P U R N A M A S A R I B A L I N E S E D A N C E C O M P A N Y. Teacher s Guide (grade 3-5) P r o g r a m o v e r v i e w

Mask Dances of Bali P U R N A M A S A R I B A L I N E S E D A N C E C O M P A N Y Teacher s Guide (grade 3-5) P r o g r a m o v e r v i e w I N S I D E T H I S I S U E : C O N T E N T S Program Overview 1 Introduction to Bali 2 Balinese Mask Dance 3 Pre-show Lessons 4 Mask Dance Performance 11 Post-show Lessons 12 Purnama Sari s Mask Dances of Bali introduces your students to the Indonesian island highly praised for its natural beauty, rich culture and fascinating arts. It provides your students with an opportunity to make connection between the culture from a far away land and their own. Not only entertaining and artistic, Balinese mask dance invites your students to capture character traits and express them through creative movement and acting. While having fun throughout this program, your students will develop academic skills in school subjects such as; language arts (reading /listening comprehension and writing), social studies (geography), theater, music, dance and visual arts. To prepare your students for the performance, Purnama Sari encourages you to try any or all of the pre-show lessons suggested in this study guide; Have your students read a Balinese creation myth, Rajapala, which is included in this study guide. Help them identify the elements of the story, such as the plot-line, characters and setting. The pre-show activities could also include map study and listening to traditional Balinese music, Gamelan. Ask your students what instruments they can recognize in gamelan music and how it sounds different from western classic music. At their performance, Purnama Sari will offer an interactive talk on cultural values and beliefs that are expressed through Balinese mask dances. There will be opportunities for your students to try on masks and create their own movements that express individual characters represented by the masks. Your students will also have a time to ask questions and make comments. Purnama Sari suggests you to lead fun and creative postshow activities, such as making original masks and composing simple stories that feature those masked characters. They could even create short plays, incorporating their stories and masks. Encourage them to invent movements that express their masked characters. Remind them how Purnama Sari dancers expressed their characters through particular choreography and improvisation. Additionally, you could also show your students masks from around the world to further explore this fascinating topic. Possibilities are endless, as you can see! P u r n a m a s a r i : t h e s p i r i t o f b a l i Purnama Sari (meaning essence of full moon in Indonesian) was founded by Surapsari and Indra of Sarasota, Florida. Surapsari and Indra, long time residents of Bali, studied traditional Balinese dance, theatre and shadow puppetry with internationally acclaimed artists from Ubud, the arts capital of Bali. Since its inception in 2000, Purnama Sari has been performing and teaching internationally. Surapsari mastered a wide range of Balinese dance in both male and female styles. Her extensive dance repertoire includes Gambuh (the 500 year old Balinese theater), classic court dances, ancient ritual dances, mask dances and dance-dramas. Surapsari is also a published author and teacher on Balinese performing arts and culture. She holds a Master s degree in intercultural relations from Lesley University in Massachusetts. Indra received a Master s degree in interdisciplinary study from Lesley University. A great deal of his academic work was conducted in Bali and centered on ethnographic studies, myth and Balinese dance in practice and theory. He studied with renowned masters of Topeng (mask dance) including legendary I Made Djimat. www.purnamasaribali.com 1

B a l i : t h e i s l a n d o f t h e g o d s 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, lush rice terraces along with tropical fauna and flora, provides a photogenic backdrop to its colorful and deeply spiritual culture, awarding the island famed nicknames such as, The Island of the Gods, The Morning of the World and The Island of Thousands 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. It reflects influences 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 selfexpressions. Dance, theatre, 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 theatre is the most prominent, arresting showcase of beauty and refinement; otherworldly gamelan music, ancient chants, regal costumes with glittering fabric and intricate leather work and sophisticated wood masks. Dance and theatre is also irreplaceable entertainment in otherwise rather plain Balinese village life. It unites Balinese people from young to the aged, thus making itself as an important social function. As traditional dances and theatres tread steady decline in the rest of the world, Balinese performing arts are thriving, churning new creations and generating the ever increasing number of artists while maintaining their 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 consist of 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 young to aged can learn to dance for free of charge. THEATRE In Bali, theatre 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 theatre 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. Purnama Sari Balinese Dance Company 2

m y s t e r y b e h i n d B a l i n e s e m a s k d a n c e Balinese Topeng (mask dance and dance-drama) is rooted in ancient rituals and is truly native. It pays homage to ancestor spirits and the glorious past. Topeng exhibits array of archetypes; King, Servant, Old Man, Shaman, Prime Minister, Clown characters from every rank of society are accommodated in this art form. No one is perfect. Even noble or holy characters have faults and are troubled by mistakes, which makes Topeng accessible to anyone. Mask-making itself is a ritual in Bali. It begins with collecting pule wood at graveyard on an auspicious day. The mask-maker presents offerings to ask for a permission to take the wood. Once the material is obtained, the mask-maker waits for inspiration as to which mask to make. He eventually carves out a character face, smooth the surface with sandpaper and apply layers of color coating. He finishes the mask with the hair, eyebrows and mustache made of goat hair. A number of purification ceremonies have to be performed before the mask is worn for sacred dances. Topeng dancers must go through a series of purification ceremonies as well. They meditate on the particular mask to receive taksu, the divine energy charged with the spirit of the mask. Topeng dancers movements are highly stylized reflecting traits of each character, with some room for improvisation. Some Topeng characters chant ancient verses in Kawi, the archaic language mixture of Indian Sanscrit, classic Javanese and native Balinese languages. Chants often include prayers and imply principles of Balinese philosophy. After centuries of existence, Topeng is thriving in Bali. This is the heart of the Balinese, the spirit of the enchanted island. M e e t t h e c h a r a c t e r s Dalam (King) The embodiment of refinement, generosity and compassion. Telek (Guardian of Forest) She is graceful yet powerful. She chases away disturbing forces with calm attitude. Barong (Sacred Beast) This Protector of the Village defends the cosmic order that Balinese Hindus adhere to. Keras (Prime Minister) He is rigid, authoritative and determined. Tua (Elderly man) His humorous manner brings out laughter from the audience. Lucu (Comic) The naughty and funny character whom the Balinese love to watch. Purnama Sari Balinese Dance Company 3

P r e - s h o w l e s s o n s L e s s o n p l a n s 1. Map study; 1) Label the Asian continent and surrounding oceans on a world map. 2) Mark Indonesia and Bali on a regional map. 3) Describe the location of each country using map elements such as cardinal directions, longitude and latitude. 2. Reading comprehension & discussion; Have your students read a Balinese creation myth, Rajapala (page 7 of this guide). Ask them questions about character traits, setting and story-line, using the Story Analysis sheet on page 10. Lead a discussion about cultural traits that are expressed through characters, environment and messages in the story. 3. Music; Play Balinese traditional music, Gamelan (http://www.tunasmekar.org/listen.html) and ask your students ; 1) what instruments they can recognize, 2) what feeling or mood is expressed through the music. Tell your students how Balinese practice music and how music is an important element of Balinese village life, using the information n e x t g e n e r a t i o n s u n s h i n e s t a t e s t a n d a r d s Social Studies 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.1.2 Use latitude and longitude to locate places. Language Arts LACC.3.RF.4.4, LACC.4.RF.4.4 LACC.5.RF.4.4 Read with sufficient accuracy and fluency to support comprehension. LACC.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. LACC.4.RI.1.2 Determine the main idea of a text and explain how it is supported by key details; summarize the text. LACC.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. LACC.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. LACC.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). LACC.5.RL.1.3 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). 4

p r e - s h o w l e s s o n s Music MU.3.H.1.1 Compare indigenous instruments of specified cultures. MU.4.H.1.1 Examine and describe a cultural tradition, other than one s own, learned through its musical style and/ or use of authentic instruments. MU.5.H.1.1 Identify the purposes for which music is used within various cultures. MU.3.H.1.3 Identify timbre(s) in music from a variety of cultures. MU.4.H.1.3 Identify pieces of music that originated from cultures other than one s own. MU.5.H.1.3 Compare stylistic and musical features in works originating from different cultures. 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 young to 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. In the past few decades, there has been great innovation in the gamelan world. The great number of new music pieces have been created, under the influences from foreign cultures and modern technologies. r e s o u r c e s The Angel and Rajapala (A Balinese Fairy tale) on Vimeo Gecko: A Balilnese Folktale on Youtube A Balinese Folktale: Cupak and Grantang - Bali Hotel Villa Blog What is Gamelan? - Bali & Beyond THE INSTRUMENTS FOR GAMELAN BALI - University of Hawaii http://vimeo.com/11074221 http://www.youtube.com/watch?v=1hxbyec5h9w http://blog.baliwww.com/tale/707 http://www.balibeyond.com/gamelan.html http://remus.shidler.hawaii.edu/gamelan/baliinst.htm Listen to Balinese gamelan music recorded by Gamelan Tunas Mekar http://www.tunasmekar.org/listen.html 5

Southeastern Asia Map 6

RAJAPALA Balinese Creation Myth Encounter by the pond Once upon a time, deep in the forest of Singapanjara, there lived a young hunter named Rajapala. One day, being exhausted from a long hunt, Rajapala was resting by a pond. Suddenly, a beautiful rainbow appeared in the sky. Bidadaris, heavenly maidens descending from the kingdom of Gods and Goddesses, flew over the sky flipping their scarves as wings. They slid on the rainbow and landed by the pond. They all had beautiful hair as shiny as gold and their skin smooth as silk. They were laughing and chatting to each other like playful birds. They took off their scarves and walked into the water to bathe. Rajapala was struck by the beauty of the Bidadaris. Especially, the youngest caught his heart. Her name was Kensulasih. He felt immediate love for her and couldn t resist stealing her scarf to create a chance to meet her. After a long bath, the Bidadaris came out of the pond one by one. Flipping their scarves, they flew back to heaven. At last, Kensulasih emerged out of the water. She looked for her scarf but couldn t find it. Kensulasih was alone and in despair. All the other Bidadaris had gone back to heaven. Rajapala appeared behind a bush and approached Kensulasih. Beautiful young lady, what s troubling you? Kensulasih told him how she was left behind her celestial sisters and asked him to help her. Rajapala said to her, I can t send you back to heaven. But I will make you happy as my wife. Kensulasih really wanted to return to heaven, but without her scarf, she couldn t fly. She agreed to marry Rajapala but told him that she would have to return to heaven once their child was born, which should give her power to fly back home. In this way, they were married. Rajapala hid her scarf in the bottom of piled sacks of rice in the storage, hoping that she wouldn t find it. Magic of rice Rajapala and Kensulasih lived together happily. Kensulasih s love for her husband grew day by day, and she soon became pregnant. Kensulasih was so content about her new family that she forgot about returning to heaven. She was a wonderful wife, showing great love for her husband. Life as a hunter was not easy one. Often times, game was scarce in the forest, and Rajapala came back home with no food for dinner. However, Kensulasih always had a magical way of producing rice enough to feed them for weeks after weeks, never opening a new sack of rice. One day, Rajapala asked Kensulasih how she can offer him rice at every meal although they hardly had any money to buy the grains. Kensulasih smiled and said to him, My dear husband. It is made possible with my love. She then told him never to look at her cooking rice. Rajapala became very curious and decided to watch secretly how Kensulasih cooked rice. One early morning, before the birds began singing their daybreak song, Rajapala quietly approached the kitchen, opened the door slightly and peeked inside. He saw Kensulasih pick up just one grain of rice and put it into the pan. She poured plenty of water, covered with a lid and put the pot on fire. First, the sound of boiling water and then, aroma of cooked rice came from the pot. Kensulasih opened the lid, and the pot was full of rice from just one grain! Rajapala was very surprised and gasped loudly. Kensulasih noticed that she had been spied on and felt betrayed. I have been a faithful wife since the day I met you. In this marriage, I didn t ask you for any luxury, nor money, but just a promise not to see me cooking. Since you broke your promise, I will return home to heaven. Purnama Sari Balinese Dance Company 7

Rajapala apologized and begged Kensulasih to stay. At first, Kensulasih refused his request but realized that she still loved him so much. She was also concerned about their unborn baby. She agreed to stay with Rajapala. One day, Kensulasih went to the storage, looking for rice. Then, she saw a little piece of beautiful cloth showing under a pile of empty rice sacks. It was the scarf she lost at the pond. Kensulasih retrieved it and decided to fly back to heaven when their child was old enough to live without her. Kensulasih s departure Soon, Rajapala and Kensulasih gave birth to their son, Durma. Durma was a beautiful boy with the eyes shining like stars. Kensulasih was very happy about her new family on the earth. Rajapala, regretful about his broken promise, became a very faithful husband and caring father. Their life remained very modest, but their little home in the forest was filled with love. There was nothing Kensulasih was unhappy about her life on the earth, but she knew that she had to return to heaven where she truly belonged. One day, Kensulasih told her family that now is the time for her to return to heaven. Little Durma cried and begged her not to leave them. But Kensulasih s heart was already set. She told her husband and son that she would always be watching over them from heaven. She put on her scarf and flew away. Rajapala s departure Rajapala had been heart broken since Kensulasih was gone. He blamed himself for her departure and felt great sorrow for Durma losing his mother at such a tender age. Rajapala took good care of his son and tried to live happily with him. But Rajapala s despair was endless. Many years passed, and Durma grew up to be a strong, clever, young man with a noble heart. Rajapala saw him mature enough to be on his own. Rajapala decided to retreat deep into the forest, to meditate on his past mistakes and pray for his son s future. Durma was left alone in the little hut, without guidance from his parents. Durma, sad and angry, began a journey into the deep forest, searching for his father. Durma s adventure The forest grew thicker and thicker as Durma journeyed. Suddenly, a hideous giant appeared in front of him. Her name was Durgadeni. Durgadeni, the merciless witch, fell in love with handsome Durma. She threatened him, I will eat you up if you don t marry me! Durma had no choice but making her his wife. Durgadeni was so delighted that she couldn t resist boasting about the secret of her magical power. There is only one being who can destroy me somebody born from a Bidadari and a human! But there is no such a being in this world, and that is why I m immortal! Ha, ha, ha, ha!! Learning about her secret, Durma came up with a plan. Later at night, Durma quietly approached Durgadeni who was in the deep sleep. Durma prayed a while for Durgadeni s soul. Then, he took out his dagger and thrusted it into her body. In this way, Durma got away from Durgadeni. Family reunion Durma continued the search for his father. After many adventures, Durma finally found him meditating under a tall Bodhitree. Purnama Sari Balinese Dance Company 8

Durma approached him quietly. Rajapala, still his eyes closed, felt the presence of his beloved son and talked to him. My son, please forgive me. I didn t leave you for the sake of my own happiness. I needed to be alone so that I can return as a stronger, wiser father who can assist you throughout your life. Durma was filled with a great joy of being reunited with his father. He forgot about all the resentment and anger he had been feeling. Only endless love and sympathy for his father filled his heart. The father and son held each other and wept. At the same time, a light shone down from heaven. Rajapala and Durma looked up and then, saw their beloved Kensulasih in the sky. Kensulasih smiled down and told them that she would be with them whenever and wherever they were. She also told Durma never to forget that he belongs to the both worlds of heaven and earth. Even today, when a Balinese baby cries, his mother takes him out under the starry sky and tells him that he was born from heaven and earth. THE END Purnama Sari Balinese Dance Company 9

Name: Date: RAJAPALA: STORY ANALYSIS Setting (where and when does the story take place?) Plotline (No more than 5 sentences) Traits of the main characters Rajapala Kensulasih Theme Moral/messages of the story _ 10

B a l i n e s e m a s k d a n c e p e r f o r m a n c e B y p u r n a m a s a r i Welcome to Purnama Sari s Balinese mask dance performance! You and your students will meet a variety of masked characters who dance in individually stylized manners with some improvisation. These masked characters embody cultural values and beliefs of Balinese people. Purnama Sari will tell you the stories behind the masks which assist your students understand the different culture. There will be opportunities for your students to try on Balinese masks and improvise movements that express the characters. In Bali, dance means much more than physical movement; it is a showcase of movement, visual arts (masks, costumes, headdresses and stage setting), music (traditional gamelan) and theater (storytelling through dance). Be dazzled by legal costumes glittered with gold. Flow into mystical chants and otherworldly sound of gamelan. In the end of the performance, your students will have a time to ask questions and make comments to conclude their rare experience of the exquisite art from a far away land. o b j e c t i v e s The students will watch a presentation of Balinese mask dances and learn how cultural traits and values are expressed through this art form. The students will listen to the gamelan music that accompanies each dance piece and compare it with other musical forms. The students will learn how a mask evokes certain feelings and moods which culminate into a series of physical movements that make up a dance piece. The students will try on Balinese masks or watch their peers trial and experience or witness embodiment of the masked character. The students will participate in Q & A and discussions in appropriate manner. N e x t g e n e r a t i o n s u n s h i n e s t a t e s t a n d a r d s LACC.3.SL.1.1, LACC.4.SL.1.1, LACC.5.SL.1.1 Engage effectively in a range of collaborative discussions. LACC.3.SL.1.2 Determine the main ideas and supporting details of a text read aloud or information presented in diverse media and formats, including visually, quantitatively, and orally. LACC.3.SL.1.3 Ask and answer questions about information from a speaker, offering appropriate elaboration and detail. VA.3.H.1.3 Identify and be respectful of ideas important to individuals, groups, or cultures that are reflected in their artworks. MU.3.H.1.3 Identify timbre(s) in music from a variety of cultures. MU.4.H.1.3 Identify pieces of music that originated from cultures other than one s own. 11

P o s t - s h o w l e s s o n s L e s s o n p l a n s 1. By referring to the websites listed in the Resource section on page 14, have your students create a mask of their own design. 2. Divide the class into groups of four or five and have each group create a simply story that features each group member s masked character. 3. Instruct the groups to create movements that express their masked characters. 4. Instruct the groups to create a short play incorporating their masks, original story and movements. Have each group do a ten minute presentation. 5. Show your students masks from around the world, using an online PowerPoint document (www.whms.jordan.k12.ut.us/teachers/packer/powerpoints/masks.ppt ). Lead a discussion on similarity and differences among masks from different cultures; in terms of material, features and purpose for use. n e x t g e n e r a t i o n s u n s h i n e s t a t e s t a n d a r d s Language Arts LACC.3.L.1.1, LACC.4.L.1.1,LACC.5.L.1.1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. LACC.3.L.1.2, LACC.4.L.1.2, LACC.5.L.1.2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. LACC.3.W.1.3. LACC.4.W.1.3, LACC.5.W.1.3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences. Dance DA.3.F.1.1 Create dance pieces that interpret characters from stories, poems, and other literature sources. DA.3.F.3.1 Be on time and prepared for classes, and work successfully in small- and large-group cooperative settings, following directions given by the teacher or peers. DA.4.F.3.1 Be on time, prepared, and focused in classes, and share skills and ideas with peers appropriately. DA.5.F.3.1 Show leadership by sharing ideas or by demonstrating or teaching skills to others. DA.3.H.3.1 Create and perform a dance, inspired by developmentally appropriate literature, stories, or poems, that has a beginning, middle, and end. DA.4.H.3.1 Create a dance with student-selected components from other content areas and/or personal interests. 12

P o s t - s h o w l e s s o n s DA.5.H.3.1 Create a dance, inspired by another art form, which shows one or more connections between the two disciplines. DA.3.S.1.1 Create movement to express feelings, images, and stories. DA.3.S.1.2 Respond to improvisation prompts, as an individual or in a group, to explore new ways to move. Theater TH.3.F.3.1 Participate in a collaborative project to create a theatrical performance and reflect on the experience. TH.4.O.2.2 Create a mask to show a comic or tragic character. TH.4.H.3.3 Create an original story after listening to music or viewing a work of art. TH.4.S.2.1 Collaborate with others to share responsibilities for a production. TH.5.C.3.2 Use a photograph, sculpture, or two-dimensional work of art to inspire creation of an original scene or monologue. TH.5.F.1.3 Take creative risks through improvisation, using sensory skills to explore characters feelings and environments. TH.5.H.1.2 Participate in a performance to explore and celebrate a variety of human experiences. Visual Arts VA.3.C.1.1 Use the art-making process to develop ideas for self-expression. VA.3.F.1.1 Manipulate art media and incorporate a variety of subject matter to create imaginative artwork. VA.4.F.1.1 Combine art media with innovative ideas and techniques to create two- and/or three-dimensional works of art. 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.4.F.3.3 Work purposefully to complete personal works of art in a timely manner, demonstrating development of 21st-century skills. VA.3.H.1.1 Describe cultural similarities and differences in works of art. VA.4.H.1.1 Identify historical and cultural influences that have inspired artists to produce works of art. VA.3.H.2.1 Compare differences or similarities in artworks across time and culture. VA.3.O.2.1 Use creative and innovative ideas to complete personal artworks. VA.4.O.2.1 Use a variety of resources and art skills to overcome visual challenges in personal artworks. VA.3.S.1.1 Manipulate tools and media to enhance communication in personal artworks. 13

P o s t - s h o w l e s s o n s VA.4.S.1.1 Manipulate tools and materials to achieve diverse effects in personal works of art. VA.3.S.2.2 Follow procedures, focusing on the art-making process. VA.3.S.3.1 Use materials, tools, and processes to achieve an intended result in two- and/or three-dimensional artworks. VA.4.S.3.1 Experiment with various materials, tools, techniques, and processes to achieve a variety of results in two - and/or three-dimensional artworks. VA.5.S.3.1 Use materials, tools, techniques, and processes to achieve expected results in two- and/or threedimensional artworks. VA.3.S.3.3 Work within safety guidelines while using tools, media, techniques, and processes. VA.4.S.3.3 Follow procedures for using tools, media, techniques, and processes safely and responsibly. VA.5.S.3.3 Use tools, media, techniques, and processes in a safe and responsible manner. VA.4.C.1.1 Integrate ideas during the art-making process to convey meaning in personal works of art. VA.5.C.2.1 Revise artwork as a necessary part of the creative process to achieve an artistic goal. VA.5.F.3.4 Follow directions and complete artwork in the timeframe allotted to show development of 21st-century skills. VA.5.H.1.1 Examine historical and cultural influences that inspire artists and their work. 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.O.3.1 Create meaningful and unique works of art to effectively communicate and document a personal voice. r e s o u r c e s How to Make a Papier Mâché Mask (for Kids): 9 Steps - wikihow http://www.wikihow.com/make-a-papier-m%c3%a2ch%c3%a9-mask-%28for-kids%29 Mask Making for Children ehow http://www.ehow.com/way_5201972_mask-making-children.html At Home Mask-Making DuPage Children's Museum Mask Project http://www.aforceforearlylearning.org/maskproject/childrens-art-project/at-home-mask-making-project/ Masks From Around the World www.whms.jordan.k12.ut.us/teachers/packer/powerpoints/masks.ppt 14

M a s k s f r o m a r o u n d t h e w o r l d Mexico Korea Italy. Masks have been used in Mexico since 3,000 BCE for rituals and ceremonies. In ancient times, priests used masks for purification and healing. Mayans created masks representing their gods and placed them over the faces of their rulers at the funerals. Masks were also used to commemorate life cycles. Koreans have a long tradition of using masks for a variety of purposes; they were worn by soldiers and their horses and were also used as death masks at funerals. Mask dances are still performed throughout Korea and attract many spectators at annual mask dance festivals. The citizens of Venice wore masks to conceal their identities, which created an equal playing filed among different social ranks and gave voice to everyone. Unfortunately, many took advantage of the situation and behaved unmorally, which culminated into decadence. The wearing of masks in daily life was eventually prohibited. United States of America Africa Australia Native American masks are often of animal motifs. They are usually made of wood or gourd and are decorated with a variety of material such as corn husks, leather, shells and cloth. They have been used as an important element of the tribal rituals. It was believed that the spirit of the animal would enter the person who wears during an auspicious ceremony. African masks usually contain spiritual and religious meaning and have been essential part of their ritual dances and religious events. The wearer of animal masks becomes a medium to speak to animals of the kind. Masks that represent feminine beauty also have been widely worn, in many cases strictly by men. Aborigines, the native people of Australia have been creating masks for their ceremonies, rituals and dances, to honor ancient spirits. The typical Aboriginal masks are made of a variety of material such as wood, copper, iron and ivory. They are decorated with numerous colorful small dots. www.purnamasaribali.com 15