balinese shadow puppet theatre & workshop -...

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Balinese Shadow Puppet Theatre & Workshop

A S I A N D A N C E & T H E A T R E B Y S U R A P S A R I

Teacher’s Guide (PreK‐5th grade)

www.asiandanceandtheatre.com

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The quality of the performance is dependent on your students being prepared to exhibit appropriate behavior. Please read and discuss the following behavioral mandates with your students before the performance.

This program is presented as part of the Artists-in-the-Schools Program, which is funded and jointly sponsored by the Hillsborough County Public Schools and the Arts Council of Hillsborough County.

Your Role as an Audience Member

The audience is an important part of any performance. Your behavior as an audience member will affect the performance you see. Performers are people too and will be working really hard to perform for you. Their performance and everyone's experience of it will be even better if you follow the following instructions:

Enter the performance space quietly and take your seat as directed.

Remember that seeing a live show is not like watching TV or a movie. The performers are in the same room with you and can see and hear you. Please don’t talk during the performance. The performers need you to watch and listen quietly. Talking to friends disturbs the performers and other members of the audience and is rude and disrespectful.

Please stay in your seats during the performance. Please show respect for the performers and your fellow audience members by sitting up in your seats and keeping your feet on the floor.

You can laugh if something is funny and clap at the end of the performance or after a song.

Using your cell phone, taking pictures or recording is not allowed during the performance.

Please remain seated at the end of the performance. Standards for Theatre Etiquette TH.K.S.1.1‐Demonstrate appropriate audience behavior at a live performance. TH.1.S.1.1‐Exhibit appropriate audience etiquette and response. TH.2.S.1.1‐Exhibit the behavior necessary to establish audience etiquette, response, and constructive criticism. TH.3.S.1.1‐Demonstrate effective audience etiquette and constructive criticism for a live performance. TH.4.S.1.1.‐Exhibit proper audience etiquette, give constructive criticism, and defend personal responses. TH.5.S.1.1‐Describe the difference in responsibilities between being an audience member at live or recorded performances.

This review and discussion supports Standards governing appropriate behavior and Theatre Etiquette. Distributing adult supervision amongst the students will help ensure appropriate behavior. Teacher and chaperone behavior is critical as well so please remember to silence your cell phones and refrain from using your phones for texting or anything else during the performance. Taking pictures or recording during the performance is not permitted. We hope this helps you prepare your students so they will experience a quality performance.

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I N S I D E T H I S I S S U E

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P r o g r a m o v e r v i e w

Surapsari’s shadow puppet program invites your students to a magical world beyond time and place. They will enjoy a Balinese style shadow puppet play based on a beloved Indonesian folktale. Mysterious shadows that puppets cast on the screen will appeal to your students’ imagination and deliver the timeless story with dreamy Balinese music and otherworldly chanting. Not only entertaining and artistic, shadow puppetry is a great educational material which promotes your students’ academic skills and knowledge of school subjects. This program aligns with the Florida Standards in English language arts, Mathematics, Science, Music, Visual Arts, and Theatre.

To prepare your students for her show, Surapsari encourages you to try any or all of the pre‐residency activities suggested in this guide. Read aloud to your students the shadow puppet story, The Clever Mouse‐Deer, which is included in this guide. Help them identify the elements of the story, such as the plot‐line, characters, and setting. Pre‐residency activities could also include map study and listening to traditional Balinese music, gamelan. Ask your students whether it sounds different from western music.

At Surapsari’s shadow puppet show, your students will learn about the basic needs that all living things, including humans, have for survival, while being entertained by the humorous stories of a mouse‐deer. They will also review various geometric shapes in the form of shadow play.

Surapsari’ shadow puppet show will be followed by a shadow puppet making workshop.

Your students will make a shadow puppet with a movable part and try it with a screen

and lighting. They will observe and learn how the relationship among the puppet, light

source and screen affects quality of the shadow.

Surapsari recommends you to lead post‐residency activities that are included in this guide. Create a shadow puppet theater set, learn how to play hand shadow puppets, Make geometry shaped puppets— possibilities are endless, as you can see!

S u r a p s a r i : t h e p e r f o r m i n g a r t i s t

Surapsari is an accomplished performing artist specializing in traditional dance, theatre, and shadow puppetry from Bali, India, and Java. She mastered a wide range of Balinese dances in both male and female forms and in three main regional styles. She received training from

internationally acclaimed Balinese dancers such as Ni Wayan Sekariani. She also studied Wayang Kulit (Balinese shadow puppetry) and Kecak (Balinese acapella; monkey chant chorus). She founded Purnama Sari with her husband, Indra in 2000 (www.purnamasaribali.com,

with the purpose of sharing the beauty and magic of Balinese performing arts.

Surapsari has also been studying Bharatanatyam, the oldest form of classic Indian dance, under the guidance of Shaila Sateesh from Bangalore, India. She has been performing and teaching internationally.

Surapsari is a certified teaching artist. She offers arts integrated lessons, residencies, and workshops at preK-12 conventional and ESE schools. She has been teaching children and teens nationally at schools, public libraries, museums, festivals, and other educational venues. She holds a Master’s degree in Intercultural Relations from Lesley University in Massachusetts.

www.asiandanceandtheatre.com

C O N T E N T S

Program Overview 2

Introduction to Bali 3

Balinese Shadow Puppetry 4

Pre-residency Activities 5

Shadow Puppet Show 8

Shadow Puppet Workshop 9

Vocabulary List 10

Post-residency Activities 11

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B a l i - t h e m o r n i n g o f t h e w o r l d

Bali is one of over 17,500 islands that make up the republic of Indonesia., the fourth most populous country in the world. Its rich landscape of hills, volcanic mountains, sandy beaches and lush rice terraces along with tropical fauna and flora, provides a photogenic backdrop to its colorful and deeply spiritual culture, awarding the island the famed nicknames such as, The Island of the Gods, The Morning of the World and The Island of a Thousand Temples. The core of Balinese culture is Balinese Hinduism, which has developed as the unique blend of Hinduism, Tantric Buddhism, native animism, ancestor worship and magico-religious rituals, reflecting influence from different Asian cultures and traditions over centuries. Balinese Hinduism (called Agama Hindu Dharma in Indonesian) permeates every thread of Balinese life; from daily rituals to rites of passage celebrations, interpersonal relationships to the structure of the society.

P e r f o r m i n g a r t s o f b a l i

The arts of Bali are also reflections of its spiritual beliefs and values, rather than a mode of self-expressions. Dance, theater, music, visual arts, architecture - all art forms exist and are utilized to please the deities, celebrate spirituality and convey moral messages based on Balinese Hindu principles. Among the all Balinese art forms, dance and theater is the most prominent, arresting showcase of beauty and refinement, otherworldly gamelan music, regal costumes with fine fabric and intricate leather work, sophisticated wood masks and magnificent architecture. Dance and theater is also irreplaceable entertainment in otherwise rather plain Balinese village life. It unites Balinese people from the young to the aged, thus making itself as an important social function. As traditional dances and theaters tread steady decline in the rest of the world, Balinese performing arts are thriving, churning new creations and generating ever increasing number of artists while maintaining the Unique style as well as cultural and spiritual values expressed through the arts.

GAMELAN The set of instruments which make up a traditional Indonesian music ensemble. It could be as few as two metallophones or as many as sixty different percussive and wind instruments. Gamelan Angklung (the bamboo percussion) was recognized as a World Cultural Heritage by UNESCO in 2010.

DANCE Balinese dance was created and has been performed as the offering to the deities and ancestral spirits. It is characterized by intricate hand gestures, sharp eye movements, low stances and dynamic yet refined choreography. All movements are done on both the right and left sides to establish harmony, which is the reflection of Rwa Bhineda (the balance between opposite forces), the principle of Balinese philosophy. Masks have been used in Balinese dance for centuries, pre- dating the arrival of Hindu culture from India. In Bali, dance is performed at temple ceremonies, rites of passage rituals, social functions and tourism sites. Any village that can afford it has its own gamelan ensemble and dance club where anyone from the young to the aged can learn to dance for free of charge.

THEATER In Bali, theater cannot be separated from dance and gamelan. Performers are required to be skilled in acting, dancing, singing and chanting. Stories of popular theatrical works have been taken from the Indian epics of Ramayana and Mahabharata, as well as indigenous Indonesian epics and chronicles such as Malat and Babad. Gambuh, the oldest Balinese theater was developed from elegant performances at Javanese courts.

SHADOW PUPPET Shadow puppet is considered to be the source of Balinese dance. Its highly stylized movement reflects the motion of jointed puppet figures. In Bali, Wayang Kulit (shadow puppet in Indonesian) is not only for children, but for people of all ages. It is the medium to convey moral messages and philosophy in entertaining and artistic manner. Wayang Kulit was also designated as a World Cultural Heritage by UNESCO.

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B a l i n e s e s h a d o w p u p p e t ; t i m e l e s s a r t

Shadow puppet is a popular entertainment throughout southeastern Asia. It originated in India in the first century BCE. In Bali, it has been performed for over a thousand years and is a fixture at temple ceremonies and in passage of life rituals. The majority of Wayang Kulit (“shadow puppet theatre” in Indonesian) stories are taken from Indian epics such as Mahabharata and Ramayana, as well as indigenous Indonesian epics and chronicles such as Malat and Babad.

Every item in Wayang Kulit symbolizes life on earth. The

dalang (puppeteer) is considered to be the God who infuses life forth into shadow puppets. The screen, stretched across bamboo poles, symbolizes the universe. The banana tree trunk at the base of the screen which the puppets are struck into, is Pertiwi, the Mother Earth. The oil lamp is the sun, casting energy to the world.

The dalang needs to be a master storyteller; not only he must be able to render stories in the immense repertoire and understand all

the characters in depth, but he must also be able to change vocal qualities instantaneously, while manipulating multiple puppets. He chants the numerous classics in the proper metrical forms, leads the musicians, sends cues to his assistants, dispenses moral advice, and interjects some humor, to entertain his audience over several hours.

S a n g k a n c i l : i n d o n e s i a n f o l k t a l e

Sang Kancil is a collection of short stories about a trickster mouse‐deer. It is a favorite folktale among the children in Indonesia and has been widely featured in children’s literature, comics, and cartoons. Mouse‐deer has legs and tails of deer while its face and body resemble those of mouse. Mouse‐deer lives in the jungles in Indonesia, as well as in other parts of Asia, Africa, and Pacific islands. Being weak and as small as cat, mouse‐deer is often a target for larger and more powerful animals. It must be quick, resourceful, and smart to survive.

Kancil (“clever one” in Indonesian), the protagonist of the

folktale, is full of wit and often cunning. He tricks other

animals to escape from trouble and protect himself. This

folklore character is similar to Br'er Rabbit from southern

Unites States and Anansi the Spider from Africa.

Copyright © 2014 Asian Dance & Theatre by Surapsari

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P r e - r e s i d e n c y a c t i v i t i e s

L e s s o n i d e a s

1. Map study (K‐2);

(Florida Standards Connections: SS.K.G.1.1, SS.K.G.1.3, SS.K.G.1.4, SS.1.G.1.2, SS.1.G.1.4, SS.2.G.1.3, SS.3.G.1.2, SS.3.G.1.3)* 1) Identify the Asian continent and surrounding oceans on a world map. Describe the relative location of the Asian continent

using cardinal directions.

2) Identify lakes and mountains in the map of Bali (page 7).

2. Listening/Reading comprehension & discussion (preK‐2);

(Florida Standards Connections: LAFS.K.RI.1.1, LAFS.K.W.3.8, LAFS.1.RI.1.1, LAFS.1.W.3.8, LAFS.2.RI.1.1, LAFS.2.W.3.8,

LAFS.3.RI.1.1, LAFS.4.RI.1.2, LAFS.5.RI.1.2)

Read aloud The Clever Mouse‐Deer (page 8) to your students (preK‐1) or have your second grade students read the text

themselves. Ask them questions about the storyline and characters.

3. Music (K‐2);

(Florida Standards Connections: MU.K.H.1.1, MU.1.C.3.1, MU.1.O.3.1, MU.2.C.1.1, MU.2.C.1.2, MU.3.C.1.1, MU.3.C.1.2, MU.4.C.1.1, MU.4.C.1.2,

MU.5.C.1.1, MU.5.C.1.2)

Play Balinese traditional music, Gamelan (http://freemusicarchive.org/curator/FMA/blog/

MP3_of_the_Day_Peliatan_Gamelan_Kapi_Radja) and ask your students; 1) what type of instruments they can recognize, 2)

what feeling or mood is expressed through the music. Tell your students how Balinese people practice music and how music is

an important element of Balinese village life, using the following information.

4. Drawing/Coloring (preK‐1);

(Florida Standards Connections: VA.K.S.3.1, VA.1.S.3.1, VA.2.S.3.1, VA.3.S.3.1)

Explain to your students what mouse‐deer looks like. It has legs and tails of deer while its face and body resemble those of

mouse. Have your students draw and color a mouse‐ deer.

G a m e l a n

Gamelan is a generic term for the traditional music style, instruments, and orchestra that originated in Indonesia. Its ensemble

could consist of as few as two metallophones or as many as sixty different percussive and wind instruments. Currently, there are

over thirty types of gamelan ensemble in Bali. Any village that can afford it owns a gamelan ensemble and club where villagers,

from the young to the aged can come and learn the art.

Gamelan is a symbol for unity and solidarity. The musicians gather together and practice the same piece of music again and again,

over a long period of time. Each music piece is taught orally with great deal of demonstration; there is no written textbook to refer

to, definitely no lessons on the Internet! The musicians support each other by giving constructive critique and instructing younger,

less experienced members. There is no room for personal interpretation or improvisation in gamelan. Through the process of

practice, the musicians, regardless of their ages become strongly bonded, as one family.

Traditionally, gamelan had been played only by men, but that changed with modernity. Nowadays, many villages have a women’s

gamelan ensemble where grandmothers, housewives, young ladies, and girls happily beat drums and hit metallophone keys. Some

women’s gamelan clubs enter contests and perform for tourists.

*For a complete listing of the Florida Standards Connections please refer to pages 12‐15 of this study guide.

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http://www.mapsofindia.com/worldmap/continents.html

http://sitemapofbali.wordpress.com/

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THE CLEVER MOUSE-DEER Indonesian Folktale

Mouse‐Deer and Elephant

One day, Mouse‐Deer was taking a walk and fell into a huge hole made by hunters. He screamed for help. “Help, help me, I’m here!” But no one came to rescue him. “This is a deep hole. There is no way for me to get out of here by myself.” After a while, Elephant walked by. Mouse‐Deer said to himself, “Wow, elephant! I have a great idea!” He shouted out to Elephant, “Come down here! Hurry up! The sky is falling! The sky is falling! Come down and stay inside the hole with me. It’s safe here!"

Elephant, confused and scared, foolishly believed Mouse‐Deer and slid down into the hole. “Great! Here I come!” Mouse‐Deer quickly hopped onto the elephant's back and then jumped out of the hole. Mouse‐Deer and Crocodile One day, Mouse‐Deer wanted to cross a river, but Crocodile was blocking his way. “Oh, my! If I cross the river, Croco‐ dile will eat me up!” Eventually, Mouse‐Deer got an idea. He said to Crocodile ," If you want to eat me, you must open up your jaws as big as you can!" "Why do I have to do that?" asked Crocodile. Mouse‐Deer replied, "I want to see how strong and sharp your teeth are. I don't want to be eaten by a crocodile with weak teeth!"

Crocodile nodded and opened his jaws as big as he could. While he keeps his jaws open, Mouse‐deer swam across the river and shouted to Crocodile, “Yeah! I fooled you!” Mouse‐Deer successfully reached the other side of the riv‐ er, leaving angry crocodile far behind. Mouse‐Deer and Dog One day, Mouse‐Deer was stealing corns from a farmer’s field. He looked around to make sure that no one was watching him, except for a scarecrow. “Scarecrow? Huh! You can’t scare me off. You are just standing there, doing nothing, Mr. Straw Man!” Mouse‐Deer kicked Scarecrow with his tiny leg, but it stuck inside Scarecrow. The farmer used a lot of glue to put straws together to form Scarecrow. Mouse‐Deer‘s leg was now glued to the straws. “Aduh, aduh, ouch, ouch! Someone, please come and help me!”

Farmer heard Mouse‐Deer. He came to the field and caught Mouse‐Deer still holding the corns. “It’s you again, a sneaky little mouse‐deer! I put you in a cage, so that you can learn a lesson!” Mouse‐Deer was locked inside the cage. “Now, how can I get out?” Farmer’s dog came by and laughed at Mouse‐Deer. “Look who’s inside the cage! You’ll be cooked tomorrow morning for Farmer’s breakfast!” Mouse‐Deer stayed calm and said, “You are wrong. I’m not going to be cooked. Tomorrow morning, I will marry Farmer’s beautiful daughter. Our marriage will cast a magic spell on me, and I will turn into a prince. Farmer put me in the cage so that no one can attack me until our wedding.” Dog got jealous. “I want to marry Farmer’s beautiful daughter and become a prince! This tiny mouse=deer is no good for such a special treatment. I should be the one who becomes a prince!” So, Dog said to Mouse‐Deer, “Farmer must have tricked you. You will surely be cooked tomorrow morning. Poor mouse‐deer, let me release you right now. Run as fast as you can, before Farmer notices that you escaped from the cage!” “Thank you, Dog! You are my true friend!” Mouse‐Deer got out of the cage and ran away as fast as he could. Now, Dog excitedly entered the cage and sat there throughout the evening, hoping that he would be turned into a prince in the next morning.

Copyright © 2014 Asian Dance & Theatre by Surapsari

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B A L I N E S E S H A D O W P U P P E T S H O W

Welcome to Surapsari’s Balinese shadow puppet

show! Your students will enjoy the stories of Kancil,

the mischievous mouse‐deer. These beloved

Indonesian folktales are depicted by mysterious

shadow puppets, accompanied with exotic chanting

and dreamy gamelan (traditional Indonesian music).

Your students will see how a small and weak

mammal such as a mouse‐deer has his basic needs

for survival met in the rough animal world. They will

also review basic geometric shapes in the form of

shadow play.

o b j e c t i v e s

The students will be introduced to Balinese shadow puppet theatre for cultural and artistic en‐

richment.

The students will understand the basic needs that all living things, including humans, have for

survival.

The students will identify geometric shapes including half and quarter circles. They will review

attributes of basic shapes.

f l o r i d a s t a n d a r d s

English Language Arts LAFS.K.SL.1.2, LAFS.K.SL.1.3, LAFS.1.SL.1.2, LAFS.2.SL.1.2

Science

SC.K.L.14.3, SC.1.E.6.2, SC.2.L.17.1

Mathematics

MAFS.K.G.1.1, MAFS.K.G.1.2, MAFS.K.G.2.6, MAFS.1.G.1.2, MAFS.1.G.1.3, MAFS.2.G.1.1, MAFS.2.G.1.3

Music

MU.K.H.1.1, MU.1.H.1.1, MU.2.H.1.1

Theatre

TH.K.S.1.1, TH.1.H.1.1, TH.1.S.1.1, TH.2.H.2.1, TH.2.O.2.1, TH.2.S.1.1

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S H A D O W P U P P E T W O R K S H O P

Let’s have fun making a shadow puppet! At

Surapsari’s shadow puppet workshop, the stu‐

dents will make a shadow puppet with a mova‐

ble part and try it out with a screen and

lighting. They will observe and learn how the

relationship among the puppet, light source,

and screen affects quality of the shadow.

o b j e c t i v e s

The students will make a shadow puppet with a movable part using a template and act out the

puppet character by imitating its movements and sounds.

The students will experiment with their puppet, light source, and screen, to create different

shadow effect.

f l o r i d a s t a n d a r d s

Science

SC.K.N.1.5, SC.1.N.1.1, SC.2.N.1.1

Theatre

TH.K.F.1.1, TH.1.F.1.1, TH.2.S.3.1

Visual Arts

VA.K.S.1.1, VA.K.S.3.1, VA.K.S.3.3, VA.1.F.3.2, VA.1.S.2.1, VA.1.S.3.1, VA.2.F.1.1, VA.2.S.1.1, VA.2.F.3.3,

VA.2.S.2.1, VA.2.S.2.2, VA.2.S.3.1

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V O C A B U L A R Y L I S T (Florida Standards Connections: LAFS.K.L.3.4, LAFS.1.L.3.4, LAFS.2.L.3.4, LAFS.3.L.3.4, LAFS.4.L.3.4, LAFS.5.L.3.4)

Bali A small island in Asia.

Shadow Puppet Play The oldest form of puppetry in the world. In shadow play, puppets are placed between a light and screen. The audience sees only the shadows of the puppets moving.

Puppeteer A person who moves puppets in shadow theatre.

Kayonan The source of all life; It appears in the beginning and

ending of every shadow puppet play performed in Bali.

Mouse‐Deer A small animal found in Asia. It has legs and tail of deer.

Its face and body look like those of mouse.

Survival Remaining alive.

Clever Smart, sharp.

Scarecrow A human shaped figure that is set up in a field to scare

away birds that come to eat crops.

Template A pattern used for copying a design.

Paper Fastener a stationery item used for keeping sheets of paper

together.

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P o s t - r e s i d e n c y a c t i v i t i e s (Florida Standards Connections: VA.K.S.1.1, VA.1.F.3.2, VA.1.S.2.1, VA.1.S.3.1, VA.2.F.1.1, VA.2.S.2.2, VA.2.S.3.1, VA.3.S.1.1, VA.3.S.1.2, VA.4.S.1.2, VA.4.S.1.3, VA.5.S.1.2, VA.5.S.1.3)

L e s s o n i d e a s

1. By referring to the websites listed below, create a simple shadow puppet theater set.

2. Teach your students how to make shadow puppets with their hands (see the Resources below).

3. Have your students make geometry‐shaped shadow puppets, using templates. Review attributes of

each shape with the students.

4. Watch shadow puppet performance videos on Youtube (see the Resources below).

r e s o u r c e s

How to Make Shadow Puppets and Shadow Puppet Theater Set

Puppet Theatre/Puppets/Trash to Treasure/Kids Activities

http://www.kidspot.com.au/kids‐activities‐and‐games/nursery‐rhymes+15/make‐a‐shadow‐puppet‐

theatre+12594.htm

How to Make Shadow Puppets with the Hands

Hand Shadow Puppetry

http://etc.usf.edu/clipart/galleries/266‐hand‐shadow‐puppetry

How to Make Good Shadow Puppets: 5 Steps (with Pictures) ‐ wikiHow

http://www.wikihow.com/Make‐Good‐Shadow‐Puppets

Shadow Puppet & Shadow T heatr e Performanc es

Leopard & Lion ‐ A shadow puppet show

http://www.youtube.com/watch?v=6AlZABlxC84

Richard Bradshaw: Shadow Puppeteer

http://www.youtube.com/watch?v=tNsJ6kDVbfk

Shadow Theatre “Fireflies”, New Year’s Dream

https://www.youtube.com/watch?v=AzS0VwXOlWs

IE's Shadow Puppet film for World Vision Education UK

https://www.youtube.com/watch?v=7cwY2ovk8_I

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Balinese Shadow Puppet Theatre & Workshop

Florida Standard Connections

Lesson Ideas p.5

1. Map study (K‐2)

SS.K.G.1.1 Describe the relative location of people, places, and things by using positional words.

SS.K.G.1.3 Identify cardinal directions (north, south, east, west).

SS.K.G.1.4 Differentiate land and water features on simple maps and globes.

SS.1.G.1.2 Identify key elements (compass rose, cardinal directions, title, key/legend with symbols) of maps and

globes .

SS.1.G.1.4 Identify a variety of physical features using a map and globe.

SS.2.G.1.3 Label on a map or globe the continents, oceans, Equator, Prime Meridian, North and South Pole.

SS.3.G.1.2 Review basic map elements (coordinate grid, cardinal and intermediate directions, title, compass rose,

scale, key/legend with symbols) .

SS.3.G.1.3 Label the continents and oceans on a world map.

2. Listening/Reading comprehension & discussion

LAFS.K.RI.1.1 With prompting and support, ask and answer questions about key details in a text.

LAFS.K.W.3.8 With guidance and support from adults, recall information from experiences or gather information

from provided sources to answer a question.

LAFS.1.RI.1.1 Ask and answer questions about key details in a text.

LAFS.1.W.3.8 With guidance and support from adults, recall information from experiences or gather information

from provided sources to answer a question.

LAFS.2.RI.1.1 Ask and answer such questions as who, what, where, when, why, and how to demonstrate

understanding of key details in a text.

LAFS.2.W.3.8 Recall information from experiences or gather information from provided sources to answer a

question.

LAFS.3.RI.1.1 Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as

the basis for the answers.

LAFS.4.RI.1.2 Determine the main idea of a text and explain how it is supported by key details; summarize the text.

LAFS.5.RI.1.2 Determine two or more main ideas of a text and explain how they are supported by key details;

summarize the text.

3. Music

MU.K.H.1.1 Respond to music from diverse cultures through singing and movement.

MU.1.C.3.1 Share different thoughts or feelings people have about selected pieces of music.

MU.1.O.3.1 Respond to changes in tempo and/or dynamics within musical examples.

MU.2.C.1.1 Identify appropriate listening skills for learning about musical examples selected by the teacher.

MU.2.C.1.2 Respond to a piece of music and discuss individual interpretations.

MU.3.C.1.1 Describe listening skills and how they support appreciation of musical works.

MU.3.C.1.2 Respond to a musical work in a variety of ways and compare individual interpretations.

MU.4.C.1.1 Develop effective listening strategies and describe how they can support appreciation of musical works.

MU.4.C.1.2 Describe, using correct music vocabulary, what is heard in a specific musical work.

MU.5.C.1.1 Discuss and apply listening strategies to support appreciation of musical works.

MU.5.C.1.2 Hypothesize and discuss, using correct music vocabulary, the composer's intent for a specific musical

work.

4. Drawing/Coloring

VA.K.S.3.1 Develop skills and techniques to create with two‐ and/or three‐ dimensional media.

VA.1.S.3.1 Practice skills and techniques to create with two‐ and/or three‐dimensional media.

VA.2.S.3.1 Manipulate art materials and refine techniques to create two‐ and/or three‐dimensional personal

works.

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VA.3.S.3.1 Use materials, tools, and processes to achieve an intended result in two‐ and/or three‐dimensional

artworks.

Balinese Shadow Puppet Show, p. 7

LAFS.K.SL.1.2 Confirm understanding of a text read aloud or information presented orally or through other media

by asking and answering questions about key details and requesting clarification if something is not understood.

LAFS.K.SL.1.3 Ask and answer questions in order to seek help, get information, or clarify something that is not

understood.

LAFS.1.SL.1.2 Ask and answer questions about key details in a text read aloud or information presented orally or

through other media.

LAFS.2.SL.1.2 Recount or describe key ideas or details from a text read aloud or information presented orally or

through other media.

SC.K.L.14.3 Observe plants and animals, describe how they are alike and how they are different in the way they

look and in the things they do.

SC.1.E.6.2 Describe the need for water and how to be safe around water.

SC.2.L.17.1 Recognize and explain that living things are found all over Earth, but each is only able to live in habitats

that meet its basic needs.

MAFS.K.G.1.1 Describe objects in the environment using names of shapes, and describe the relative positions of

these objects using terms such as above, below, beside, in front of, behind, and next to.

MAFS.K.G.1.2 Correctly name shapes regardless of their orientations or overall size.

MAFS.K.G.2.6 Compose simple shapes to form larger shapes. For example, “Can you join these two triangles with

full sides touching to make a rectangle?”

MAFS.1.G.1.2 Compose two‐dimensional shapes (rectangles, squares, trapezoids, triangles, half‐circles, and

quarter‐circles) or three‐dimensional shapes (cubes, right rectangular prisms, right circular cones, and right circular

cylinders) to create a composite shape, and compose new shapes from the composite shape.

MAFS.1.G.1.3 Partition circles and rectangles into two and four equal shares, describe the shares using the words

halves, fourths, and quarters, and use the phrases half of, fourth of, and quarter of. Describe the whole as two of,

or four of the shares. Understand for these examples that decomposing into more equal shares creates smaller

shares.

MAFS.2.G.1.1 Recognize and draw shapes having specified attributes, such as a given number of angles or a given

number of equal faces. Identify triangles, quadrilaterals, pentagons, hexagons, and cubes.

MAFS.2.G.1.3 Partition circles and rectangles into two, three, or four equal shares, describe the shares using the

words halves, thirds, half of, a third of, etc., and describe the whole as two halves, three thirds, four fourths.

Recognize that equal shares of identical wholes need not have the same shape.

MU.K.H.1.1 Respond to music from diverse cultures through singing and movement.

MU.1.H.1.1 Perform simple songs, dances, and musical games from a variety of cultures.

MU.2.H.1.1 Perform songs, musical games, dances, and simple instrumental accompaniments from a variety of

cultures.

TH.K.S.1.1 Demonstrate appropriate audience behavior at a live performance.

TH.1.H.1.1 Identify characters in stories from various cultures.

TH.1.S.1.1 Exhibit appropriate audience etiquette and response.

TH.2.H.2.1 Identify universal characters in stories from different cultures.

TH.2.O.2.1 Re‐tell what happened in the beginning, middle, and end of a story after viewing a play.

TH.2.S.1.1 Exhibit the behavior necessary to establish audience etiquette, response, and constructive criticism.

Shadow Puppet Workshop, p. 9

SC.K.N.1.5 Recognize that learning can come from careful observation.

SC.1.N.1.1 Raise questions about the natural world, investigate them in teams through free exploration, and

generate appropriate explanations based on those explorations.

SC.2.N.1.1 Raise questions about the natural world, investigate them in teams through free exploration and

systematic observations, and generate appropriate explanations based on those explorations.

11

TH.K.F.1.1 Pretend to be an animal by imitating its movements and sounds.

TH.1.F.1.1 Pretend to be an animal or person living in an imagined place.

TH.2.S.3.1 Create imagined characters, relationships, and environments using basic acting skills.

VA.K.S.1.1 Explore art processes and media to produce artworks.

VA.K.S.3.1 Use imagination to show a person at work, using the body and voice to communicate ideas.

VA.K.S.3.3 Handle art tools and media safely in the art room.

VA.1.F.3.2 Follow directions for completing classroom tasks in a specified timeframe to show early development of

21st‐century skills.

VA.1.S.2.1 Practice correct use of tools with various art media, techniques, and processes.


VA.2.F.1.1 Use imagination to create unique artwork incorporating personal ideas and selected media.

VA.2.S.1.1 Experiment with tools and techniques as part of art‐making processes.

VA.2.F.3.3 Use time effectively while focused on art production to show early development of 21st‐century skills.

VA.2.S.2.1 Develop artistic skills through repeated experiences with art media, techniques, processes, and tools.

VA.2.S.2.2 Follow sequential procedures focused on art production.


works.

Vocabulary, p. 10

LAFS.K.L.3.4 Determine or clarify the meaning of unknown and multiple‐meaning words and phrases based on

kindergarten reading and content.

LAFS.1.L.3.4 Determine or clarify the meaning of unknown and multiple‐meaning words and phrases based on

grade 1 reading and content, choosing flexibly from an array of strategies.


grade 2 reading and content, choosing flexibly from an array of strategies.

LAFS.3.L.3.4 Determine or clarify the meaning of unknown and multiple‐meaning word and phrases based on grade

3 reading and content, choosing flexibly from a range of strategies.


grade 4 reading and content, choosing flexibly from a range of strategies.


grade 5 reading and content, choosing flexibly from a range of strategies.

Post Residency Activities, p. 11

VA.K.S.1.1 Explore art processes and media to produce artworks.

VA.1.F.3.2 Follow directions for completing classroom tasks in a specified timeframe to show early development of

21st‐century skills.

VA.1.S.2.1 Practice correct use of tools with various art media, techniques, and processes.


VA.2.F.1.1 Use imagination to create unique artwork incorporating personal ideas and selected media.

VA.2.S.1.1 Experiment with tools and techniques as part of art‐making processes.

VA.2.S.2.2 Follow sequential procedures focused on art production.


works.

VA.3.S.1.1 Manipulate tools and media to enhance communication in personal artworks.

VA.3.S.1.2 Use diverse resources to inspire artistic expression and achieve varied results.

VA.4.S.1.2 Explore and use media, technology, and other art resources to express ideas visually.

VA.4.S.1.3 Create artworks that integrate ideas from culture or history.

VA.5.S.1.2 Use media, technology, and other resources to inspire personal art‐making decisions.

VA.5.S.1.3 Create artworks to depict personal, cultural, and/or historical themes.

balinese shadow puppet theatre & workshop -...

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