Gogue Center Performance Study Guide: 123 Andrés by Gogue Performing Arts Center at Auburn University

PERFORMANCE STUDY GUIDE GRADES PreK—5

123 Andrés

The Jay and Susie Gogue Performing Arts Center at Auburn University engages audiences across the university, the state of Alabama and beyond with curated arts experiences that inspire, enlighten and unite. Our annual K–12 School Performance Series provides opportunities for students to enjoy exclusive performances by some of the most talented and accomplished artists from around the world. Prior to each K–12 school performance, teachers receive a study guide containing details about the performance, artist and company, supplemental information about the art form and its history, and grade-appropriate activities designed to spark conversation and exploration in the classroom. To learn more about education and engagement initiatives at the Gogue Center, visit goguecenter.auburn.edu/education. produced by Jay and Susie Gogue Performing Arts Center at Auburn University 910 South College Street Auburn, Alabama 36849 k–12 school performance series contact Andrea Jarmon, D.M.A. Education Coordinator telephone: 334.844.7371 email: gpac_education@auburn.edu

PERFORMANCE STUDY GUIDE GRADES PreK—5

photo: José Alberto Piña Duarte

123 Andrés

Table of contents Where will we go?

...........................................................................................................................................................

Going to the Gogue Center ¦ 7

.....................................................................................................................

Alabama History & Geography ¦ 31

Who Will You See Here? ¦ 7

ACTIVITIES

What Does the Audience Do? ¦ 7

Exploring Alabama

Acoustics: The Science of Sound ¦ 9

Who to know at the show

Why we go to the show

................................................................................................................................................................................

worksheet: Exploring Alabama

..............................................................................................

What to do after the show

.......................................................................................

Andrés Salguero & Christina Sanabria ¦ 10 ACTIVITIES

Interview with 123 Andrés ¦ 11

What to know before the show

Make a Travel Brochure ......................................................

.....................................................................................................................................................

worksheet: My Trip to the Gogue Center

Latin Music ¦ 14

worksheet: North America Map Match

Sign Language ¦ 18

worksheet: Caribbean Map Match

The Americas ¦ 22

worksheet: Central America Map Match

Storytelling ¦ 26

worksheet: South America Map Match

ACTIVITIES Exploring Latin Music Experiencing Silence

.................................................................................................................................................................

................................................................................................................................................................

Online resources Credits ¦ 42 Map Match Key ¦ 42

worksheet: ASL Finger Spelling Chart

Investigating the Americas

..................................................................................................................................

worksheet: Exploring Las Americas

Creating a Story

.............................................................................................................................................................................................

worksheet: Story Prompts

Credits ¦ 42

........................................................................................................................................................

The Jay and Susie Gogue Performing Arts Center at Auburn University

Where will we go?

What Does the Audience Do? Alabama Course of Study  GMu3-5.15  GMu6-8.14

GOING TO THE GOGUE CENTER The Jay and Susie Gogue Performing Arts Center, otherwise known as the Gogue Center, is located on the campus of Auburn University in Auburn, Alabama. The Gogue Center houses the 1,200-seat Woltosz Theatre. The theatre was built with exceptional acoustics so that it is possible to hear well from every seat.

National Standards  MU:Pr6.1.3-8b

The audience is an important part of the performance. Without the audience, who would watch the performers? Who would clap and sing along and appreciate what the artists bring to the stage? When you are a member of an audience at the theatre, there are a few things to know about what to do and what not to do.

WHO WILL YOU SEE HERE? Ushers These are the people who will greet your bus, lead your class into the building and help you find your seat. Be sure to say “hello!”

Sit in your seat and look around, but please keep your feet toward the ground.

Stage Crew These are the people who work backstage, so you won’t see them in the lobby, but you might see them before or after the performance, and sometimes, they even come on stage during the performance to move things.

Listen and watch, but do not talk.

Lighting & Sound Operators These are the people who control the lighting and the sound for the performance. You may see them in the middle of the auditorium at the big sound board or in the back of the auditorium in the booth. Sometimes, the spotlight operators are in the back way above your head. Performers These are the people on the stage who may be dancers, musicians, singers, actors or acrobats. It is their job to communicate using their bodies, instruments and voices. Audience Members This includes you, your classmates, and other students and teachers from around the state of Alabama and maybe even Georgia.

Have a camera or phone? Please turn it off.

The performers will take to the stage, and we know they will engage. You can laugh, you can sing, you can get up and dance, but just make sure that you give them all a chance! VO! B RA

NK THA U! YO

When the song is done, or the show comes to an end, make sure that you give the performers a hand! Applause is the way that we can say thank you for all that they did today!

Walter Stanley and Virginia Katharyne Evans Woltosz Theatre

Acoustics: The Science of Sound Alabama Course of Study Standards  SC1.1 National Standards  NS.K-4.1  NS.5-8.2

Acoustics is the study of sound and how that sound reacts in spaces, particularly rooms and buildings. What is sound? Sound is vibration. That vibration travels through the air and into our ears where we hear it. Vibration begins through movement—for example, strumming a guitar string. That vibration creates a sound wave. In a theater or concert hall, acoustics are important so that everyone can hear the performers. There are two ways that acoustics are controlled. The first, reverberation, is controlling how sound waves bounce off surfaces, like walls and floors. Hard surfaces cause more reverberation and make spaces louder. The second way, absorption, is the opposite of reverberation. Soft surfaces absorb sound waves and make rooms quieter. Let’s see if we can figure out which of these materials cause reverberation and which cause absorption of sound: • • • • • •

Tile Carpet Marble Curtains Cushions Wood

The controlling of reverberation and absorption of sound waves is how acoustics are controlled in the Woltosz Theatre.

Who to know at the show ANDRÉS SALGUERO & CHRISTINA SANABRIA

Andrés grew up in Bogotá, Colombia, singing with his mother and learning how to play the guitar from his father at an early age. He had his first studio experience at age 8, and from there he went on to earn a Doctor of Music degree and won the National Composition Contest in Colombia for one of his early songs. Christina grew up in the Midwest in a Spanishspeaking immigrant family from Colombia. Her love for the stage started when her mom signed her up for theater and dance classes as a child. After college she worked in the classroom as a publicschool teacher and earned a master’s degree in education. When she joined 123 Andrés, she found her calling: teaching through music. Andrés and Christina believe in using music as a tool to encourage empathy towards others and pride in one’s own culture. While teaching Spanish words and showcasing different Latin sounds, 123 Andrés also aims for children to emerge more accepting, tolerant and curious about people who are different from them.

123 Andrés are known for bringing their joyful sounds, a passion for languages and high-energy music to their performances.

Meet the 123 Andrés Band

Andrés Salguero (Colombia) Vocals, guitar and saxophone

Christina Sanabria (United States) Vocals and percussion

Jesús Agreda (Venezuela) Drum set

Pablo Sanhueza (Chile) Congas and percussion

Giovanni Rodríguez (Dominican Republic) Bass

photo: David Rugeles

Andrés Salguero and Christina Sanabria are the Grammy-winning music duo 123 Andrés. Their upbeat music and lively concerts get the whole audience participating in Spanish and English. 123 Andrés tours nationally, with concerts for kids of all ages and their families.

INTERVIEW WITH 123 ANDRÉS In creating this performance, what ideas did you want to explore? Andrés: More than anything, we want children to exercise and maintain their empathy. They are naturally welcoming and open, and they are curious about people who are different, rather than afraid of them. As adults, then, we often lose those qualities. We need to learn from children. The premise of the show offers a good opportunity to encourage empathy in context. At one point in the show, I am sad because I miss my friend, Juana. The children feel for me and want to help. At the end when we finally find Juana, she is a little bit nervous. She’s been lost, and she needs us to be extra kind to her. The children connect with Juana and respond so beautifully with well-wishes and empathy. The other thing we’d like to encourage is a curiosity about geography. In the busy school day, students might not get a chance to look at a map for a while and take the time to wonder about other countries. That urge to explore is important, and it leads to map literacy and learning that there are so many places in the world that are not part of the United States, with people living different ways and speaking different languages. We want students of Hispanic origins, Latinx students, to see themselves represented. It is so incredible when you see the kids getting excited and throwing their hands in the air when we are looking at the map and naming the different countries. When you get to the one they or their parents came from, they feel super special and want to talk about it. It’s also great for the other students because they learn about their neighbors and classmates who come from different places. Christina: I think about newcomers to our school and the situations in which someone might feel

unwelcome or different. How can we focus on our similarities with others and build bridges? Certainly, I’m thinking of those coming from a different country and speaking another language, but also there are plenty of children who feel different due to other factors. How can we go out of our way to be welcoming? How do you feel that music feeds into all these purposes? Christina: Music itself also embraces new and different influences. When we’re performing for older students, we get into this more explicitly, but two of the songs we sometimes do, “The Mambo” and “La Bamba,” are products of lots of cultural influences. They both have folk origins: for “The Mambo” in Cuba, and for “La Bamba” in Veracruz, Mexico. Both of these songs crossed over and were blended with elements of U.S. music. That altered version is the one we recognize most often when we hear them now, on the radio or TV. It’s super interesting because elements of music combine and transform, and we can hear the folk influences but also hear the rock and roll and jazz elements added later. Andrés: Yes, lots of times what we hear as Latin music is a result of musicians from Latin American cultures getting together in the U.S. and creating something new. It happened that way with salsa music. Musicians from Cuba and from all over the Caribbean immigrated to the United States, bringing the mambo with them. They all ended up meeting in New York City mid-twentieth century and started playing together and with American musicians. They added new elements to the original music, and the style called salsa evolved. New York is where the term salsa was coined, and now salsa is known throughout the world. It became a collaboration generated by the music, but its result is bigger than the music. For example, in the late 1950s at the Palladium in Manhattan, they held some of the first

photo: Dominick Williams

123 Andrés

desegregated dances in New York with salsa music. There were all kinds of people dancing with each other—very open and very new. What is the benefit of singing together? Andrés: Singing as a group gets people together doing one thing. It makes us happy and relaxes us. Singing lowers your heartbeat and can even synchronize the heartbeats of people singing together. Plus, it’s a great way to promote teamwork. I was reading a study that suggested that students who play or sing music together perform better at problem-solving and math and tests because they felt more at ease and in tune with each other as a group. Not only that, but because music borrows from different places, it can unite us. It’s beautiful how we can trace the clave rhythm all the way from West Africa. Then we find it in Cuba; we find it in Brazil; we can trace the DNA of the clave through all its transformations. It becomes a common musical ancestor. Singing helps you learn. The starting lesson is geography and the Americas for every single kid that comes out. If they are asked, “where are the Americas?”, they’ll be able to sing the song and tell you where the Americas are because we are singing that song all together like six times. They do it with their hands! They’re gonna remember and understand that people speak Spanish, not only in Mexico, but in all these other places. The music will help with that. The other big lesson they’ll come away with is the importance of empathy and being nice to each other. For me, the music and singing accompany this story and give life to it. The audience gets connected to it. We don’t hammer the lesson in, but the kids naturally want to help poor Juana.

How did you get started in music? Andrés: I was very, very privileged and lucky in that there was music all around me in my home. My mom was always singing, and my dad played the guitar. My mom taught me my first songs, and my dad taught me how to play my first instrument. Is it hard to move back and forth between English and Spanish? Christina: Sometimes it can be hard to move back and forth between English and Spanish when you are thinking and moving quickly. It gets easier the more you do it, but that’s one of the awesome things about being bilingual. We encourage students to be curious about learning Spanish or sign-language or any other language so they can learn how to communicate in lots of ways to lots of people. Andrés: You know, even when we are babies, we make different sounds tuned to our language. Researchers figured out that babies differentiate one kind of speech from another when they are addressed regularly with different languages. They babble different sounds for each language, and eventually, they recognize that one adult is speaking one language and the other is speaking another. It’s incredible! As kids, we can learn two languages at the same time. What does having a doctorate in music mean you can do? Andrés: (teasing) You can prescribe music when people are sick!

What to know before the show LATIN MUSIC The term “Latin music” refers to all music from Latin America, Spain, Portugal and the Latin communities of the U.S. and Canada, as well as all music sung in Spanish and Portuguese. Within this broad category of music, there is dance music, pop, jazz, rock and much more. The danzón is a traditional type of Cuban dance music that is also found in Mexico and Puerto Rico. It grew out of the European “sequence dance” tradition. It typically has a slower tempo with a syncopated rhythm and is characterized by the specific steps and shapes created by the dancers. The musical ensemble consists of a piano, strings, flute and a rhythm section that often incorporates the guiro, which is a percussion instrument originally created from a hollowed-out gourd with notches carved in the side and played with a stick. Today, most guiros are made of wood. Through the years, Latin music has become popular throughout the world. Here are a few styles and examples: The mambo is a style of Cuban dance music that originated in the 1930s and grew in popularity during the 1940s. The mambo grew out of the danzón and is characterized by its syncopated rhythmic patterns called ostinatos. An ostinato is a continually repeated musical phrase or rhythm. A band that plays mambo will typically have a rhythm section comprised of a drum set and additional percussion instruments such as congas, claves, guiro and bongos. The melody can be played by melodic instruments like flute, clarinet, saxophone or trumpet. The band will also include harmonic instruments such as the guitar, bass and piano. X “Mambo No. 5” (Perez Prado)

The cha-cha-cha grew out of the mambo in the 1950s. It got its name from the sound the dancer’s feet make. The basic pattern of the feet is one, two, three, cha-cha-one, two, three and so on. The chacha-cha is less syncopated than the mambo, making it a bit more accessible to the average dancer. The music of the cha-cha-cha is played by a charanga. A charanga is a small musical ensemble consisting of strings, flute, piano and timbales, which are a type of drum. X “Cherry Pink and Apple Blossom White” (Perez Prado) The samba is a popular Brazilian style of music that originated in the twentieth century and grew to popularity by mid-century. It is characterized by its rhythmic patterns, melodies, simple harmonic structure, African percussion instruments and lyrics in Portuguese. Samba musical ensembles are called baterias, which comes from the Portuguese word for drum kit and points to the predominant presence of percussion instruments in the ensemble. The samba is in 2/4 time and uses a repetitive rhythmic motive as well as simple, repetitive chord progressions. Finally, the samba features call-and-response vocals traded between a soloist and the ensemble. X “Samba de Janeiró” (Bellini) The bossa nova is a Brazilian style of music that grew out of the samba. Similarly, it emphasizes the second beat. The bossa nova, however, is not a dance. The rhythm can be extracted from the piano or percussion and played by the guitar. The bossa nova is most often played on the classical guitar, which has nylon strings and is played with the fingers rather than a pick. There is a singer and percussion as well. X “Soul Bossa Nova” (Quincy Jones)

Salsa came to popularity in the 1970s. The music combined elements of Cuban, Puerto Rican and American styles. A salsa ensemble typically consists of guitar, bass, one trumpet, bongos, congas, timbales, maracas, claves, piano and a horn section. Most salsa pieces have a verse section followed by a chorus section known as the montuno. The montuno is a call-and-response and once it begins, it continues until the end of the song with a gradually increasing tempo to increase excitement. X “Blue Salsa” (Kostas Karagiozidis) The bolero is a Cuban song genre that grew out of romantic folk poetry of the late nineteenth century. A bolero was originally sung by an individual playing guitar in the style of the troubadour—the Cuban version being a trovador. Eventually, boleros began to be played in groups of two, three and four. X “Algo Contingo” (Eva Romero) The merengue is the national music and dance genre of the Dominican Republic. A merengue ensemble is made up of an accordion, a güira and the tambora. A güira is a traditional Dominican instrument similar to the Cuban guiro but made of metal. The tambora is an African two-headed drum. The accordion represents the European influence on the merengue. X “El Abogado (Mariela)” (El Rubio Acordéon) Another important feature of Latin music is the rhythm. The clave is a rhythmic pattern used in Cuban music, though it originated in Africa. The word clave means key or code—so you could say the clave is the the “key” to Latin music. The two most common clave patterns are known as son clave and rumba clave. The claves are also a percussion instrument made from two cylinders of wood. The claves are often used to play the clave rhythm.

EXPLORING LATIN MUSIC Alabama Course of Study Standards  AE17.MU.K.7 ELA.RS.R1.K-3 AE17.MU.K.8 ELA.LF.K.22 AE17.MU.K.18 ELA.LF.K.27 AE17.MU.1-2.7 ELA.LF.K.33  ELA.LF.1.1 AE17.MU.1-2.8  ELA.LF.1.2  AE17.MU.1-2.19  ELA.LF.1.3  ELA.LF.1.22  ELA.LF.2.1  ELA.LF.2.22  ELA.LF.3.1  ELA.LF.3.4  ELA.LF.3.5  ELA.LF.3.18 National Standards National Standards  NA-M.K-4.6  NA-M.K-4.9  NL–ENG.K–12.1  NL–ENG.K–12.4

OBJECTIVE

X “Mi Gente” (J Balvin, Willy William)

By completing this activity, students will:

X “Oye Mi Amor” (Maná)

• •

Demonstrate knowledge of music from different cultures Connect music to personal interests, ideas and experiences

MATERIALS For this activity, you will need the following items: •

Technology to play the “Suggested Songs” playlist

X “La Pollera Colorá” (Charlie Zaa) X “Drume Negrita” (Mercedes Sosa)

2. Lesson (15 minutes): Divide students into groups of

three to devise different short playlists, using music to communicate in three different ways. suggestion

PROCEDURE To complete this activity, follow these steps:

Intro (10 minutes): Play several musical selections of contrasting types of music. In an open space, encourage students to dance, move and interpret the song. This should be done with everyone at the same time and students should move individually, avoiding physical contact with other students. In other words, they are “individually dancing in a group.” After 30-45 seconds of each selection, pause the music, freeze students with a signal, and ask a few questions, such as: •

Does the music make you feel any particular way?

•

How did you want to move, listening to this music?

•

Did everybody dance the same way for each song?

This should be a quick, whole class analysis with answers such as, “Happy! I moved fast!” After listening and moving to each song, have students formulate conclusions as to whether and how the music helped them connect to each other. Have students pair with a partner to discuss scenarios in which music can help people who don’t know each other connect and communicate. suggested songs This list offers examples of musical styles and genres that represent many areas of Latin America that will encourage varied types of movement. X “Vivir Mi Vida” (Marc Anthony) X “Stand By Me” (Prince Royce)

Make sure students know they do not have to create these lists with actual devices in class, and they do not have to have the full song title or artist’s name. A brief lyric or description is fine, especially if they can sing a bit of it, or explain where they heard it, for example: “‘sunshine in my pocket’ from the Trolls movie” (“Can’t Stop the Feeling!” by Justin Timberlake) or “that firework song” (“Firework” by Katy Perry). •

For Playlist #1, choose songs that are expressive, that will show a class visitor something about the spirit of the class.

•

For Playlist #2, choose songs that capture a mood, one the students would like a visitor to feel.

•

For Playlist #3, choose songs that are representative and include a favorite song of each of the members of the group.

•

Depending on time, each group can work on all the playlists or just one.

•

Ask a few groups to share their list representing the spirit of the class.

•

Post the lists in the classroom.

3. Reflection (10 minutes): Discuss with students that,

just like there are different kinds of people, there are different kinds of music. Sometimes being open to music from different cultures and different time periods can be another way to make connections with people that students don’t know. What different types of music have students encountered? Do students know more music from other countries?

EXTENSIONS 1.

Share with students a short playlist of your own, with less contemporary music or musical styles unfamiliar to the students, that captures how you see the spirit of the class. This music can perhaps be played during a class transition.

2. Challenge students to find out a few musical favorites of a parent or other older relative. Ask them to also find out the story of where the adult first heard it, and why they liked it.

Sign Language American Sign Language (ASL), though based in the English language, is a completely separate language and distinct from spoken English. ASL has its own grammar rules, pronunciations and word order. ASL is expressed through movements of the hands and the face. It relies on body language and facial expressions in conjunction with specific hand signs to allow the speaker to communicate effectively. Each letter of the ASL alphabet (right) is represented by its own unique handshape and movement. The same is true for ASL words and phrases. ASL is used in the United States and also in English-speaking parts of Canada. Similar to spoken language, there is no universal sign language. British Sign Language, though also based in the English language, is different than ASL and speakers of one may not understand the other. ASL emerged as a language from the American School for the Deaf in Hartford, Connecticut. A person who is deaf has impaired hearing or a complete lack of the ability to hear. When a person cannot hear, it is difficult for them to learn how to speak. Babies learn to speak by hearing and mimicking or repeating sounds; if they cannot hear, they need a different way to communicate with others. Even children who can hear may learn some signs to communicate before they learn how to use words. Below are some common words and phrases in American Sign Language.

EAT

DRINK

PLEASE

THANK YOU

SORRY

Date

Name

American Sign Language Finger Spelling Chart

Z 19

EXPERIENCING SILENCE Alabama Course of Study Standards  ASL17.K-8.1  ASL17.K-8.4  ASL17.K-8.5  CE.K-12.6  CE.K-12.7  CE.K-12.12  CE.K-12.13 National Standards  NL.FL.K-12.1

OBJECTIVE

•

Give signal for students to circle. Non-verbally congratulate all students on their friendliness.

•

Non-verbally communicate to students that the next step is to find out each new friend’s name in the new world. Distribute the ASL Finger Spelling Chart. Consider having a poster-size sign language alphabet for students in addition to the personal handouts. Model the process of finger-spelling one’s name. Consider using a student to model. Give signal for students to begin to walk around the room asking for two or three of their new friends to sign their names.

•

Give signal for students to circle. Non-verbally ask for two or three student volunteers to sign their names. Non-verbally congratulate them, perhaps by using finger-spelling.

By completing this activity, students will: • •

Learn and exchange simple information in American Sign Language (ASL) Gather a basic understanding of communication in a world without sound

MATERIALS For this activity, you will need the following items: •

Copies of “American Sign Language Finger Spelling Chart” on page 19

PROCEDURE To complete this activity, follow these steps:

Warm-up (5 minutes): Music is a language accessible to almost everyone. Sign language helps communicate without using sounds. Demonstrate to students a few words, phrases or expressions in sign language. sound. Explain to students that they will be staying in this world for a little while and really want to make friends there.

to hearing world once more by using a physical change of space if possible or a sounding signal to break the silence before speaking. Thank students non-verbally and verbally for journeying with you to the world with no sound. Consider having students transition to a guided journalwriting reflection, in keeping with the quiet theme. Guide them in answering these questions:

suggestion

•

Did you feel frustrated? Why?

As facilitator, narrate and dramatize this “world” during the instructions as much as possible, stressing that this is a silent world. After giving initial instructions, really work to conduct the activity completely using non-verbal communication, but if verbal instructions are needed, make them concise (e.g., smile, wave “Hello,” cry, laugh, point, frown, use hands to motion or animate, act it out, etc.). This activity will work best as a quiet activity. Students will have many giggles and bodily function noises to get out at the beginning. Try to ignore this and let time normalize the silence. There will be moments of frustration but strive to push through for the bigger lightbulb moments at the end.

•

What can the silent world help us learn about other people?

•

What did we learn about ourselves?

•

What did we learn about communicating?

•

Do we need a specific language to communicate with others?

•

Can we only make friends with people that speak like us?

2. Lesson (30 minutes): Imagine traveling to a world with no

•

3. Reflection (10 minutes): Move students from silent world

For final verbal instructions, say: “As you arrive in this new world, it is your goal to communicate with everyone in the room that you are happy to be their friend. To do that, you will need to meet, greet and communicate friendliness to each person in the room.” Then, non-verbally signal to students to begin the activity.

THE AMERICAS The Americas is the name used to describe the landmass that contains all of North America, Central America and South America and covers most of the Western Hemisphere. North America is made up of Greenland, Canada, the United States and Mexico. The many islands of the Atlantic and Caribbean, like Bermuda, the Bahamas, Puerto Rico, the Dominican Republic, Cuba, Turks and Caicos, and more, are considered part of North America. Central America contains seven countries: Belize, Costa Rica, El Salvador, Guatemala, Honduras, Nicaragua and Panama. South America is composed of 12 countries: Argentina, Bolivia, Brazil, Chile, Columbia, Ecuador, French Guiana, Guyana, Paraguay, Peru, Suriname, Uruguay and Venezuela. A multitude of languages are spoken throughout the Americas, including Spanish, English, Portuguese, French and many others. The Americas extends into the Northern and Southern hemispheres. As a single land mass, it covers more than 16.5 million square miles and is populated by more than a billion people. North America and South America are considered two separate continents. Across the Americas you will find vast mountain ranges as well as long rivers and large river basins and the Great Lakes. There are polar, temperate and tropical climates. Some countries in the Americas also have deserts. The coastlines of the Americas stretch along the Atlantic Ocean, Pacific Ocean and Arctic Ocean as well as the Gulf of Mexico and the Caribbean Sea.

Fun Facts About the Americas The largest countries in the Americas

1 2 3

Canada

3.9 million square miles

United States

3.6 million square miles

Brazil

3.3 million square miles

The most populous countries in the Americas

United States

Brazil

Mexico

340 million

204 million

130 million

Canada and the United States share the longest international land border in the world. It stretches more than 5,500 miles. The Panama Canal, located in Central America, is a manmade waterway that connects the Atlantic Ocean with the Pacific Ocean. Opened in 1914, the canal provides an important shortcut when traveling by boat from one ocean to the other. Chile, located along the Pacific Coast of South America, is the longest and narrowest country in the world. Chile is also home to the driest place in the world, the Atacama Desert.

INVESTIGATING THE AMERICAS Alabama Course of Study Standards  SS10.K.8  SS10.1.8  SS10.2.6  SS10.3.1  SS10.3.2 National Standards  NSS-G.K-12.1

OBJECTIVE

•

In pairs, students choose or are assigned a country either in Central America, the Caribbean or South America. They can color their country on the Map of the Americas handout. Encourage them to use the class map to make as many educated guesses about that country as possible. Students should brainstorm modes of transportation, climate, clothing preferences, local food, etc.

•

Walk through an example of a map inquiry and observation with students, modeling your critical thinking and hypothesizing out loud. Consider showing this process with Mexico even though it is not in Central America, South America or the Caribbean. Students are more likely to have background knowledge about Mexico and would feel more confident about hypothesizing about Mexico’s climate, modes of transportation, etc. Modeling will also establish the vocabulary desired for this activity. Consider taking the time to invest in the scientific method vocabulary, especially facilitating an understanding of hypotheses and the value of making educated guesses.

•

Have students fill out the worksheet on page 29 with their predictions.

•

Pair/Share (5 minutes): Each student pair shares with a pair next to them. Use a signal to indicate when the first group begins and ends in order for the second group to begin.

•

Students individually, where possible, use classroom technology to research their country. Consider modeling the query process on a classroom projector. Also, where classroom technology is not available, consider reserving a computer lab, or checking out books about Latin American countries from the Limitless Libraries.

•

Each student pair discusses their findings with their partner.

By completing this activity, students will: • •

Understand where the continents, countries, states and bodies of water of the Americas are on the map Be able to locate the different parts of the Americas on a map or globe

MATERIALS For this activity, you will need the following items: • • • • •

A class map of the Western Hemisphere (digital, pull-down map, globe, poster, etc.) Compass “Exploring Las Americas” worksheet on page 25 Map of the Americas handout Classroom technology to investigate countries (optional)

PROCEDURE To complete this activity, follow these steps:

Intro (5 minutes): Ask students to define “America.” Then, ask them to define “the Americas.” Have students look at the class map of the Western Hemisphere and hone a definition of “the Americas.” Facilitate the understanding of North America, Central America, the Caribbean and South America. Ask students to compare and contrast both meanings of America.

2. Hook (10 minutes): Have a show-and-tell moment with

a compass. Allow students to experience the compass. Facilitate a conversation about previous knowledge regarding the four cardinal directions (i.e., north, south, east, west). Direct the inquiry towards the understanding of colder climates nearer the North and South poles, warmer climates nearer the Equator, sun rising in the east, setting in the west, etc.

3. Lesson (30 minutes): Guide students through identifying

their previous knowledge (e.g., location of the United States, Alabama, North and South poles, travelling to Mexico by land or sea, travelling to the Caribbean only by sea or air, etc.). suggestion Have several class sets of maps, globes and even Google maps available for students to use as a reference.

4. Reflection (10 minutes): Ask students: “How many

hypotheses did you and your partner need to revise? How much were you able to figure out about your country with just a map and some previous knowledge? What did you learn about your country? Did anything take you by surprise?”

Name

Date

Exploring Las Americas 1. Circle the area of the Americas you and your partner will explore. Central America The Caribbean South America Centroamérica El Caribe Suramérica 2. Circle the name of the country you and your partner will explore. Costa Rica El Salvador Guatemala Honduras Nicaragua 3. Fill out the chart below.

Panama Cuba Haiti Puerto Rico Dominican Republic Characteristic of the Country

Argentina Bolivia Brazil Chile Colombia Your Hypothesis About the Country

Ecuador Paraguay Peru Uruguay Venezuela Your Investigation/ Findings About the Country

The Climate El Clima What is the weather like in this country? Clothing La Ropa What kind of clothing is worn in this country? Transportation La Transportación How can people in this country move from one place to another? The Land La Tierra What type of landforms will you find in this country? Mountains? Deserts? Rainforests? Local Food La Comida Tipica What kinds of foods do people eat in this country?

STORYTELLING Storytelling is an integral part of our society. It can be used for entertainment, education or preserving history. Stories typically involve plot, setting, characters, theme, tone, a point of view and conflict. The plot is the series of events that make up the story. Plots are typically divided into five parts:

CLIMAX RISING ACTION BEGINNING

This is the buildup to the climax, all of the things that lead to The characters are the main action introduced, the setting is of the story. established, and the general story set-up begins.

This is the height of the story, the conflict, the most exciting part.

This is what moves the story from the climax towards the end.

RESOLUTION This is the conclusion of the story.

The setting is where the story takes place. This can be specific or general, it all depends on the story. Sometimes the settings change throughout the story. Sometimes, the setting remains the same. Establishing the setting helps the audience better understand the story.

It does not have to be from the perspective of the main character to be first-person. Any character telling the story from their personal perspective is first-person. Third-person point of view tells the story of the characters using third-person pronouns (he, him, his, she, her, hers, they, them, theirs).

The characters in a story are the people or other personified things that experience the story. They complete the action; the story is about them, and they move the story forward.

Conflict is what propels the story forward. There are internal conflicts that the characters have to overcome and there are external conflicts that the characters face. Conflict is what makes the story interesting. How the characters deal with these internal and external conflicts is what propels the plot. The conflict can be between two of the characters (for example, two players competing for one spot on the team). The conflict could be between a character and nature, like someone trying to learn to surf big waves. The conflict could be between a character and something supernatural, such as someone fighting ghosts. Or the conflict could be within the character (for example, an actor fighting their own stage fright). Whatever the conflict, how the characters face and overcome that conflict is what engages the audience about the story.

The theme is the overall message of the story. It is the “why.” A theme can be a lesson or a warning, or it can be a message of love or hope. Tone is the overall feeling of the story. Is it romantic or mysterious? Is it ominous or optimistic? The tone is created through word choice and sentence structure, as well as setting and character descriptions. Stories are typically told from either the first-person or third-person point of view. First-person tells the story from a character’s perspective using firstperson pronouns (I, me, my, mine, we, us, our, ours).

FALLING ACTION

CREATING A STORY Alabama Course of Study Standards  ELA21.K-5.R1  ELA21.K-1.1  ELA21.2.1  ELA21.2.2  ELAS21.2.3  ELA21.2.4  ELA21.2.6  ELA21.3.1  ELA21.3.2  ELA21.3.3  ELA21.3.5  ELA21.4.42  ELA21.5.8  ELA21.5.34 National Standards  NL-ENG.K-12.4

OBJECTIVE By completing this activity, students will: • •

Use grade-appropriate vocabulary and grammar to develop stories using picture prompts Understand the elements of a story

MATERIALS For this activity, you will need the following items: • •

“Story Prompts” worksheet found on page 29 A large map of the Americas (as a reference)

Before this lesson, prepare the “Story Prompts” to use in a teacher demonstration. You will also need a problem for the characters to solve and possibly a way to include a song in the solution. Consider coming up with possible storylines ahead of time in order to make that much more of an engaging story during the lesson. PROCEDURE To complete this activity, follow these steps:

to practice our story making and storytelling skills. We are going to use the story prompts to first guide us in creating the story map. Our story will have a main character; we will describe the setting; and our character will encounter a problem. The story will have a beginning, middle and end.” suggestion Have a signal that allows for smooth and clear transitions between steps of the lesson. •

Have students pair up and together choose one of each story prompt, three total. At this time, students will brainstorm story ideas, character names, possible problem solutions, etc., with each other.

•

Students should now share their brainstorming ideas with a student pair group next to them.

•

Students revise their ideas and continue to cement their story. Students practice telling the story.

•

Guide each student pair group in a checklist of their story. Ask if their story has a main character, setting, problem, solution, clear ending, etc. Have students use hand signals to communicate with you (e.g., “yes,” “no,” “not sure,” etc.).

Intro (5 minutes): Ask students to recall what they know about the characteristics of a story and characteristics of a storyteller.

2. Hook (10 minutes): Have three different students choose

one story prompt from the various categories. Show the students each story prompt (character, setting and object) and let them know that you are going to invent a story right now using the three prompts. Tell a very short but engaging story using your best storytelling tricks. Include snippets of a song in the solution. If you feel comfortable, use inflection in your voice, facial expressions, hand motions, and even refer to the story prompts as visual aids when necessary.

3. Reflection (5 minutes): Ask students to take turns

retelling the story to a partner. Give a signal for students to direct their attention to you again and ask, “What did you remember most about the story? Why? What characteristics did the story have? What characteristics did the storyteller demonstrate?

4. Lesson (30 minutes): Tell students: “Today we are going

5. Whole Group Reflection (10 minutes): Connect each

student pair with another pair to share their stories. What are the characteristics of a good story and storyteller?

6. Partner Reflection (10 minutes): Have students answer the following questions in written form or in the form of pairgroup guided discussion, about both their own stories and the stories they heard from another pair of students. •

What elements of story did you and your partner’s story have?

•

What elements of storytelling did you and your partner demonstrate?

•

What was exciting about the story you heard from a different pair group?

•

How did you come up with a problem?

•

How did you solve it?

•

Were you able to include a song in the solution?

Name

Date

Story Prompts Characters Llama La llama

Gecko El geco

Little bird El pajarito

Places Central America Centroamérica

The Caribbean El Caribe

South America Suramérica

Objects Home La casa

Money Dinero

Glasses Los lentes

Noccalula Falls Gadsden, Alabama

Why we go to the show ALABAMA HISTORY & GEOGRAPHY The state of Alabama is located in the United States of America, which is part of the Americas. Specifically, Alabama is in North America. Located in the southeastern United States, Alabama is home to a number of geographic regions. The state has mountains, lakes, rivers and even a coastline on the Gulf of Mexico. Alabama is the 30th largest state and ranks 24th in population size. The state bird is the yellowhammer while the state tree is the longleaf pine and the state flower is the camellia. The capital of Alabama is Montgomery. The largest city in the state is Huntsville, followed by Montgomery, Birmingham and Mobile. The first Europeans to reach Alabama were the Spanish in the sixteenth century, but the French acquired it in the early eighteenth century and established the first city, Mobile. The British won the territory and then lost it again during the American Revolution. Alabama officially became a state in December 1819. Prior to the arrival of European settlers, Alabama was the home to several indigenous tribes including the Cherokee, Muscogee (Creek), Chickasaw and Choctaw. Most of the indigenous people were forcibly removed from Alabama as part of the Indian Removal Act of 1830. A group of the Muscogee people remained and today their descendants make up the Poarch Band of Creek Indians. Alabama got its name from the Alabama people, a Muscogee tribe that lived here when the European settlers arrived. In fact, 26 of the states in the U.S. got their names from the indigenous people who inhabited those areas prior to colonization. Notable natural wonders of Alabama include the Natural Bridge rock in Haleyville, Cathedral Caverns in Marshall County, Ecor Rouge in Fairhope, DeSoto Caverns in Childersburg, Noccalula Falls in Gadsden, Dismals Canyon near Phil Campbell, Stephens Gap Cave in Jackson County, Little River Canyon near Fort Payne, Rickwood Caverns near Warrior, and the Walls of Jericho canyon on the Alabama-Tennessee state line.

This Archeology Adventures video explores some of Alabama’s early history including Moundville, Old Mobile, the Poarch Band of Creek Indians and Alabama’s statehood: take a look Archaelogy Adventures: Early Alabama History

EXPLORING ALABAMA Alabama Course of Study Standards  SS10.K.8  SS10.K.9  SS10.1.8  SS10.2.6  SS10.3.13  SS10.4.1  SS10.5.3 National Standards  NSS-USH.K-4.2  NSS-G.K-12.1

OBJECTIVE

PROCEDURE

By completing this activity, students will:

To complete this activity, follow these steps:

• •

Identify the location of important places in Alabama Demonstrate map skills by making and labeling a physical map of these places in Alabama

After learning a little about the state of Alabama, allow students to work either individually or in groups.

2. Assign each group or individual one of the places, people MATERIALS For this activity, you will need the following items: • • • • • •

Primary source maps Internet access for research Large Alabama map for marking Pins or other materials for marking the map Blank “Exploring Alabama” map on page 33 Materials for creating maps: markers, pens, pencils, crayons, stickers, etc.

or things they briefly heard about in the lesson to study further. You may also allow them to choose.

3. Allow students access to the internet and other resources to help them learn more about their topic.

4. Have each group or individual present what they have

learned about their topic to the class. As part of their presentation, they should place a pin or mark the map in some way to show where the place or thing may be found or where the people lived.

5. Once everyone has presented and the map is full of newly

marked places, pass out the blank “Exploring Alabama” maps.

6. Have students decorate and label the maps with cities, water ways, and the locations of the people, places or things that were researched by the class.

Name

Date

Exploring Alabama

What to do after the show Included in this section are some post-performance activities you can share with your students.

After seeing 123 Andrés, guide students in a discussion about the performance. suggested discussion questions

•

Did you like the performance? Why or why not?

•

What were some things you noticed during the performance?

•

What were some things that surprised you about the performance?

•

What languages were used during the performance?

2. Copy and distribute the “My Trip to the Gogue

Center” worksheet on page 35. Once they have completed the worksheet, have students share their responses.

3. Review and complete the “Make a Travel Brochure” activity on page 36.

4. Copy and distribute the “Map Match” worksheets on pages 38-41.

photo: Marcelo Quiñones

123 Andrés

Date

Name

My Trip to the Gogue Center Answer these questions about the performance and your visit to the Gogue Center.

List three things you remember hearing or seeing during the performance of 123 Andrés. 1. 2. 3. Name something you learned during the performance.

Name something from the performance you would like to know more about.

If you could ask a member of the band a question, what would you ask?

In the space below, draw something special you remember hearing or seeing during the performance.

MAKE A TRAVEL BROCHURE Alabama Course of Study Standards  SS10.K.6  SS10.1.8  SS10.2.6  SS10.3.2 National Standards  NSS-G.K-12.1  NSS-G.K-12.2

OBJECTIVE By completing this activity, students will: • •

Create a tourist brochure for “Juana Tours,” a traveling company that does trips around Latin America Use grade-appropriate research skills to find key information about the destination countries that would make Juana’s customers feel prepared and eager to travel with her

4. The requirements for what the brochures should contain will vary according to the students’ grade level. Here are some ideas:

•

A large map of Latin America, with the travel destinations labeled and colored

• •

Images, such as the flag of the country

• •

A short description of the national dance and music

•

Contact information (such as a made-up website or phone number) for Juana’s company

•

Younger students can be asked to write a few sentences, coloring drawings and cutting, pasting and labeling images. Older students can do more research about a country of their choice, or even use technology to produce an “infomercial” that Juana could use to promote travel to that Latin American country.

•

Grade-appropriate reference websites, such as National Geographic Kids “Countries” section

MATERIALS For this activity, you will need the following items: • •

Internet access for research travel brochures as examples Access to a computer program to create brochures

If creating by hand: • • • • •

Magazines and/or other sources for pictures Paper to make the brochures Markers, pens, pencils, colored pencils Tape Any other art materials

PROCEDURE To complete this activity, follow these steps:

During the show, we learn about Juana, Andrés’ friend who likes to travel and dance. Juana is starting a travel company, and she needs help promoting her business, so students are going to help design a brochure for her.

Key facts about the country such as the capital city and other important cities; language(s) spoken; information about the landscape (are there plains, jungles, beaches, mountains?); information about the climate A basic dictionary for travelers with basic words (e.g., hello, friend, words for body parts, words for colors). This can include words learned during the assembly, and you can also challenge students to find new words they think would be useful to travelers.

2. Explain to students what brochures are, and have several

travel brochures on hand for students to flip through to get ideas for what their brochure should contain. Tell them: “Even with so much of our content online now, there is still a need for a printed brochure to entice travelers to visit another country with beautiful images and interesting information.”

3. Ask students to choose a country from Central America, South America or the Caribbean. They will research the idea and create a brochure, focusing on three main reasons to visit.

Share your students' colorful creations with us. We'd love to see the masterpieces your talented students create. Send us a photo of their drawings and collages. Be sure to include each student's name, age, grade and school with your submission. You can send all images to the Gogue Center via email at gpac_education@auburn.edu.

Name

Date

North America Map Match 1

1. 2. 3. 4. 38

Name

Date

Carribean Map Match 2

1 4

1. 2. 3.

10 11 12

13 14 15 16 17 18 19 20 21 22 23

17.

18.

19.

10.

20.

11.

21.

12.

22.

13.

23.

14.

24.

15.

25.

16.

26.

Name

Date

Central America Map Match 1

3 4

6 7

4. 40

Name

Date

South America Map Match 2 1

3 4 5

2. 3. 4.

9 11

5. 6. 7. 8. 9. 10. 11. 12. 13. 41

Online resources If you would like to continue to learn and explore, here are some resources that might be helpful. Archeology Adventures X https://aptv.pbslearningmedia.org/resource/2ea3cc35603f-46a1-9e1c-b493bba82503/archaeology-adventuresearly-alabama-history/ Old St. Stephens X https://aptv.pbslearningmedia.org/resource/old-ststephens-history/old-st-stephens-history/ National Geographic Kids X https://kids.nationalgeographic.com/geography/countries

CREDITS All images featured in this performance study guide are wholly owned and copyrighted by their respective copyright holders and are used for educational purposes only. No copyright infringement is intended. The Gogue Performing Arts Center does not claim ownership of any images unless explicitly stated otherwise. If you have concerns about the use of any image included herein, please contact us immediately. For a list of additional image sources and credits, please contact our Department of Communications and Marketing by telephone at 334.844.7234 or via email at jaosborne@auburn.edu.

MAP MATCH KEY North America Map Match 1. Greenland 2. Canada 3. United States 4. Mexico Caribbean Map Match 1. Cuba 2. The Bahamas 3. Turks & Caicos 4. Cayman Islands 5. Jamaica 6. Haiti 7. Dominican Republic 8. Puerto Rico 9. Virgin Islands 10. St. Kitts 11. Nevis 12. Montserrat 13. Barbuda

Central America Map Match 1. Belize 2. Guatemala 3. Honduras 4. El Salvador 5. Nicaragua 6. Costa Rica 7. Panama South America Map Match 1. Columbia 2. Venezuela 3. Guyana 4. Suriname 5. French Guiana 6. Ecuador 7. Peru 8. Brazil 9. Bolivia 10. Paraguay 11. Chile 12. Uruguay 13. Argentina

14. Antigua 15. Guadeloupe 16. Dominica 17. Martinique 18. St. Lucia 19. St. Vincent 20. Barbados 21. Grenada 22. Tobago 23. Trinidad 24. Bonaire 25. Curacao 26. Aruba

The Jay and Susie Gogue Performing Arts Center at Auburn University serves students and educators across the state of Alabama and beyond with its annual K–12 School Performance Series. These high-quality and transformative arts experiences are further enriched with performance study guides that provide meaningful cross-curricular connections. Developed by our Department of Education and Engagement, in collaboration with the Gogue Center Curriculum Council, each performance study guide contains information about the featured performing artist(s) or company, the art form, and relevant, grade-appropriate lessons and activities designed to help incorporate academic and arts standards into the classroom. Our sincerest thanks to the members of the 2023–24 Gogue Center Curriculum Council.

2023–24 Gogue Center Curriculum Council Laurin Beard Elementary Art Lee-Scott Academy Lee County Private Schools Stacey Blakemore Secondary ELA & Art Oak Mountain High School Shelby County Schools Abbie Gaston Elementary (3–5) Creekside Elementary School Auburn City Schools Dr. Rebecca Hendrix Elementary Enrichment Specialist Retired Opelika City Schools Kewana Long Kindergarten Vaughn Road Elementary School Montgomery County Schools Anna Mungenast Math Lee-Scott Academy Lee County Private Schools Alison Starr Science Lee-Scott Academy Lee County Private Schools Mary Elise Thornton Secondary ELA Booker T. Washington High School Montgomery County Schools Dr. Marcia Webb Elementary Enrichment Specialist/Adjunct Professor Retired/Auburn University Auburn City Schools

2023–24 Family Series Sponsor

Walt & Ginger Woltosz

GOGUECENTER.AUBURN.EDU GOGUECENTER.AUBURN.EDU/EDUCATION

@AUGPAC

@GPACatAU

@AUGPAC

cover: 123 Andrés Ω photo: Marcelo Quiñones

2023–24 Season Sponsors