Curriculum & Action Guide

DVD TITLE ARTSARTSFacilitating a Discussion IN AC IN ACTION Finding a Facilitator DIVERSE VOICES ON PAGE AND STAGE

KRUDAS DEFINITION: AYA DE LEON Identify your own. When the 90’s hit,a all film the by Opie Boero ImwinkelriedIdentify your own. Whena film the by Jennifer 90’s hit, Ongiri all the new communication technologies offered new communication technologies offered people a new way to communicate that was people a new way to communicate that was ARTSeasier and more. INeasier and more. AC

Be knowledgeable. When the 90’s hit, all the Be knowledgeable. When the 90’s hit, all the new communication technologies offered new communication technologies offered people a new way to communicate that was people a new way to communicate that was easier and more. easier and more.

Be clear about your role. When the 90’s hit, Be clear about your role. When the 90’s hit, all the new communication technologies all the new communication technologies offered people a new way to communicate offered people a new way to communicate ARTSthat was easier and more. INthat was easier and more. AC Know your group. When the 90’s hit, all the Know your group. When the 90’s hit, all the new communication technologies offered new communication technologies offered people a new way to communicate that was people a new way to communicate that was easier and more. easier and more.

JUNK BOX WARRIOR EL ABUELO BYRON CHIEF-MOON: GREY a film by Preeti AK Mistry a film by Dino Dinco HORSE RIDER a film by Marlene Millar and ARTS INPhilip SzporerAC

Curriculum Guide ARTS INwww.frameline.org/distribution AC1 TABLE OF CONT ARTS IN ACTION

Table of Contents

FILM SYNOPSES 3

HOW TO USE THIS GUIDE : : : : : : : : : : : : : : : 4

CLASSROOM CURRICULUM

STANDARDS : : : : : : : : : : : : : : : : : : : : 7 INTRODUCTION : : : : : : : : : : : : : : : : : : 9 KRUDAS : : : : : : : : : : : : : : : : : : : : : 10 DEFINITION: AYA DE LEON : : : : : : : : : : : 12 JUNK BOX WARRIOR & EL ABUELO 14 BYRON CHIEF-MOON GREY HORSE RIDER : : : : : : : : : : : : : : : 15

RESOURCES : : : : : : : : : : : : : : : : : : : : : 18

WORKSHEETS & HANDOUTS 20 ACKNOWLEDGMENTS : : : : : : : : : : : : : : : : 28

Youth In Motion is funded in part through the generous support of the Bob Ross Foundation. youthinmotion.frameline.org 2 ARTSFILM IN ACTION SYNOPSE Film Synopses

KRUDAS dir. Opie Boero Imwinkelried : 2006 : 29 min. : Cuba : Spanish with English subtitles Krudas explores the lives of a Cuban lesbian couple who together perform as hip hop artists, serve as arts educators in their community, and founded a network of female hip hop artists in Cuba. Their work addresses social issues including lesbian rights, racism, and global politics.

DEFINITION: AYA DE LEON dir. Jennifer Ongiri : 2007 : 27 min. : USA Whether dissecting images of women in hip hop or exposing the constructs of gender and beauty, Aya de Leon makes you laugh, makes you think, makes you listen. This documentary explores the writer/activist’s artistic process and the lives she touches as she moves through the world.

JUNK BOX WARRIOR dir. Preeti AK Mistry : 2002 : 5 min. : USA Junk Box Warrior is an enchanting mesh of spoken word poetry and black- and-white images over a haunting soundtrack. Written by and starring Trans Slam poet Marcus Rene Van, this film explores the alienation, frustration, and fear of not fitting into society’s gender binary.

EL ABUELO dir. Dino Dinco : 2008 : 4 min. : USA The lush words of young teacher and poet Joe Jimenez guide the viewer through a snapshot of his early life. Preconceived notions of gender and sexual orientation are challenged as we experience Jimenez methodically ironing his clothes while speaking of his love for his “firstvato ” (homeboy).

BYRON CHIEF-MOON: GREY HORSE RIDER dir. Marlene Millar & Philip Szporer : 2007 : 48 min. : Canada Father, TV actor, dance artist, and proud member of the First Nations two-spirited gay community, Byron Chief-Moon’s fascinating art and life continously cross boundaries. By melding the history of his Canadian Blackfoot Confederacy tribe with issues of contemporary life, Chief-Moon’s work makes profound statements about identity and tradition. youthinmotion.frameline.org 3 ARTS IN CURRICULUMACTION Curriculum Guide

How to Use this Curriculum Guide Each short film in this collection provides an exploration of a different artist’s creative process and the way she or he addresses questions of You have a right gender, sexual orientation, and race/ethnicity through various art forms. to address sexual Through the presentation of documentary interviews and first-person orientation, gender essays, these films offer a critical look at a diverse range of backgrounds identity, and gender and experiences. expression in the classroom. The curriculum in this guide is geared toward an English unit on analysis The California Student of style, point of view, and social context; however, the film and activities Safety and Violence are also appropriate for use in Visual Arts or Health courses, as well as Prevention Act of 2000 in social studies, sociology, psychology, civics, and film studies classes. (AB537) protects The accompanying Action Guide is geared toward students in Gay-Straight students, faculty, and staff in California Alliances; teachers may find this to be a useful classroom resource as well. public schools from discrimination and This guide contains California standards-based curriculum activities as harassment based on well as resources and suggestions for further study. While the films can actual or perceived be shown as a series, they may also be screened individually. As such, sexual orientation this guide is designed to be flexible for use in a variety of classroom and gender. This law means that California environments; some teachers may follow the curriculum in its entirety, public schools are while others may select certain activities or adapt elements of the guide to now responsible for supplement existing lesson plans. The guide includes: protecting lesbian, gay, bisexual, and • Background material to spark interest and build knowledge prior to transgender students watching the film (or those thought to be LGBT) from harassment • Lesson plans to encourage active viewing, critical thinking, and and discrimination so development of media literacy that every student has an equal opportunity • Discussion questions to provoke analysis and guide relevant to learn in a safe and conversation supportive environment regardless of her or his • Activities and projects to connect the film to core curriculum and sexual orientation or concepts gender identity.

• Resources and suggestions for further study and action Using this guide is an excellent way to help The topics explored in this film may elicit some controversy. Be sure to ensure your school is compliant with prepare your audience in advance and review the Approaching the Material California state law! section of this guide for tips on facilitating discussions.

youthinmotion.frameline.org 4 ARTS IN CURRICULUMACTION Curriculum Guide

Approaching the Material Addressing LGBT-related topics at school, whether in the course of classroom instruction or during a club meeting, can raise controversy. Do I Need a Permission Before screening these films, it is important that you know your rights Slip to Address LGBT and responsibilities as a facilitator. In California, teaching about sexual Topics in the Classroom? orientation and gender identity is not only protected but is mandated by legislation. See GSA Network’s Fact Sheets on AB5371 and SB712 for more No. The California Comprehensive Sexual information. Health and HIV/AIDS Prevention Act of 2004 (SB71) clearly defines Facilitating Conversations on LGBT Issues that there is a difference • Agree upon ground rules for discussion as a class. Rules may include between sex education and anti-harassment an agreement to maintain confidentiality, refrain from using slurs or or anti-bias trainings making personal attacks, and speaking one at a time. that are designed to create safe learning • Work to establish a forum for a free and respectful exchange of ideas. Do environments for people not attempt to change anyone’s point of view. of all sexual orientations and gender identities. • Be aware that although you may not have an openly LGBT student in your SB71 clearly states that class, you may have students who are not “out,” are questioning parental notification their identities, are gender non-conforming, or who have LGBT family and consent policies members or friends. Likewise, students may be affected by negative apply only to sexual or hurtful comments whether or not these comments are directed health education, HIV/AIDS prevention specifically at them. education, and related • Resist the urge to put LGBT students, those perceived to be LGBT, or those assessments. The law does not permit parents with LGBT family or friends in the spotlight as “experts.” Allow each to remove their student person in the room to speak only for themselves and on their own from other programs that terms and avoid inadvertently “outing” someone to their peers. cover gender, gender identity, and sexual • Establish as comfortable an environment as possible. Arrange seats in orientation or family life. a circle. Intervene when conversations become one-sided and pose questions to keep the conversation on track. For more information, see the GSA Network’s • Be honest about what you do and don’t know. Refer to the resources SB71 Fact Sheet2. section to encourage further exploration of the topic. Use phrases such as, “I don’t know,” “That’s a good question,” or “Let me do some research and get back to you on that.”

1 http://gsanetwork.org/resources/legal-resources/ab-537-fact-sheet 2 http://gsanetwork.org/resources/legal-resources/sb-71-fact-sheet youthinmotion.frameline.org 5 ARTS IN CURRICULUMACTION Curriculum Guide

What to Do if You Encounter Homophobic or Hurtful Responses

1. Stop the behavior. Interrupt the comment or harassment. Do not pull a student aside unless absolutely necessary. Make sure all the students in the area hear your comments. Allow this to be a teachable moment. 2. Identify the harassment and broaden the response. Make clear why this behavior is not accepted by the community: “That was a stereotype. Stereotypes are a kind of lie and they hurt people’s feelings.” “Our community does not appreciate hurtful behavior or language that puts people down. That word is a slur and can also be hurtful to others who overhear it.” 3. Ask for change in future behavior. You may want to personalize the response: “Chris, please pause and think before you speak.” Or you may wish to address the whole class: “Let’s all remember to treat one another with respect.” 4. Redirect the class to the activity at hand. Rather than shutting the conversation down completely, redirect the class’s attention to the goals of the lesson: “Today we’re looking at this topic in order to broaden our perspectives.”

For more tips on how to respond to anti-LGBT harassment, see the Safe Schools Coalition’s A Teacher’s Guide To Intervening In Anti-Gay Harassment1 or Project 10’s How to Handle Harassment in the Hallways in 3 Minutes or Less2!

1 http://www.safeschoolscoalition.org/TeachersGuideIntervene.pdf 2 http://www.project10.org/Resources/harassment.html youthinmotion.frameline.org 6 ARTS IN CURRICULUMACTION Classroom Curriculum

California Content Standards Addressed A Note On Standards English-Language Arts, Grades 11 & 12 The California Department of Literary Response and Analysis Education has not developed specific content area standards 3.1 Analyze characteristics of subgenres (e.g., satire, parody, allegory, for all disciplines. pastoral) that are used in poetry, prose, plays, novels, short stories, essays, This guide was written and other basic genres. with particular content standards as a focus, 3.2 Analyze the way in which the theme or meaning of a selection but can easily be represents a view or comment on life, using textual evidence to support adapted to meet standards in other the claim. subject areas. Using this curricula can help 3.3 Analyze the ways in which irony, tone, mood, the author’s style, and ensure your school the “sound” of language achieve specific rhetorical or aesthetic purposes is in alignment with or both. CA Education Code Section 51930(b)(2): “To encourage a pupil 3.4 Analyze ways in which poets use imagery, personification, figures of to develop healthy speech, and sounds to evoke readers’ emotions. attitudes concerning adolescent growth and 3.8 Analyze the clarity and consistency of political assumptions in a development, body selection of literary works or essays on a topic (e.g., suffrage, women’s role image, gender roles, in organized labor). (Political approach) sexual orientation, dating, marriage, and family.” Listening and Speaking Strategies

1.1 Recognize strategies used by the media to inform, persuade, entertain, and transmit culture (e.g., advertisements; perpetuation of OTHER RECOMMENDED stereotypes; use of visual representations, special effects, language). COURSES 1.2 Analyze the impact of the media on the democratic process (e.g., Lifeskills exerting influence on elections, creating images of leaders, shaping Sociology attitudes) at the local, state, and national levels. Psychology Film Studies Media Literacy 1.3 Interpret and evaluate the various ways in which events are presented Current Events/Homeroom and information is communicated by visual image makers (e.g., graphic artists, documentary filmmakers, illustrators, news photographers).

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English-Language Arts, Grades 11 & 12 (continued)

Visual Art, Grades 9-12 Writing Applications (Genres and Their Characteristics) 3.3 Historical and Cultural Content 2.3 Write reflective compositions: Identify and describe trends in the visual arts a. Explore the significance of personal experiences, events, conditions, and discuss how the or concerns by using rhetorical strategies (e.g., narration, description, issues of time, place, exposition, persuasion). and cultural influence are reflected in selected works of art. b. Draw comparisons between specific incidents and broader themes that illustrate the writer’s important beliefs or generalizations about life. 4.1 Aesthetic Valuing Articulate how c. Maintain a balance in describing individual incidents and relate personal beliefs, those incidents to more general and abstract ideas. cultural traditions, and current social, economic, and political contexts influence the interpretation of the meaning or message in Learning Objectives / Guiding Questions: a work of art • How does art contribute to a system of shared norms and values? Who decides social norms?

• How can art be used to change people’s minds? To address challenging or controversial topics? To change laws or policies? Health (Draft Standard) • What and who defines our identities? How do we develop our voices? HS.2.G.17 Evaluate how culture, • What role do cultural traditions play in the contemporary world? How media, and other can we respect tradition while also valuing innovation? people influence our perceptions about body image, gender roles, sexuality, attractiveness, relationships, and sexual orientation.

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Introductory Activities Get organized! The activities and See-Think-Wonder Chart questions on this page To encourage active viewing, students take notes on what they See (or may be used alongside Hear), Think, and Wonder, documenting their observations, thoughts, or any of the films as a means to actively what they want to learn more about. This individual note-taking can be engage students with followed by a class debrief or a “pair-share” between students. the content.

»»See page 20 for a printable worksheet. On the following pages, you will find activities and questions tailored to Express Yourself Worksheet the content in each film. Students will consider the boundaries that people face in telling their Get creative – adapt personal stories, as well as the mechanisms artists develop to express activities to fit your their points of view. This worksheet helps students compare their own students’ needs and experiences to those of the subjects in the films. Consider having your own teaching style! students share in small groups or discuss as a class.

»»See page 21 for a printable worksheet.

Discussion Questions / Journal Prompts • What values are these artists trying to promote in society? How are they creating change in their communities and countries?

• Civil society is made up of people working outside of government: non-profit organizations, community groups, writers, artists, etc. How do each of the artists profiled participate in civil society? What impact do their activities have on politics? What is harder to change: people’s opinions or laws? Why?

• In each of the films, the artists describe situations when they have not felt “enough” of something (e.g., “Black enough” or “male enough”), and/or when they have hidden aspects of their identities. Are there times when you have not felt “enough” of something? Where you had to hide something? How did that make you feel and how did you respond?

• What does each artist profiled in the films see as the purpose of art? Do you agree or disagree? Are there other things that art can “do”? youthinmotion.frameline.org 9 ARTS IN CURRICULUMACTION Classroom Curriculum

Krudas Activity: Eres Bella (You Are Beautiful) In this activity, students will examine the social messages in music and media, with attention to the artist’s use of imagery and other stylistic elements. Students will begin by reading and analyzing the lyrics to Krudas’s song “Eres Bella” (You Are Beautiful) and will then compare it to a popular song (or a poem, music video, or advertisement) that perpetuates negative stereotypes or attitudes about a group of people. Students should first read the lyrics of “Eres Bella” silently, then read together as a class or in small groups. Guide students’ thoughts using the worksheet, or ask them to give class or small group presentations about the song they have chosen to analyze.

»»See page 22 for the lyrics to “Eres Bella.” »»See page 23 for a printable worksheet

After completing the worksheet, have students write their own poem or song that seeks to combat a stereotype. They should think critically about genre, style, tone, and imagery.

For discussion:

• What do these songs have in common? Themes? Formal elements? Demographics of the artists?

• How often do you hear songs that have positive messages? That have negative or hurtful messages? Do some hold more “weight” than others?

• Where and how often do you hear these songs? Do you think they are representative of the general population’s feelings? Whose attitudes do they represent?

• How did it feel to combat a stereotype in your own poem or song? Was it easy or did you feel you had something to prove?

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Discussion Questions / Journal Prompts: • In the film, Pelusa says “Women are always or generally seen as the mother, the sister, as the girlfriend, the wife. But seeing us as colleagues, as companions in the struggle or even as their superiors – aesthetically or philosophically – that never happens.” What roles are girls and women in your life expected to follow? Why do you think women are always seen in these roles? What impact do you think it has on young women who don’t (or don’t want to) fit into these roles? Are there roles that you feel you are supposed to play?

• Cuba has a different cultural, political, and economic context than the US. What are the similarities and differences? How is it different to be a woman, or to be of African descent, in Cuba vs. California? How does this affect Las Krudas’s music and activism?

• In Spanish, nouns have a gender – they are either masculine or feminine – and when referring to a group of things or people, the masculine form of a word tends to be used (e.g., “niños” means both “boys” and “children”). In the film, Pasensi asks “How do you think when you say the word ‘men,’ you are also including women?... Why don’t we say ‘women’ since everyone is included?” How do Las Krudas use language itself to address stereotypes and to be inclusive of all people? What are examples from other languages – including English – of words or phrases that have a gender, or that exclude or stereotype people? (Encourage students to think of phrases like “you guys,” “black or white,” “illegal immigrant,” “that’s so gay,” or “no homo.”)

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definition: Aya de Leon Activity: Name It, Claim It In this activity, students will think critically about their identities and how their various attributes affect their own self-image. In pairs, students will work together to trace their silhouettes on a large piece of paper. On the inside of the silhouette, they will use words and imagery (drawn or collaged) that represent how they see themselves: aspects of their identity that they feel they own, define, or have control over. On the outside of the silhouette, students will put words and images that reflect how others might see them: labels that are imposed by others, stereotypes, slurs, or other judgment-laden identities. Students may want to think about categories like:

• Gender • Key Interests or Abilities

• Race and Ethnicity • Culture

• Religion • Social Status

• Sexual Orientation • Political Beliefs

• Age • Roles within their Family

• Bodily characteristics • Personality

Using their silhouettes as a jumping point, students will develop their creative and analytic voices further through a written poem, essay, or spoken word performance. In this exercise, they can choose to celebrate a part of their identity that they are proud of, reclaim something that they feel has been used against them, or speak out discrimination or stereotypes they’ve experienced.

If students need extra guidance, ask them to start with the word “I” or with sentence starters like “I was… I cried… I laughed… I took for granted…” Explain to them that it is their task as a writer to pull together various elements to bring the reader to a lesson learned or kernel of insight gained from their personal experience. Encourage students to play around with the order of events, use flashback or stream-of-consciousness, consider metaphors, or experiment with dialogue. youthinmotion.frameline.org 12 ARTS IN CURRICULUMACTION Classroom Curriculum

Discussion Questions / Journal Prompts: • Which aspects of Aya de Leon’s identity does she get to choose? Which are pinned on her by society? How does she respond to people’s reactions to her different identities? Why is it important that we are able to describe ourselves?

• In the poem “Cellulite,” Aya de Leon says, “A sick society turns women’s bodies into problems to be solved.” In talking about writing the poem, she talks about an experience of trying to buy a pair of pants that were not available in her size, saying, “But I wasn’t clear yet that the problem was with the clothing, not me.” What does she mean by this? How does this help her to accept and appreciate her body? What other “problems” do we often blame on ourselves, rather than on society? Related Activity For another creative • Who is reclaiming hip-hop, in Aya de Leon’s opinion? Who or what writing activity, see the are they reclaiming it from? If you could run hip-hop – or the music Junk Box Warrior and industry of your choice – what kind of musicians would you promote? El Abuelo section, page 14.

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Junk Box Warrior and El Abuelo Activity: I Am Students will compare Junk Box Warrior and/or El Abuelo to other autobiographical poems that touch on identity – including race, gender, and sexual orientation – and think critically about how these social factors influence their style and content. Students will then write their own autobiographical poems.

»»See pages 24-25 for printable copies of the poems

Possible poems for comparison include:

• “I Am Joaquin” by Rodolfo Corky Gonzales1

• “Still I Rise” by Maya Angelou2

• “I, Too, Sing America” by Langston Hughes3

• “One’s-Self I Sing” by Walt Whitman4

Students should annotate each poem, paying particular attention to the language each poet uses to express their identities as well as the barriers they have faced and overcome. In “marking up” the pieces, students may want to underline significant lines or phrases, circle unfamiliar words, or write out thoughts or questions. These notes can include observations, summaries, connections to other texts or experiences, literary devices employed (e.g., metaphors), or points the student agrees/disagrees with.

For discussion or for free-writing:

• These poems have fairly different forms and aesthetics. How do the tone, style, and grammar affect what the author is trying to say? Do we associate particular styles with particular identities or groups?

• Each of these poems is written in the first person, yet they were also written in different historical and social contexts. How would these pieces be different if they were written from a different perspective? In a different time or place? 1 http://www.latinamericanstudies.org/latinos/joaquin.htm 2 http://www.poets.org/viewmedia.php/prmMID/15623 3 http://www.poets.org/viewmedia.php/prmMID/15615 4 http://famouspoetsandpoems.com/poets/walt_whitman/poems/17465 youthinmotion.frameline.org 14 ARTS IN CURRICULUMACTION Classroom Curriculum

Afterwards, students will write their own autobiographical poems about their identity and barriers they have overcome. Students can write free form, or use one of the following templates:

»»Just Because poem template, page 26. »»I Am poem template, page 27.

Discussion Questions / Journal Prompts: • Can you view or read Junk Box Warrior without assigning gender to the narrator? What words or metaphors does the narrator use to talk about gender? How do you think you would view the narrator if you met on the street?

• Were you surprised to learn that the narrator in El Abuelo was gay? Related Activity Why or why not? How does his style challenge or reinforce your For another creative assumptions about the LGBT community? writing activity, see the definition: Aya de Leon • How do you know that someone identifies as a woman or man, as gay section, page 12. or straight? Does everyone have to identify as either-or? Can they identify as somewhere in between or neither? How are gender and sexual orientation related, and how are they different?

• Actress Jasmine Guy once said, “You tend to be afraid when someone seems foreign to you. But if you aren’t careful, that can lead to bigotry.” Do you think that the men harassing the narrator in Junk Box Warrior were afraid? How is this fear different from fears the narrator might have? What lines in the poem address fear?

• Each of the poems is written in a uniquely vernacular language, incorporating slang and, in El Abuelo, Spanish. Similarly, the films both demonstrate a unique visual aesthetic, focusing on the narrators as they move through their daily lives. How do these two types of language – written and visual – affect how we interpret the poem or films? How are they contribute to a particular mood or tone? How do they shaped by the poets’ or filmmakers’ personal and cultural experiences?

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Byron Chief-Moon: Grey Horse Warrior Activity: Puzzle Piece Collages In this activity, students will explore what it means to bring their own identities or traditions into conversation with others’. Students will create a collage of images from magazines or their own photos that represent elements of their identities and their personal stories. After working independently, students should be paired up to share their collages and the stories behind them. They will then brainstorm how they can collage their two different stories together in order to create a conversation. Next, combine all collages together as a class, creating one collective piece that represents the shared stories of all the students.

Alternate Option: Rather than creating a class collage, form small groups. Have students develop a short performance – skit, spoken word poem, song, dance, etc. – that speaks to their personal stories. Each student’s physical voice should be heard in some way, and at least one aspect of each student’s story should be included.

For discussion:

• What similarities or differences did you notice between different students’ collages? What surprised you?

• How did it feel to combine your collage with someone else’s? Did you feel like you lost or gained something? How did you decide to combine it in this particular way? What kind of new story did it tell?

• What was your role in the collage/performance? What did you discover about yourself and your learning in this project?

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Discussion Questions / Journal Prompts: • How does Byron Chief-Moon express his personal and family stories? What are some ways that you express your stories?

• In the film, artist Margo Kane says: “It’s an interesting conversation that has been going on for a long time: what is traditional and what is contemporary? Always this kind of separation or conversation about these divisions: where are the lines?... Traditions have principles, principles about how to live, how to act, and be with each other, principles to guide that society.” Do you think there is a firm line between the “traditional” and the “contemporary”? What are examples of arts that blur these lines? Do you think that contemporary art also has “principles” or messages that guide society?

• How do artists’ identities or traditions influence the kind of art they make? Are there any particular songs, dances, or other art forms you have learned from members of your family or community that you consider to be traditional? Why are they important to you?

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Organizations & Web Resources Books

California LGBT Arts Alliance: Network of LGBT Cuba Represent!: Cuban Arts, State Power, and the artists and arts organizations. Making of New Revolutionary Cultures. Sujatha www.calgbtartsalliance.com Fernandes. Duke University Press, 2006.

Center for Media Literacy: Provides a wide From Black Power to Hip Hop: Racism, Nationalism, selection of teaching tools, carefully evaluated and Feminism. Patricia Hill Collins. Temple for their quality and importance to the field. University Press, 2006. www.medialit.org Home Girls Make Some Noise!: Hip-hop Feminism Gay & Lesbian Alliance Against Defamation Anthology. Gwendolyn D. Pough. Parker (GLAAD): Dedicated to promoting and ensuring Publishing, 2007. fair, accurate, and inclusive representation of people and events in the media as a means of The Queer Encyclopedia of Music, Dance, and eliminating discrimination based on gender Musical Theater. Claude J. Summers, ed. Cleis identity and sexual orientation. www.glaad.org Press, 2004.

GLBTQ: An online encyclopedia of lesbian, gay, The Queer Encyclopedia of the Visual Arts. Claude bisexual, transgender and queer culture. J. Summers, ed. Cleis Press, 2004. www.glbtq.com National Center for Transgender Equality Dedicated to advancing the equality of Films transgender people through advocacy, 2nd Verse: The Rebirth of Poetry. Carl D. Brown. collaboration, and empowerment. Corduroy Media, 2008. www.nctequality.org Hip-Hop: Beyond Beats and Rhymes. Byron Hurt. Parents, Families & Friends of Lesbians and Gays Media Education Foundation, 2006. (PFLAG): A national chapter-based organization of family members and friends of LGBT people. »»See a great resource guide from PBS: www.pflag.org www.pbs.org/independentlens/hiphop/ TRANScending Identities: A bibliography of Jennie Livingston. Miramax, resources on gender variance, transgender and Paris is Burning. 1991. intersex topics. San Francisco Public Library. sfpl.org/librarylocations/main/glc/transcending.htm

Web English Teacher Media Literacy: An online clearinghouse of lesson plans and activity ideas to develop media literacy. www.webenglishteacher.com/media.html

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Resources for Teachers

The following national and statewide organizations can offer resources to Recommended teachers, students, or GSAs who may face resistance or harassment in Books & Films for their schools for teaching about LGBT subjects. LGBT & Ally Youth American Civil Liberties Union (ACLU): Works in the courts, legislatures, and Check out GSA Network’s communities to defend and preserve the individual rights and liberties website1 for additional guaranteed to all people in the US by the Constitution. www.aclu.org books and films targeted at LGBT youth and their Gay, Lesbian, Straight Education Network (GLSEN): Comprised of LGBT and allies, teachers, and allied individuals who wish to put an end to discrimination, harassment, parents. and bullying based on sexual orientation and gender identity/expression in K-12 schools in the United States. www.glsen.org LGBT Alphabet Soup? Lambda Legal: Oldest national organization pursuing high-impact litigation, education, and advocacy on behalf of LGBT people and people with HIV. Check out previous Youth In Motion curriculum www.lambdalegal.org guides for definitions and vocabulary to share National Center for Lesbian Rights (NCLR): A non-profit, public interest law with your students! firm that litigates precedent-setting cases, advocates for equitable public policies affecting the LGBT community, provides free legal assistance, and conducts community education. www.nclrights.org Additional Support from GSA Network Safe Schools Coalition: An international public-private partnership in support of LGBT youth that is working to help schools become safe places GSA Network staff members are also where every family can belong, where every educator can teach, and where available to work every child can learn. www.safeschoolscoalition.org with student activists and teachers who Transgender Law Center: California’s first statewide transgender legal face harassment, organization, specializing in individualized legal information, transgender intimidation, or other rights and advocacy materials, and transformative public-policy work. opposition to an LGBT- www.transgenderlawcenter.org12 inclusive curriculum or the work of GSA clubs.

Contact your Regional Program Coordinator2 for additional information and support.

1 http://www.gsanetwork.org/resources 2 http://gsanetwork.org/about-us/staff youthinmotion.frameline.org 19 ARTS IN ACTION WORKSHEET See-Think-Wonder Chart

Name: Date:

What do I see and hear? What do I think? What do I wonder about? 20 youthinmotion.frameline.org ARTS IN ACTION Express YourselfWORKSHEET Name: Date:

THE ARTIST YOU

What boundaries does the artist encounter What boundaries do you encounter in in her/his life? your life?

Who or what creates these boundaries? Who or what creates these boundaries?

What are some ways the artist expresses What are some ways you expresses your her/his personal stories? personal stories?

youthinmotion.frameline.org 21 ARTS IN ACTION Eres Bella WORKSHEET

“Eres Bella” (You Are Beautiful) lyrics by Krudas

This is a song dedicated to all the women in the world To those who, like us, are struggling To all the warriors both rural and urban To all the sisters Especially the poorer, the darker, and the fatter ones like myself.

It’s me, Pasensi! Woman, nobody has talked to you like this… Never… Never… Let’s play our role! It’s our time!

Fake beauty is a continuation of the colonialist tale Don’t buy into this story. You have talent and I ask: Until when will we be so few on the stage?...

Damn a macho society that pollutes. No to racism! Hip hop united! Listen, listen!

[Chorus:] You’re beautiful being yourself Blooming ebony, black light. You’re beautiful being yourself Your body isn’t your only virtue. You’re beautiful being yourself Blooming ebony, black light. Woman, you’re beautiful being yourself Intelligence is your virtue.

Ancestral warriors give you the energy for you to inhale. Open your eyes! Machismo, identical system of slavery Internalize it! Your body is not your only virtue! Amazon of the 21st century No more oppression! Women united!

youthinmotion.frameline.org 22 ARTS IN ACTION “Eres Bella” WorksheetWORKSHEET Name: Date:

“Eres Bella” Song Title: ______by Krudas Artist/Group: ______

1. Who is the song talking about? 1. Who is the song talking about?

2. Who is the intended audience for the song? 2. Who is the intended audience for the song?

3. Summarize the song’s meaning in one sentence. 3. Summarize the song’s meaning in one sentence.

4. How does the artist convey her/his message? List 4. How does the artist convey her/his message? List three examples. You may want to think about imagery, three examples. You may want to think about imagery, style, or references to specific people or events. style, or references to specific people or events.

A. A.

B. B.

C. C.

5. Is this song a fair and positive depiction of a group 5. Is this song a fair and positive depiction of a group of people? Or does it stereotype or put people down? of people? Or does it stereotype or put people down? Choose one lyric and use it to explain your answer. Choose one lyric and use it to explain your answer.

youthinmotion.frameline.org 23 ARTS IN ACTION Junk Box WarriorWORKSHEET

Junk Box Warrior By Marcus Rene Van

Marching down stained mission streets Sometimes I want to take the hormones to save Drunk men grabbing pathetic bulges in sagging the trouble of crotches doing this s*** all myself. Twirling my butchness around swollen alcoholic Or is that I’m holding on, holding on to “maybe tongues one day” “Was th’ matta,” they say Maybe one day this s*** will all just change “Ain’t had none,” they say or maybe I’m just moonlighting in someone “ ain’t my d*** big enough for you’” else’s reality and I’ll go back into a different “So you think you’re a man, “ they say story of someone who fades into the background “Show us how tough” someone who’s unnoticed, unstared at, unquestioned. I just keep moving on Bearded chin never dropping low you’ve got to understand that I’m having this Hoping that one of them doesn’t have conversation something more to prove with myself for the first time Is body changing or is mind changing? And I just keep moving on, Or is gender a fluid thing? Eyes pressed “straight” ahead Always straining to break free Drinking in the gritty buildings Existing between boundaries My boots pounding concrete rhythms into stone resisting being told that I can’t be And I just keep moving on The him that was born a she Cuz I ain’t got nothing to prove At times like these I no longer want to be At times like these I wonder, “what does it mean A Warrior in this junkbox city to be me?” At times like these I wonder if there’s any future what does it mean to be me in a world that in being stone doesn’t quite dig this style? I think that everyone must feel this way, And I just want to lay my head on your lap So why pity myself into thinking When my mind is thick with filth that I am any different from the next Of yesterday’s insults still heavy in my nostrils that I demand any greater interest than the rest And I don’t want to be afraid anymore, why think that my story is something that needs but I am to be told sometimes what gives me the right to be so bold to say that my words are actually valid? And I wonder if this will always be the life Of a boy who was born a girl in a world that What does it mean to be me? doesn’t quite dig What does it mean to be transitioning daily? this style.

youthinmotion.frameline.org 24 ARTS IN ACTION El Abuelo WORKSHEET

El Abuelo (The Grandfather) by Joe Jimenez

I’m ironing a shirt. Like chicharras (cicadas) the starch snaps beneath the hot metal press. Creasing the cotton playera (t-shirt) straight down the middle, it’s sudden. This flicker, this humming that emanates from the bone.

Over time, I’d forgotten this routine, the gauging of center, the creasing of a camiseta (t-shirt). Misplaced it somehow in the remolino (whirlwind) of years since we lived with my ‘Buelo (Grandfather) after our pops jammed and my Moms had no place else to go with us and the first time I loved avato (homeboy). But it’s rheumatic now, like bone extending itself, morphing slowly into the heavy a** helix of all I struggle not to forget.

And I recall planchando (ironing), watching the bottle fill with spray, the starch boils angrily over a fierce blue kitchen flame. I ironed furiously in my past. Starching up Ben Davis and chones (boxer shorts), even. Impressing my firstvato (homeboy) with my ability to throw down a rowdy crease. Impeccable lines forged into cloth, sharp and precise, acute enough to splice open envy and captivates Southside homeboy’s wandering eye.

“El Abuelo” (the poem, © 1983) is excerpted from the larger text / performance piece Homeboy Beautiful (and Other Things I’ve Nearly Forgotten But Am Throwing Punches Not to Forget) by Joe Jimenez. Used with permission. All rights reserved.

youthinmotion.frameline.org 25 ARTS IN ACTION Personal Poem WorksheetWORKSHEET #1 Name: Date:

Just Because ______

Just because I’m ______

Doesn’t mean ______

And doesn’t mean ______

Just because ______

Doesn’t mean ______

And doesn’t mean ______

Just because ______

Doesn’t mean ______

And doesn’t mean ______

[Question] ______

[Statement] ______

Just because ______

Doesn’t mean ______

youthinmotion.frameline.org 26 ARTS IN ACTION Personal Poem WorksheetWORKSHEET #2 Name: Date:

“I Am” Poem

Your poem should be ten lines long and should begin and end with the phrase “I am.” In between, write four truthful statements about yourself and four lies you tell others in order to hide something. The idea is to mix them up so that it is difficult to tell the truth from the fiction.

I am ______

______

I am ______

youthinmotion.frameline.org 27 ARTS ACKNOWLEDGIN ACTION Acknowledgments and Partners

This Youth In Motion Action Guide was compiled by Harris Kornstein from the work of students in David Donahue’s Curriculum and Instruction for Secondary Teachers course at Mills College in Oakland, CA*: ACKNOWLEDGEMENTS A special thanks to the Taylor Allbright Tyler Lappetito Katie Reyes following individuals Leila Anglin Erika Lewis Jennifer Russ and organizations for Lauren Benjamin Erika Lipkes Dana Schurr their assistance: Erica Bryant Jessica Lopez-Tello Rachel Tevlin Michelle Gonzalez- Ashley McHugh Ginny Tremblay Tracey Calhoun De Jesus Rebecca Pollack Sally Ward David Donahue Annie Hatch Erica Ramirez Brian Williams Ed Hernandez Stephanie Hipps Naema Ray Maura King Krystian Muroya About Youth In Motion Youth In Motion is an exciting partnership between Frameline and Gay-Straight Frameline Staff: Alliance Network that offers free LGBT themed movies to student clubs and Lyudmila Aronova Daniel Balugay teachers in middle and high schools throughout California. Our goal is to give Desiree Buford student activists and teachers new tools to educate their peers about lesbian, Sarah Deragon gay, bisexual, and transgender history and culture (and have fun doing it!). And Trista Kendall we believe that an inclusive curriculum is one step to creating truly safe and Jennifer Kim welcoming schools. Harris Kornstein Jennifer Morris About Frameline K.C. Price Founded in 1977, Frameline is the nation’s only nonprofit organization solely GSA Network Staff: dedicated to the funding, exhibition, distribution, and promotion of LGBT media Danielle Askini arts. Frameline’s integrated programs provide critical support for emerging LGBT Yuri Cartier filmmakers, reach hundreds of thousands with a collection of more than 250 films Jackie Downing distributed nationally, and create an international stage for the world’s best queer Joey Fernandez cinema through the annual San Francisco International LGBT Film Festival and t. aaron hans additional year-round screenings and cinematic events. For more information, Carolyn Laub visit www.frameline.org. Daniel Solis Geoffrey Winder About GSA Network Founded in 1998 in California, Gay-Straight Alliance Network is a youth leadership organization that empowers youth activists to fight homophobia and transphobia in schools through Gay-Straight Alliance (GSA) clubs. In ten years, *Parts of this guide were also GSA Network has brought GSA clubs to 50% of public high schools in California, written for the 2008 Youth impacting more than 1.1 million students. Through a decade of impact, GSA In Motion guides by Tracey Calhoun. Network has supported more than 30,000 GSA members and intensively trained more than 8,000 LGBT and straight ally youth as leaders who stand up for equality, organize other students, advocate for non-discrimination policies, and create safer schools for all. For more information, visit www.gsanetwork.org.

youthinmotion.frameline.org 28 DVD TITLE ARTSARTSFacilitating a Discussion IN AC IN ACTION Finding a Facilitator DIVERSE VOICES ON PAGE AND STAGE

JUNK BOX WARRIOR EL ABUELO BYRON CHIEF-MOON: GREY a film by Preeti AK Mistry a film by Dino Dinco HORSE RIDER a film by Marlene Millar and ARTS INPhilip SzporerAC

Action Guide ARTS INwww.frameline.org/distribution AC1 TABLE OF CONT ARTS IN ACTION

Table of Contents

FILM SYNOPSES 3 HOW TO USE THIS GUIDE : : : : : : : : : : : : : : : 4

HOW TO HOST A FILM SCREENING : : : : : : : : : : : : : : : : : : 5

DISCUSSION QUESTIONS : : : : : : : : : : : : : : : 7 GSA ACTIVITIES

IN YOUR GSA : : : : : : : : : : : : : : : : : : : 11 IN YOUR SCHOOL : : : : : : : : : : : : : : : : 12 IN YOUR COMMUNITY : : : : : : : : : : : : : 14 RESOURCES : : : : : : : : : : : : : : : : : : : : : 15 HANDOUTS : : : : : : : : : : : : : : : : : : : : : 17 ACKNOWLEDGMENTS : : : : : : : : : : : : : : : : 22

Youth In Motion is funded in part through the generous support of the Bob Ross Foundation. youthinmotion.frameline.org 2 ARTSFILM IN ACTION SYNOPSE Film Synopses

How to Use this Guide This guide is intended to help GSA members explore LGBTQ culture through films about diverse artists – essential viewing for all young activists and allies. There are tips on how to facilitate a film screening at a club meeting or special event, including discussion questions and activities to do after you watch the films. Feel free to use this guide as a resource – we know each GSA is different, so adapt the activities however you want!

Don’t forget to take a look at the Curriculum Guide as well. There are some great questions and activities you may find useful too. And of course you’ll want to let the teachers at your school know about the Curriculum Guide that came with the DVD. Because we’ve designed these guides to link with state standards, you can encourage teachers to use these materials as part of their regular curriculum. It’s a chance for you to teach your teachers something! You may want to start by talking to individual teachers, or try asking your GSA advisor or principal how you can get on the agenda for a faculty meeting.

Why is LGBTQ-Inclusive Curriculum Important & Necessary?

In many schools, learning about LGBTQ issues takes the form of very necessary tolerance education where students are educated about the importance of not discriminating against each other. Tolerance education is an important first step, but we need to push further. Take the step of infusing LGBTQ topics into classroom curriculum, and students can start learning not only why we should treat each other fairly but also that LGBTQ individuals have made valuable contributions to our society and our history. We can break down ignorance even more and create respect for everyone.

—excerpted from GSA Network’s Curriculum Campaign Guide1.

1 http://www.gsanetwork.org/resources youthinmotion.frameline.org 4 ARTSACTION IN ACTION GUIDE Action Guide

How to Host a Film Screening Here’s a checklist of things you’ll want to consider when planning your film screening or event:

»» GOALS: What do you want your screening to achieve? Who is your target audience? Do you want to influence students, teachers, or parents? Do you want to have a social event to bring in new members?

»» WHERE & WHEN: Decide where and when to hold a screening, based on your goals. Some ideas include:

• GSA meetings • LGBT centers or other community/youth • Classroom presentations centers • School assemblies • Churches, synagogues, and temples • Lunchtime/after school event screenings • Conferences

Remember to plan ahead so you can be sure to reserve a venue or get on the agenda for an event!

»» EQUIPMENT: How are you going to show the films? Does the venue come with a TV or projector, DVD player, and speakers? You may want to test the equipment a day before the event to make sure it works!

»» CO-SPONSORS: Ask other school clubs or local organizations to co-sponsor the event. This can help build community and allies, expose people to new resources, and will increase the likelihood of a good turnout! Ideas for co-sponsors include:

• identity-based student groups at your school, such as Black Student Unions, Chicano/Latino or Asian-American organizations, etc. • multicultural or diversity education clubs • local LGBT organizations or community centers • film clubs

»» TALK-BACK: How can you engage the audience to increase the impact of the film? Consider inviting guest speakers for a post-show panel. Or select GSA members to lead a discussion afterwards in small groups. See the Make an Impact section on the next page for more ideas.

»» ADVERTISE: Market the event, using whatever works best at your school: • flyers • emails • PA announcements • MySpace and Facebook

»» REFRESHMENTS: Providing popcorn or other refreshments is a good way to help turn out an audience! youthinmotion.frameline.org 5 ARTSACTION IN ACTION GUIDE Action Guide

Make an impact! Combine the screening with programming, discussion, and action: • Show the film at afaculty meeting, and encourage teachers to incorporate it into their curriculum.

• Have GSA members present the film and curriculum guide in a classroom workshop – see the discussion questions on page 8 of this guide or take a look at the Curriculum Guide. • Use it in conjunction with special events or school assemblies. • Host a panel discussion with speakers from local LGBT organizations. • Use the film as a way to get into thelocal media. You can pitch local media to do a story about LGBT youth connected to the screening.

• Invite local, state, or federal representatives to a screening and ask them to support legislation that protects LGBT youth and families.

What if our event elicits organized opposition? It’s important to be prepared both emotionally and strategically for this possibility. Talk about this as a group as you plan a screening. There have been instances in communities across the country where screenings of movies discussing LGBT topics have been picketed or protested. Thanks COLAGE! Remember that you have the right to screen this movie in your school. Parts of this page were adapted from materials If you are screening the film on school property, be sure to follow all created by COLAGE – a guidelines set out by your school district for screening movies. School national movement of districts in California cannot require parental consent for films that children, youth, and include mention of LGBT people or issues – only instruction or materials adults with one or more that explicitly mentions human reproductive organs and their functions LGBTQ parents. fall under consent laws for sex education. For more information, see GSA For more information, Network’s SB71 Fact Sheet1. see Youth In Motion’s In The Family Do not be afraid to use the media to raise further awareness if the movie Curriculum and Action screening does elicit homophobic responses. Contact your school paper Guides or visit or radio station, or your community media outlets and ask them to cover www.colage.org. the controversy. Media coverage can help raise awareness about the film, about the subject and about the harmful effects of homophobia. Contact GSA Network to get sample press releases, media tips and further support.

1 http://gsanetwork.org/resources/legal-resources/sb-71-fact-sheet youthinmotion.frameline.org 6 ARTS IN ACTIONDISCUSSION Discussion Questions

NOTE: There are a lot of discussion starters presented here. Choose the questions that are most relevant for your group, or use a few of the ideas below to generate a more organic conversation about the film.

General Discussion Questions

Use these questions to talk about all or some of the films!

1. Each of the people featured in the films is not only anartist – a poet, musician, dancer, etc. – but also an activist in some way. • How does their art inspire their activism? • How does their activism inspire their art? • How do they use art to change people’s opinions or make change in society? • Is it easier to change people’s opinions or to change laws? • How can you use art in your GSA to educate teachers and students at your school, or to make change in your community?

Want More to Talk About? 2. Identity is a key theme in each of these artists’ work – whether it’s Remember: The about gender, sexual orientation, race, or other characteristics that questions posed in make them who they are. the Curriculum Guide • Why is identity important to the work of artists and activists? are great conversation starters for your GSA, • What does it mean to “reclaim” your identity? too – don’t forget to • Are there times when you feel you’ve had to hide or prioritize a check it out! piece of your identity? • How can you make your GSA inclusive of all people, including students of color and transgender students?

3. Many of the subjects in the films stress the importance oftaking care of themselves – physically, emotionally, or spiritually – as an important part of being an artist and activist. • How does taking care of ourselves help us be good activists and artists? • What are some good methods for self-care? • How, as a GSA, can you take care of each other?

youthinmotion.frameline.org 7 ARTS IN ACTIONDISCUSSION Discussion Questions

4. In definition, Aya de Leon says, “I don’t have a sense that the way my people have been oppressed is the only real oppression or the worst oppression... I have a sense that there are many forms of oppression going on and... I want to help to bring people together so we can be allies to each other in fighting these different forms of oppression because they’re all connected.” Similarly, there’s a lyric from a Krudas song that says, “We should fight together, but are split by useless difference.”

• Why is important that we fight multiple forms of oppression together?

• How are differences used to divide people in our country, in our state, or in your school?

• What can your GSA do to not just combat homophobia and transphobia, but also to fight racism, sexism, and other forms of oppression?

Krudas

1. Towards the end of the film, Pasensi says “I don’t know what would happen if we were more obvious publicly… Sometimes we’ll decide to be more open, but that’s the trade-off of being ourselves.” • What is at stake for the members of Krudas to be out? (You may want to think about what it would be like to be out in Cuba, in the hip-hop community, or as educators.) • Where or when do you choose to be open and where do you feel you need to be more discreet? • How does it feel to have to make that trade-off?

2. The women in Krudas helped to create Omega, a network of female hip-hop artists in Cuba. • Why is it important for female artists to be connected through this network? • Why is it important that your GSA be connected to a larger network?

youthinmotion.frameline.org 8 ARTS IN ACTIONDISCUSSION Discussion Questions

definition: Aya de Leon

1. In pieces like “Cellulite,” “Grito De Vieques,”and “If Women Ran Hip-Hop,” Aya de Leon addresses political subject matter in personal ways. • What issues does Aya de Leon address in her work, and why are they important to her? • How does personalizing her work help convey her message? • How can you use your personal stories to make change?

2. In her poem about “sensitive guys,” Aya talks about how young men have “very few role models.” Throughout the rest of her work, it’s clear that she thinks that young women also lack good role models. • Do you think Aya is a good role model? Why or why not? • Why do other people interviewed in the film look up to her? • What qualities are you looking for in a role model? • What characteristics might make you a good role model for people in your life: siblings, cousins or other family members; new GSA members; as a leader in your school?

Junk Box Warrior

1. In the middle of the film, the poet asks, “Why think that my story is something that needs to be told/ what gives me the right to be so bold to say that my words are actually valid?” • What does Marcus’s story tell you that other stories don’t? • What other stories do you think need to be told?

2. Throughout the piece, the poet Marcus Rene Van uses different language to speak about his identity as a transgender man. • What words or phrases does he use? • How is his language different from what others, including transgender people or the mainstream media, might use? • What language do you use to describe your gender identity or expression? youthinmotion.frameline.org 9 ARTS IN ACTIONDISCUSSION Discussion Questions

El Abuelo

1. In the film, poet Joe Jimenez’s story is told as heirons his clothes in hopes of “captivat[ing] a vato’s (homeboy’s) wandering eye.” • Why do the poet and filmmaker use ironing as a metaphor? • How does gender factor into stereotypes about gay, lesbian, or bisexual people? • How does Jimenez uphold or defy conventional stereotypes about gay and/or Latino men?

2. Having an appearance of perfection is important to the poet as he strives to make the perfect crease. • What are some times that you feel you have to look or otherwise seem perfect? • Who decides what counts as perfect?

Byron Chief-Moon: Grey Horse Warrior

1. Near the beginning of the film, Byron describes his identity: “My grandparents know I am of two-spirits: I have within me the spirit of woman and man. I also have the blood of two rival nations, the Blood and the Cree. So I come to you from various angles.” • How does Byron make his different identities feel whole? • Why is it important to Byron that he is able to speak “from various angles”? • Are there aspects of your own identity that feel as though they clash? How do you make sense of that?

2. Of his two-spirit identity, Byron says: “I knew I was two-spirited from a very, very young age. And it was something that wasn’t necessarily discussed, everybody just knew. When I was being brought up I was considered a two-spirited person.” • What characteristics are associated with being two-spirit? • In what ways are two-spirit identities understood as similar to, and different from, being gay or transgender?

youthinmotion.frameline.org 10 ARTSGSA IN ACTION ACTIVITIE GSA Activities: In Your GSA

In Your GSA Sticks and Stones As the films demonstrate,language can be used both to empower and oppress people. For this activity, draw a line vertically down the middle of the chalkboard and label one side male (or masculine) and the other female (or feminine). As a group, write as many positive and negative words or phrases for each category as you can think of. You should focus on descriptions that you hear often – not necessarily what you would like to hear. This may include some words that are offensive, so be sure to remind the group that this is an activity that requires being respectful and sensitive to everyone’s feelings. When you’re done, discuss as a group:

• Are there more positive or negative words for one side vs. the other? • Do you hear any of these words on a daily basis? From whom? • Are there times you’ve felt threatened or hurt because someone used one of these words about you? • What words are on both sides? • What words do you wish were up there (or on both sides)? • How can you respond when someone uses these words? • How might this look differently if there were different ways to talk about gender rather than a binary (only 2 sides)?

You may want to repeat this activity using other labels based on sexual orientation, race/ethnicity, age, ability, and so on (there can be more than two sections, for example gay, lesbian, bisexual, and trans). Again, be sure to be sensitive to the group – you want to think about the way language can be used to put people down but not actually hurt anyone.

Act It Out Use theater to problem-solve issues facing students in your school. Brainstorm different situations in which someone might be harassed or bullied. Act out these scenarios and take turns replacing the character who is being bullied, trying out a different solution each time. What words or actions can you use to intervene, or advocate for yourself? You may find the Theatre of the Oppressed1 model to be helpful in getting started.

1 http://www.theatreoftheoppressed.org youthinmotion.frameline.org 11 ARTSGSA IN ACTION ACTIVITIE GSA Activities: In Your School

In Your School Over the Gender Line Gender norms are central to all of the artists in the film, whether they seek to challenge sexism, homophobia, or transphobia in their work. However, gender norms and expectations are constantly changing. In this activity, your GSA will think about how safe it is to cross boundaries in your school.

Draw a horizontal line on the chalkboard. On one end write “very safe” and on the other write “not safe at all,” like this:

Not safe at all Very safe

Using the cards on page 17, evaluate each question based on how safe it is – or isn’t – in your school, and tape them on the appropriate place along the line . You can either go through each question as a class, or pass them out and have each member of your GSA place it where s/he thinks it should go.

»»See page 17 for printable cards for this activity. There are also templates for you to create your own!

After you’ve created this chart, take a step back and look for patterns. Here are some questions you might want to discuss as a group:

• Are the stakes different when men vs. women “bend” norms? Why? • In what ways do LGBT people bend gender norms? Straight people? What are the similarities and differences? • What are some examples of gender expression being conflated with sexual orientation? • How could you make your school more welcoming to transgender or gender non-conforming students? (If no one in your school identifies as transgender, how do you think a trans student would be treated?) • How do you think gender expectations have changed over the past 50 years? Discuss some examples. • How do you think gender norms will change over the next 50 years?

youthinmotion.frameline.org 12 ARTSGSA IN ACTION ACTIVITIE GSA Activities: In Your School

Draft a Student Bill of Rights! Using your chart as a starting place, draft a Student Bill of Rights for acceptable behavior toward all students in their school, regardless of their sexual orientation, gender identity, and gender expression. What Next Steps... guidelines would you want teachers and students to follow? You may want to look at the model policies for transgender and gender non-conforming For more ideas on how students that have been created by the California Safe Schools Coalition1 and to address transphobia in your school, see GSA adopted by school districts in San Francisco, Los Angeles, and throughout Network’s Beyond the the state. These model policies explain how administrators should treat Binary2 toolkit! transgender and gender non-conforming students when it comes to names, pronouns, school records, bathrooms, locker rooms, dress codes, PE class, and every other way in which schools can be segregated by a gender binary.2

1 http://www.casafeschools.org/csscmodelpolicy1209.pdf 2 http://gsanetwork.org/get-involved/change-your-school/campaigns/beyond-binary youthinmotion.frameline.org 13 ARTSGSA IN ACTION ACTIVITIE GSA Activities: In Your Community

In Your Community Get Creative! How can you use the arts to make change in your community? Here are a few ideas for ways to start conversations and make an impact:

Art Show Put on an art show at a local community space: a library, café, town hall, or other civic building. You could put out a call for entries or put on a show of work exclusively by members of your GSA. Use the art show as a way to draw attention to your stories as LGBTQ/ally youth. If there are important legislative or other issues facing your community, be sure to highlight the connections.

Open Mic Showcase your creative talents by putting on an Open Mic night. Many of the steps will be similar to organizing a film screening (see page 5 for tips). Be sure to think about guidelines, decorations, or poems you’d like to read to keep the event LGBTQ-friendly!

Write, Blog, and Publish Does your local community have an LGBTQ newspaper or blog? If not, start one! If so, see if they need youth voices! Research what the local LGBT issues are, talk to leaders and elders in the community, and start writing!

Make a Movie, Put on a Play Act your stories out for a larger audience! Consider writing your own play or creating a short film with LGBT characters and content. If you need inspiration, take a GSA fieldtrip to see a play or film in theaters. You can also check out school editions of popular plays like Rent, The Laramie Project, and Tru Loved1. How will you make yours different from others out there? How will it tell stories about your life, friends, and community? How will it capture the diversity of your community?

1 http://gsanetwork.org/resources/posters-movies-and-more youthinmotion.frameline.org 14 ARTS IN ACTIONRESOURCES Resources

Organizations & Web Resources Books

Web English Teacher Media Literacy: An online clearinghouse of lesson plans and activity ideas to develop media literacy. www.webenglishteacher.com/media.html

youthinmotion.frameline.org 15 ARTS IN ACTIONRESOURCES Resources

Resources for Student Activists

The following national and statewide organizations can offer resources to Recommended Books teachers, students, or GSAs who may face resistance or harassment in & Films for LGBT & Ally their schools for teaching about LGBT subjects. Youth American Civil Liberties Union (ACLU): Works in the courts, legislatures, and Check out GSA Network’s communities to defend and preserve the individual rights and liberties website1 for additional guaranteed to all people in the US by the Constitution. www.aclu.org books and films targeted at LGBT youth and their Gay, Lesbian, Straight Education Network (GLSEN): Comprised of LGBT and allies, teachers, and parents. allied individuals who wish to put an end to discrimination, harassment, and bullying based on sexual orientation and gender identity/expression in K-12 schools in the United States. www.glsen.org

Lambda Legal: Oldest national organization pursuing high-impact litigation, Additional Support from education, and advocacy on behalf of LGBT people and people with HIV. GSA Network www.lambdalegal.org GSA Network staff National Center for Lesbian Rights (NCLR): A non-profit, public interest law members are also available to work firm that litigates precedent-setting cases, advocates for equitable public with student activists policies affecting the LGBT community, provides free legal assistance, and and teachers who conducts community education. www.nclrights.org face harassment, intimidation, or other Safe Schools Coalition: An international public-private partnership in opposition to an LGBT- support of LGBT youth that is working to help schools become safe places inclusive curriculum or where every family can belong, where every educator can teach, and where the work of GSA clubs. every child can learn. www.safeschoolscoalition.org Contact your Regional Program Coordinator2 for Transgender Law Center: California’s first statewide transgender legal additional information organization, specializing in individualized legal information, transgender and support. rights and advocacy materials, and transformative public-policy work. www.transgenderlawcenter.org12

1 http://www.gsanetwork.org/resources 2 http://gsanetwork.org/about-us/staff youthinmotion.frameline.org 16 ARTS IN ACTION Over theGSA Gender Line Activity ACTIVITIE class? How safe is it for... How safe is it for... opinion in a woman to a man to cry? assert a strong parent? How safe is it for... How safe is it for... a woman to a student to wear pants? have an LGBT

youthinmotion.frameline.org 17 ARTS IN ACTION Over theGSA Gender Line Activity ACTIVITIE polish? prononun? How safe is it for... How safe is it for... that others use a gender-neutral a man to wear a student to request eye-liner or nail

How safe is it for... How safe is it for... bisexual? school dance? another man at a out as gay or a woman to be a man to dance with

youthinmotion.frameline.org 18 ARTS IN ACTION Over theGSA Gender Line Activity ACTIVITIE How safe is it for... How safe is it for... a student to come out as interested in transgender? a woman to be weight-lifting? How safe is it for... How safe is it for... bisexual? a man to be out as gay or a woman to dance at a school dance? with another woman

youthinmotion.frameline.org 19 ARTS IN ACTION Over theGSA Gender Line Activity ACTIVITIE How safe is it for... How safe is it for... a student to ask in a health class? a man to have babysitting job? about LGBT issues locker? How safe is it for... How safe is it for... athlete in his a woman to a man to have picture of a male have hairy legs?

youthinmotion.frameline.org 20 ARTS IN ACTION Over theGSA Gender Line Activity ACTIVITIE How safe is it for... How safe is it for... long hair? a man to have How safe is it for... How safe is it for... a woman to say another woman’s cute?

youthinmotion.frameline.org 21 ARTS ACKNOWLEDGIN ACTION Acknowledgments and Partners

youthinmotion.frameline.org 22