school time performance series beautiful daughters: Generous support for SchoolTime provided, in part, by New jersey performing arts center

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1 school time performance series m u f a r o s beautiful daughters: a n a f r i c a n t a l e Generous support for SchoolTime provided, in part, by New jersey performing arts center

2 about the performance in the spotlight: an interview with Dallas Children Theater The story of Cinderella exists in countless variations across cultures and all around the world. Pitting the arrogance and pride of one sister against the humble generosity of another resonates with the deep human truth that beauty is more than skin deep. In Mufaro s Beautiful Daughters, the familiar Cinderella theme is rediscovered in a traditional African folktale. Beloved children s author and illustrator John Steptoe shaped the original story, recorded in the 19th century in the Shona language of Zimbabwe, into a children s classic that has won numerous honors, including the coveted Caldecott in Now the Dallas Children s Theater brings Mufaro s Beautiful Daughters to life in an adaptation by Karen Abbott, complete with African drumming, rousing choreography, and original music and lyrics by composer S-Ankh Rasa. When the king of Zimbabwe announces that he will marry the most worthy and beautiful maiden in the land, a villager named Mufaro decides that his two beloved daughters must travel to the great walled city to meet him. Both girls are renowned in their village for their beauty, but Manyara is also known for her hot temper and selfishness traits she manages to hide from her doting father. In contrast, Nyasha is beloved for her kindness and generosity to all, including the little garden snake, Nyoka. The girls make the long journey through the jungle, they encounter mysterious strangers along the way. A hungry boy and a strange old woman each make a request or give advice that brings out the girls true personalities. Manyara s responses are sharp and disdainful while Nyasha s patience and compassion shine brighter with each turn. When finally they arrive at the great walled city to see the king, both girls are in for a surprise that will prove that kindness is rewarded while pride goes before a fall. Author and illustrator John Steptoe was born in 1950 in the Bedford-Stuyvesant section of Brooklyn, NY. Even as a young child, he loved to draw and tell stories with his pictures. He studied art at the High School of Art and Design in Manhattan, with the well-respected African American oil painter Norman Lewis, and at the Vermont Academy. When he was only sixteen, he started working on first picture book, Stevie, which was published three years later to critical acclaim. Two of Steptoe s books won prestigious Caldecott Honors for children s book illustration: The Story of Jumping Mouse in 1985 and Mufaro s Beautiful Daughters in He also received the Coretta Scott King Award for Illustration for two of his books, Mother Crocodile (text by Rosa Guy) in 1982, and again for Mufaro s Beautiful Daughters. Mr. Steptoe hoped that his books would lead all children, but especially African-American children, to feel pride in their origins and in themselves. I am not an exception to the rule among my race of people, he said when he accepted the Boston Globe/Horn Book Award for Illustration, I am the rule. By that I mean there are a great many others like me where I come from. Dallas Children s Theater was named one of the top five family theaters in the nation by both Time and American Theater magazines. Each year its main stage productions, touring company, educational programming and outreach activities bring theater to young people in cities all around the United States. Since its inception in 1984, DCT has worked to create challenging and inspiring theater that fosters multicultural understanding, confronts topical issues and celebrate the human spirit. DCT s productions range from literary classics to original scripts, folktales, myths, fantasies and contemporary dramas. Many of its productions feature sensory-friendly elements that appeal to autistic audiences. Cofounder and executive artistic director Robyn Flatt has said, If we re going to continue to have strong, vital theatre, we have to start with young people. What makes John Steptoe s book, Mufaro s Beautiful Daughters, a good choice for children s theater? It is a beautiful book, beloved by both children and adults. As the story unfolds, it takes its characters on an enchanting and mysterious adventure, and compels its readers and audience members to want to go along and find out what happens. The daughters personalities are clearly defined and reveal what is best and worst in human behavior. It is a story about kindness and the true meaning of beauty. As such, it teaches a great lesson in an entertaining way to everyone who experiences it. Is this an original production from Dallas Children s Theater? How was the book adapted for the stage? Yes, this is DCT s original production of the play, which is owned and licensed by the estate of John Steptoe. Karen Abbot, the playwright, adapted John Steptoe s award winning book with great care and close attention to the book. But what makes OUR production particularly special and unique, is the addition of decorated composer S-Ankh Rasa s exciting musical score to the piece. It features authentic African instruments and rhythms, and elevates this simple little play into an exhilarating musical filled with powerful choreography and compelling songs. After extensive research of African culture, the scenic elements, lighting and costumes were also creatively rendered by some amazing artists to help transport the audience through the lives and landscapes of this colorful Zimbabwe folktale. What elements of African culture are used in creating Mufaro s Beautiful Daughters and why? The musical instruments, clothing (costumes) and some props are completely authentic to certain parts of Africa, and the scenic elements are based on symbolic items used in African culture. The world of Mufaro is very different from that of most of our audience members.the land, music, dance, and clothing are unique to Africa. And as mentioned earlier, we endeavored to be as authentic as possible in telling the story and transporting our audience to this colorful and vibrant world so unlike our own. What is daily life like for actors in a touring theater company? Busy would probably be the best word to describe actors and technical personnel in our touring company. When they are not loading in to a theater or performing the show, they are usually traveling from city to city and venue to venue all across North America. The seven month tour usually takes them coast-to-coast from New England to the Pacific Northwest and from Canada to Texas. With such a rigorous schedule, getting plenty of rest and eating well are important priorities to veteran company members who know they have to stay healthy for all of their many performances. With so much entertainment at our fingertips, why is it important that children experience live theater? There is nothing more compelling or engaging than a quality live theater performance. It is unique because it is a shared experience between audience members and actors every moment the performance is occurring. And because it is live, it will never happen exactly the same way again. It is people communicating with and emotionally touching other people in real-time. And in this day and age when so much entertainment is virtual, it is vital that human beings are able to connect in a very real and palpable way. Academically speaking, studies are now showing what we in the theater have known for years; that the feelings felt, the imagination ignited, and the lessons learned during a live theater performance are far more visceral and deeply felt than in any other form of entertainment. Time and time again, it has been proven that live theater changes lives. What do you hope that children and adults will take away from today s performance? Simply speaking, all good works of theater aim to engage, entertain and inform the audience some more profoundly than others. They can provoke and introduce new ideas, change perspectives, give hope, and do a multitude of other things. To this end, I believe that presenting good theater is its own goal and reward. Mufaro s Beautiful Daughters An African Tale is a wonderful folktale brought to life using music and dance to elevate the story. It celebrates virtue and kindness of heart with a lesson that is simple yet powerful: as you sow, so shall you reap, or as a hungry beggar in the play says, pretty is as pretty does. The idea that true beauty is more than skin deep is the single most important message in this African Cinderella story. But Dallas Children s Theater also hopes that the play will continue to inspire African American children to respect their ancestral origins, and as John Steptoe wished, to help ALL young people take pride in who they are. 2 Mufaro s Beautiful Daughters: An African Tale Mufaro s Beautiful Daughters: An African Tale 3

3 The P.E.R.F.O.R.M. activities will enable students to get the most out of a SchoolTime performance teacher focus student activity Prepare for the performance Experience the performance Reflect, respond and read Focus Originate Rehearse Make magic Prepare your students for the performance by reading John Steptoe s book, Mufaro s Beautiful Daughters or listening to the story read aloud by The SweetBerry Library on YouTube: www. youtube.com/watch?v=dp9cqks8p2q. As you bring your students to the performance, encourage them to let the excitement and energy of the presentation sink in. They should pay close attention to how the performers speak, dress and move to transform themselves into characters. They should also notice how music and dance play an important part in the story. Ask the students to consider the story s themes and compare them to more familiar versions of Cinderella. Discuss why the story appears in so many different versions around the world. Reflect on the story s moral and magical elements. Pick other stories from the Resources to share more African stories, or more stories that reflect the same Cinderella themes from other cultures. Ask your students to discuss the concepts of selfishness and generosity. Can they think of an experience in their lives when someone was selfish or generous in a particular way? Prepare your students to turn their personal experience or an imagined idea into a story, poem, artwork or song. Ask your students to read aloud their stories, songs, poems, or share their art. With artwork, ask students to explain aloud the story or experience that their work represents. Encourage students to discuss each other s presentations and give constructive feedback to help make their work clearer and stronger. Have students revise and reread their works as a kind of rehearsal: practicing sharing aloud so that they polish their ideas and build confidence in their presentation. Set up your classroom in a storyteller s circle and invite family, friends or other classes to visit, look and listen to the stories, poetry and songs that the students have made. If you have a drum, perhaps incorporate a rhythm into the circle to give it an African flavor. 4 Mufaro s Beautiful Daughters: An African Tale Listen to the story of Mufaro s Beautiful Daughters and look at John Steptoe s beautiful illustrations. Notice the many ways that Steptoe captures the world of an African village: in the jungle setting, the characters clothing, the crops that Nyasha grows in her garden, and even in the characters African names. After listening to the story, imagine what the world of Mufaro s Beautiful Daughters looks like? What does an African Village look like? Observe how the actors use their faces, voices and bodies to transform themselves into their characters. Notice how music and dance are incorporated into the performance. How does song or dance help to set the scene or portray a particular emotion? What elements of the story do you expect to see? What elements of the Production surprised you? How different is your imagined setting versus the world the director created on stage? Discuss the performance what characters did you like best? How did the characters change after their adventure to the great walled city? What lessons did the characters learn along the way? What is a folktale? Why do you think stories with lessons are told in so many cultures around the world? Talk about a time in your life when someone was very thoughtful and kind to you or someone you know. What about when someone was very selfish, but maybe learned their lesson? Write a story, poem, song, or create an artwork based on the idea of learning how to be generous and kind. You can use a real experience or your imagination to make your story dramatic and fun. Don t be afraid to take risks. It s a vital part of making art! Share your poem, story or song and ask for feedback from your listeners. If you ve created an artwork, explain aloud the story behind it. Listen to the feedback with an open mind and try to incorporate some of the comments to polish and improve your creation. Reread or share again to build confidence in your work and presentation. Now it s time to share your creations with confidence! After you ve experienced the thrill of sharing your work, make sure to talk with your audience and listen to their reactions. What did they think? Were they inspired by your creation? standards NJ Arts Standards National Arts Standards NJ Arts Standards 1.1 The Creative Process 1.2 History of Arts & Culture 1.3 Performance 1.4 Aesthetic Response & Critique National Arts Standards 1: Generate and conceptualize artistic ideas and work. 5: Develop and refine artistic techniques and work for presentation. 6: Convey meaning through the presentation of artistic work. 7: Perceive and analyze artistic work 8: Interpret intent and meaning in artistic work. 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding New Jersey Student Learning Standards English Language Arts SL Engage effectively in a range of collaborative discussions SL Interpret information presented in diverse media SL Presentation of Knowledge and Ideas RL Determine the key details in a story, drama or poem to identify the theme and to summarize the text. RL Compare and contrast two or more characters, settings, or events in a story or drama, drawing on specific details in the text (e.g., how characters interact). RL Analyze how visual and multimedia elements contribute to the meaning, tone, or beauty of a text (e.g., graphic novel, multimedia presentation of fiction, folktale, myth, poem). RL Compare, contrast and reflect on (e.g. practical knowledge, historical/cultural context, and background knowledge) the treatment of similar themes and topics (e.g., opposition of good and evil) and patterns of events (e.g., the quest) in stories, myths, and traditional literature from different cultures. Social Studies D.13 Describe how culture is expressed through and influenced by the behavior of people D.20 Describe why it is important to understand the perspectives of other cultures in an interconnected world D.14.f Determine the influence of multicultural beliefs, products and practices in shaping contemporary American culture FIND THE STANDARDS For more detailed information on the standards, visit these websites: NJ LEARNING STANDARDS ELA NJ ARTS STANDARDS NATIONAL ARTS STANDARDS Resources Books By John Steptoe: Steptoe, John. Mufaro s Beautiful Daughters: An African Tale. Puffin Books, Lewis, E. B., and John Steptoe. Creativity. Turtleback, Steptoe, John. Stevie. HarperCollins, Steptoe, John. The Story of Jumping Mouse: A Native American Legend. HarperCollins, More Cinderella stories from around the world Martin, Rafe. The Rough-Face Girl. Puffin Books, Louie, Ai-Ling. Yeh-Shen: A Cinderella Story from China. Puffin Books, depaola, Tomie. Adelita. Puffin Books, Climo, Shirley. The Egyptian Cinderella. HarperCollins, More African folktales Aardema, Verna. Why Mosquitoes Buzz in People s Ears: A West African Tale. Puffin/Dial, 2004 Gerson, Mary-Joan. Why The Sky Is Far Away: A Nigerian Folktale. Little, Brown Books for Young Readers, Hamilton, Virginia Esther. Her Stories: African American Folktales, Fairy Tales, and True Tales. Blue Sky Press, Mandela, Nelson. Nelson Mandela s Favorite African Folktales. W. W. Norton & Company, Also available in a wonderful audio CD Websites Scholastic Lesson Plan for Mufaro s Beautiful Daughters: About Dallas Children s Theater: American Theater Magazine s article 20 Theatres You Should Take Your Kids To : Biography of John Steptoe: contributor/john-steptoe What the Story of Cinderella Looks Like in 9 Countries Around the World: year-old stone kingdom: The breathtaking ruins of Great Zimbabwe from CNN Travel: travel/900-year-stone-great-zimbabwe/ Videos Read-Aloud Mufaro s Beautiful Daughters: An African Tale by The SweetBerry Library: Learn about the Great Walled City of Zimbabwe: Mufaro s Beautiful Daughters: An African Tale 5

4 cultural connections vocabulary Mufaro s Beautiful Daughters is based on an African folktale originally recorded in the Shona language of Zimbabwe. In the story, Nyasha and Manyara travel to the great walled city of Zimbabwe, from which the modern African nation takes its name. Meaning big house of stone, Great Zimbabwe still exists as an archaeological ruin and national monument in the southern hills of the country just south of the city of Nyanda. Great Zimbabwe flourished from the 11th to the 14th centuries, and was built before Europeans colonized the African continent. Its remarkable structures demonstrate the skill and craftsmanship of the ancient Shona stonemasons. The buildings were constructed of massive dry-stone walls, with stones cut and positioned so precisely that no mortar or cement was needed. The builders incorporated large natural boulders into some structures and the walls extended between rocky outcrops, forming a maze of narrow passageways and enclosures. A true metropolis, Great Zimbabwe was home to over 18,000 people. The fortress city bustled with traders selling their wares and royal pageantry. The Shona (sometimes called the Bantu) traded gold, copper, and ivory to Arab merchants. The king lived in the Hill Complex, a great stone citadel where his commands would echo across the lush savannah plains beneath. Across from the Hill Complex was the Great Enclosure, a spectacular circular compound made of carefully cut granite blocks built entirely in curves. The Great Enclosure was the home of the king s first and most important wife. Ancient legend says that Great Zimbabwe was also the home of the biblical Queen of Sheba. Not far off from the Great Enclosure were a series of living spaces, now called the Valley Ruins, where merchants, craftsmen and other ordinary people probably lived. Along with trade, Zimbabwe was an important center of religious life where spiritual rituals and activities took place. Priests and spirit mediums helped the king and his subjects communicate with the spirits that they believed existed in all living things, even in some inanimate objects. Since they believed that these spirits existed in a separate, parallel world, they needed a spirit medium to act as a go-between who shared the spirits important messages. One of the spirits divine messengers was the fish eagle which soared high above the Zimbabwe plains. The fish eagle was such an important symbol of Zimbabwe s illustrious history that its shape, based on a soapstone figurine found in the fortress city s ruins, graces the Zimbabwean flag today. In 1986, UNESCO designated the Great Zimbabwe ruins as World Heritage site of universal value to all. The archeological remains contain the largest ancient structure in sub-saharan Africa. Theater Vocabulary Actor: a person who portrays a character in a performance on stage, screen or television. Cast: a group of actors in a play Character: a personality or role an actor/actress creates using dialogue, action, dialogue, costuming, and makeup. Characters may often be people, animals, and sometimes things. Choreography: the art or practice of designing combinations and sequences of movements of physical bodies. The person who creates the steps, combinations and patterns of a dance is called the choreographer. Director: the person in charge of the actors movements on stage Downstage: the area at the front of the stage; closest to the audience Playwright: the person who writes the script to be performed. Playwrights may write an original story or adapt a story by another author for performance. Proscenium: the archway that frames the stage from the audience s viewpoint. Prop: any moveable object used on stage or on screen by actors during a performance. Script: the written text of a play. Set: the painted structures of a stage that are intended to suggest a particular locale; the scenery. Theatre: collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place, often a stage. Upstage: the area at the back of the stage; farthest from the audience Words from the Shona Language of Zimbabwe Nyasha: mercy Manyara: ashamed Mufaro: happy man Nyoka: snake Zimbabwe: a modern country in south-central Africa; also, the name of an ancient walled city where Mufaro s Beautiful Daughters takes place. Zimbabwe means big house of stone. 6 Mufaro s Beautiful Daughters: An African Tale Mufaro s Beautiful Daughters: An African Tale 7

5 njpac staff listing (Partial Listing) John R. Strangfeld, Chair John Schreiber, President & CEO Alison Scott-Williams, Vice President of Arts Education Danielle Thompson, Administrative Assistant to the Vice President of Arts Education Kristina Watters, Manager of Operations and Systems Caitlin Evans-Jones, Director of Partnerships, Performances, and Professional Development Rosa Hyde, Manager Arts Education Performances Patricia Sweeting, Coordinator, Performances and Recruitment Jennifer Tsukayama, Senior Director of Arts Education Jamie M. Mayer, Director of In-School Programs Victoria Revesz, Manager of In-School Programs Kyle Conner, Coordinator of In-School Programs Mark Gross, Director of Jazz Instruction Alexis Almeida, Coordinator of Music Programs and New Initiatives Tara Baker, Office Manager, Arts Education Raven Oppong-Boateng, Program Assistant, Arts Education Teacher Resource Guides Michelle Cameron, The Writers Circle LLC Judith Lindbergh, The Writers Circle LLC Lia DiStefano, Graphic Design liadidadesign.com BRING THE ARTS TO YOUR SCHOOL In-School Residencies: Drama + Social Studies. Dance + Math. It all adds up in NJPAC s In-School Residencies in which professional teaching artists partner with educators to bring the arts into the classroom. Each 7- to 10-week program culminates in a student performance or an interactive family workshop. All programs address state and national standards. NJPAC is the regional provider in New Jersey for international arts programs like the Wolf Trap Institute s Early Learning Through the Arts Program and Dancing Classrooms Global. Assemblies: NJPAC presents engaging school assembly programs that are presented by professional artists that invite students into the enchanting world of live performance. NJPAC s assembly series promotes cultural awareness and invigorates learning by presenting works that are connected to your s school s curriculum. STUDY THE ARTS AT NJPAC After School and Saturday Programs: NJPAC s after school and Saturday programs are geared towards students at every level from those who dream of starring on Broadway to those who are still learning their scales. Students work with professional artists to build technique and develop their own creative style in chorus, contemporary modern dance, hip hop, jazz, musical theater and symphonic band. Summer Programs: Want to begin to explore the arts? Or immerse yourself in the study of one genre? Then join us at NJPAC next summer in one of seven programs that spark the creativity in every child through the study of music, dance and theater. NJPAC Arts Education programs are made possible through the generosity of our endowment donors: The Arts Education Endowment Fund in honor of Raymond C. Chambers, The Joan and Allen Bildner Family Fund, Albert and Katherine Merck, and The Sagner Family Foundation Generous annual support for NJPAC Arts Education Programs is provided by: NJ Advance Media/The Star-Ledger, McCrane Foundation, Inc., care of Margrit McCrane, John and Suzanne Willian/Goldman Sachs Gives, MCJ Amelior Foundation, Amy Liss, Jennifer A. Chalsty, Johnson & Johnson Family of Companies, Panasonic Corporation of America, and Atlantic, Tomorrow's Office, Stewart and Judy Colton For more information or to schedule an appointment, please call our education sales team at or us at artseducation@njpac.org. Visit us at New Jersey Performing Arts Center One Center Street Newark NJ New jersey performing arts center