The Joy Luck club - Schooltime Series at Popejoy Hall

Presented by
Harmony Artists,
Inc.
Based on the
book by Amy Tan
All Popejoy Schooltime Series productions are designed to integrate the arts into
classroom instruction. Each production is selected with youth and family audiences
in mind, from titles and materials that reflect the cultural diversity of our global
community. These professional performing artists create educational experiences
designed to encourage literacy, creativity, communication, and imagination. These
productions purposefully target specific grade ranges. Please review these materials to
make sure the recommendations and content are appropriate for your group. We then
encourage educators to use our suggestions as springboards into meaningful, dynamic
learning, thus extending and anchoring the performance experience.
A New York Times Best Seller
by Amy Tan for over 75 weeks,
the 1989 novel garnered multiple
award nominations. The stage
rendition of this timeless story
resonates with the entire audience
through universally shared issues
and themes. Follow this classic
mother-daughter story through the
reminiscences of four immigrant
women from China — their hopes,
fears, and tragic pasts intertwined
with those of their four Americanborn daughters. Themes of family,
hope, love, sacrifice, strength, and
dreams of a better life reach beyond
all cultures as they draw the audience
into the families on stage. (Note:
references to drug and physical
abuse).
“Permeated with wit, pathos
and the instinct to survive.”
–Associated Press
Stay for our 15-minute Q & A session with the cast
after the performance.
Monday, October 21, 2013
10:15am only
Grades: 9 - 12
Curriculum: English Language Arts, Social Studies/
History & Geography, Fine Arts/Theatre
Standards addressed by attending this performance
IN this issue of Dreamcatchers –
Common Core State Standards:
English Language Arts: Speaking and Listening (CCSS.ELA-Literacy.SL)
Comprehension and Collaboration: Integrate and evaluate information presented in diverse
media and formats, including visually, quantitatively, and orally.
New Mexico Content Standards:
Social Studies: History & Geography
Content Standard I: Students are able to identify important people and events in order to analyze
significant patterns, relationships, themes, ideas, beliefs, and turning points in New Mexico,
United States, and world history in order to understand the complexity of the human experience.
Content Standard II: Students understand how physical, natural, and cultural processes influence
where people live, the ways in which people live, and how societies interact with one another
and their environments.
Fine Arts: Theatre
Content Standard III: Integrate understanding of visual and performing arts by seeking
connections and parallels among arts disciplines as well as all other content areas.
Content Standard V: Observe, discuss, analyze, and make critical judgments about artistic works.
Content Standard VI: Show increased awareness of diverse peoples and cultures through visual
and performing arts.
Introduction / Synopsis.....................................2
Interesting Facts..................................................2
Vocabulary...........................................................3
About the Authors..............................................3
Activities...............................................................4
Exploring the Concrete Poem..........................4
Designing A Personal Symbol of Balance.....5
Bonus Explorations............................................6
Outreach Activities.............................................6
Resources & Websites.........................................6
Etiquette................................................................7
Credits ..................................................................7
New Mexico Content Standards and Common Core State Standards are provided for both attending
the performance and each activity presented. For specific standards at your grade level, please
consult the standards online for attending the show and all activities in this guide. For New Mexico
State Standards: www.ped.state.nm.us/standards/index.html
Selected Dreamcatchers materials provided by the University of Massachusetts at Amherst Teacher’s
Guide for The Joy Luck Club, www.sparknotes.com, and other resources noted throughout the guide.
Dreamcatchers are produced by the Education
Department of Popejoy Hall, Albuquerque, NM
[email protected], www.schooltimeseries.com,
facebook.com/schooltimeseries
I ntr oduction/ Synopsis
The Joy Luck Club revolves around the complications inherent in mother-daughter relationships, made even more difficult by the characters
dealing with intercultural and generational differences. The play, and the novel from which it is adapted, illuminate personal histories and the
cultures that significantly shape each character. This proves to be the foundation for audiences to better understand the nature of intercultural
conflict and how it might be resolved, an increasingly important issue to tackle in our globalized society.
The novel’s events take place within four general timeframes: the childhood years of the mother narrators in China; the young adult years of
the mothers around the time of their immigration to America; the childhood years of the daughter narrators in the United States; and the
young adult years of the daughters as they interact with their aging mothers. The four time frames span the 1920s–1930s, the 1940s–1950s,
the 1960s, and the 1980s, respectively.
The Chinese mothers strive to instill in their American-born daughters an understanding of their heritage, yet also attempt to spare
them the pain they felt as girls growing up in China. The daughters, on the other hand, often see their mothers’ attempts at guidance as
a form of hypercritical meddling, or as a failure to understand American culture. The daughters respond by attempting to further their
mothers’ assimilation. The mothers and daughters struggle with issues of identity: the
mothers try to reconcile their Chinese past with their American present; the daughters
attempt to find a balance between loyalty to their heritage and independence.
Susan Kim faced a unique challenge when adapting the novel for the stage, because it is
essentially a series of vignettes that provide glimpses into each daughter and mother’s
life. A selection of these vignettes is represented in the play as flashbacks, highlighting
significant moments in the characters’ lives. The mothers’ flashbacks articulate the
arduous nature of their journeys from a rough, but familiar, life in China including
arranged marriages, multiple wives, the opium trade, abuse, infanticide, and poverty.
Each woman’s story leads them to move to the United States in hopes of establishing
a more prosperous life, which brings the challenge of carving a space for themselves
in a strange, uninviting new world. And so each daughter discovers their mother is a
woman she has always seen, but never really known. The daughters each have their
own secrets, but their lives carry the mark of their mother’s influence. As they come
closer to knowing who their mothers truly are, they gain insight into themselves.
I nte r e sting Fact s
(Adapted from the University of Massachusetts at Amherst
Teacher’s Guide for The Joy Luck Club:
archive.org/stream/amytansjoyluckcl00burn#page/16/mode/2up and
www.loc.gov/teachers/classroommaterials/presentationsandactivities/
presentations/immigration/chinese.html)
The Joy Luck Club author Amy Tan’s mother, Daisy Tan, moved from China
to the United States in 1949, leaving three daughters behind. Similarly, one
of the characters in The Joy Luck Club left two daughters behind in China
before migrating to the United States. The Tan family also belonged to a
social group called The Joy Luck Club.
The novel from which the play is adapted is divided like a mahjong game, with
four parts divided into four chapters. Each piece of the stories of each motherdaughter relationship functions like the placement of a tile in a mahjong game.
The word “mahjong” originated in China, and is similar to the Western card game rummy. It is played with 144 tiles, each with
Chinese characters and symbols. Traditionally, the tiles are made out of ivory, bamboo, or bone.
Chinese immigrants dealt with a negative reception from the United States, characterized by
discrimination, legislative harassment, intolerance, and exclusion. This led to the creation
of Chinatowns, virtual cities within cities where Chinese immigrants could live almost as
if they were back home.
Chinatowns became tourists attractions, viewed either as seedy or romantically exotic
niches in the city. Tours sometimes included staged arrests of alleged gangsters or
assassins, who would be released as soon as the tour passed. Today, most Chinese
Americans live outside of Chinatowns, which are viewed in a less sensationalistic way.
In 1882, President Chester A. Arthur signed the Chinese Exclusion Act, which banned
the immigration of all Chinese laborers.
It wasn’t until the Japanese invaded China in the 1930s that the United States began
sympathizing with the Chinese immigrant situation. In 1943, pressures from World
War II brought about the end of the Chinese Exclusion Act.
Confucius is a Chinese philosopher of the sixth century B.C. His teachings, broadly known as
Confucianism, emphasized ancestor worship, loyalty, harmony, order, and respect for elders and
husbands. Though barely mentioned in The Joy Luck Club, his precepts color the traditional
beliefs often reflected in the behavior of its characters.
CONFUCIUS
2.
top right photo: http://www.penguinpublishing.com
bottom left: A Tang Dynasty drawing of Confucius by Wu Daozi.
P OPE JOY S C HO OLT I M E SE R I E S PR E SE N T S
Feng Shui [pronounced fung shway] is the Chinese art of unblocking energy flow in a room or building by particular arrangement
of its contents. Placement of buildings is also considered important. In The Joy Luck Club, Ying-ying St. Clair tells her daughter
Lena that a plumbing store opening next to a bank portends ill, and the bank manager is later arrested for embezzlement. Lena
herself becomes a designer, but her mother finds her deficient at basic concepts of feng shui.
Mandarin Chinese is, collectively, a set of related dialects spoken in northern and southern China. Standard Mandarin is the official
language of the People’s Republic of China and has close to one billion speakers. Other major Chinese languages include Cantonese and Wu.
In ancient Chinese philosophy, the term “yin/yang” describes the universe as divided into two opposing forces. The female
principal, yin, is associated with darkness and passivity, represented by moon, winter, and earth. The male, yang, is luminous and
active, symbolized by sun, summer, and heaven.
Vocabulary
(Adapted from The Kennedy Center’s ArtsEdge study guide on Ellis Island:
artsedge.kennedy-center.org/educators/lessons/grade-3-4/Immigrating%20to%20America.aspx)
Assimilation: cultural absorption of a minority group into the main cultural body
Citizenship: rights, privileges, and duties that come with being a citizen of a country
Deport: to send people back to their country of origin
Detain: to hold somebody back when he or she wants to go
Ellis Island: a small, government-owned island in upper New York Harbor; former examination center
for immigrants seeking to enter the United States
Emigrate: to leave your own country in order to permanently live in another
Ethnic: sharing the same national origin, language, or culture
Guise: an outward appearance often concealing something’s true nature. Quote from The Joy Luck Club:
“Still, what little we say to one another often comes back in another guise.”
Immigrant: someone who comes from another nation to live permanently in a new country
Immigrate: to come into a new country, region, or environment, especially in order to settle there
Inspection: an official examination or review
Kowtow: 1) to act in an obsequious manner; show servile deference 2) to touch the forehead to the ground
while kneeling, as an act of worship, reverence, apology, etc., especially in former Chinese custom
Persecute: to continually treat someone cruelly and unfairly, especially because of that person’s
ideas, ethnicity or political beliefs
About the Authors
Amy Tan (from www.britannica.com/EBchecked/topic/582099/Amy-Tan
and www.gradesaver.com/the-joy-luck-club/study-guide/about/)
Amy Ruth Tan (born Feb. 19, 1952, Oakland, Calif., U.S.), is an American author who writes
novels about Chinese-American women and the immigrant experience.
Tan grew up in California and Switzerland, and earned her Bachelor’s degree in English and
linguistics at San Jose State University. She earned her Master’s degree in linguistics at San Jose
State and UC Santa Cruz, and her doctorate in linguistics at UC Berkeley. She was a highly
successful freelance business writer in 1987 when she took her Chinese immigrant mother to
revisit China. There Tan met two of her half-sisters for the first time, an experience that inspired
part of her first novel, The Joy Luck Club (1989; film 1993), on the New York Times bestseller list for
amy
40 weeks. Since then, she has written six novels, two children’s books, and four nonfiction books. She has
won 19 awards, including the Commonwealth Gold Award and the Bay Area Book Reviewers Award for The Joy Luck Club.
tan
Susan Kim – Author of the stage adaptation of The Joy Luck Club
(Adapted from an excerpt from Asian American Playwrights: A Bio-Bibliographical
Critical Sourcebook / Edited by Miles Xian Liu)
Susan Kim was born in New York City on December 10, 1958, to Korean parents who
moved to America in the 1950s – shortly after the Korean War.
Initially, she worked as a producer for Public Television in New York. However, she
found the work unfulfilling, and began to take playwriting classes in her spare time.
A year later, Kim won a Drama League Award for Open Spaces (1988), her first fulllength play. A year after that, she quit TV production. Ever since, Kim has worked
full-time writing commissioned plays, and scripts for children’s television.
top right photo: http://www.achievement.org/autodoc/page/tan0int-1
bottom left photo: https://www.google.com/#bav=on.2,or.r_qf.&fp=71c8645864a020d6&q=Photo+of+Susan+Kim
susan kim
P OPE JOY S C HO OLT I M E SE R I E S PR E SE N T S
3.
Activities
Exploring the Concrete Poem
Grades: 9 – 12
OBJECTIVE:
žStudents will create a concrete poem expressing their impressions of a symbol, motif, or guiding question based on the book, film,
and/or performance of The Joy Luck Club.
MATERIALS:
q The Joy Luck Club – book, film, and/or performance q Pen, pencil, or computer
q Notebook, journal, or lined notebook paper
PROCEDURES:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Explain that the simple definition of a concrete poem is a poem written to create a picture. It can also be a poem placed within a picture.
It is used to explore how the look of the poem affects its impact.
Ask students to take notes while reading the book, viewing the movie, and/or after the performance, citing any scenes/passages they find interesting.
Have students create the journal by folding a notebook page or sheet of paper in half vertically and make entries on one side of the fold about
moments or scenes that stood out.
Provide guiding questions for writing based on their selected scenes/passages (see below for suggestions). Ask students to respond to one
or more of the guiding questions on one side of the fold in their journal page.
On the other half of their journal page, ask them to record thoughts and questions about those scenes/passages.
Have students share their impressions either as a class or in small groups.
Follow up by having each student create their own concrete poem either from their individual observations or a topic from
the group discussion.
Ask for volunteers to share their work.
Have the class or small groups discuss concepts and new ideas expressed about The Joy Luck Club that they hadn’t thought about until
this share.
How did the concrete poem format help or hinder the poet’s process and the group’s understanding?
ASSESSMENT/EVALUATION:
Q Teacher observation, quality of class participation, poem adheres to concrete poem format
Possible discussion and concrete poem prompts:
(www.d.umn.edu/~lmillerc/TeachingEnglishHomePage/TeachingUnits/mcastellini.htm)
The Joy Luck Club - What is The Joy Luck Club? Why did Jing-Mei’s mother choose to tell that particular ending of the Kwelien story at that
moment? When you were growing up did you ever lose a parent at a store or a park? If so, how did that feel? Can you imagine what it was
like growing up with a stranger?
Scar - What does the “scar” allude to as a metaphor? What “lessons” have your parent(s) or guardian(s) taught you? Do you have any “scars”
such as Ying-Ying’s that bring back memories?
Red Candle - What is the significance of the “red candle,” and how does this story show what type of person Lindo really is?
Is she a strong or weak person? What does a promise mean to you? Have you ever broken one? Why or why not? What is a lie? Have you
ever lied or been lied to?
Moon Lady - What does the Moon Lady represent for Ying-Ying, and why is it so important to her? What does Ying-Ying mean when she says
she lost herself? Did you ever believe in Santa, the Easter Bunny, or any other fictitious cultural icon? What made you stop believing? How did
that feel to know that Santa, the Easter Bunny, etc., didn’t exist as you believed them to exist?
Four Directions - Discuss the symbolism of chess in Waverly Jong’s stories. What are you most proud of in your life? How do you show
that? In your opinion will Waverly and Rich’s relationship last? Have you ever feared the disapproval of your parent or guardian? What
was the situation? What made Waverly start playing chess poorly?
4.
COMMON CORE STATE STANDARDS
NEW MEXICO CONTENT STANDARDS
English Language Arts:
Reading Standards for Literature (CCSS.ELA-Literacy.RL)
Key Ideas and Details: Analyze how and why individuals, events, and
ideas develop and interact over the course of a text.
Craft and Structure: Assess how point of view or purpose shapes the
content and style of a text.
Integration of Knowledge and Ideas: Integrate and evaluate content
presented in diverse formats and media, including visually and
quantitatively, as well as in words.
Writing (CCSS.ELA-Literacy.W)
Production and Distribution of Writing: Produce clear and coherent
writing in which the development, organization, and style are
appropriate to task, purpose, and audience.
Range of Writing: Write routinely over extended time frames (time for
research, reflection, and revision) and shorter time frames (a single
sitting or a day or two) for a range of tasks, purposes, and audiences.
Speaking and Listening (CCSS.ELA-Literacy.SL)
Comprehension and Collaboration: Integrate and evaluate information
presented in diverse media and formats, including visually,
quantitatively, and orally.
Social Studies: Geography
Content Standard II: Students understand how physical, natural,
and cultural processes influence where people live, the ways in
which people live, and how societies interact with one another
and their environments.
Fine Arts: Music
Content Standard II: Use dance, music, theatre/drama and visual
arts to express ideas.
Content Standard III: Integrate understanding of visual and
performing arts by seeking connections and parallels among arts
disciplines as well as all other content areas.
Content Standard VI: Show increased awareness of diverse
peoples and cultures through visual and performing arts.
P OPE JOY S C HO OLT I M E SE R I E S PR E SE N T S
Designing a Personal Symbol of Balance
Grades: 9 – 12
OBJECTIVES:
žStudents will review the background of the yin-yang symbol and see how the symbol of balance crosses
cultural boundaries and is present and applicable in their own lives.
symbol of balance.
žStudents will learn about the Japanese style of Notan.
žStudents will learn about positive and negative space.
žStudents will use a simple square and all the negative cuttings to create a collage, which will inspire a personal
žStudents will develop an understanding of symmetry and asymmetry, and the principle of design and balance.
žStudents will gain an understanding of the elements of art: space and shape (positive and negative).
MATERIALS:
5” x 5” pieces of black construction paper, 8” x 11”
q pieces
of white construction paper – the heavier the
better to prevent tearing
q Sharp Scissors, or #11 X-Acto Knives
q Glue or glue sticks
above: Notan style art courtesy: notandrawing.blogspot.com
q Pencils
q Ruler
website has 150 examples of outstanding Notan art,
q This
design, and photograph: notandrawing.blogspot.com
YIN YANG BACKGROUND:
(from taoism.about.com/od/visualsymbols/p/YinYang.htm)
What is the meaning of the Yin-Yang symbol?
In Taoist cosmology, the circle represents Tao, or the one entity out of which all of
existence arises. The black and white halves of the circle represent Yin-qi and Yang-qi –
the primordial feminine and masculine energies whose interplay gives birth to the world,
known in Taoism as the Five Elements and Ten-Thousand Things.
Yin and Yang are Co-Arising and Interdependent:
The curves and circles of the Yin-Yang symbol imply a kaleidoscope-like movement.
This implied movement represents the ways in which Yin and Yang are mutually-arising,
interdependent, and continuously transforming, one into the other. One could not exist
without the other, for each contains the essence of the other. Night becomes day, and day
becomes night. Birth becomes death, and death becomes birth (e.g. composting). Friends
become enemies, and enemies become friends. Such is the nature of everything in the
relative world, according to Taoist beliefs.
Heads & Tails – Another Way of Looking at the Yin-Yang Symbol:
The black and white halves of the Yin-Yang symbol are similar to the two sides of a coin.
They are different and distinct, yet one could not exist without the other. The circle itself,
which contains these two halves, is like the metal (silver, gold or copper) of the coin. It is
what the two sides have in common – what makes them “the same.” When we flip a coin,
we will always get either “heads” or “tails,” one answer or the other. Yet we always have
the whole coin.
Smaller Circles Within the Larger Circle:
What’s great about the Yin-Yang symbol is that the smaller circles nested within each
half of the symbol serve as a constant reminder of the interdependent nature of the
black/white “opposites.” It reminds the Taoist practitioner that all of relative existence
is in constant flux and change. And while the creation of pairs of opposites would seem
to be an aspect of our human software, we can maintain a relaxed attitude around this,
knowing that each side always contains the other, as night contains day, or as a mother
“contains” the infant that she will, in time, give birth to.
PROCEDURES:
(Adapted from the Incredible Art Department website: www.incredibleart.org/lessons/middle/Lotte-Notan.htm)
These notes were derived from exercises in Notan: The Dark-Light Principle of Design (Dorr Bothwell and Marlys Mayfield: Dover Publications. 1968),
a terrific book if you are interested in studying the balance of positive and negative space.
7. Don’t cut off the corners.
1. Discuss Yin-Yang background and introduce Notan materials.
8. For the first design, maintain the integrity of the square shape.
2. Discuss balance and symmetry throughout the lesson emphasizing neatness.
9. No pieces can be discarded. Every piece you cut away from the square
3. Cut out a series of 5” squares from the black paper. Smaller squares are hard
needs to be glued down in its opposing or mirror position on the
to use and bigger ones take up a lot of room on the white paper.
white paper.
4. These black squares should be as perfect as possible, as uneven sides or
10. Cutting through the center makes it harder. Then you have to figure
angles will skew the exercise.
5. Fold the black square in half once (either diagonal or rectangular)
out which side to put the cut out piece on.
6. Begin cutting shapes from the sides and along the fold of the square.
11. Once you know how to follow the rules, then you can obviously break
them! That includes not keeping the square!
Assessment/Evaluation:
Q Teacher observation, quality of participation, finished product meets Notan criteria.
Extension Activities:
Think about turning your designs into quilt blocks, images to be printed, or small embroideries.
È
È
Have students draw their design as a potential black and white tattoo. Have them consider the size, shape, and placement on their body. Is this
something they would want visible or not? Why or why not? Is this something that they believe they would still want on their body at age 35? 55?
75? Would it still be relevant to them? Discuss. Share designs and its significance to the artist.
COMMON CORE STATE STANDARDS
NEW MEXICO CONTENT STANDARDS
English Language Arts:
Speaking and Listening (CCSS.ELA-Literacy.SL)
Comprehension and Collaboration: Integrate and evaluate
information presented in diverse media and formats, including
visually, quantitatively, and orally.
Social Studies: Geography
Content Standard II: Students understand how physical, natural, and
cultural processes influence where people live, the ways in which
people live, and how societies interact with one another and their
environments.
Fine Arts: Visual Arts
Content Standard II: Use dance, music, theatre/drama and visual arts
to express ideas.
Content Standard III: Integrate understanding of visual and
performing arts by seeking connections and parallels among arts
disciplines as well as all other content areas.
Content Standard IV: Demonstrate an understanding of the dynamics
of the creative process.
Content Standard VI: Show increased awareness of diverse peoples
and cultures through visual and performing arts.
yin–yang
P OPE JOY S C HO OLT I M E SE R I E S PR E SE N T S
5.
Bonus Explorations
The Chinese Cultural Center has been a part of Albuquerque
for over 25 years. The center is New Mexico’s home of traditional
Chinese martial arts and hosts classes in speaking Mandarin
Chinese, both traditional and simplified. The center also offers
children’s kung fu classes every Friday 4:15pm to 6:00pm. Call
or visit the website to find out about tours and classes.
427 Adams Street, SE Albuquerque, New Mexico 87108
(505) 268-7023
www.chineseculturecenter-abq.com
Bothwell, Dorr and Mayfield,
Marlys. Notan: The DarkLight Principal of Design.
NY: Reinhold Book
Corporation, 1968. Print
Principles of Pattern
Design (1990):
Illustrations depict
repeating patterns using
these shapes: square,
brick, half-drop, diamond,
triangle, ogee, hexagon,
scale, and circle. Eye-catching
pattern samples are also
included from textiles, macramé
and embroidery, wrapping paper,
mosaics, painting, collage, sculpture.
Proctor, Richard. Principals of Pattern Design. NY: Dover
Publications, 1990. Print.
Smith, Andrew L. “Susan Kim (1958 - ).” Asian American
Playwrights: A Bio-Bibliographical Critical Sourcebook. Ed. Miles
Xian Liu. Westport, CT: Greenwood Group, 2002. 151-52. Print.
Resources & Websites
Websites
Interviews with Immigrants
To view interviews with “today’s immigrants,” go to the scroll
menu and choose “Asia, South East.” The Library of Congress includes interviews from students and adults from China and all
over the world who have immigrated to America.
www.loc.gov/teachers/classroommaterials/presentationsandactivities/
presentations/immigration/interv/toc.php
Do your own interviews. Come up with questions, go out and find
foreign exchange students, friends, friend’s families, your own
family, teachers, etc. Everyone has a story. Find out what it is.
Outreach activities
Other Amy Tan books include:
The Kitchen God’s Wife (1991): inspired by Tan’s mother’s history. It
concerns a Chinese mother who accepts American ways clumsily
and her relationship to her thoroughly Americanized daughter.
Tan, Amy. The Kitchen God’s Wife. NY: Penguin Group, 1991. Print
The Hundred Secret Senses (1995): an American woman gradually
learns to appreciate her Chinese half-sister and the knowledge she
imparts.
Tan, Amy. The Hundred Secret Senses. NY: Penguin Putnam Inc.,
1995. Print
The Bonesetters Daughter (2001): a woman cares for her mother,
who is afflicted with Alzheimer’s disease.
Tan, Amy. The Bonesetters Daughter. NY: Putnam Son’s and
Random House Inc. 2001. Print
Saving Fish From Drowning (2005): an idiosyncratic San Francisco
art dealer who narrates the story of a group of tourists traveling
through China and Myanmar (Burma).
Tan, Amy. Saving Fish From Drowning. NY: NY: Putnam Son’s
and Random House Inc. 2005. Print
Amy Tan’s Children’s books:
The Moon Lady (1992): through her grandmother’s story of Yingying’s encounter with the Moon Lady, Ying-ying and her sisters learn
that the best wishes are those you can make come true yourself.
Tan, Amy. The Moon Lady. NY: Aladdin Paperbacks, an imprint of
Simon & Schuster, 1992. Print
Sagwa, the Chinese Siamese Cat (1994): One day, Sagwa fell
into an inkwell and accidentally changed one of the Foolish
Magistrate’s rules. Little did Sagwa know she would alter the
fate – and the appearance – of Chinese cats forever! Adapted as a
television series in 2001.
Tan, Amy. Sagwa, the Chinese Siamese Cat. NY: Aladdin
Paperbacks, an imprint of Simon & Schuster, 1994. Print
SparkNotes Editors. “SparkNote on The Joy Luck Club.”
SparkNotes.com. SparkNotes LLC. 2003. Web. 18 Jul. 2013.
Notan: The Dark-Light Principle of Design (1968): A guiding
principle of Eastern art and design, focusing on the interaction
between positive and negative space.
6.
Amy Tan’s TED talk on creativity
www.ted.com/talks/amy_tan_on_creativity.html
The Joy Luck Club by Rosalyn McPherson Andrews
Introduction/Plot Summary, Historical Notes, Vocabulary, Chinese
Expressions, Locations, Activities, Comprehension Questions,
Background Sources www.randomhouse.com/highschool/guides/joyluck.html PinkMonkey® Literature Note by Kalpana Rangan Key Literary Elements, Chapter Summaries with Notes,
Summary, Overall Analysis, Study Questions, Comment
www.pinkmonkey.com/booknotes/monkeynotes/pmJoyLuckClub01.asp Useful information about and a history of mahjong
www.tradgames.org.uk/games/Mah-Jong.htm
The Library of Congress houses information on Chinese immigration,
featuring a short excerpt on Chinese immigration to America, and
interviews with young Chinese-American immigrants between 2004
and 2006.
www.loc.gov/teachers/classroommaterials/presentationsandactivities/
presentations/immigration/chinese.html
Human Rights in China
iso.hrichina.org
Traditional Views of Chinese Women
asiasociety.org/countries/traditions/women-traditional-china
Marriage Customs and Preparation
http://www.chcp.org/wedding.html Chinese Matchmakers of Tianjin & Taoyuan Abstract
weber.ucsd.edu/~dkjordan/scriptorium/meiren/meiren-abstract.html
History of Infanticide
www.infanticide.org/history.htm
Infanticide in China
small-world.netfirms.com/articles/infanticide.htm
Case Study: Infanticide in China
www.gendercide.org/case_infanticide.html
Historical Images of Opium in China and Chinese Immigrants in the U.S.
http://www.opiummuseum.com/index.pl?pics&60
http://www.oakton.edu/user/4/billtong/chinaclass/history/phototour.htm
P OPE JOY S C HO OLT I M E SE R I E S PR E SE N T S
Theatre Etiquette
Music, theater, dance, and opera are collaborative arts. This means they require the cooperation of many people:
the directors, the performers, and the audience. Live performances can transport you to other times and places,
but to do so, they require you, the audience to listen, observe, discover, and imagine.
of Theater Etiquette is included on the website. Please post it and discuss it
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your students before coming to the performance.
• Seeing a live performance is a special experience. Although it is not required, many people enjoy dressing
up when they attend the theater.
• Gentlemen should remove hats or caps when inside the building.
• Please enjoy your food, drink, and gum in the lobby.
• Please allow ushers to seat your entire group before rearranging students and/or taking groups to the restroom.
• Photography and recordings of the shows, as well as cell phones, texting, or gaming are all strictly prohibited
during the performances.
• Crying babies, unhappy siblings, and other loud noises disturb the actors and the other patrons. Please be
considerate and leave the hall during these periods. You may still enjoy the show in the lobby via our large
screen monitors.
• Some shows are interactive, and involve audience participation; some are not. Discuss with your class how
to know the difference, as well as what is appropriate conduct in a theater, versus at a sports arena or
outdoor concert.
• During a musical, it is appropriate to clap at the end of a song. During a ballet or dance performance, it is
appropriate to clap at the end of the number.
• Curtain calls occur when the show has ended and the cast comes forward to take their bows. The best way
to show the performers how much you appreciate their hard work is to stay at your seats and clap until
the actors leave the stage, or until the curtain comes down and the house lights come on.
• At the end of the show, after the applause, remain in your seats until you are dismissed from the theater.
• If you are staying for the Question & Answer session, remain in your seats until the house clears and then move
down front toward the stage.
Adult
Supervision
Required
The Schooltime Series is a proud member of
International Performing Arts for Youth
PRODUCE
•
PROMOTE
•
PRESENT
Popejoy Hall, New Mexico’s premier nonprofit venue for the performing arts and entertainment.
“Understanding is a two-way street.” - Eleanor Roosevelt
Thank
You!
The Popejoy Schooltime Series is supported in part by awards from :
The Eugene and Marion Castiglia
Popejoy Children’s Schooltime Endowment
The Popejoy Schooltime Education Endowment
The Popejoy Mission: To provide access to the performing arts for all New Mexicans.
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