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 (3rd 5th grade) www.asiandanceandtheatre.com 1
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. 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. 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. 2
P r o g r a m o v e r v i e w C O N T E N T S I N S I D E T H I S I S S U E : Surapsari s shadow puppet program invites your students to a magical world beyond time and space. They will enjoy a Balinese style shadow puppet play based on the beloved Hindu epic of The Ramayana. 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. Program Overview 2 Introduction to Bali 3 Balinese Shadow Puppetry 4 Ramayana Story 5 Pre-residency Activities 6 Shadow Puppet Show 13 Shadow Puppet Workshop 14 Vocabulary List 15 Post-residency Activities 16 To prepare your students for her show, Surapsari encourages you to try any or all of the pre residency activities suggested in this guide. Have your student read the shadow puppet story, The Ramayana, which is included in this guide. Have 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 how the universal theme of struggle between virtue and vice is expressed in different cultures, through various art forms. They will also learn about the components of shadow puppet theatre. Following the shadow puppet theatre presentation, your students will make a shadow puppet with movable parts and try it out with a screen and light. They will also learn how Balinese artisans make shadow puppets using materials obtained from nature. Furthermore, they will compare differences and similarities among shadow puppets from various parts of Asia. Surapsari recommends you to lead fun and creative post residency activities included in this guide. Create a story that features your students puppets, present it in the form of shadow play 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 3
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, predating 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. 4
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 into which the puppets are struck, 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 also 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. M e e t t h e p u p p e t s Kayonan (Tree of Life) It symbolizes the five great elements of Earth, Water, Fire, Air and Space. It always appears in the beginning and ending of a Balinese shadow puppet play. Rama (Hero) The main character who engages in battles against evil. Usually a prince or human being of outstanding moral qualities and power. Twalen (Clown-servant) Born from the dirt of the Supreme God, he possesses tremendous wisdom although he seems slow and foolish. Twalen appears in every Wayang Kulit story to assist the hero/main character to fight evil. Rawana (Evil) The destructive being who ignores dharma (the cosmic order) and create havoc; such as the evil king, his family member and servant, and fallen celestial being. Copyright 2014 Asian Dance & Theatre by Surapsari 5
r a m a y a n a : a g r e a t a d v e n t u r e The Ramayana was composed around the fourth century BCE in modern day India, by the sage Valmiki. It is considered the greatest Hindu literature, along with the Mahabharata. It consists of 7 sections (kanda) from which Balinese shadow puppet and dancedrama stories are taken. Bala Kanda The story of a young prince, Rama who abolished the ogres in the forest and won the hand of the princess Sita in a royal archery contest. Ayodya Kanda The King Dasaratha, in a plot by his third wife, banishes his most beloved son, Rama to the forest. Rama, accompanied by his wife, Sita and brother, Lakshmana embarks on twelve year exile, during which King Dasaatha dies heartbroken. Aranya Kanda The evil king, Ravana abducts Sita by sending a golden deer (Rawana s servant in disguise) to trick her. Kiskenda Kanda It tells of a story of two monkey brothers, Subali and Sugriwa, battling a demon together but eventually fighting against each other. After winning over his brother with Rama s help, Sugriwa assists Rama to rescue Sita and destroy Ravana. Sundara Kanda Rama sends Hanuman, the white monkey general to Ravana s island to locate Sita. Hanuman successfully finds her. On his way out, Hanuman sets fire on Ravana s city. Yudha Kanda It depicts the fierce battle scenes between Rama and Ravana, along with their allies and soldiers. Rama finally destroys Ravana. He is reunited with Sita and together returns to the kingdom of Ayodya. Uttara Kanda Rama, being suspicious about Sita s fidelity while being imprisoned at Ravana s palace, banishes her to the forest. Sita gives birth to twins and raise them with the sage Valmiki s help. Years later, Rama meets his twin sons and eventually realizes his mistake. He summons Sita back to the court, but she returns to her mother, the Earth. Rama establishes his sons as successors of his kingdom and leaves for heaven. M e e t t h e c h a r a c t e r s Rama The incarnation of the Lord Vishnu, the Sustainer. He was born into this world to defeat Ravana. Rama is considered to be the ideal ruler; compassionate, humble, righteous and generous, although possessing shortcomings as a humanbeing. Sita The incarnation of the Goddess Lakshmi, Vishnu s consort. The archetype of an ideal wife; loyal and affectionate. Hanuman The son of the God of Wind. He possess supernatural power and can fly for thousands of miles. Hanuman selflessly serves Rama. Lakshmana Rama s younger brother who remains loyal to both Rama and Sita throughout the challenging times. Ravana The evil king of Lanka who disturbs dharma (the cosmic order) with uncontrolled desire and greed. Copyright 2014 Asian Dance & Theatre by Surapsari 6
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; (Florida Standards Connections: SS.3.G.1.2, SS.3.G.1.3, SS.4.G.1.4, SS.5.G.1.1, SS.5.G.1.2)* 1) Label the Asian continent and surrounding oceans on a world map. 2) Mark India, Indonesia, and Bali on a regional map. 3) Describe each location using cardinal directions, longitude, and latitude. 2. Reading comprehension & discussion; (Florida Standards Connections: LAFS.3.RL.1.1, LAFS.3.RL.1.3, LAFS.3.SL.1.1, LAFS.4.RL.1.2, LAFS.4.RL.1.3, LAFS.4.SL.1.1, LAFS.5.RL.1.1, LAFS.5.RL.1.2, LAFS.5.SL.1.1) 1) Have your students read the Ramayana: Rescuing Sita which is included in this guide (page 8). 2) Ask them questions about character traits, setting, story line, theme, and moral of the story, using the Story Analysis sheet on page 13. 3) Lead a discussion on cultural traits that are expressed through characters, environment, and messages in the story. 3. Music; (Florida Standards Connections: 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). 1. Ask you students, What type of instruments can you recognize? What feeling or mood is expressed through the music? 2. Tell your students how Balinese people practice music and how music is an important element of Balinese village life, using the following information. 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 womens gamelan clubs enter contests and perform for tourists. *For a complete listing of Florida Standards Connections please refer to pages 18 20 of this study guide. 7
RAMAYANA: RESCUING SITA Retold by Surapsari, based on the Ramayana by Valmiki Once upon a time, in the great kingdom of India, there lived a noble prince named Rama. One day, his stepmother drove Rama away from the castle so that her own son could become the next king. Rama, being respectful of her order, chose to live in the forest. His beautiful wife, Sita who loved Rama deeply insisted that she go with him. Lakshmana, Rama s faithful younger brother, also decided to live in the forest with Rama and Sita. Their life deep in the forest was very lonely. They built a hut and grew flowers to make their life more pleasant. Lovely animals came to see Sita. She enjoyed feeding them because it made her forget about the boredom of living in the forest. Meanwhile, there was somebody who was watching Sita secretly. It was Ravana, an evil king whose kingdom was on the island of Lanka. He was a terrible monster with ten heads and twenty arms. He had magical powers and always made troubles with the Gods. He was attracted by the beauty of Sita and planned to kidnap her. He ordered his demon servant, Maricha to disguise himself as a golden deer to lure Rama and Lakshmana away from Sita. One day, Sita saw something run quickly through the woods. It was a beautiful deer, with the body in the color of shining gold. Sita was so charmed by this golden deer that she wanted it for herself. Repeatedly, she tried to catch it, but the deer ran away swiftly. Sita asked her husband, Rama, My dear, would you please go and catch that beautiful deer? How wonderful it would be if I could care for it everyday! Rama, who loved his wife very much and wanted to please her, decided to go after the deer. He told his brother Lakshmana to protect Sita while he was away. For some time, Rama searched for the golden deer. The deer ran very fast and led Rama deep into the forest. 8
RAMAYANA: RESCUING SITA When Rama finally got close enough, he shot an arrow at the deer. The deer fell down on the ground. But he was actually Maricha, Ravana s demon servant in disguise! Maricha suddenly cried out, mimicking the voice of Rama, Help, Lakshmana! Help me! The voice echoed far in every direction in the forest. When Sita heard the voice crying for help, she urged Lakshmana to go and help Rama. Lakshmana was confident that Rama was safe and the voice was only a fake. He tried to convince Sita. Sita, in her great anxiety, got angry with Lakshmana and said, Would you let your brother die? Are you hoping to marry me after his death? Lakshmana was hurt by Sita s severe words. He decided to go for finding Rama to clear her suspicion. But Lakshmana was still worried about leaving Sita alone. He drew a big circle with fire around her and cast a protective spell upon it. He said to Sita, No evil spirits can enter this fire circle. Please be careful while I m gone. Then, he left her to search for Rama. Meanwhile, Ravana was sure that Sita was alone in the forest. He disguised himself as an old man and approached her. The old man spoke gently to Sita, I have been walking through the forest and very thirsty. Could you give me some water, please? Sita poured a glass of water but remembered Rama s warning. She said to the old man, Please come here and take the water. I was told to stay inside this fire circle. The old man tried to enter the fire circle, but he couldn t because of Lakshmana s magic spell. So, he said, I m sorry, but please bring the water here. I m too weak to take any more steps. Sita hesitated for a while, but she felt sorry for the old man. She stepped out of the magic circle to give him the water. At that moment, the old man changed back into his original form. Sita, I ve tricked you! I m Ravana, the great king of Lanka. Now, I will make you my wife! In this way, Ravana captured Sita and took her to his kingdom. 9
RAMAYANA: RESCUING SITA Meanwhile, Lakshmana found Rama in the forest. Rama scolded Lakshmana, Why did you leave Sita alone? The golden deer was Maricha in disguise! Rama and Laskhmana anxiously returned to Sita. But she was not inside the fire circle. The brothers searched far and wide for Sita. But she was nowhere to be seen. She had totally disappeared. Suddenly, they heard a cry. They ran towards the voice and found a wounded eagle lying on the ground. It was Jatayu, the king of the birds. Jatayu spoke with great pain, "I saw Ravana kidnaping Sita. I attacked him to rescue her, but he cut my wing and made me helpless. Then he flew towards the south with Sita." With that being said, Jatayu died in Rama s arms. Rama and Lakshmana prayed for Jatayu s soul. Then, they followed Ravana s trail. On their way, the brothers gained help from the monkey army. Rama asked Hanuman, the monkey general, to be his messenger. Hanuman used his supernatural power and flew over the sea to search for Sita. After a long journey, Hanuman secretly entered Lanka, Ravana s kingdom and at last, found Sita imprisoned at his palace. Sita was crying sadly. Hanuman approached Sita very carefully, so that the watchmen didn t notice him. Princess Sita, please don t be afraid. I m a friend of Prince Rama. He sent me to look for you. To prove it, I have brought this ring from Rama. She took Rama s ring and gazed at it for quite a long time. Tears ran down on her cheeks. It was all my fault that I got captured by the evil king of Lanka. I begged Rama to go after the golden deer and forced Lakshmana to search for him. Now I m miserable at Ravana s palace, and the two noble men whom I love and respect need to battle Ravana to rescue me. Sita gave Hanuman a golden flower from her hair to show Rama that she is still alive. Hanuman left Sita, telling her that Rama would rescue her soon. But soon afterwards, Hanuman was noticed by the watchmen. Ravana s soldiers chased Hanuman and set his tail on fire. But Hanuman, the clever monkey, ran around the rooftops of Ravana s kingdom and set fire throughout the town with his burning tail. Then Hanuman escaped the panic stricken town and returned to Rama s camp. After receiving the news from Hanuman, Rama led his troops to the island of Lanka. When the group reached the coast, the monkey army began to build a long, long, bridge over the sea, using sticks and stones. Then, Rama s troops rushed across the bridge and landed on Lanka. 1
RAMAYANA: RESCUING SITA Suddenly, the voice of Indrajit, Ravana s son, echoed through the air. Stay away from Lanka, or you shall die! Indrajit had magical power to stay invisible while fighting. Without being seen by anyone, he rained thousands of poison arrows upon Rama s forces. So overwhelming was this attack that the monkey soldiers collapsed onto each other lifeless. "I shall send all of you to the house of death!" cried Indrajit. Rama and Lakshmana desperately fought on. But Lakshmana got wounded severely and eventually fell to the ground unconscious. Rama stood by Lakshmana in disbelief. My brother! How can I continue this battle without you? Then, Hanuman shouted with a thunderous voice, "Fight! Fight on!" Hanuman flew back to the north over the sea, into the far away mountains of the Himalayas. Once in the Himalayas, Hanuman reached the Medicine Hill of Life, crowned with magical healing herbs that were brought from the Moon long time ago. There was no time for Hanuman to choose and pick herbs. So in three strikes, Hanuman uprooted the entire mountain. He swiftly flew back to Lanka, with the mountain on his shoulders. Upon his return, the fragrance of the healing herbs spread over the battlefield and revived Lakshmana, along with all the dead monkeys. Rama s troops regrouped and charged Ravana s army. Lakshmana destroyed Indrajit s chariot, the source of his invincibility. Lakshmana then shot a mighty arrow at Indrajit, which ended his life. Ravana, fuming by the death of his son, determined that it is now the time to finish Rama. Rama and Ravana dueled fiercely. Every time Rama s arrow cut off Ravana s head, a new one grew in its place. The demon king counterattacked with thousands of arrows. But all his arrows melted away as they touched Rama s armor. Finally, Rama commanded, Ravana, surrender to your fate! He shot a magical arrow, which brought Ravana to his end. In this way, Rama rescued his wife, Sita. The Gods are delighted at their victory and rained flowers from heaven in praise. The End 10
REFERENCES Wardana, Ida Bagus Wishnu. A Ramayana Picture Book. SINTA Projects, 1997 Buck, William. Ramayana. University of California Press, 1976 Kam, Garrett. Ramayana in the Arts of Asia. Select Books Pte Ltd, 2000 Copyright 2014 Asian Dance & Theatre by Surapsari www.asiandanceandtheatre.com 11
Name: Date: RAMAYANA: STORY ANALYSIS Setting (where and when does the story take place?) Plotline (No more than 5 sentences) Traits of the main characters Rama Sita Lakshmana Hanuman Ravana Themes Moral of the story 12
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 adventurous story of the Ramayana, depicted by mysterious shadow puppets, accompanied with exotic chanting and dreamy gamelan (traditional Indonesian music). Your students will explore how the universal theme of struggle between virtue and vice is expressed through Balinese shadow puppet theatre. They will also learn how improvisational sound, background music, props, and certain techniques of maneuvering puppets create dramatic effects. o b j e c t i v e s The students will be introduced to Balinese shadow puppet theatre for cultural and artistic enrichment. The students will discover how the same theme is expressed through different art forms in various cultures. The students will identify the elements of Balinese shadow puppet theater and learn how manipulation of them enhance dramatic effects. f l o r i d a s t a n d a r d s English Language Arts LAFS.3.SL.1.3, LAFS.4.SL.1.2, LAFS.5.SL.1.3 Theatre TH.3.C.1.2, TH.3.H.1.1, TH.3.H.2.1, TH.4.C.3.3, TH.4.H.2.1, TH.5.H.2.1, TH.5.H.3.3 13
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 students will make a shadow puppet with a movable part and try it out with a screen and lighting. They will also learn how Balinese artisans make shadow puppets using natural materials. Furthermore, they will compare shadow puppets from different parts of Asia, to identify similarities and differences. o b j e c t i v e s The students will learn how Balinese artisans make shadow puppets with materials obtained from nature. The students will compare differences and similarities in shadow puppets from different parts of Asia. The students will make a shadow puppet with a movable part using their imagination, while following basic instructions given by the teaching artist. f l o r i d a s t a n d a r d s Visual Arts VA.3.C.1.1, VA.3.H.2.1, VA.3.F.3.3, VA.3.O.2.1, VA.4.F.3.3, VA.4.S.3.3, VA.4.H.1.3, VA.5.S.3.1, VA.5.S.3.2, VA.5.H.2.1, VA.5.S.3.3 14
V O C A B U L A R Y L I S T (Florida Standards Connections: LAFS.3.L.3.4, LAFS.4.L.3.4, LAFS.5.L.3.4) Bali A small island in Asia. Shadow Puppet Play Wayang Kulit 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. A style of shadow puppet theatre performed in Bali. 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. Epic A long poem about a hero or exciting adventure. Universal Existing or true at all times or in all places. Ancestor A person who was in someone s family in past times. Hide (noun) The animal skin treated for human use. Paper Punch Paper Fastener A tool for making holes in paper. a stationery item used for keeping sheets of paper together. 15
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.3.S.1.1, VA.3.S.1.2, LAFS.3.RL.1.2, VA.4.S.1.2, VA.4.S.1.3, LAFS.4.RL.3.9, VA.5.S.1.3, LAFS.5.RL.3.9) L e s s o n i d e a s 1. Create Shadow Puppet Theatre; 1) By referring to the website listed below, create a simple shadow puppet theater set. 2) Divide the class into groups of three or four students. Have each group create a simply story that features all group members puppets. 3) Have your students practice maneuvering their puppets on the screen. 4) Instruct the groups to create a short shadow play incorporating their puppets and story. Have each group perform a five minute presentation. 2. Science of Light and Shadow; Experiment how the intensity and shape of the shadow changes when the object is angled to the surface in different degrees. Press the puppet onto the screen and move it away toward the light source. How did the shadow change? Darker or lighter? Larger or smaller? 3. Reading Practice; Have your students read different versions of the Ramayana story from various parts of Asia. r e s o u r c e s Shadow Puppet Theatre Stage How to make your own shadow puppet theater YouTube https://www.youtube.com/watch?v= hl28skhf1g Shadow Puppets from around the World Shadow puppet theater around the world http://en.wikipedia.org/wiki/shadow_play Shadow puppet theater in China, Turkey, india, and Java http://www.ehow.com/about_5112113_history shadow puppets.html#ixzz22owmm153 The World of Shadow Puppetry: Shadow Puppets from around the World http://shadow en.kccc.gov.tw/a07_3.html The Ramayana from around the World The Illustrated Ramayana for Children (Thai version) http://kirtimukha.com/krishnaswamy/index.htm The Ramayana: Variant Versions, Grade Saver LLC http://www.gradesaver.com/the ramayana/wikipedia/variant versions 16
E x p e r i m e n t w i t h s h a d o w p u p p e t s Three things are necessary to create a shadow; a light source, an object to block the light, and a surface on which the shadow forms. Light travels outward from a source in a straight line. Depending on material of an object that blocks light, a shadow can be created, in different effects. Transparent material transmits light, allowing an object to be clearly seen through the material. Translucent material transmits some light, not powerful enough for an object to be seen clearly through the material. Opaque material absorbs or reflects light, not allowing an object to be seen through the material Shadow puppet theatre is presented with a translucent screen; an opaque screen would block the light and the audience would not be able to see the puppet show, while a transparent screen would make both puppets and a puppeteer clearly seen. Shadow puppets are made of opaque materials, such as animal hide and paper. Qualities of shadows changes according to the intensity and position of the light source, as well as with the distance between the light and the object and between the object and the surface on which the shadows form. Experiment how the intensity and shape of the shadow changes when the object is angled to the surface in different degrees. Press the puppet onto the screen and move it away toward the light source. How did the shadow change? Darker or lighter? Larger or smaller? 17
Balinese Shadow Puppet Theatre & Workshop (3 rd 5 th grade) Florida Standards Connections Pre Residency Activities, p. 6 1. Map Study 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. SS.4.G.1.4 Interpret political and physical maps using map elements (title, compass rose, cardinal directions, intermediate directions, symbols, legend, scale, longitude, latitude). SS.5.G.1.1 Interpret current and historical information using a variety of geographic tools. SS.5.G.1.2 Use latitude and longitude to locate places. 2. Reading Comprehension and Discussion LAFS.3.RL.1.1 Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for the answers. LAFS.3.RL.1.3 Describe characters in a story (e.g., their traits, motivations, or feelings) and explain how their actions contribute to the sequence of events. LAFS.3.SL.1.1 Engage effectively in a range of collaborative discussions (one on one, in groups, and teacher led) with diverse partners on grade 3 topics and texts, building on others ideas and expressing their own clearly. LAFS.4.RL.1.2 Determine a theme of a story, drama, or poem from details in the text; summarize the text. LAFS.4.RL.1.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character s thoughts, words, or actions). LAFS.4.SL.1.1 Engage effectively in a range of collaborative discussions (one on one, in groups, and teacher led) with diverse partners on grade 4 topics and texts, building on others ideas and expressing their own clearly. LAFS.5.RL.1.1 Quote accurately from a text when explaining what the text says explicitly and when drawing inferences from the text. LAFS.5.RL.1.2 Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text. LAFS.5.SL.1.1 Engage effectively in a range of collaborative discussions (one on one, in groups, and teacher led) with diverse partners on grade 5 topics and texts, building on others ideas and expressing their own clearly. 3. Music 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. Balinese Shadow Puppet Show Objective, p. 13 18
LAFS.3.SL.1.3 Ask and answer questions about information from a speaker, offering appropriate elaboration and detail. LAFS.4.SL.1.2 Paraphrase portions of a text read aloud or information presented in diverse media and formats, including visually, quantitatively, and orally. LAFS.5.SL.1.3 Summarize the points a speaker makes and explain how each claim is supported by reasons and evidence. TH.3.C.1.2 Watch a play and describe how the elements of light, costumes, props, and sound influence the mood of the production. TH.3.H.1.1 Understand how cultural differences are expressed through character, environment, and theme. TH.3.H.2.1 Identify geographical or cultural origins of stories. TH.4.C.3.3 Define the elements of a selected scene that create an effective presentation of an event or person. TH.4.H.2.1 Discover how the same idea or theme is treated in a variety of cultural and historic periods. TH.5.H.2.1 Recognize theatre works as a reflection of societal beliefs and values. TH.5.H.3.3 Demonstrate how the use of movement and sound enhance the telling of a story. Shadow Puppet Workshop, p. 14 VA.3.C.1.1 Use the art making process to develop ideas for self expression. VA.3.H.2.1 Compare differences or similarities in artworks across time and culture. VA.3.F.3.3 Demonstrate the skills needed to complete artwork in a timely manner, demonstrating perseverance and development of 21st century skills. VA.3.O.2.1 Use creative and innovative ideas to complete personal artworks. VA.4.F.3.3 Demonstrate the skills needed to complete artwork in a timely manner, demonstrating perseverance and development of 21st century skills. VA.4.S.3.3 Follow procedures for using tools, media, techniques, and processes safely and responsibly. VA.4.H.1.3 Describe artworks that honor and are reflective of particular individuals, groups, events, and/or cultures. VA.5.S.3.1 Use materials, tools, techniques, and processes to achieve expected results in twoand/or three dimensional artworks. VA.5.S.3.2 Use craftsmanship and technical ability in personal works to show refinement of skills over time. VA.5.H.2.1 Compare works of art on the basis of style, culture, or artist across time to identify visual differences. VA.5.S.3.3 Use tools, media, techniques, and processes in a safe and responsible manner. Vocabulary, p. 15 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. LAFS.4.L.3.4 Determine or clarify the meaning of unknown and multiple meaning words and phrases based on grade 4 reading and content, choosing flexibly from a range of strategies. LAFS.5.L.3.4 Determine or clarify the meaning of unknown and multiple meaning words and phrases based on grade 5 reading and content, choosing flexibly from a range of strategies. Post Residency Activities, p. 16 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. 19
LAFS.3.RL.1.2 Recount stories, including fables, folktales, and myths from diverse cultures; determine the central message, lesson, or moral and explain how it is conveyed through key details in the text. 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. LAFS.4.RL.3.9 Compare and contrast 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.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. LAFS.5.RL.3.9 Compare and contrast stories in the same genre (e.g., mysteries and adventure stories) on their approaches to similar themes and topics. 20