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Educator's Resource Guide RESOURCE GUIDE ABOUT THIS RESOURCE GUIDE RESOURCE GUIDE The En Mas’ Educator Resource Guide is most applicable for use with students in middle and high school; however, the content may be adjusted to meet the specific learning goals of your students. The Vocabulary can be used to introduce students to the terms they will encounter throughout the exhibition. These will, in turn help TABLE OF CONTENTS students to look more carefully at the art featured in the exhibition. about the exhibition 3 When visiting MoAD, give each of your students a copy of the Questions to Use in the MoAD Galleries to further engage them in vocabulary 4 – 5 the context of the exhibition. Be sure to have your students answer the Reflection Questions as soon as possible after your visit to the Museum. These are designed to help students think deeper about questions to use in the moad galleries 6 – 11 the art installations after they have visited MoAD. reflection questions 12 You may opt to choose either of the artist focused projects to complete after your visit to the Museum. Please note that while post-visit activities the Educator Resource Guide strives to help students understand many of the histories which inform the work in the exhibition, we Nicolas Dumit Estevez 13 are not able to provide a comprehensive overview in such a short number of pages. Charles Campbell 15 We sincerely hope that you find this Educator Resource Guide helpful and welcome any comments or feedback you may have John Beadle 18 for us. Additionally, we would love to hear how you have chosen to integrate the material into your classroom or program. If you have Carnival Characters 19 developed additional handouts or found new resources to enhance this guide, please email a copy of your resource to us. Marlon Griffith 20 Special thanks to MoAD intern Sahara N’Diaye for her contributions to this resource guide. Christophe Chassol 21 Hew Locke 23 Thank you, Demetri Broxton california state standards 24 MoAD Senior Director of Education • [email protected] 2 Copyright © 2017 – Museum of the African Diaspora (MoAD). All rights reserved. ABOUT THE EXHIBITION Taking its title from a play on words for “Mas” (short for masquerade and synonymous with Carnival in the English-speaking Caribbean) and the French “en masse,” meaning “in a group” or “all together,” En Mas’ considers a history of performance that takes place in the streets rather than on a stage, and addresses a very large range of audience. En Mas’ takes into account performance practices that do not originate in the European celebrations, but rather to the experiences of slavery and colonialism, the indepen- dence struggles and civil rights movements, population migrations to and from the former colonial centers and postcolonial cultural and political transformations that shaped modern Caribbean society. En Mas’ tracks nine artists as they engaged, transformed, or critiqued historical and contemporary Caribbean performance practices from Carnival in Santiago de los Caballeros, Port of Spain, Fort-de-France, Kingston, London, and Brooklyn, to Junkanoo in Nassau and the New Orleans second line—or in their own imaginary locations and invented performance traditions. The resulting newly commissioned works took place according to different modes of public address and audience engagement including semi-private rituals at the margin of the festival celebrations and street proces- sions in the midst of the carnival revelry. En Mas’ brings together material remnants or reconstitu- tions from the performances as well as photographic and filmic interpretations from some of the best photographers, filmmakers, and videographers working in the Caribbean today. Photo: Installation image En Mas’: Carnival and Performance Art of the Caribbean At MoAD. 3 Copyright © 2017 – Museum of the African Diaspora (MoAD). All rights reserved. VOCABULARY For the vocabulary section, there are several ways to teach students the terms. There are 14 terms. Depending on the size of CARNIVAL your group, you may want to divide students into groups of three A multiple day period of public celebration at a regular time or four students and assign each group a couple of the vocabulary each year, typically the week before Lent in the Roman terms. Have students visually represent what the vocabulary term Catholic calendar. Spelled “carnaval” in Spanish-speaking means by creating a drawing which illustrates the vocabulary word. countries. For texture, for example, the students can draw sandpaper or a feather to describe that texture is what something feels to the touch or looks like it feels. Students need to be comfortable with all of the vocabulary terms in order to complete the next group of activities. MASQUERADE A social gathering of people who dress up in elaborate costumes and wear masks. In Trinidad and other parts of ACTOR BOY the Caribbean, masquerade is shortened to mas’. Actor Boy is a trickster character from the Jamaican slave celebration, Jonkonnu. He is an agent of chaos who makes fun of the culture of his overseers and slave masters. In his project Actor Boy: Fractal Engagement, Charles Camp- PROCESSION A group of people or vehicles moving forward in an orderly bell dresses as a modern version of Actor Boy. fashion as part of a ceremony or festival and often have a religious connection. Processions are different than KODALY SIGN LANGUAGE parades, because parades are basically a moving party The Kodaly method is a practice of music edu- celebrating a special day or event. cation developed in the 20th century by Zoltan Kodaly. The method uses hand symbols as well as movement like running or walking to teach children how to play and understand music. The REVELERS hands symbols created from this method were People who are enjoying themselves in a lively, noisy way. used in Steven Spielberg’s 1977 movie Close At carnivals, these can be both the audience and those Encounters of the Third Kind, and in Cauleen participating in the masquerade. Smith’s piece H-E-L-L-O. BUCKMINSTER FULLER Fuller was an American inventor and futurist who BLING FUNERAL is credited with inventing the geodesic dome. Many working class families in Jamaica throw lavish funer- Fuller believed a sustainable utopia could be als involving richly decorated coffins carried in luxury cars. achieved in the future through geodesic domes. Critics of this tradition write it off as a shallow demonstra- Charles Campbell’s “Sphere” is inspired by tion of consumption, but artist Ebony Patterson, sees it as Fuller’s domes. a way to make sure that those who may have been invisible in life have some visibility afterwards. (Thompson, 36) 4 Copyright © 2017 – Museum of the African Diaspora (MoAD). All rights reserved. VOCABULARY MIDDLE PASSAGE The journey across the Atlantic Ocean un- ABOLITION dertaken by enslaved Africans in the holds of The act of ending or eliminating a system, practice, or institution. slave ships from West Africa to the Americas. TRANSATLANTIC SLAVE TRADE OVERSEER A person who supervises others, especially workers. In the context The world’s largest deportation in history of slavery, the plantation overseer represented the planter in the of 10 – 12 million enslaved Africans across management of crops and the enslaved work force. Overseers are the Atlantic Ocean to the Americas from the often portrayed as uneducated, low-class, evil, and despised. 16th to the 19th century. GENTRIFICATION The process of change in a district or SANKOFA section of a city whereby poorer people A symbol from the Akan people of Ghana which derives its meaning are displaced or forced out of the area from a proverb which says, “go back and get it”. It is represented and replaced by wealthier people. Race is by either a stylized heart or a bird with its head turned backward. sometimes a factor of gentrification in the Sankofa urges us to learn from the past and is found throughout United States and in the Caribbean, where the Caribbean used to mark a boundary. The piece is also incor- the poorer people being displaced tend to be porated in John Beadle’s artwork Inside Out, Outside In. people of color and the wealthier gentrifying people are often white. 5 Copyright © 2017 – Museum of the African Diaspora (MoAD). All rights reserved. QUESTIONS TO USE in the MoAD galleries If time permits, complete all questions while visiting the MoAD galleries. For groups with limited time, choose one or two questions for each of the three sections. SECTION 1: For these questions, visit the exhibition on the muse- um’s 1st floor, Otra Mas’. 1. On the pillar facing the front window is a photograph by Robert Werner. The Photo: Installation image Otra Mas’: 40 Years of Carnaval in San Francisco at MoAD. photograph features a group of girls in red costumes from last year’s carnival. The theme of Carnaval SF was El Corazon del San Pancho – The Heart of San Francisco. 2. Now visit the photographs in the St. Regis entryway gallery. Pick one image that a. Describe the costumes: what colors & designs are present? stands out to you. a. What do you like about the image you selected? b. What are the materials the costumes are made from? b. Describe the colors and designs you see. c. What holidays, traditions, or other cultures do these costumes reflect? c. What is the mood set by the person or people in the photograph? What does the mood of the photograph tell you about the mood of Carnaval in San Francisco? Explain. 6 Copyright © 2017 – Museum of the African Diaspora (MoAD). All rights reserved. QUESTIONS TO USE in the MoAD galleries SECTION 2: For the following questions, visit En Mas’ on the museum’s 2nd floor.
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