER PRESENTATION RUBRIC

Name:______Class:______

Criteria 4 3 2 1 TOTAL Poster is easy to Most information is Some information Little to no NEATNESS read, lines are easy to read, some is easy to read, information is neat, images are images are fuzzy or most images are legible, images are clear, no visible too small, some glue hard to make out, hard to make out, glue or tape or tape is visible, glue or tape is glued or tapes some lines are visible, most lines pieces are falling uneven are uneven off All information Most information is Only some Most or all ACCURACY is accurate and accurate, most information is information is properly sources are given accurate, many false, few or no sourced sources are missing sources are given and are not properly cited

Biography is Biography is relative- Biography lacks 2- Biography lacks BIOGRAPHY thorough and ly thorough, but may 3 key points and more than 3 keys presents a be missing a key detail points and is not detailed account point or lack detail detailed of the woman’s life ROLE IN TRI- Role in trials is Role in trials is given, Role in trials is No role in trials clearly given and ALS but some detail is given, but it is not given explained glossed over explained further

Three Only two differences Only one No differences or THREE DIF- differences are are given and difference is given explanation given FERENCES given and explained, or three and explained, or explained differences are given more differences but explanation is are given but lack lacking explanation Presentation is Presentation is Most of Presentation PRESENTATION engaging and engaging but lacks presentation is cannot be heard, thorough, some information, hard to hear and little or no infor- students share some parts were hard follow, not all in- mation is given all information, to hear or formation is given students are understand, not all loud enough to information is given be heard by whole class Presentation and Either poster or Poster and Poster and OVERALL poster were presentation were presentation were presentation were neat, thorough, lacking some detail, lacking some detail lacking a lot of and full of but most parts were detail information! included

Final Grade:

Additional Comments: ______Difference Cards

Ann Putnam Jr. Mercy Lewis

Abigail Williams Betty Parris

Tituba Marry Warren

CORE CONTENT:  6th Grade: TH:Cr1.1.6 - a. Identify possible solutions to staging challenges in a drama/theatre work.  7th Grade: TH:Cr.1.1.7 - a. Investigate multiple perspectives and solutions to staging challenges in a drama/theatre work.  8th Grade: TH:Cr1.1.8 - a. Imagine and explore multiple perspectives and solutions to staging problems in a drama/theatre work.  High School Proficient: TH:Cr1.1.I. - a. Apply basic research to construct ideas about the visual composition of a drama/theatre work.  High School Accomplished: TH:Cr1.1.II. - a. Investigate historical and cultural conventions and their impact on the visual composition of a drama/theatre work..  High School Advanced: TH:Cr1.1.III. - a. Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/ theatre work. OBJECTIVES:  To develop a short play that dramatizes a trial during the Salem Witch Trials.  To produce a written play.  To apply the elements of drama to the production. MATERIALS:  “Aristotle’s Elements of Drama” Handout  “Plotline” Worksheet  Costumes and props  Courtroom-like environment  Rubric (for teacher use only)

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VOCABULARY:  Plot: The events of the play.  Character: The “agents” of the plot.  Theme: The meaning of the play.  Language: The words of the play and how they’re spoken.  Rhythm: Speed of the action.  Spectacle: Everything that is seen or heard onstage.  Prop list: List of props the production needs.  Set list: List of set pieces the production needs.  Costume list: List of costumes the production needs.  Rising action: Events building to the climax.  Falling action: Events following the climax, heading to the resolution.  Exposition: The beginning of the story that sets up the events.  Resolution: Where the conflicts of the story are solved.  Conflict: The problems presented in the story.  Climax: The most intense moment of the story.  Protagonist: The hero of the story.  Antagonist: The villain of the story. PROCEDURE: 1. Create a class discussion based on the “Elements of Drama” handout. 2. Task students to share examples from their favorite production. 3. Discuss the “Plotline” Worksheet. Have students fill it out with the definitions. 4. Place students into groups. 5. Each group should produce a short (5-10) minute script of a trial. 6. As a group, students will analyze their scripts to identify the elements of drama, i.e.: What is the plot of the script? Who are their characters? What is the theme? What kind of language is used? What is the rhythm? What is the spectacle? 7. Develop costume, prop, and set lists using references pictures. (As a bonus, students may create drawings of costumes, props, and sets.) 8. Each group will do a staged reading of their script, assisted by the use of props, sets, and costumes.

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Aristotle’s Elements of Drama Adapted from: https://www.bellevuecollege.edu/artshum/materials/drama/ Hoffman/101SIXARISTOAPLAYspr03.asp There are six basic elements of drama: plot, character, theme, language, rhythm, and spectacle. All of these elements work together to create a play. The plot is what happens in the story. It is the events that take place, from beginning to end. It is generally composed of various problems that the characters must solve. For example, part of the plot in “The Three Little Pigs” is that the pigs must build themselves shelter. The characters are the “agents” of the play. That is, they are the way the plot moves along. The characters are the ones that face and solve the problems presented by the plot. For example, characters of “The Three Little Pigs” would be the three pigs and the wolf. The theme is the reason the playwright wrote the play. It is the meaning that can be gathered from the text. The theme can be gathered from the plot, characters, or any other elements of the play. For example, a possible theme of “The Three Little Pigs” is that hard work pays off, as the pig that built the strongest house was able to survive. The language is the words of the play. This can be influenced both by the actual words on the page, and how the actor chooses to say those lines. For example, the language in “The Three Little Pigs” could be fun, childish, scary, or many different things, depending on the version. The rhythm of the play is the speed at which the plot moves, and the rate at which words are spoken. The rhythm can be faster in more intense areas and slower in calmer areas. For example, in “The Three Little Pigs,” the rhythm could be fast when the wolf is huffing and puffing and slow once the three pigs have their houses built. The spectacle is all of the elements that can be seen or heard onstage. This includes the actors, costumes, set, props, lighting, and anything else that can be seen by the audience. Some plays have heavy spectacle with a lot of visual elements, and other plays have light spectacle, with few visual elements outside of the actors. For example, in “The Three Little Pigs,” the spectacle could be light with simple costumes and only the suggestion of the houses, or heavy with elaborate costumes, set, and other elements added.

31 Plotline Worksheet (Taken from readwritethink.org) DRAMA PERFORMANCE RUBRIC

(From http://barefootk.weebly.com/)

Name:______Class:______

Criteria 4 3 2 1 TOTAL Voice was loud Student spoke clearly Voice and Could not VOICE and clear; words but it was difficult to language was not understand what were easily understand some of very clear; was being said due understood the script; could’ve could’ve been to unclear and low been louder. much louder. speech. Audience felt Was aware and Needed more No audience AUDIENCE like part of the well-connected to the audience awareness or show. audience. awareness and connection at all. connection. Good use of Almost used entire Could have used Needed more BLOCKING stage and stage—turned away more of the stage; blocking—always movement—did from audience only must concentrate face audience and not turn back to once or twice. on facing forward. use the stage! audience SCRIPT/ Enticing vivid Script/dialogue was Some detail used Script/dialogue detail used in PURPOSE well-written; in script/dialogue; contained no script/dialogue; considerable detail needed more of a purpose and very (When applicable) evident reasons for with good purpose. purpose. little detail. the performance. Script was fully Script was almost Script was partially Script was not at MEMORIZATION/ memorized; fully memorized- memorized; all memorized; no IMPROVISATION student some improv used to student did not improvisation (When applicable) improvised in make up for missed attempt used. place of lines. lines. improvisation. FACIAL EXPRES- Great use of Contained some Needed more Contained little to SION/ gestures, facial facial expression, facial expressions no facial BODY LAN- expression and gestures & body gestures & expression, gesture GUAGE body movement. movement. or movement. movement! Committed, Semi-committed, Almost committed, No commitment, OVERALL cooperated & concentrated & cooperative & cooperation or concentrated- cooperative- concentrated- concentration WOW! GREAT! NOT TOO MORE BAD… REHEARSAL!

Final Grade:

Additional Comments: ______

CORE CONTENT:  6th Grade: DA:Cr2.1.6 - a. Explore choreographic devices and dance structures to develop a dance study that supports an artistic intent. Explain the goal or purpose of the dance.  7th Grade: DA:Cr2.1.7 - a. Use a variety of choreographic devices and dance structures to develop a dance study with a clear artistic intent. Articulate reasons for movement and structural choices.  8th Grade: DA:Cr2.1.8 - a. Collaborate to select and apply a variety of choreographic devices and dance structures to choreograph an original dance study or dance with a clear artistic intent. Articulate the group process for making movement and structural choices.  High School Proficient: DA:Cr1.1.I - a. Explore a variety of stimuli for sourcing movement to develop an improvisational or choreographed dance study. Analyze the process and the relationship between the stimuli and the movement.  High School Accomplished: DA:Cr1.1.II - a. Synthesize content generated from stimulus materials to choreograph dance studies or dances using original or codified movement.  High School Advanced: DA:Cr1.1.III - a. Synthesize content generated from stimulus material. Experiment and take risks to discover a personal voice to communicate artistic intent. OBJECTIVES:  To enhance aspects of storytelling through the use of movement.  To associate movements with emotions.  To create a dance that tells a story. VOCABULARY:  Dance: Move rhythmically to music, typically following a set sequence of steps.  Movement: An act of changing physical location or position or of having this changed.  Choreograph: Compose the sequence of steps and moves for (a performance of dance or ice skating). MATERIALS:  Fairy tales  Rubric (for teacher use only)

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PROCEDURE: 1. Put students into groups. 2. Assign each group a fairy tale. 3. Each group reads their fairy tale. 4. Each group must now choreograph their story. Each person must have at least three distinct movements. There should also be a narrator telling the story*. 5. Groups should find an instrumental piece that relates to their story and dance. 6. Present the dances to the class. 7. Discuss what movements were chosen and why. What did the movements accomplish? Were the movements successful in relating the story?

*A narrator may be helpful with groups who are newer to dance, and may be overwhelmed by having to tell a story entirely with dance. The narrator may be omitted if students are more experienced.

Fairy Tales: (All taken from: http://www.comedyimprov.com/music/schmoll/tales.html) Little Red Riding Hood Little Red Riding Hood went to the forest with food to visit her ill granny. She met a wicked wolf that asked her which path she was taking. She replied, “I’m taking the path that leads to my granny’s cottage.” While Little Red Riding Hood was busy picking flowers to take to her granny, the wolf went to the cottage and swallowed granny in one gulp. Then, the wolf put on granny’s cap, got in granny’s bed, and settled in to wait. Little Red Riding Hood arrived at the cottage and came into granny’s bedroom. She said, “Granny what big ears you have!” and the wolf replied “All the better to hear you with, my dear.” Little Red Riding Hood also commented on the size of her eyes, and the wolf responded: “All the better to see you with, my dear.” And then Little Red Riding Hood mentioned the size of her teeth, and the wolf stated: “all the better to eat you with, my dear.” The wolf swallowed Little Red Riding Hood in one gulp and then fell asleep. A woodsman came by and heard the wolf’s snores, and decided to check on the woman. He saw the wolf and knew something was wrong. The woodsman cut the wolf open with his ax and out popped Granny and Little Red Riding Hood. Then the woodsman, Granny, and Little Red Riding Hood all sat down by the fire and enjoyed cake and lemonade.

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Jack and the Beanstalk Jack and his mother were hungry. The cow in the barn gave them milk, but they needed food. Jack’s mother said, “We must sell the cow to get some food.” Jack volunteered to take the cow to town. Along the way, Jack met a farmer who talked him into giving up the cow in exchange for a handful of good luck beans. When Jack returned home, his mother was very cross because they lost their cow for a few beans. She threw the beans out the window and went to bed. The beans began to grow straight up into the sky, so Jack climbed the beanstalk hoping to find good luck at the top. Instead, he found himself in a giant’s castle. The giant was counting his money and singing “fee fie foe fum, I like children in my tum.” The giant’s wife helped Jack hide so the giant wouldn’t eat him. Then Jack realized something and said, “Hey, this giant stole my father’s money!” The giant’s wife said, “This magic hen and golden harp used to belong to your father too. Play the harp, and then run!” Jack played the harp, and the giant fell asleep. Jack grabbed the money and the hen and started running. But on the way outside, he knocked over the harp, and woke the giant up. The giant chased Jack all the way down the beanstalk chanting “fee fie foe fum” When Jack reached the bottom, he chopped down the beanstalk with an ax. The giant was no more. Then the magic hen clucked and laid a golden egg. Jack’s mother, awakened by all the noise, took the golden egg, put it with the money, and said, “Now we’ll have something nice to eat.” Sleeping Beauty A king and a queen had been trying to have a child for years. When the child finally arrived, they called her Aurora. A great holiday was proclaimed to celebrate Aurora’s birth. Visitors came from far and wide, including three good fairies, named Merryweather, Fauna and Flora. One of the most distinguished guests was another king from a neighboring kingdom, who brought his son Prince Philip. Both kings realized that their dream of a united kingdom could now come true. The three good fairies began bestowing their gifts upon Aurora. These gifts were the gifts of Beauty and of Song, but before the last gift was bestowed, a wicked fairy interrupted. This wicked fairy was upset that she wasn’t invited to the party, so she cast a spell that on the day of Aurora’s 16th birthday, she would prick her finger on the spindle of a spinning wheel and die. The third good fairy hadn’t bestowed her gift yet, and she was horrified at the spell the wicked fairy cast. The good fairy wasn’t strong enough to undo the spell, but she was able to dilute it, and instead of death, Aurora would fall asleep until her true love came along to undo the spell with a kiss. As a precaution, all spinning wheels were removed from the kingdom, and Aurora lived in hiding as a peasant with the good fairies for protection. She grew up, met Prince Philip, and fell in love. On the night of Aurora’s 16th birthday, Aurora, Prince Philip, and the good fairies all went back to the castle to live. But the evil fairy snuck into the castle and pricked Aurora’s finger with a needle, causing her to fall asleep. With the help of the good fairies, Prince Philip kissed her and she awoke. They all lived happily ever after. 36

Cinderella There once was a widower who remarried. His second wife was ill-natured, and she had two daughters who were just as unpleasant as their mother. The man had a beautiful, gentle daughter of his own. Soon, the man died, and the wicked stepmother made her stepdaughter be their servant. They made her do all the chores around the house, and she was named Cinderella, after the cinders she swept out of the fireplace. The King needed to find a princess for his prince, so he threw a huge ball. The evil step-mother and step-sisters were invited, but Cinderella was not allowed to go. After they left, Cinderella’s fairy godmother appeared and changed her dirty rags into a beautiful gown with glass slippers. Next the fairy godmother changed a pumpkin into a coach and some mice into footmen. Before Cinderella left, the fairy godmother warned her to be home before midnight, because the spell would only last till then. Cinderella was a hit at the ball. The prince fell in love with her and asked for her name. Just then the clock struck midnight, and Cinderella ran away. She was in such a hurry, she lost one of her glass slippers. It was the only clue the prince had to find his true love. He went to every home in the kingdom and had every single young girl try on the slipper to see if it fit. The evil step-sisters couldn’t fit the slipper, but Cinderella did. The prince married her and they all lived happily ever after. Snow White and the Seven Dwarves There once was a queen who named her only daughter Snow White because her skin was so fair, lovely, and white as snow. The queen died, and Snow White’s father married a new queen, who was evil, vain and wicked. Every morning she would stand in front of the mirror and say, “Mirror, mirror on the wall, who is the fairest one of all?” The mirror always answered, “thee,” until one day it said that Snow White was the fairest one of all. The evil queen ordered one of her servants to take Snow White to the forest to kill her. The servant, feeling sorry for Snow white, let her go and brought back a wild boar’s heart to show the queen he had done the deed. Snow White, alone and hungry in the forest, came across a little cottage with seven tiny beds. When the dwarves came back from work they found Snow White and said she could stay with them if she cleaned and cooked. They all lived happily until one day when the mirror told the wicked queen that Snow White was still alive and living with the dwarves. The wicked queen disguised herself as a peddler and went to the cottage while the dwarves were at work. She gave Snow White a red apple that was poisoned. When Snow White took a bite of the apple, she fell down unconscious. The dwarves were very sad and built a glass coffin for her. One day a prince came by and saw how beautiful Snow White was, and bent down to give her a kiss. Snow White woke up and they were married.

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Goldilocks and the Three Bears There once was a family of bears: mama bear, papa bear, and baby bear. They went for a walk in the woods. While they were gone, a little girl named Goldilocks came upon their house and went inside. She saw the three bowls of porridge on the table and tasted some from each bowl. The big bowl was too hot, the medium-sized bowl was too cold, but the smallest bowl was just right, so she ate it all up. The she saw three chairs and decided to sit down. The big chair was too hard, the medium-sized chair was too soft, but the little chair was just right. As Goldilocks was getting comfortable in the smallest chair, it broke. So, she went in the next room and found the beds. The big bed was too hard, the medium- sized bed was too soft, but the little bed was just right, and Goldilocks fell last asleep. Just then, the three bears came home to find their house in a mess. Papa bear said, “Someone’s been eating my porridge.” Mama bear said the same thing, and baby bear said, “Someone’s been eating my porridge, and they ate it all up!” Then they saw the chairs and papa bear said, “Someone’s been sitting in my chair.” Mama bear said the same thing, and then baby bear said, “Someone’s been sitting in my chair, and they broke it!” Then they went into the next room and found Goldilocks asleep in baby bear’s bed. When she awoke, she was so frightened she ran out of the bears’ house and didn’t stop running till she got home.

38 DANCE PERFORMANCE RUBRIC

(From http://barefootk.weebly.com/)

Name:______Class:______

Criteria 4 3 2 1 TOTAL Voice was loud Student spoke clearly Voice and Could not VOICE and clear; words but it was difficult to language was not understand what were easily understand some of very clear; was being said due (If narrator is understood the script; could’ve could’ve been to unclear and low used) been louder. much louder. speech. Audience felt Was aware and Needed more No audience AUDIENCE like part of the well-connected to the audience awareness or show. audience. awareness and connection at all. connection. Good use of Almost used entire Could have used Needed more BLOCKING stage and stage—turned away more of the stage; blocking—always movement—did from audience only must concentrate face audience and not turn back to once or twice. on facing forward. use the stage! audience SCRIPT/ Enticing vivid Script/dialogue was Some detail used Script/dialogue detail used in PURPOSE well-written; in script/dialogue; contained no script/dialogue; considerable detail needed more of a purpose and very (When applicable) evident reasons for with good purpose. purpose. little detail. the performance. Script was fully Script was almost Script was partially Script was not at MEMORIZATION/ memorized; fully memorized- memorized; all memorized; no IMPROVISATION student some improv used to student did not improvisation (When applicable) improvised in make up for missed attempt used. place of lines. lines. improvisation. FACIAL EXPRES- Great use of Contained some Needed more Contained little to SION/ gestures, facial facial expression, facial expressions no facial BODY LAN- expression and gestures & body gestures & expression, gesture GUAGE body movement. movement. or movement. movement! Committed, Semi-committed, Almost committed, No commitment, OVERALL cooperated & concentrated & cooperative & cooperation or concentrated- cooperative- concentrated- concentration WOW! GREAT! NOT TOO MORE BAD… REHEARSAL!

Final Grade:

Additional Comments: ______

______

CORE CONTENT:  6th Grade: MU:Cr1.1.6 - Generate simple rhythmic, melodic, and harmonic phrases within AB and ABA forms that convey expressive intent.  7th Grade: MU:Cr1.1.7 - Generate rhythmic, melodic, and harmonic phrases and variations over harmonic accompaniments within AB, ABA, or theme and variation forms that convey expressive intent.  8th Grade: MU:Cr1.1.8 - Generate rhythmic, melodic and harmonic phrases and harmonic accompaniments within expanded forms (including introductions, transitions, and codas) that convey expressive intent.  High School Proficient: MU:Cr1.1.C.I - Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, and/or storylines.  High School Accomplished: MU:Cr1.1.C.II - Describe and demonstrate how sounds and musical ideas can be used to represent sonic events, memories, visual images, concepts, texts, or storylines.  High School Advanced: MU:Cr1.1.C.III - Describe and demonstrate multiple ways in which sounds and musical ideas can be used to represent extended sonic experiences or abstract ideas.

OBJECTIVES:  To produce music using found objects.  To create emphasis in storytelling with music.  To collaborate with peers to create a performance.

MATERIALS:  A variety of found objects  Coffee cans  Boxes  Wood  Anything that could be used to make noise.  Short picture books (Goodnight Moon, by Margaret Wise Brown; The Very Hungry Caterpillar, by Eric Carle; If You Give A Mouse A Cookie, by Laura Numeroff)

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VOCABULARY:  Found object: An object not traditionally used to make music (box, can, tree, rock, wood, etc.) that can be used to make music.  Dynamics: Mechanics concerned with forces that cause motions of bodies.  Rhythm: An interval during which a recurring sequence occurs.  Tempo: The speed at which a composition is to be played.  Music: An artistic form of auditory communication.  Beat: The basic rhythmic unit in a piece of music.

PROCEDURE: 1. Allow students to choose a found object. If possible, the class should be taught outside so students can use trees, rocks, and other such things. 2. Let the students play around with their instruments and learn about what kind of sounds a found object can make, and how to vary those sounds. What happens if they hit it quickly? Slowly? Hit it hard? Or lightly? Hit it against other objects? Hit it with other objects? Stroke it instead of hitting it? How many different ways can they make sound with their object? 3. Each student should pick one of the picture books and add music to it with their found object. 4. Once they have added music, they should find a partner. In these pairs, one student will read the other’s book while they add their music. They will repeat with the other book. 5. Once the students have had a chance to practice reading and adding music, they present their stories with music to the class. They do this in pairs, with one student reading while the other plays music. Discuss. Why music was added in certain parts of the story? What affect did it have? What tempo was chosen and why? How did the tempo of the music affect the mood?

41 MUSICAL PERFORMANCE RUBRIC

Name:______Class:______

Criteria 4 3 2 1 TOTAL VARIED Object is used in Object is used in Object is not used Object is only used SOUNDS a variety of some ways to make in a wide variety of to make one or two ways to make sounds – about 5 ways – about 3 different sounds many different sounds – at least 7 RELATES TO Tempo and Tempo and rhythm Tempo and rhythm Tempo and rhythm STORY rhythm of the match most of the match few parts of do not match the music matches story, but not all the story story the story INCLUDED Music was used Music was used in 2 Music was only N/A MUSIC in at least 3 instances in the story used once in story instances in the story Performance Performance appears More rehearsal is Performance is not PERFORMANCE appears well rehearsed, with some needed, many rehearsed rehearsed with pauses or stumbles pauses or stumbles few pauses or stumbles OVERALL Performance is Performance is Performance falls Performance is not well rehearsed, rehearsed, music is apart in some rehearsed, music is and the music is mostly accurate areas, music is inaccurate. accurate to the somewhat accurate story, student shows enthusiasm

Final Grade:

Additional Comments: ______

______

______

CORE CONTENT:  6th Grade: Develop understanding of statistical variability. Summarize and describe distributions.  7th Grade: Analyze proportional relationships and use them to solve real-world and mathematical problems.  8th Grade: Investigate patterns of association in bivariate data.  High School: Understand solving equations as a process of reasoning and explain the reasoning OBJECTIVES:  To solve probability and percent age math problems using facts from the Salem Witch Trials.  To develop statistical math problems using numbers from the Salem Witch Trials.  To collaborate with peers to create statistical math problems. MATERIALS:  Math Problem handout  Salem Witch Trials by the Numbers Handout VOCABULARY:  Probability – the extent to which an event is likely to occur.  Percent – one part in every hundred.

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PROCEDURE: 1. Pass out the math problem handout. 2. Have students work individually to solve problems 1-10. 3. Put students into groups. 4. Students should answer 11 and 12 in groups. 5. Once students have finished, go over the worksheet as class to check answers. 6. Select a few students to write the math problems they created on the board.

Salem Witch Trials by the Numbers As a class or individually, solve these additional problems.

Abigail Williams: Accused 57 people Testified against 8 people 15 of her accused were hung Of her accused was tortured to death Ann Putnam Jr.: Accused 62 people 17 of her accused were hung One of her accused was tortured to death Mercy Lewis: Accused 9 people Testified against 16 people 6 of her accused/testified were hung One of her accused was tortured to death Overall: 20 people were executed 19 people hung 1 tortured to death 150 were accused 5 Afflicted women 1 Afflicted woman apologized 44

Math Problems 1. Abigail Williams accused 57 people during the Salem Witch Trials. However, she only testified against 8 people. What is the percentage of people she testified against out of those she accused? 2. If you selected one person Abigail accused at random, what is the probability she provided testimony against them? 3. Of the 57 people Abigail accused, 15 people were executed. If you selected one person at random, what is the probability they were executed? 4. What percentage of the 57 people Abigail accused were executed? 5. People in Salem were expected to give a portion of their income to the church to support its running costs. If you made $1250 in one year, how much would you donate if you wanted to give 30% of your Income? 6. Ann Putnam Jr. accused 62 people during the Salem Witch Trials. Of these, 17 were executed. What is the percentage of people that were executed? 7. If I selected one person Ann accused at random, what is the probability they were executed? 8. Ann is the only one of the 5 afflicted girls to apologize for her role in the Witch Trials. What percentage of girls apologized? 9. During the Salem Witch Trials, 20 people were killed: 19 executed, and one tortured to death. What percent of people were executed? What percent of people died of other causes? 10. 150 people were accused of witchcraft during the Trials. What percentage was executed? 11. - 12 Using the facts provided above, create two word problems that deal with percentages or probability. These two problems must relate in some way to the Salem Witch Trials.

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CORE CONTENT:

 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

 6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.

OBJECTIVES:

 To collaborate with peers to write a story.

 To identify pieces of a plot by using them in a story.

 To create a story based on a prompt.

MATERIALS:

 Prompt List

 Pieces of the Plot handout

VOCABULARY:

 Loup-Garoo: A mythical being thought to be connected with the devil. She would pounce on victims and kill the body and soul. She would shed her skin, which was thought to grant whoever found it powers and freedom.

 Venus Glass: A type of fortune-telling technique that involved dropping the white of an egg into a glass of water. The shape of the egg white would supposedly tell the future.

 Wabanaki Indians: A tribe of Indians that lived near Salem Village. The villagers saw the Indians as savages, and feared them.

 Witch: A person, most commonly a woman, who was thought to have magical powers and to be in league with the devil.

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PROCEDURE: 1. Play “Sentence Clicks” A. Everyone stands in a circle. B. Teach the group a simple rhythm: slap thighs, clap hands, snap right hand fingers, then left hand fingers. C. Practice the rhythm until the class is comfortable with it. Be careful to not let the rhythm speed up as students go – this will make the second part of the game more difficult! D. Next, students will create a sentence around the circle. The first person will say the first word of the sentence while they snap their right fingers, and then add the second word when they snap their l eft fingers. The second person will add the third and fourth words, and so on. If the sentence ends before everyone has added a word, start a new sentence with the next person. E. Continue until everyone has had a chance to add to sentences at least three times. 2. Have a class discussion based on the “Pieces of the Plot” handout. 3. Put students into groups 4. Give each group a prompt from the prompt list. 5. Students will use their prompt to create a collaborative story. Groups should map out their story using the Pieces of the Plot worksheet. Students can search for reference images to inspire their stories. 6. Students should use their Pieces of the Plot as a guide to create their collaborative story. How the collaborative story works is that the first student will say the beginning sentence of the story. The second student will say the second sentence, and so on until the story is completed. Each student should add at least three sentences. Students should be writing down their sentences. 7. Have students share their stories with the class. After each story has been shared, the group should share the Pieces of the Plot as they appear in their story.

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Prompt List 1. You run into the Loup-Garoo while out with your friend. What happens? 2. You are accused of being a witch/wizard. Do you confess? What happens in your trial? 3. You accuse your teacher of being a witch/wizard. Why? 4. You run into the Wabanaki Indians. What do you do? 5. You are caught going into the woods for a secret meeting. What do you do? Who catches you? 6. You try using the “venus-glass” to tell your future. What do you see?



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Pieces of the Plot

 Plot: The arrangement of ideas and/or incidents that make up a story.  Foreshadowing : When the writer clues the reader in to something that will eventually occur in the story; it may be explicit (obvious) or implied (disguised).  Suspense : The tension that the author uses to create a feeling of discomfort about the unknown  Conflict - Struggle between opposing forces.  Exposition: Background information regarding the setting, characters, plot.  Rising Action : The process the story follows as it builds to its main conflict.  Crisis: A significant turning point in the story that determines how it must end.  Resolution/Denouement : The way the story turns out.

Story Draft Plot: ______Foreshadowing: 1.______2.______Suspense: ______Conflict: ______Exposition: ______Rising Action: ______Crisis: ______Resolution/Denouement: ______

CORE CONTENT:  08-ESS3-5. Ask questions to clarify evidence of the factors that have caused the rise in global temperatures over the past century.  HS-ESS2-4. Use a model to describe how variations in the flow of energy into and out of Earth systems result in changes in climate.  HS-ESS3-5. Analyze geoscience data and the results from global climate models to make an evidence-based forecast of the current rate of global or regional climate change and associated future impacts to Earth systems. OBJECTIVES:  To determine the effect weather has on human life, using the Salem Witch Trials as an example.  To discuss weather and climate using proper vocabulary.  To identify the difference between “weather” and “climate”. MATERIALS:  Handout – Article from LiveScience  Handout – Vocabulary PROCEDURE: 1. Have a class discussion using the Vocabulary handout. 2. Pass out the LiveScience article, and read through it with students. Discuss the article, asking students to make sure they use the vocabulary words. What was the typical weather like for this area? How would they be affected by colder-than-normal temperatures? Why would they resort to witchcraft at this point in time? 3. After the discussion, instruct students to write a short paper (1-2 pages in length) that discusses weather or not they believe the Salem Witch Trials could have been caused by the change in local climate. Students should be sure to use as much as the vocabulary as possible, paying special attention to the difference between “weather” and “climate.” Students are welcome to use the provided article and any other sources to write their paper.

50 Handout – LiveScience Article https://www.livescience.com/19820-salem-witch-trials.html Did Cold Weather Cause the Salem Witch Trials? Historical records indicate that, worldwide, witch hunts occur more often during cold periods, possibly because people look for scapegoats to blame for crop failures and general economic hardship. Fitting the pattern, scholars argue that cold weather may have spurred the infamous Salem witch trials in 1692. The theory, first laid out by the economist Emily Oster in her senior thesis at Harvard University eight years ago, holds that the most active era of witchcraft trials in Europe coincided with a 400- year period of lower-than-average temperature known to climatologists as the "little ice age." Oster, now an associate professor of economics at the University of Chicago, showed that as the climate varied from year to year during this cold period, lower temperatures correlated with higher numbers of witchcraft accusations. The correlation may not be surprising, Oster argued, in light of textual evidence from the period: popes and scholars alike clearly believed witches were capable of controlling the weather, and therefore, crippling food production. The Salem witch trials fell within an extreme cold spell that lasted from 1680 and 1730 — one of the chilliest segments of the little ice age. The notion that weather may have instigated those trials is being revived by Salem State University historian Tad Baker in his forthcoming book, "A Storm of Witchcraft" (Oxford University Press, 2013). Building on Oster's thesis, Baker has found clues in diaries and sermons that suggest a harsh New England winter really may have set the stage for accusations of witchcraft. According to the Salem News, one clue is a document that mentions a key player in the Salem drama, Rev. Samuel Parris, whose daughter Betty was the first to become ill in the winter of 1691-1692 because of supposed witchcraft. In that document, "Rev. Parris is arguing with his parish over the wood supply," Baker said. A winter fuel shortage would have made for a fairly miserable colonial home, and "the higher the misery quotient, the more likely you are to be seeing witches." Psychology obviously played an important role in the Salem events; the young girls who accused their fellow townsfolk of witchcraft are believed to have been suffering from a strange psychological condition known as mass hysteria. However, the new theory suggests the hysteria may have sprung from dire economic conditions. "The witchcraft trials suggest that even when considering events and circumstances thought to be psychological or cultural, key underlying motivations can be closely related to economic circumstances," Oster wrote. Weather patterns continue to trigger witchcraft accusations in many parts of Africa, where witch killings persist. According to a 2003 analysis by the Berkeley economist Edward Miguel, extreme rainfall — either too much or too little — coincides with a significant increase in the number of witch killings in Tanzania. The victim is typically the oldest woman in a household, killed by her own family.

Handout – Vocabulary Atmosphere: The envelope of air surrounding the Earth and bound to it by gravity. Climate: Long-term (50 year) weather averages. Cold front: The "leading edge" of a relatively cold air mass. Continental climate: A climate with a high temperature range away from the influence of the sea. Winters will be colder and summers warmer compared to a coastal location for the same latitude. Front: The meeting point between two air masses of different density. Since the temperature is the most important regulator of the atmosphere density, a front almost invariably separates air masses of different temperature. When warmer air replaces the colder, it is a warm front, and a front is a cold one when the opposite occurs. Humidity: Water vapor content of the air. Maritime climate: A climate with a low temperature range influenced by proximity to the sea. Winters will be warmer and summers cooler compared to a continental location for the same latitude. Occluded front: A front that is formed as a cold front overtakes a warm front and lifts the warm air completely off the ground. Precipitation: Any of all of the forms of water particles, whether liquid or solid, that fall from the atmosphere and reach the ground. The forms of precipitation are: rain, drizzle, snow, snow grains, snow pellets, diamond dust, hail, and ice pellets. Prevailing wind: The most common wind direction for a particular location. Seasonality: Periodic fluctuations in the climate related to seasons of the year e.g. wet winters, drier summers. Temperature: A physical quantity characterizing the mean random motion of molecules in a physical body. In other words, it is a measure of the degree of hotness or coldness of a substance. Temperature range: Maximum minus the minimum temperature for a particular location. Warm front: The forward edge of an advancing warm air mass that is rising over cooler air in its path. Warm sector: The zone of warm air within a depression. Weather: The state of the atmosphere, mainly with respect to its effects upon life and human activities. As distinguished from climate, weather consists of the short-term (minutes to about 15 days) variations of the atmosphere state. 52

KCAS Standards

DRAMA/Grades 6-8 AH-M-3.1.41 Create a script that can be used in a dramatic performance. [PE] (2.22) AH-M-3.1.42 Use the elements of production to create a dramatic work. [PE] (2.22, 2.23) AH-M-3.1.44 Create a design to communicate setting and mood using music and a variety of sound sources. [PE] (2.23, 2.24, 2.25, 2.26) AH-M-3.1.45 Assume roles that communicate aspects of a character and contribute to the action based on experience, imagination, or characters in literature, history, or script. [EPE] (1.15, 2.22, 2.23, 2.24, 2.25, 2.26) AH-M-3.1.46 Create characters using the elements of performance. [PE] (2.22) AH-M-3.1.47 Create and describe characters based upon the observation of interactions, ethical choices, and emotional responses of people. [PE] (2.22, 2.23) Identify and define the components of drama/theatre: AH-M-3.1.31 Elements of drama: plot development, rising action, turning point, falling action, suspense, theme, language, empathy, motivation, discovery AH-M-3.1.32 Elements of production: staging, scenery, props, lighting, sound, costumes, make-up AH-M-3.1.33 Elements of performance: breath control, diction, body alignment, control of isolated parts of the body AH-M-3.1.34 Compare and contrast the use of the elements of drama in a variety of works using appropriate vocabulary. (2.23, 2.24, 2.25) AH-M-3.1.35 Identify elements of production for a scripted scene, using appropriate vocabulary. (2.23, 2.24) AH-M-3.1.36 Describe, using appropriate vocabulary, how the elements of production communicate setting and mood. (2.23, 2.24) AH-M-3.1.37 Describe characters’ use of elements of performance, using appropriate vocabulary. (2.23) AH-M-3.1.39 Identify the skills necessary for jobs associated with theatre (playwright, director, actor, actress, de-signers - scenery, props, lighting, sounds, costume, make-up) AH-M-3.1.310 Discuss the collaborative artistic processes of planning, playing, responding, and evaluating a performance. (2.23) KCAS Standards Continued … VISUAL ART/ Grades 6-8 AH-M-4.1.41 Create art for specific purposes using the elements of art and principles of design to communicate ideas. [PE] (1.13, 2.22) AH-M-4.1.42 Effectively use a variety of art media, processes, and subject matter to communicate ideas, feelings, and experiences. [PE] (1.13, 2.22) AH-M-4.1.31 Describe, analyze, and/or interpret works of art using visual art terminology. (1.13, 2.22, 2.23, 2.24) AH-M-4.1.32 Art Elements: line, shape, color (tints and shades) and color groups (monochromatic), form, texture, space (positive/negative and perspective), and value (light and shadow). AH-M-4.1.33 Principles of Design: repetition, pattern, balance (symmetry/asymmetry), emphasis (focal point), contrast (light and dark), rhythm, proportion, and movement. AH-M-4.1.34 Identify and describe a variety of art media, art processes, and subject matter to communicate ideas, feelings, experiences, and stories. (1.13, 2.22, 2.23)

LITERATURE/Grades 6-8 AH-M-5.1.31 Analyze the characters’ actions, considering their situations and basic motivations. (1.2, 2.24, 2.25) AH-M-5.1.32 Explain how an author uses the elements of literature (plot and structure, characters, setting, point of view, language and style, and theme) to create literary work. (1.2, 2.23) AH-M-5.1.33 Identify characteristics of fiction and nonfiction and literary genres (folk literature, poetry, essays, plays, short stories, novels). (1.2, 2.23) Big Idea: Humanity in the Arts The arts reflect the beliefs, feelings and ideals of those who create them. Experiencing the arts allows one to experience time, place and/or personality. By experiencing the arts of various cultures, students can actually gain insight into the beliefs, feelings and ideas of those cultures. Students also have the opportunity to experience how the arts can influence society through analysis of arts in their own lives and the arts of other cultures and historical periods. Studying the historical and cultural stylistic periods in the arts offers students an opportunity to understand the world past and present and to learn to appreciate their own cultural heritage. Looking at the interrelationships of multiple arts disciplines across cultures and historical periods is the focus of humanities in the arts. Academic Expectations 2.24 Students have knowledge of major works of art, music, and literature and appreciate creativity and the contributions of the arts and humanities. KCAS Standards Continued … 2.25 In the products they make and the performances they present, students show that they understand how time, place, and society influence the arts and humanities such as languages, literature, and history. 2.26 Through the arts and humanities, students recognize that although people are different, they share some common experiences and attitudes.

DRAMA/Grades 9-11 AH-H-3.1.41 Select visual and sound elements (e.g., music, sound effects, actor’s voice) to clearly support the set-ting of a scripted drama. [PE] (2.22, 2.23) AH-H-3.1.42 Create a dramatization of a literary work. [PE] (2.22) AH-H-3.1.43 Research and make artistic choices [e.g., scenery, qualities the actors take on (voice, accent, manner-ism), direction, stage management] for dramatic production that reflects culture, history, and symbolism. [EPE] (2.22, 2.23) AH-H-3.1.44 Demonstrate acting skills to develop characterizations that illustrate artistic choices and believable characters. [EPE] (2.23) AH-H-3.1.45 Interpret dramatic works by applying knowledge and skills of the components of drama and theatre (e.g., monologue, dialogue, soliloquy, character, motivation, voice, sensory recall). [PE] (2.23) AH-H-3.1.31 Identify and discuss, using appropriate terminology, the use of dramatic structure [e.g., exposition, development, climax, reversal, denouement (also illustrated in Freytag’s Pyramid), tension]; character (e.g., protagonist, antagonist); literary devices (e.g., symbolism, foreshadowing); and components of drama/theatre (dialogue, monologue, soliloquy, ensemble, body, voice, script, sensory recall). (2.23, 2.24) AH-H-3.1.32 Analyze descriptions, dialogue, and actions within a script or text to discover, articulate, and justify character motivation. (2.22, 2.23, 2.24, 2.25, 2.26) 23 AH-H-3.1.33 Describe how a work of literature is selectively modified through theatre to enhance the expression of ideas and emotions. (2.23, 2.24) AH-H-3.1.34 Identify skills and training necessary for a variety of careers related to drama. (2.23, 2.24) AH-H-3.1.35 Compare and contrast how ideas and emotions are expressed in theatre with how ideas and emotions are expressed in dance, music, and visual arts. (2.23, 2.24) Historical and Cultural Context-Creating, Performing and Responding KCAS Standards Continued … AH-H-3.2.31 Identify specific dramatic works viewed as belonging to particular styles, cultures, times, and places. (2.25, 2.26) AH-H-3.2.32 Identify cultural, historical, and symbolic clues in dramatic texts which should be researched to assist in making artistic choices for informal (improvised) and formal (rehearsed) productions. (2.25, 2.26) 2.24, 2.25, .26) VISUAL ARTS/Grades 9-11 AH-H-4.1.41 Incorporate the elements of art and principles of design to generate several solutions to a variety of visual art problems. [PE] (1.13, 2.22, 2.23) Use media and processes, subject matter, symbols, ideas, and themes to communicate cultural and aesthetic values. [PE] (2.23) AH-H-4.1.31 Describe works of art using appropriate terminology. (1.13, 2.23) AH-H-4.1.32 Art Elements: color and color theory: primary and secondary hues, values (tints and shades), intensity (brightness and dullness); color relationship: triadic, complementary, analogous. AH-H-4.1.33 Principles of Design: Balance (symmetry/asymmetry), emphasis (focal pattern), pattern, repetition, contrast, variety, movement, rhythm, proportion, transition/gradation, and unity. Big Idea: Safety (Health Education) Accidents are a major cause of injury and death to children and adolescents. Unintentional injuries involving motor vehicle, falls, drowning, fires, firearms and poisons can occur at home, school and work. Safe behavior protects a person from danger and lessens the effects of harmful situations. Academic Expectations 2.31 Students demonstrate the knowledge and skills they need to remain physically healthy and to accept responsibility for their own physical well-being. 2.33 Students demonstrate the skills to evaluate and use services and resources available in their community. 3.2 Students will demonstrate the ability to maintain a healthy lifestyle. 4.3 Students individually demonstrate consistent, responsive and caring behavior. 4.4 Students demonstrate the ability to accept the rights and responsibilities for self and others. 5.1 Students use skills such as analyzing, prioritizing, categorizing, evaluating and comparing to solve a variety of problems in real-life situations. 5.4 Students use a decision-making process to make informed decisions among-options. KCAS Standards Continued …

Big Idea: Structure in the Arts Understanding of the various structural components of the arts is critical to the development of other larger concepts in the arts. Structures that artists use include elements and principles of each art form, tools, media and subject matter that impact artistic products, and specific styles and genre that provide a context for creating works. It is the artist's choice of these structural components in the creative process that results in a distinctively expressive work. Students make choices about how to use structural organizers to create meaningful works of their own. The more students understand, the greater their ability to produce, interpret or critique artworks from other artists, cultures and historical periods. Academic Expectations 1.12 Students speak using appropriate forms, conventions, and styles to communicate ideas and information to different audiences for different purposes. 1.13 Students make sense of ideas and communicate ideas with the visual arts. 1.14 Students make sense of ideas and communicate ideas with music. 1.15 Students make sense of and communicate ideas with movement. 2.23 Students analyze their own and others' artistic products and performances using accepted standards. Big Idea: Research, Inquiry/Problem-Solving and Innovation Students understand the role of technology in research and experimentation. Students engage technology in developing solutions for solving problems in the real world. Students will use technology for original creation and innovation. Academic Expectations 1.1 Students use reference tools such as dictionaries, almanacs, encyclopedias, and computer reference programs and research tools such as interviews and surveys to find the information they need to meet specific demands, explore interests, or solve specific problems. 2.3 Students identify and analyze systems and the ways their components work together or affect each other. 5.1 Students use critical thinking skills such as analyzing, prioritizing, categorizing, evaluating, and comparing to solve a variety of problems in real-life situations. 5.2 Students use creative thinking skills to develop or invent novel, constructive ideas or products. 5.4 Students use a decision-making process to make informed decisions among options. 5.5 Students use problem-solving processes to develop solutions to relatively complex problems. 6.1 Students connect knowledge and experiences from different subject areas. KCAS Standards Continued …

Big Idea: Geography Geography includes the study of the five fundamental themes of location, place, regions, movement and human/environmental interaction. Students need geographic knowledge to analyze issues and problems to better understand how humans have interacted with their environment over time, how geography has impacted settlement and population, and how geographic factors influence climate, culture, the economy and world events. A geographic perspective also enables students to better understand the past and present and to prepare for the future. Academic Expectations 2.19 Students recognize and understand the relationship between people and geography and apply their knowledge in real-life situations. Big Idea: Career Awareness, Exploration, Planning Career awareness, exploration and planning gives students the opportunity to discover the various career areas that exist and introduce them to the realities involved with the workplace. Many factors need to be considered when selecting a career path and preparing for employment. Career awareness, exploration and planning will enable students to recognize the value of education and learn how to plan for careers. The relationship between academics and jobs/careers will enable students to make vital connections that will give meaning to their learning. Academic Expectations 2.36 Students use strategies for choosing and preparing for a career. 2.37 Students demonstrate skills and work habits that lead to success in future schooling and work. 2.38 Students demonstrate skills such as interviewing, writing resumes, and completing applications that are needed to be accepted into college or other postsecondary training or to get a job. 5.4 Students use a decision-making process to make informed decision among options. Big Idea: Communication/Technology Special communication and technology skills are needed for success in schooling and in the workplace. Students will be able to express information and ideas using a variety of technologies in various ways. Academic Expectations 1.16 Students use computers and other kinds of technology to collect, organize, and communicate information and ideas. 2.37 Students demonstrate skills and work habits that lead to success in future schooling and work. 2.38 Students demonstrate skills such as interviewing, writing resumes, and completing applications that are needed to be accepted into college or other postsecondary training or to get a job. KCAS Standards Continued …

Big Idea: Purposes for Creating the Arts The arts have played a major role throughout the history of humans. As the result of the power of the arts to communicate on a basic human level, they continue to serve a variety of purposes in society. The arts are used for artistic expression to portray specific emotions or feelings, to tell stories in a narrative manner, to imitate nature and to persuade others. The arts bring meaning to ceremonies, rituals, celebrations and commemorations. Additionally, they are used for recreation and to support recreational activities. Students experience the arts in a variety of roles through their own creations and performances and through those of others. Through their activities and observations, students learn to create arts and use them for a variety of purposes in society. Academic Expectations 1.12 Students speak using appropriate forms, conventions, and styles to communicate ideas and information to different audiences for different purposes. 1.13 Students make sense of ideas and communicate ideas with the visual arts. 1.14 Students make sense of ideas and communicate ideas with music. 1.15 Students make sense of and communicate ideas with movement. 2.22 Students create works of art and make presentations to convey a point of view. 2.26 Through the arts and humanities, students recognize that although people are different, they share some common experiences and attitudes. Historical Perspective History is an account of events, people, ideas, and their interaction over time that can be interpreted through multiple perspectives. In order for students to understand the present and plan for the future, they must understand the past. Studying history engages students in the lives, aspirations, struggles, accomplishments and failures of real people. Students need to think in an historical context in order to understand significant ideas, beliefs, themes, patterns and events, and how individuals and societies have changed over time in Kentucky, the United States and the World. Academic Expectations 2.20 Students understand, analyze, and interpret historical events, conditions, trends, and issues to develop historical perspective. Grade 6 Enduring Knowledge – Understandings

Students will understand that interactions among countries and people are complex because of cultural, political, eco- nomic, geographic and historical differences.

A Learned Woman: A woman with great and varied learning. Abigail Williams: One of the afflicted girls and an early accuser in the Salem Witch Trials. The niece of Reverend Parris. Ann Putnam: One of the afflicted girls and an early accuser in the Salem Witch Trials. Antagonist: The villain of the story. Atmosphere: The whole mass of air surrounding the Earth and bound to it by gravity. Beat: The basic rhythmic unit in a piece of music. Benjamin Wilkins: His children, and grandchildren figured prominently in the witchcraft hysteria that infected Salem (Danvers Village) in 1692. Betty Parris: The daughter of Reverend Parris and one of the afflicted girls. Blasphemy: The act or offense of speaking sacrilegiously about God or sacred things; profane talk. Bridget Bishop: The first person executed for witchcraft during the Salem Witch Trials. Caleb Gidney: A Quaker who Mercy fell in love with. Callous: Showing or having an insensitive and cruel disregard for others. Catatonic: Of or in an immobile or unresponsive stupor. Chamber Pot: Bowl-shaped container with a handle, and often a lid, used as a portable toilet, especially in the bedroom at night. Variants of this were common in many cultures until the advent of indoor plumbing. Character: The “agents” of the plot. Chattel: An item of property other than real estate. Choreograph: Compose the sequence of steps and moves for a performance of dance or ice skating. Climate: The weather conditions prevailing in an area in general or over a long period of time. Climax: The most intense moment of the story. Cold front: The "leading edge" of a relatively cold air mass. Conflict: Struggle between opposing forces; the problems presented in the story.

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Conjuring: To make something appear or seem to appear by using magic. Continental climate: A climate with a high temperature range away from the influence of the sea. Winters will be colder and summers warmer compared to a coastal location for the same latitude. Costume list: List of costumes the production needs. Covenant: An agreement. Covet: Yearn to possess or have (something). Crisis: A significant turning point in the story that determines how it must end. Dance: Move rhythmically to music, typically following a set sequence of steps. Dowry: Property or money brought by a bride to her husband on their marriage. Dynamics: Mechanics concerned with forces that cause motions of bodies. Exposition: Background information regarding the setting, characters, and plot; the beginning of the story that sets up the events. Falling action: Events following the climax, heading to the resolution. Falmouth Town: A town settled in the1660s that is near what was Salem Village. Foreshadowing: When the writer clues the reader in to something that will eventually occur in the story; it may be explicit (obvious) or implied (disguised). Found object: An object not traditionally used to make music (box, can, tree, rock, wood, etc). Front: The meeting point between two air masses of different density. Since the temperature is the most important regulator of the atmosphere density, a front almost invariably separates air masses of different temperature. When warmer air replaces the colder, it is a warm front, and a front is a cold one when the opposite occurs. Goodwife: Polite address for women, similar to “Mrs.” or “Ms.”

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Goodwife Parris: Elizabeth Parris, the wife of Reverend Parris. Goodwife Proctor: Elizabeth Proctor, the wife of John Proctor, the first male to be executed for witchcraft. She was convicted of being a witch, but her sentence was postponed due to her pregnancy. She was never executed. Goody: Short for “Goodwife”. Goody Osborne: Sarah Osborne, one of the first women executed during the Salem Witch Trials. Heathen: A person who does not belong to a widely held religion (especially one who is not a Christian, Jew, or Muslim) as regarded by those who do. Humidity: Water vapor content of the air. Language: The words of the play and how they’re spoken. Lash: Strike (someone) with a whip or stick; a sharp blow or stroke with a whip or rope, typically given as a form of punishment. Loup-Garoo: A mythical being thought to be connected with the devil. She would pounce on victims and kill the body and soul. She would shed her skin, which was thought to grant whoever found it powers and freedom. Maritime climate: A climate with a low temperature range influenced by proximity to the sea. Winters will be warmer and summers cooler compared to a continental location for the same latitude. Mary Warren: One of the afflicted girls and an early accuser in the Salem Witch Trials. Merchant: A person or company involved in wholesale trade, especially one dealing with foreign countries or supplying merchandise to a particular trade. Mercy Lewis: One of the afflicted girls and an early accuser in the Salem Witch Trials. An attack by the Wabanaki tribe in 1689 resulted in the death of her entire family. She was placed in the Putnam household as a servant. Movement: An act of changing physical location or position or of having this changed. Music: An artistic form of auditory communication. Occluded front: A front that is formed as a cold front overtakes a warm front and lifts the warm air completely off the ground. Percent: One part in every hundred. 62

Pious: Devoutly religious. Plot: The arrangement of ideas and/or incidents that make up a story; the events of the play. Poppet: An endearingly sweet or pretty child or young girl (often used as an affectionate form of address); a small figure of a human being used in sorcery and witchcraft. Portent: A sign or warning that something, especially something momentous or calamitous, is likely to happen. Precipitation: Any of all of the forms of water particles, whether liquid or solid, that fall from the atmosphere and reach the ground. The forms of precipitation are: rain, drizzle, snow, snow grains, snow pellets, diamond dust, hail, and ice pellets. Prevailing wind: The most common wind direction for a particular location. Probability: The extent to which an event is likely to occur. Prop list: List of props the production needs. Protagonist: The hero of the story. Quaker: A member of the Religious Society of Friends, a Christian movement founded by George Fox c. 1650 and devoted to peace- ful principles. Central to the Quakers' belief is the doctrine of the “Inner Light,” or sense of Christ's direct working in the soul. This has led them to reject both formal ministry and all set forms of worship. Resolution: Where the conflicts of the story are solved. Resolution/Denouement: The way the story turns out. Reverend Parris: The Reverend of Salem Village. Father to Betty Parris and uncle to Abigail Williams. Owner of slave, Tituba. Parris was an instrumental prosecutor in the witchcraft cases. Rhythm: An interval during which a recurring sequence occurs. Rising action: Events building to the climax; the process the story follows as it builds to its main conflict. Seasonality: Periodic fluctuations in the climate related to seasons of the year e.g. wet winters, drier summers. Sermons: A church service. These lasted hours in Puritan Salem. Set list: List of set pieces the production needs. Spectacle: Everything that is seen or heard onstage.

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Stocks: Restraining devices that were used as a form of corporal punishment and public humiliation. Typically, it would be a wooden board with three holes: one in the center for the head, and one on each side for the hands. Suspense: The tension that the author uses to create a feeling of discomfort about the unknown. Temperature: A physical quantity characterizing the mean random motion of molecules in a physical body. In other words, it is a measure of the degree of hotness or coldness of a substance. Temperature range: Maximum minus the minimum temperature for a particular location. Tempo: The speed at which a composition is to be played. Theme: The meaning of the play. Tituba: A slave in the Parris household and the first to confess to being a witch after, being brutally beaten by Reverend Parris. Venus Glass: A type of fortune-telling technique that involved dropping the white of an egg into a glass of water. The shape the egg white took would tell the future. Wabanaki Indians: A tribe of Indians that lived near Salem Village. The villagers saw the Indians as savages, and feared them. Known as: “People of the First Light” or “People of the Dawnland”. Warm front: The forward edge of an advancing warm air mass that is rising over cooler air in its path. Warm sector: The zone of warm air within a depression. Weather: The state of the atmosphere, mainly with respect to its effects upon life and human activities. As distinguished from climate, weather consists of the short-term (minutes to about 15 days) variations of the atmosphere state. Whelps: An insolent youth; a mere child. Witch: A person, most commonly a woman, who was thought to have magical powers and to be in league with the devil. Zealot: A person who is fanatical and uncompromising in pursuit of their religious, political, or other ideals.

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1693: 49 of the 52 remaining accused witches in jail are released.

1697: Massachusetts court declared a day of fasting for the tragedy.

1702: The General Court declares 1692 trials illegal.

1711: Financial restitution and the good names of accused are restored. 600 pounds awarded, but that was to be split among the 20 families.

1957: Massachusetts formerly apologizes for the 1692 events.

2001: Massachusetts legislature passed an act exonerating all convicted.

2016: Gallows Hill Project– a memorial to the victims.

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Salem Witch Trials Memorial Liberty Street, Salem, Massachusetts https://www.theclio.com/web/entry?id=20409

Names of the 20 victims of The 1692 Salem Village Witch Trials

Bridget Bishop Sarah Good Mary Parker George Burroughs Elizabeth How John Proctor Martha Carrier George Jacobs Sr. Ann Pudeator Martha Corey Susannah Martin Wilmott Red Lydia Dustin Rebecca Nurse Margaret Scott Mary Easty Sarah Osborne Roger Toothaker Ann Foster Alice Parker Samuel Wardell Sarah Wildes John Willard 66