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Study Guide

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Table of Contents

Audience Etiquette

Plot Synopsis

Meet the Characters

Facing Our Fears

Pantomime Journey

No Voices Allowed

Family Treasures

Dance in Bocon!

Crossing Paths

A La Ru-Ru Nino

Masks and Dance

Activity Sheets

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The University of Houston School of

Theatre and Dance is pleased to present this

study guide arranged by the BFA Theatre Edu-

cation majors. We hope that you find these lesson plans helpful as a com-

panion to Bocon and en-riching to your classroom

experience.

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Audience Etiquettebpfhxjzlnrtvxhd

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We are so pleased that you have come to see the show! To make sure that everyone has a fun time, please review some basic rules of watching a per-

formance...i jWhen you see Bocon, you are watching live theatre! It is unlike a movie theatre because the audience actually shares a common experience with the actors! So the actors and audience

have a mutual responsibility to one another. Each night’s performance may be completely different, often based on the energy and reactions of their audience. If the actors find they

have an audience that is listening and reacting, they will feel free to do more. An audience who seems distracted or disinterested will bring the energy level down in the space resulting in ac-tors who are desperately trying to please or ready to give up, and the performance ultimately

suffers. Be a supportive audience member!

Arrive on time. You are a mem-ber of an audience. If everyone is seated and the show has begun, you distract everyone in the

theatre, actors and audience, by being seated late. Many

theatres will not seat latecomers

Consider appropriate dress. Many theatre goers adhere to a business casual dress code for performances. Opening nights and galas

often require a more formal dress code. If you are unsure what to wear, feel free to contact the theatre’s box office for advice. Keep in mind, most theatres would prefer that you attended and will not turn any reasonable

audience member away. No hats.

Be aware of yourself. People have paid to see the show, not you. Every time you fumble in your pocket, open a plastic candy wrapper, text or change a status up-date, you have pulled someone out of the story on stage. Be considerate of your

fellow audience members.

Turn off your cell phone. In a dark theatre, that cellphone light is a spotlight that no one’s eyes can avoid flitting to. And the actors can see it every time you open it.

So please keep it off!

Enjoy the Show!

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bpfhxjzlnrtvxhdPlot Synopsis:

The play starts off with Miguel, a young, big-mouthed boy, who is telling a United States Judge about his home country. There, people feared the soldiers of the government. We find Miguel in his town selling wares with some of his family members and neighbors. As a joke, his family calls him a Bocon. He begins to sing, but it isn’t allowed by the soldiers. Neither is dancing, which Kiki El Loco, a man connected to the Mayan culture, begins to do. The sound of a boot, representing the soldiers, is heard and scares everyone away. After a few interactions with his parents, Miguel learns why everybody fears the soldiers. His parents are soon taken by the soldiers themselves, and scream for him to head North to Los Angeles to get as far away from the soldiers. His voice flies away from him in the process. In fear, Miguel runs to a strange world that is alien to him. He runs into a Duende Coyote who swindles him of all of his money. He later has an interaction with La Llorona where she tries to scare him back home. When she realizes he’s not running she tears away the terrifying part of herself. Miguel learns that La Llorona’s job is to scare children all over the world into their homes to keep them safe from the soldiers. She agrees to help Miguel find the Border of Lights by pointing him in the right direction. On his journey Miguel runs into the Voice Keeper who is a hypnotist of anyone who isn’t happy with the soldiers. The Voice Keeper tries and succeeds into hypnotizing Miguel into a smiling zombie. La Llorona interferes and brings Miguel back to his senses. Next he meets the Voice Picker, whose job is to find all of the voices and gather them up. Miguel is able to persuade her into giving him his voice back, but before he could put it back into him-self, the boot is heard again and he drops the shell that held his voice. Watching as his voice floats away, Miguel gives up all hope. He plays a few notes on his guitar of his mother’s lulla-by as La Llorona watches from afar. Trying to cheer him up, she tells him a story of a brave young boy who is looking for his voice. Miguel asks how it ends, but she reminds him that it his choice on the ending. She also reminds him that wherever he goes he will always have his parents and his people in his heart. The Calavera, leader of the soldiers, enters and tries to silence Miguel’s memories of his parents. Miguel fights back, gaining his voice in the process. With a branch in hand, Miguel beats back the Calavera. Triumphant, La Llorona shows him the way to the Border of Lights. As Miguel crosses, however, he is caught by the Border Guards and taken to the United States Judge form the beginning. He finishes his story off, but the Judge can only send him back to his village where the soldiers are waiting. In defiance, Miguel shows the Judge that he holds the stories and voices of his people. He ends the play, by interacting with the audience and reminding them that they also hold the voices of their people in their hearts.

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Miguel: A young boy who crossed from his home country to the United States. Before his parents were taken by soldiers, he was known as a “Bocon”, or big-mouth, but after, his voice was scared away. During his journey he shows his bravery, courage, and kind-ness, but also his fear of being alone.

Ana: Miguel’s mother. A kind woman who has taught Miguel all of the legends of their culture. She is a big part in Miguel’s life. When she is captured, Miguel loses someone who guides him to keep safe in their home country.

Luis: Miguel’s father. A strong man who does knows when things should and shouldn’t be said. Also a big part of Miguel’s life, when he is captured, Miguel loses a protector. Someone who made sure Miguel was always safe.

Kiki El Loco: An old man in the village. He dances the old dances of the Mayans as a form of communication. He reminds everybody of what their culture was long ago. He is brave, but fragile, as he too is captured by the soldiers for defying them.

La Llorona: The Weeping Woman. Tales of this spirit is known in many Latin Amer-ican countries. She is perceived as vicious and terrifying in her tales. However, she shows to be someone who wants to help all of the children in the world stay safe. She helps Miguel along his journey, showing him what he should do next.

Voice Keeper: A smooth talker. He holds onto all of the voices the soldiers take. He teaches them how to smile and be civil to the terror that happens around them.

Voice Picker: She gathers all of the voices together after the soldiers scare them away from their owners. She fears the soldiers, but helps Miguel in getting his voice back.

La Calavera: A leader of the soldiers. He is a skeleton in a military outfit, who keeps Miguel’s parents locked up. Miguel must battle him for his own freedom.

Duende: An elf-like being who gets kids lost. He is a coyote in the play, which is some-one who smuggles others over the U.S. border.

Meet The Characters:

ObjectiveThe student will be able to problem solve using a fishbone diagram to overcome

their fears.

For Teachers: Materials:

Hook:As the students come in, have all of the lights dimmed, and if possible, play this traditional Mexican folk song or Guitar Instrumental:

https://www.youtube.com/watch?v=OsqAEaQz9OE or https://www.youtube.com/watch?v=zrF1XkKJDSk.

Have them sit in a circle and read to them the story of La Llorona (Page 3).

teks: Grade 3 ELA (7) Reading/Comprehension of Literary Text/Drama. Students understand, make inferences and draw conclusions about the structure and elements of drama and provide evidence from text to support their understanding. Students are expected to explain the elements of plot and char-acter as presented through dialogue in scripts that are read, viewed, written, or performed.(19) Writing. Students write about their own experi-ences. Students are expected to write about import-ant personal experiences.Grade 3 Fine Arts(1) Perception. The student develops concepts about self, human relationships, and the environ-ment, using elements of drama and conventions of theatre. The student is expected to: (A) react to sensory and emotional experiences;(3) Creative expression/performance. The student applies design, directing, and theatre production concepts and skills.

STAAR: Reporting Category 2: Understanding and Analysis of Literary Texts: The student will demon-strate an ability to understand and analyze literary texts. (3.8B)

Paper PencilCrayons or Colored PencilsStory of La Llorona (Included) Fishbone Diagram (Included)

bpfhxjzlnrtvxhdfacing our fears

pre-assessment:1) To set students up for success, have them share individual stories about times they have been afraid. Before the stu-dents share, establish a set of classroom norms. 2) Tell the students: “Today, we will be sharing stories about ourselves with the class. In order to do the activity for to-day, we need to make sure that we are respectful of our peers. Today, no one’s story will be more important than an-other’s, we will not laugh at any student in the class, and we will share positive feedback.”3) Then ask specific discussion ques-tions: -When was a time you felt afraid? -How did you feel in this situation? -What was the outcome?

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Assessment:After everyone is done writing information into the fishbone diagram, have a discussion with them about Miguel and his fears. Ask the class: - What was Miguel afraid of?- - Who helped Miguel get over his fear in Bocon? - Explain what Miguel’s outcome of overcoming his fear was. Explain that La Llorona actually helped Miguel overcome his fear of losing his voice, and that while her story is scary, and is meant to have children stay in doors, she ended up helping Miguel on his journey.

The class will then create a Quetzal feather out of their fishbone diagram: 1. Around the fishbone diagram, have the students draw the outline of a feather, just like the one Miguel carried. 2. The students should then decorate their feather however they like. 3. Have some students present if they like, or hang the feathers around the classroom.

• Have the students work in a group. • Give your student a fear to work with • For students who struggle with writing, they can verbally share their story.

Modifications:

Activity:1. Talk about some examples of fears with the classroom. For example, heights, talking in front of people, clowns, etc. 2. Give each student a fishbone diagram (included) or have them draw their own, based on the one in the worksheet. 3. On the left side of the fishbone, the students should write their own personal fear, or choose one that was mentioned in class. 4. Talk about some solutions in class to help the students thinking of their own solutions. For ex-ample, if my fear were talking in front of people, I might try practicing a speech for my mom or my stuffed animals. -You can ask the students things like: -What can I do to get over my fear of talking to people? -Who might be able to help me?5. On each line coming off of the middle line, the students should write down one way to over-come their fear. 6. After each line is filled, have the students brainstorm a possible positive outcome that could arise out of overcoming your fear, which will go on the right side of the diagram.

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ObjectiveThe students will be able to create and embody the journey that Miguel takes in

Bocon, using pantomime.


Imagination Journey1. Sit students on the floor, with their own personal bubble in the room2. Tell students to close their eyes and listen, while you play sounds through the computer: • Play this youtube video for background sound of the rainforest: https://www.youtube.com/watch?v=-IAfg_Iy7n8• Then go to this website: http://soundbible.com/tags-jungle.html• Occasionally play one of the sounds on the soundbible website, adding to the sound• Some good clips to use from that site are (listed from top, down): “Frogs,” “Laughing Kooka burra Birds,” “Parakeet Talking,” “Mountain Lion,” “Alligator Crocodile Growl,” and “Tree Frogs and Birds”3. Have students imagine where they might be, hearing sounds like that4. Encourage students to (with their eyes closed) “look around” at the place they imagine5. They should begin to “see” this world in their minds (though each student’s will be unique)6. Periodically ask the class to call out what they see when they look to their left, to their right; behind them; hidden in the bushes (this helps them take ownership of their own ideas)7. After students have called out several things they see, have them choose one of these objects or creatures to “touch”8. Ask the class to call out what their thing feels like when they touch it9. Encourage students to interact with this object/creature however they would in real life• Have them...try to pick it up. (What happens?); smell their object. (Does it smell good or ]\ bad?); listen to their object. (Does it make a sound? If so, what does it sound like?)10. Have students open their eyes, and tell the students to their right and left what was the most interesting thing they saw in their imagination

teks: 5th Grade: Theatre-117.19.b.1.B-F: develop body awareness and spatial percep-tions, using pantomime/respond to sounds, mu-sic, images, and the written word, using move-ment/express emotions and relate ideas, using interpretive movement and dialogue/integrate life experiences in dramatic play/portray environ-ment, characterization, and actions

A large, open spaceBlank paper

Writing utensils

bpfhxjzlnrtvxhdJourneying through pantomime

Pre-assessment:Students must be able to move around the room without hurting

themselves or others.

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bpfhxjzlnrtvxhdMiguel’s pantomime journey1. Begin by discussing the journey Miguel makes in Bocon, and have the class create a list of all of plac-es Miguel finds himself throughout his journey: his village of San Juan de La Paz in Honduras, the Central American rainforests, a beach in Central America, the arid mountains of Mexico, that he saw in the dis-tance from his village, a judge’s chambers on the U.S. border2. Have each student choose one of these locations, and on their own come up with five objects/crea-tures that might be in this place, other than what is said in the script/they saw in the performance (this might be as seemingly insignificant as a bug, or as space-encroaching as a redwood tree)3. Ask students to then write down...• What kind of place their location is. (Is it fun and happy? Lonely and scary? Loud and crazy? etc.)• How they think Miguel would react to each of their 5 objects. (Would he be happy to see it? Would he be scared of it? Would it make him sad? Would it make him feel brave and adventerous? etc.)• How Miguel might interact with at least 3 of the 5 objects. (If the object is a tree, he might climb it, he might hide behind it, he might pull the leaves off of it, etc. If the object is a bug, he might squish it, he might pick it up, etc.)4. Let students spread out throughout the room, finding their own personal space, and imagine they are Miguel, in the location they just wrote about5. Have students look around and decide what exactly that location looks like, and where all of the ob-jects they wrote down are located6. Students should then begin interact with the objects/creatures they wrote about7. Encourage students to think about how Miguel would feel there, and try to recreate that in themselves8. Once students have explored this concept, bring them all back together in one part of the room9. Line students up in order of when their location comes along in Miguel’s journey10. Guide students through Miguel’s journey, by having students “perform” their interactions with their location, in the order of the story, so that the class can see how Miguel’s journey changes as he travels11. Afterward, discuss with students what they noticed, watching the class perform• What were things in their classmates’ performances that they particularly noticed?• How did the mood of the location before, impact the next location?• What made it easier to tell where someone was, and what they were interacting with?• Why might it be important to explore so many different places, in a story like this, where the character makes a long, eventful journey?

1. Pass out notecards to studnets2. Have student answer these questions on the card: 1) Where did Miguel start his journey? 2) Where did Miguel end his journey? 3) How do you think that journey felt? 4) What is one thing you saw a classmate do, that helped you understand their pantomime? 5) What is one way you moved your body differ ently, to show what location you were in?3. Each student should turn in their notecard at the end of class, as their ‘exit ticket’

•If students are struggling with un-derstanding other’s pantomiming, students may be allowed one line of dialogue per object they interact with, to help clarify•Depending on the difficulty level for the class, the teacher may decide if the line of dialogue is allowed to in-clude the name of the object they are interacting with, or not

Exit Ticket: Modifications:

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Objective:The student will be able to dentify the power of voice and opinion, address the issue of censorship through ex-ample, expand reading comprehension through dramatic

intervention, Explore group communication using external communication and writing skills

For Teachers:

Materials:

The power of voice1. Place a sign outside of the door that says “Voices Not Allowed” as the students enter the classroom. Make sure that the sign is visible to all students but do not vocally draw attention to it. 2. Once all of the students are in the classroom the teacher should enter, then one by one pick out students based on the color of their shirt and ask them to stand off to different sides of the room because they are now your two choruses. Don’t let them know the reason behind your selection. This should create confusion amongst the choruses. 3. Grab the sign from outside and reiterate what it says. Ask each chorus to come up with three moments in the play when Miguel needs a voice most. Chorus 1 is able to speak while planning their three moments; Chorus 2 must prepare their pre-sentation in complete silence. Each chorus must keep in mind that there cannot be sound incorporated in the presentation of the three moments. 4. Each group of students is allowed one piece of paper to brainstorm ideas for five minutes, then present. Chorus 2 should present first.

TEKS:ELA Grade 5- 110.16b17 Writing. Students write about their own experiences. Students are ex-pected to write a personal narrative that conveys thoughts and feelings about an experience.ELA Grade 6- 110.18b28 Listening and Speaking/Teamwork. Students work productively with others in teams. Students will continue to apply earlier standards with greater complexity. Stu-dents are expected to participate in student-led discussions by eliciting and considering sugges-tions from other group members and by identifying points of agreement and disagreement.

STAAR:Grade 6, Category 2, Section 5: Reading/Comprehension of Literary Text/Drama. Students un-derstand, make inferences and draw conclusions about the structure and elements of drama and provide evidence from text to support their understanding.

A sign displaying the words “Voices Not Allowed”

2 pieces of paper Markers/crayons

bpfhxjzlnrtvxhdNo Voices Allowed!

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bpfhxjzlnrtvxhdReflection

The class is now allowed to speak. Gather all of the students in a circle. Ask questions about:

How was the performance different between each chorus?Chorus 1: Did it feel like everyone had a chance to give their voice when you all were coming up with ideas?Chorus 2: What were some ideas about Miguel that you weren’t able to get across because you didn’t have a voice?How do you think Miguel in Bocón! felt when he lost his voice?How did Miguel’s voice help him to get to The City of AngelsWhat is a voice capable of doing? Using the shell worksheet below, have each student write “VOICE” at the base of the shell. Now, ask the students to write on the back of the seashell how their own voice will help them to overcome a “wall” or obstacle in their own life.Ask the students to decorate the seashell side with colors that each of them imag-ines their own voice would look like.

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ObjectiveThe student will be able to identify the symbolic importance of the Quetzal feather in

Bocon! and relate it to an item in their lives


Hook:1.) Start the lesson by reading pages 11- 12 (starting with “The soldiers” and ending with “He’s not afraid of nothing!”) of Bocon! 2.) Have a class discussion about Miguel’s Quetzal feather and what it means to him/what it means within his culture, drawing from the information about the Quetzal. (ex. Why is the feather significant to Miguel’s culture? What does Miguel mean when he calls the Quetzal the Bird of Freedom?)

TEKS: ELA Grade 4: (17) Writing. Students write about their own experiences. Students are expected to write about important per-sonal experiences.

Exerpt from Bocon!Quetzal info (page 3)Drawing of a family itemPaperPencil/pen

bpfhxjzlnrtvxhdfamily treasures

pre-assessment:1.) Ask the students to draw a pic-ture of something from home that reminds them of their family or someone important to them.2.) Read the information about the Quetzal on page 3 out loud to the class (if internet access is available, show the prezi on the Guatemalan legend of the Quetzal)

Exit Ticket:Have the students write two paragraphs, one about why Miguel’s Quetzal feather is important to him, and one about why their object is important to them.

Activity:

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1.) One by one, have students present their objects to the class. If they don’t know how to explain their object, prompt them with questions, “Who does this remind you of?” “Where did it come from?” “Why is it special?” etc.2.) If time allows, open the discussion up to the other students and allow them to ask the presenter questions about their object.

ObjectiveThe student will be able to analyze dance and movement in Bocon and discuss why

it’s an integral part of the play


Hook:1.) Who are the characters that dance at some point in the play? How does their dancing affect the action in the play?2.) Kiki El Loco’s dancing in the play is described as “part folk dance, part wizardry, part protest.” If dance is a part of Miguel’s culture, in what way is Kiki El Loco’s dance a protest?

TEKS: The students expand body awareness and spatial perceptions; respond to sounds and the written word, incorporating movement; and create environments, characters, and actions.

Small, lightweight items to use as props

bpfhxjzlnrtvxhdDance in Bocon

pre-assessment:1.) Much of Central America is made up of former Mayan civilizations. The May-ans would tell stories through lengthy dances that could last from hours to days.2.) Storytelling through movement is an integral part of Bocon.

Assessment:Have the students write down on a notecard 3 things they learned about storytelling and expressing their emotions through dance.

1.) Separate the students into groups or have them work alone.2.) Each group/individual must choreograph a dance based on a short scene in the play that has a beginning, a middle, and an end.3.) Each dance must incorporate one prop.4.) Give them 15 - 20min to work on their own.5.) Bring everyone back together and have everyone present their dance.6.) After each dance, the rest of the class guesses which scene in the play the dance was based on and discusses what movement that group/individual used to illustrate the scene.

Activity:

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ObjectiveThe student will be able to create a short play collaboratively with peers.

The student will be able to illustrate a story through the use of live theatre.


Hook:Latin American culture is full of spooky stories used to scare children into doing, or not doing, certain things. One of my favorites is La Llorona, or the Weeping Woman. A beautiful woman named Maria was very proud of her beauty. She was so proud that she was determined that she would only marry the hansomest man in the world. One day, a handsome prince visited her village, and Maria saw her chance. She ignored everything this man did, even when he would kneel outside her cottage and serenade her; eventually he was madly in love, and they married. They had two chil-dren, and were happy, or so she thought. The prince started to ignore Maria, and only pay attention to their children. There were even rumors that he was looking to marry a wealthier woman. One day, while Maria was walking with their children by the river near the village, she heard a coach approaching from behind. They turned, and realized it was the children’s father, accompanied by a beautiful young woman. He stepped out, greeted the children, hugged them, and left without even looking at Maria. Maria was so jealous that she threw her children into the river. She quick-ly realized what she had done, and tried to save her children, but they had already disappeared into the water. That night, a villager awoke the town with the news that a beautiful woman was lying dead on the bank of the river. Maria, who could not bear the grief of her children, had drowned herself. The villagers buried her nearby. Lat-er that night, however, the villagers were woken yet again by the sobs of a woman, screaming and cry “Where are my children?” It is said that Maria can be seen by the river, still searching for her children.

teks: 117.40.(8.3) Creative expression/performance. The student applies design, directing, and theatre production concepts and skills. The student is expected to:(C) identify the director’s role as a unifying force, problem-solver, interpreter of script, and collaborator; and(D) direct brief dramatizations.

Desks situated so that part of your room can be treated as a stage; stu-dents might even sit on the floor for a more intimate experienceA solid surface to write onPrinter Paper

bpfhxjzlnrtvxhdCrossing Paths

pre-assessment:The students should be familiar with the plot of Bocon.

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Assessment:Questions to ask the students:1. Every character in a play undergoes a journey in every scene (whether it is internal or external). What journey did your characters undergo? 2. Did your characters interact in a similar way to Miguel and La Llorona?

Activity:The fact that La Llorona is meant to scare children makes her an unlikely companion for Miguel in Bocon!, since she helps him overcome his fears of not having a voice.

Part 1 (20 Minutes max)1. The students will create an ‘unlikely companion’ for Miguel, using La Llorona as a guide.2. Hand each student a piece of printer paper, and make sure they have a writing utensil3. Fold the paper in half, hamburger style4. On the front, on the left side, have them write “What makes a Hero” at the top, and let them list what they think makes a hero. Provide some examples (pride, courage, bravery, confidence, etc.)5. Still on the front, on the right side, let them come up with what a character might overcome (for Miguel, fear; for La Llorona, jealousy) titled “Obstacles to Overcome”6. On the back, on the right side, have them draw Miguel.7. On the left side, have them come up with an ‘unlikely companion’ for Miguel8. If time permits, allow them to brainstorm for a minute or two before they put pencil to paperPart Two (10 Minutes)1. Have the students stand their papers up, and let the students review each other’s work, and nominate the best ‘unlikely companions’ and the best Miguels (the qualities should be as import-ant as or more important than the drawings)2. These ‘bests’ will draw and act out scenes between Miguel and the ‘unlikely companion’3. Proceed with closing questions

1. Explain to the students that they will create a companion for Miguel, and walk them through the process (above).2. In this plan, have the students collectively create the qualities, instead of individually as above.3. On day two, have the students create a scene in which Miguel and his ‘unlikely com-panion’ interact.4. Break the students up into groups5. Have each group decide who’s who, and write a short script (no more than 2 minutes).The objective is for the companion to help Miguel overcome his obstacles, whatev-er those may be (based on what they wrote down, not the play). Ideally, each student should have a chance to perform.6. Finish the class with the closing questions.

extension (two day plan):

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ObjectiveThe students will work together to understand a Spanish lullaby from Bocon, create an

English version, and perform both songs.

Pre-assessment: Materials:

Activity:1.) Hand out the provided work sheet face down on the student’s desk.2.) Ask students to flip the sheet over and fold along the “fold here” line, hiding the English section.3.) Explain the objective: We are going to translate the lullaby, A la ru-ru Niño, into English and sing both4.) Write the letter “Ñ” on the board. Tell your students that the Spanish alphabet has two extra letters, one of them is “Ñ” This letter makes a unique sound in Spanish. Say “Ñ.” (Additional help? https://www.youtube.com/watch?v=PKh9vaJmxh8 or ask a Spanish speaker to present the sound to the class.)5.) Write the first four lines of the song (Spanish) on the board. 6.) Ask students to volunteer to read the first four lines from the pronunciation section of the worksheet.7.) Ask the class to make predictions on what they think the each word in the first line will translate to in English. (Skip Ru-ru, it is a nonsense word, it will stay the same.) 8.) Trouble? Use the cue sheet to give them hints on what the translation may be. Always call on your Spanish experts last to assist the class in guessing.9.) Write all the predictions on the board. Hum the song. Work line by line using the predictions, by ask-ing them to pick out what words go along with the beat of the song best. 11.) Write the next four lines of the song (Spanish) on the board and repeat the process. Keep in mind that some lines repeat. Test to see if the class notices the repetition.12.) Once you have predicted the whole song, unfold the work sheet and see if the class predicted it correctly.

1.) Read excerpt of the play. 2.) Ask the students where have they heard this from? Who sang the song?3.) Can anyone remember how the lullaby goes? (If you have Spanish-speaking stu-dents, ask them to be your Spanish expert and keep the answers a secret from those who do not. Tell them that at the end of the lesson they can reveal it to the class.)4.) What do you think Miguel was feeling be-fore his mother sang the lullaby?5.) How do you think he feels after his mother sang the lullaby?

Worksheet (Provided for class) Excerpt of the play (provided for instructor)Cue sheet (provided instructor)White boardYouTube access

bpfhxjzlnrtvxhdA La Ru-Ru Nino

Hook:1.) Open YouTube link: http://www.you-tube.com/watch?v=1lJGkYECQUg2.) If you have Spanish-speaking stu-dents, ask them to be your Spanish expert and keep the answers a secret.3.) Ask students if they can predict what the song means?

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• As a class, Students will sing the original Spanish version and then the English version of A la ru-ru Niño. • What do you think Miguel was feeling before his mother sang the lullaby?• How do you think he feels after his mother sang the lullaby?• What does the lullaby mean to Miguel and his family?

bpfhxjzlnrtvxhdAssessment:

Modifications:

If you have access to a com-puter lab, have students look up the Spanish word on the Internet. This gives them ac-cess to a larger word choice when trying to predict the translation.

Extensions:Flashback- Ask students what lulla-by’s they grew up with when they were younger. Synonyms- Explain what Synonyms are. Take the English version of A la ru-ru Niño and work as a class to see if they can find other synonyms to fit the song.

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ObjectiveThe student will be able to relate to Guatemalan Folk Dance through group discus-

sion via power point and mask making.

Pre-Assessment: Materials:

Activity:Show the class the included handout that represents Guatemalan Ensemble Dance with Masks and how it relates to Bocón.Pass out construction paper, scissors, glue sticks, colored pencils/markers/crayonsAsk students to make a mask based on the examples they sawOn a separate sheet of paper have students write down what they made and why they chose it.

Ask students to break into ensembles of four or five. The question should arise “What is an ensemble?”. Ask class if they know. Explain in detail what an ensemble is. (An ensemble is a group of individuals working together as one unit for a com-mon goal) After they are in their ensem-bles the lesson can start as stated below.

Internet AccessProjectorConstruction PaperScissorsGlue SticksPen/ PencilColored Pencils/ Crayons/ Markers

bpfhxjzlnrtvxhdMasks and Dance

Hook:Show the class this video of Guatemalan Folk Dance and have them write down five things that stood out to them. www.youtube.com/watch?v=p0E3Af5v4lw (At 1:57 in video pause and talk about how the human masks the dancers are wearing and how that would be the type of mask and ensemble member in Bocón would wear.)

Ticket out:Have the students write on a notecard how the ensemble in Bocón is similar to a Guatemalan Dance Arts Ensemble.

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• A-What comes after 1…. (Answer: to) • La- what is the 4th letter in the alphabet (Answer: The) • Ru-ru-translates to ru-ru. • Niño- another word for little child or newborn… (Answer: Baby) • Ya- Come here right… (Answer: Now) • Duérmete- when you’re tired or its night time, what do you want to do?

(Answer: Sleep) • Mi- Here is _____ pencil. -Fill in the blank- (Answer: my) • Amor- if two people like each other, they are in… (Answer: Love) • Este- what is ___? –Fill in the blank (Answer: This) • Lindo- another word for beautiful or gorgeous? (Answer: Pretty) • Qué- 5 W’s (What? Where? When? Why?) Which one is missing? (Answer:

Who) or “ ___ be or not __ be, that is the question? (Answer: to) • Nació- what are we celebrating on your birthday? The day you where…

(Answer: Born) • Mańana- you eat breakfast in… (Answer: Morning) • Quiere- (answer: Want) • Lleven- another word for get or obtain (Answer: Take) • Pasear- You ____ a roller coaster or car? (Answer: Ride) • Carcacha- Rhythms with Junker. (Answer: Clunker) • Día- Take the To out of Today and you get (Answer: Today) • Dulcería- A place where they sell sweets (Answer: Candy shop) • Noche- you sleep during this time of day. (Answer: Night) • Coche- What mom’s use to take there baby’s for a ride” (Answer: Stroller) • Dormir- when you’re tired or its night time, what do you want to do? (Answer:

Sleep) • Pícaro- In Christmas you are on Santa’s ___ or nice list. (Answer: Naughty) • Sueño- when you’re tired or its night time, what do you want to do? (Answer:

Sleep) • Venir- opposite of go (answer: Come)

Cue Sheet

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Spanish A la ru-ru niño

A la ru-ru ya

Duérmete mi niño

Duérmete mi amor.

Este niño lindo

Qué nació de mañana,

Quiere que lo lleven

pasear en carcacha.

Este niño lindo

Qué nació de día


A la dulcería

Este niño lindo

Qué nació de noche


A pasear en coche.

Este niño lindo

Se quiere dormir,

El pícaro sueño

No quiere venir.

Este niño lindo

Qué nació de noche


A pasear en coche.

English

To the ru-ru baby

To the ru-ru now

Go to sleep my baby,

Go to sleep my love.

This pretty baby

Who was born in the morning

Wants to be taken

For a clunker ride.

This sweet baby

Who was born during the day,

Wants to be taken

To the candy shop.

This pretty baby

Who was born at night,

Wants to be taken

For a stroller ride.

This pretty baby

Wants to go to sleep

But the naughty sleep

Doesn't want to come.

This pretty baby

Who was born at night,

Wants to be taken

For a stroller ride.

A la ru-ru Niño Lullaby from Bocon

Pronunciation

(ah) (lah) (rue-rue) (knee-Ñ-oh)

(ah) (lah) (rue-rue) (yah)

(due-air-meh-teh) (me) (knee-ñ-oh)

(due-air-meh-the) (me) (ah-more)

(eh-sss-teh) (knee-Ñ-oh) (lean-doe)

(keh) (nah-see-oh) (deh) (mah-Ñ-ah-nah)

(key-eh-wre) (keh) (low) (E-eh-vay)

(pah-see-ar) (N) (car-cah-cha)

(eh-ssss-teh) (knee-Ñ-oh) (lean-doe)

(keh) (nah-see-oh) (deh) (D-ah)


(ah) (la) (duel-seh-wreah)


(keh) (nah-see-oh) (deh) (no-ch-eh)


(ah) (pah-see-ar) (N) (co-ch-eh)


(seh) (key-eh-wre) (door-me-rrrr)

(L) (P-kah-row) (sue-eh-Ñ-oh)

(no) (key-eh-wre) (V-eh-knee-rrrr)


(keh) (nah-see-oh) (deh) (no-ch-eh


(ah) (pah-see-ar) (N) (co-ch-eh)

FOLD HER

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