How Two Teachers Spark a Love of History with Their Wardrobes
When the Show Must Go On Online for Theater Students
How Performing in Theater Can Help Build Empathy in Students
How Theater Can Offer Students New Perspectives On History
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With a closet that seemed devoid of suitable school attire, she surveyed her options: sweatshirts, button downs and lots of jeans. Rather than resigning herself to the ordinary, Goode was struck by an idea that would transform her approach to teaching. “I should dress up as Rosa Parks today,” she thought. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode put on a button down white shirt, a gray skirt and even a makeshift “prison tag” number to step into the persona of the iconic civil rights activist. After seeing how her spontaneous decision delighted her students, who listened attentively as they read books and learned about Parks’ role in history, Goode started to dress up as prominent figures more often. “It became an everyday thing,” said Goode, who transitioned out of the classroom to work at an education nonprofit this year. “I started to put more energy into it the following year and it just kept going.” Some years she dressed up every day for the month of February, while other years she dressed up three times a week. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode eventually inspired third grade teacher \u003c/span>\u003ca href=\"https://www.instagram.com/learningwithlafayette\">\u003cspan style=\"font-weight: 400\">Tracey-Ann Lafayette\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to do the same. “I started [dressing up] because I saw Jazzi do it on Instagram,” said Lafayette, who teaches in Connecticut. She began to dress up once a week so her students could guess who she was and read a relevant book. She continues to dress up for the entirety of Black History and Women’s History Month and use it as a springboard for getting students interested in independent reading and exploring iconic figures in more depth. At the University at Buffalo’s \u003c/span>\u003ca href=\"https://ed.buffalo.edu/black-history-ed/programs/conference.html\">\u003cspan style=\"font-weight: 400\">Teaching Black History Conference\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> last summer, Goode and Lafayette shared how teachers can use this powerful blend of education and theatricality to make learning come alive for their students. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Engage students with current events and books \u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Goode and Lafayette, dressing up has been a surefire way to spark their students’ fascination with historical figures. “Third graders are just interested in the fact that I’m at school in an astronaut costume,” said Lafayette about when she dresses up as Mae Jemison, the first Black woman to travel into space. The anticipation of who she’s going to dress up as next and their historical significance excites her students. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62625\" class=\"wp-caption alignleft\" style=\"max-width: 206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62625\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-800x1067.jpeg\" alt=\"\" width=\"206\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544.jpeg 1920w\" sizes=\"(max-width: 206px) 100vw, 206px\">\u003cfigcaption class=\"wp-caption-text\">Teacher Jazzi Goode reads \u003cem>When the Beat Was Born: DJ Kool Herc and the Creation of Hip Hop\u003c/em> by Laban Carrick Hill and Theodore Taylor III while dressed as Clive “Herc” Campbell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Soon after she started, students began putting in requests. Lafayette told them that she couldn’t fulfill every request, but she tried to incorporate more modern luminaries to make learning more relatable. “It doesn’t all need to be people from Martin Luther King’s time and before,” said Lafayette. “As different things popped up throughout the year last year, I would just write down the person’s name.” For example, one year she had a lot of students who were interested in football, so she came to school dressed up as Autumn Lockwood, the first Black woman to \u003ca href=\"https://billypenn.com/2023/02/09/autumn-lockwood-first-black-woman-coach/\">coach in the NFL Super Bowl\u003c/a>. When Goode came to school dressed as Misty Copeland, the first African American female principal dancer with the American Ballet Theatre, a student that she had been struggling to build a relationship with danced with her in the hallway. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Coupled with costumes, Goode and Lafayette said books provide more context about the stories and accomplishments of current and historical figures. When Goode dressed as Ann Cole Lowe, the first \u003ca href=\"https://www.newyorker.com/magazine/2021/03/29/ann-lowes-barrier-breaking-mid-century-couture\">noted Black fashion designer\u003c/a>, she read \u003c/span>\u003ca href=\"https://www.simonandschuster.com/books/Fancy-Party-Gowns/Deborah-Blumenthal/9781499802399\">\u003ci>\u003cspan style=\"font-weight: 400\">Fancy Party Gowns\u003c/span>\u003c/i>\u003c/a> \u003cspan style=\"font-weight: 400\">by Deborah Blumenthal and Laura Freeman to her students. \u003c/span>\u003ca href=\"https://www.penguinrandomhouse.com/books/722322/all-rise-the-story-of-ketanji-brown-jackson-by-carole-boston-weatherford-illustrated-by-ashley-evans/\">\u003ci>\u003cspan style=\"font-weight: 400\">All Rise: The Story of Ketanji Brown Jackson\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by Carole Boston Weatherford and Ashley Evans paired perfectly with Lafayette dressing as the first Black Supreme Court justice last year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62623\" class=\"wp-caption alignright\" style=\"max-width: 242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62623\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/image2-800x800.jpg\" alt=\"Lafayette holds up Patricia's Vision: The Doctor Who Saved Sight while she is dressed as Dr. Patricia Bath, a groundbreaking ophthalmologist who pioneered laser surgery.\" width=\"242\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2.jpg 1440w\" sizes=\"(max-width: 242px) 100vw, 242px\">\u003cfigcaption class=\"wp-caption-text\">Teacher Tracey-Ann Lafayette displays Patricia’s Vision: The Doctor Who Saved Sight by Michelle Lord and Alleanna Harris while dressed as Dr. Patricia Bath, a groundbreaking ophthalmologist who pioneered laser surgery.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lafayette recommended using anthologies like \u003c/span>\u003ca href=\"https://www.rebelgirls.com/products/good-night-stories-for-rebel-girls\">\u003cspan style=\"font-weight: 400\">\u003cem>Goodnight Stories for Rebel Girls\u003c/em>\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> as a source of ideas and a way to quickly share biographies. Additionally, she uses a program called Flip (formerly Flipgrid) to record videos of herself reading picture books about famous figures while dressed up so that students can engage with the stories at home, too.\u003c/span>\u003c/p>\n\u003ch2>\u003cb>Keep costs low with planning\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode and Lafayette try not to spend too much money putting together their outfits. Goode was able to keep costs low by involving students in creating her outfits, which also increased their engagement. “My students were in the classroom during their lunchtime and recess time, helping me actually physically build and make these costumes,” said Goode. When her students learned about George Crum, who popularized the potato chip, Goode dressed as a chip bag. Her students spent a week collecting chip bags and used them to create a floor length skirt that Goode wore all day. Parents and colleagues, who see how the outfits captivated students, are similarly invested. They lend objects whenever a specific item is needed, such as a tennis racket for Serena Williams or a hot comb to complete a look as Madam C.J. Walker or Annie Turnbo Malone.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62622\" class=\"wp-caption alignright\" style=\"max-width: 184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62622\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-800x1067.jpeg\" alt=\"\" width=\"184\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313.jpeg 1920w\" sizes=\"(max-width: 184px) 100vw, 184px\">\u003cfigcaption class=\"wp-caption-text\">When her students learned about George Crum, who popularized the potato chip, Goode dressed as a chip bag. Her students spent a week collecting chip bags and used them to create a floor length skirt that Goode wore all day.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additionally, Goode used an Amazon wishlist so community members, colleagues and friends could help her purchase more expensive items. That’s how she got her Mae Jemison astronaut jumpsuit and her Jackie Robinson jersey. “Now I have them in my trunk at my house for me to be able to use for the future,” she said. Lafayette accepts donations. She got a lab coat from a friend who didn’t need it after she completed a college chemistry class and used it to be Kizzmekia Corbett, a Black immunologist who worked on the coronavirus vaccine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My outfits a lot of times are things that I just have in my closet that I arrange in very strategic ways,” Lafayette added. For instance, a blazer, button down shirt and a name tag can be used to embody numerous historical men. She uses her Cricut machine to add small flourishes like Autumn Lockwood’s NFL pass. “If I buy something, I make sure it’s something that could be applicable to multiple people and think about all the different ways that I could use a particular item to get the best bang for my buck,” Lafayette said. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Start small and stay in your lane\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">For teachers who want to engage their students by dressing up, Goode and Lafayette recommended starting small. “The internet, especially ‘teacher-gram,’ can be such an intimidating place for educators, especially new educators,” said Goode, referring to instagram accounts where teachers post about how they are innovating in the classroom. Each teacher has different capacity and different needs in their classroom, she said. “You are the secret sauce to making whatever you want to happen in your classroom.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lafayette advised teachers to set realistic expectations for themselves by dressing up once a month or once a week. Honing in on a specific category can make things easier too. For example, if a teacher wants to focus on STEM they may dress up as inventions or renowned inventors. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62626\" class=\"wp-caption alignleft\" style=\"max-width: 227px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62626\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/image0-800x1067.jpg\" alt=\"\" width=\"227\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-scaled.jpg 1920w\" sizes=\"(max-width: 227px) 100vw, 227px\">\u003cfigcaption class=\"wp-caption-text\">Lafayette dressed as André Leon Talley, a fashion journalist and the first Black male creative director for Vogue magazine.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">They caution against being too reductive or wearing people’s culture as a costume. A good rule of thumb is if a teacher feels any uncertainty, don’t do it. There are ways to highlight diverse people without being offensive. “I’m not going to come to school in a hijab,” said Lafayette. “But I can make those books available for my kids and have conversations with them all throughout the year.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode said wearing t-shirts with figures on them is a low-stress way to introduce certain figures without dressing up. “I had a Tupac shirt. I had a Nina Simone shirt,” said Goode, who wore these when she wasn’t feeling up to creating an entire themed outfit. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Goode and Lafayette, students’ curiosity about historical and current figures continues beyond the days that they dress up. Lafayette typically packs away her outfits after Black History Month and Women’s History Month. “April 1st is the first time, after a solid eight weeks of wearing all these different outfits, that I come to school dressed like myself again,” she said. Students are usually surprised and disappointed to see her more typical garb. Their reactions tell her that they really care about this activity. She often goes into the next month thinking, “This really made an impact on them.”\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"Two teachers demonstrate the impact of dressing up play in the classroom. Explore their creative teaching methods and tips for making learning come alive.","status":"publish","parent":0,"modified":1713291361,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1579},"headData":{"title":"How Two Teachers Spark a Love of History with Their Wardrobes | KQED","description":"For Jazzi Goode and Tracey-Ann Lafayette, dressing up has been a surefire way to spark their students’ fascination with historical figures.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"For Jazzi Goode and Tracey-Ann Lafayette, dressing up has been a surefire way to spark their students’ fascination with historical figures.","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Two Teachers Spark a Love of History with Their Wardrobes","datePublished":"2023-10-23T00:00:08.000Z","dateModified":"2024-04-16T18:16:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/mindshift/62588/how-two-teachers-spark-a-love-of-history-with-their-wardrobes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">On a February morning in 2012, \u003c/span>\u003ca href=\"https://www.instagram.com/goodeteaching/\">\u003cspan style=\"font-weight: 400\">Jazzi Goode\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an elementary and middle school STEM educator in North Carolina, was having a hard time getting ready for work. With a closet that seemed devoid of suitable school attire, she surveyed her options: sweatshirts, button downs and lots of jeans. Rather than resigning herself to the ordinary, Goode was struck by an idea that would transform her approach to teaching. “I should dress up as Rosa Parks today,” she thought. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode put on a button down white shirt, a gray skirt and even a makeshift “prison tag” number to step into the persona of the iconic civil rights activist. After seeing how her spontaneous decision delighted her students, who listened attentively as they read books and learned about Parks’ role in history, Goode started to dress up as prominent figures more often. “It became an everyday thing,” said Goode, who transitioned out of the classroom to work at an education nonprofit this year. “I started to put more energy into it the following year and it just kept going.” Some years she dressed up every day for the month of February, while other years she dressed up three times a week. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode eventually inspired third grade teacher \u003c/span>\u003ca href=\"https://www.instagram.com/learningwithlafayette\">\u003cspan style=\"font-weight: 400\">Tracey-Ann Lafayette\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to do the same. “I started [dressing up] because I saw Jazzi do it on Instagram,” said Lafayette, who teaches in Connecticut. She began to dress up once a week so her students could guess who she was and read a relevant book. She continues to dress up for the entirety of Black History and Women’s History Month and use it as a springboard for getting students interested in independent reading and exploring iconic figures in more depth. At the University at Buffalo’s \u003c/span>\u003ca href=\"https://ed.buffalo.edu/black-history-ed/programs/conference.html\">\u003cspan style=\"font-weight: 400\">Teaching Black History Conference\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> last summer, Goode and Lafayette shared how teachers can use this powerful blend of education and theatricality to make learning come alive for their students. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Engage students with current events and books \u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Goode and Lafayette, dressing up has been a surefire way to spark their students’ fascination with historical figures. “Third graders are just interested in the fact that I’m at school in an astronaut costume,” said Lafayette about when she dresses up as Mae Jemison, the first Black woman to travel into space. The anticipation of who she’s going to dress up as next and their historical significance excites her students. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62625\" class=\"wp-caption alignleft\" style=\"max-width: 206px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62625\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-800x1067.jpeg\" alt=\"\" width=\"206\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_2002-scaled-e1697568818544.jpeg 1920w\" sizes=\"(max-width: 206px) 100vw, 206px\">\u003cfigcaption class=\"wp-caption-text\">Teacher Jazzi Goode reads \u003cem>When the Beat Was Born: DJ Kool Herc and the Creation of Hip Hop\u003c/em> by Laban Carrick Hill and Theodore Taylor III while dressed as Clive “Herc” Campbell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Soon after she started, students began putting in requests. Lafayette told them that she couldn’t fulfill every request, but she tried to incorporate more modern luminaries to make learning more relatable. “It doesn’t all need to be people from Martin Luther King’s time and before,” said Lafayette. “As different things popped up throughout the year last year, I would just write down the person’s name.” For example, one year she had a lot of students who were interested in football, so she came to school dressed up as Autumn Lockwood, the first Black woman to \u003ca href=\"https://billypenn.com/2023/02/09/autumn-lockwood-first-black-woman-coach/\">coach in the NFL Super Bowl\u003c/a>. When Goode came to school dressed as Misty Copeland, the first African American female principal dancer with the American Ballet Theatre, a student that she had been struggling to build a relationship with danced with her in the hallway. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Coupled with costumes, Goode and Lafayette said books provide more context about the stories and accomplishments of current and historical figures. When Goode dressed as Ann Cole Lowe, the first \u003ca href=\"https://www.newyorker.com/magazine/2021/03/29/ann-lowes-barrier-breaking-mid-century-couture\">noted Black fashion designer\u003c/a>, she read \u003c/span>\u003ca href=\"https://www.simonandschuster.com/books/Fancy-Party-Gowns/Deborah-Blumenthal/9781499802399\">\u003ci>\u003cspan style=\"font-weight: 400\">Fancy Party Gowns\u003c/span>\u003c/i>\u003c/a> \u003cspan style=\"font-weight: 400\">by Deborah Blumenthal and Laura Freeman to her students. \u003c/span>\u003ca href=\"https://www.penguinrandomhouse.com/books/722322/all-rise-the-story-of-ketanji-brown-jackson-by-carole-boston-weatherford-illustrated-by-ashley-evans/\">\u003ci>\u003cspan style=\"font-weight: 400\">All Rise: The Story of Ketanji Brown Jackson\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> by Carole Boston Weatherford and Ashley Evans paired perfectly with Lafayette dressing as the first Black Supreme Court justice last year.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62623\" class=\"wp-caption alignright\" style=\"max-width: 242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62623\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/image2-800x800.jpg\" alt=\"Lafayette holds up Patricia's Vision: The Doctor Who Saved Sight while she is dressed as Dr. Patricia Bath, a groundbreaking ophthalmologist who pioneered laser surgery.\" width=\"242\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image2.jpg 1440w\" sizes=\"(max-width: 242px) 100vw, 242px\">\u003cfigcaption class=\"wp-caption-text\">Teacher Tracey-Ann Lafayette displays Patricia’s Vision: The Doctor Who Saved Sight by Michelle Lord and Alleanna Harris while dressed as Dr. Patricia Bath, a groundbreaking ophthalmologist who pioneered laser surgery.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lafayette recommended using anthologies like \u003c/span>\u003ca href=\"https://www.rebelgirls.com/products/good-night-stories-for-rebel-girls\">\u003cspan style=\"font-weight: 400\">\u003cem>Goodnight Stories for Rebel Girls\u003c/em>\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> as a source of ideas and a way to quickly share biographies. Additionally, she uses a program called Flip (formerly Flipgrid) to record videos of herself reading picture books about famous figures while dressed up so that students can engage with the stories at home, too.\u003c/span>\u003c/p>\n\u003ch2>\u003cb>Keep costs low with planning\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode and Lafayette try not to spend too much money putting together their outfits. Goode was able to keep costs low by involving students in creating her outfits, which also increased their engagement. “My students were in the classroom during their lunchtime and recess time, helping me actually physically build and make these costumes,” said Goode. When her students learned about George Crum, who popularized the potato chip, Goode dressed as a chip bag. Her students spent a week collecting chip bags and used them to create a floor length skirt that Goode wore all day. Parents and colleagues, who see how the outfits captivated students, are similarly invested. They lend objects whenever a specific item is needed, such as a tennis racket for Serena Williams or a hot comb to complete a look as Madam C.J. Walker or Annie Turnbo Malone.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62622\" class=\"wp-caption alignright\" style=\"max-width: 184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62622\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-800x1067.jpeg\" alt=\"\" width=\"184\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313-1536x2048.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/IMG_3875-scaled-e1697567666313.jpeg 1920w\" sizes=\"(max-width: 184px) 100vw, 184px\">\u003cfigcaption class=\"wp-caption-text\">When her students learned about George Crum, who popularized the potato chip, Goode dressed as a chip bag. Her students spent a week collecting chip bags and used them to create a floor length skirt that Goode wore all day.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Additionally, Goode used an Amazon wishlist so community members, colleagues and friends could help her purchase more expensive items. That’s how she got her Mae Jemison astronaut jumpsuit and her Jackie Robinson jersey. “Now I have them in my trunk at my house for me to be able to use for the future,” she said. Lafayette accepts donations. She got a lab coat from a friend who didn’t need it after she completed a college chemistry class and used it to be Kizzmekia Corbett, a Black immunologist who worked on the coronavirus vaccine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My outfits a lot of times are things that I just have in my closet that I arrange in very strategic ways,” Lafayette added. For instance, a blazer, button down shirt and a name tag can be used to embody numerous historical men. She uses her Cricut machine to add small flourishes like Autumn Lockwood’s NFL pass. “If I buy something, I make sure it’s something that could be applicable to multiple people and think about all the different ways that I could use a particular item to get the best bang for my buck,” Lafayette said. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Start small and stay in your lane\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">For teachers who want to engage their students by dressing up, Goode and Lafayette recommended starting small. “The internet, especially ‘teacher-gram,’ can be such an intimidating place for educators, especially new educators,” said Goode, referring to instagram accounts where teachers post about how they are innovating in the classroom. Each teacher has different capacity and different needs in their classroom, she said. “You are the secret sauce to making whatever you want to happen in your classroom.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lafayette advised teachers to set realistic expectations for themselves by dressing up once a month or once a week. Honing in on a specific category can make things easier too. For example, if a teacher wants to focus on STEM they may dress up as inventions or renowned inventors. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_62626\" class=\"wp-caption alignleft\" style=\"max-width: 227px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-62626\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2023/10/image0-800x1067.jpg\" alt=\"\" width=\"227\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/23/2023/10/image0-scaled.jpg 1920w\" sizes=\"(max-width: 227px) 100vw, 227px\">\u003cfigcaption class=\"wp-caption-text\">Lafayette dressed as André Leon Talley, a fashion journalist and the first Black male creative director for Vogue magazine.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">They caution against being too reductive or wearing people’s culture as a costume. A good rule of thumb is if a teacher feels any uncertainty, don’t do it. There are ways to highlight diverse people without being offensive. “I’m not going to come to school in a hijab,” said Lafayette. “But I can make those books available for my kids and have conversations with them all throughout the year.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Goode said wearing t-shirts with figures on them is a low-stress way to introduce certain figures without dressing up. “I had a Tupac shirt. I had a Nina Simone shirt,” said Goode, who wore these when she wasn’t feeling up to creating an entire themed outfit. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Goode and Lafayette, students’ curiosity about historical and current figures continues beyond the days that they dress up. Lafayette typically packs away her outfits after Black History Month and Women’s History Month. “April 1st is the first time, after a solid eight weeks of wearing all these different outfits, that I come to school dressed like myself again,” she said. Students are usually surprised and disappointed to see her more typical garb. Their reactions tell her that they really care about this activity. She often goes into the next month thinking, “This really made an impact on them.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/mindshift/62588/how-two-teachers-spark-a-love-of-history-with-their-wardrobes","authors":["11721"],"categories":["mindshift_21357","mindshift_20579","mindshift_194","mindshift_193"],"tags":["mindshift_21534","mindshift_999","mindshift_21479","mindshift_21371","mindshift_1013","mindshift_21423","mindshift_498","mindshift_20616","mindshift_20557","mindshift_21007"],"featImg":"mindshift_62621","label":"mindshift"},"mindshift_56168":{"type":"posts","id":"mindshift_56168","meta":{"index":"posts_1591205157","site":"mindshift","id":"56168","score":null,"sort":[1593423039000]},"guestAuthors":[],"slug":"when-the-show-must-go-online-for-theater-students","title":"When the Show Must Go On Online for Theater Students","publishDate":1593423039,"format":"standard","headTitle":"MindShift | KQED News","labelTerm":{"site":"mindshift"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">After roles as a gravedigger in a grunge rock musical adaptation of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hamlet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the Wicked Witch’s second-in-command in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Wiz\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, this spring, due to the spread of COVID-19, high school junior Jack Tatara found himself trying out a brand-new role: quarantined theater kid. When school closed and the theater program moved online, Tatara performed in their Zoom-based radio play of “The Twilight Zone.” He enjoyed performing from his bedroom so much, he’s considering joining the school’s summer program, which is now going online as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In years past, Winston Prep in New York City, which serves students with learning disabilities and challenges like dyslexia, ADHD and Nonverbal Learning Disorder, offered the Summer Theater, Arts and Music Program, or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Stamp\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for students to hone their performing skills, socialize and have fun outside the classroom environment. But this year, due to coronavirus restrictions, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Stamp\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is trying to recreate itself online. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Summer online offerings include work on acting and music skills, and a performance of some kind. Rachel McAlinn, Winston Prep’s theater teacher, said that even though this year Stamp can’t happen in person, students still need the support the arts program provides: keeping up social skills and fostering an important sense of community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of these kids would not be grouped together academically in school, based on their learning profiles,” McAlinn said. “But we’re all together in the theater program. We consider ourselves a family.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like summer stock and Shakespeare in the Park, summer theater programs for students have a long tradition. For young performers, summer programs are often the place where they can hone their skills in a focused environment, build community with like-minded kids and have fun—not to mention have the opportunity to put on a high-quality performance. While most professional theaters have discontinued public performances\u003c/span>\u003ca href=\"blank\"> \u003cspan style=\"font-weight: 400\">until 2021\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and most school districts remain closed due to the spread of the coronavirus, many educational theater programs are turning to online programs to keep students engaged over the summer. Legacy arts institutions and local groups alike are remaking the summer theater program for students from their homes—performing “radio plays,” providing online singing and dancing classes, and learning new skills like acting for the camera—all to keep theater alive for their students. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the same time, educational theater programs are straining to keep their organizations alive. Many of these programs are self-sustaining, raising money through box office sales and program advertising from big summer performances that won’t be happening. Without those sales, and without enrollment fees from students, programs are hoping they can hang on long enough to reopen safely next summer. Though arts programs are almost always in jeopardy, the pressures of closures from COVID-19, mixed with economic distress, make this summer especially consequential. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Summer theater moves online\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the University of North Carolina School of the Arts \u003c/span>\u003ca href=\"https://www.uncsa.edu/summer/index.aspx\">\u003cspan style=\"font-weight: 400\">Summer Intensive\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> closed due to COVID-19, the faculty and staff quickly processed their initial shock and sprang into action. In summers past, UNCSA provided serious theater students with the kind of immersive training that prepares future regional professionals and Broadway stars. Ranging in age from fourteen to nineteen, students accepted into the prestigious program participated in four weeks of intense training, with days of acting, singing and dancing often running from 9 a.m. until 9 p.m., and ending with a big performance. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/AcademyActingCo/status/1275243369032269834\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer, drama program director Kelly Maxner and the faculty decided to innovate quickly, offering a scaled-back online program with fewer students, more teachers, and slashing the attendance cost in half. With a curriculum based on what they learned teaching performance online during the spring semester to UNCSA undergrads, the online classes in singing, dancing and acting for high schoolers will be less focused on a final performance and more on boosting specific skills, like acting for the camera. They’ve also added a master class in art for social change—how artists behave as citizens, taking a specific look at current events and how artists adapt and express themselves. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recognize strongly that we can’t do what we did before,” Maxner said. “But what we’ve done is distilled the curriculum, the essentials of the training. We decided what was essential and important—not just for the arts training but for the whole experience of the intensive.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ca href=\"https://ccm.uc.edu/summer/high-school-arts-immersion.html\">\u003cspan style=\"font-weight: 400\">High School Summer Immersion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> program at the University of Cincinnati College-Conservatory of Music, in Cincinnati, Ohio, is running through all of June and a part of July, and includes a high school musical theater workshop, a ballet camp for elementary kids, and private music lessons. Enrollment in the summer program has remained high, even after the summer’s classes moved online. The High School Immersion Musical Theatre Workshop, for example, filled up in just a few days—a testament to how much kids want to keep performing even though the environment won’t be the same, said Anne Cushing-Reid, Director of Preparatory and Community Engagement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Conservatory’s focus has been on making students feel as if they were present on campus “These aren’t your typical online classes,” Cushing-Reid wrote in an email. “They’re designed to get students out of their seats and onto their at-home ‘dance floors’ or ‘music studios’—whether that is their living room, driveway or bedroom.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Students in the musical theater workshop will also get a chance to work with more guest faculty through Zoom than had they met in person. Successful alumnus from Broadway, Off-Broadway and regional theater are able to join online meetings more easily, “expanding students’ networks and imparting expert knowledge from the performing arts industry,” Cushing-Reid said. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Different challenges, new benefits\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even smaller, regional programs are finding creative ways to engage young performers. The nonprofit \u003c/span>\u003ca href=\"http://www.mudlarktheater.org/\">\u003cspan style=\"font-weight: 400\">Mudlark Theatre\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Evanston, Illinois, is hoping to be able to open for summer camps, according to state guidelines, by late June or early July. In the meantime, Mudlark has been providing experiences for students online, including parodies of the news and a character-based role-playing game like \u003ca href=\"https://www.kqed.org/mindshift/tag/dungeons-dragons\">Dungeons & Dragons\u003c/a>, to keep students performing even if it’s not exactly theater.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_56169\" class=\"wp-caption alignnone\" style=\"max-width: 828px\">\u003cimg class=\"size-full wp-image-56169\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774.jpg\" alt=\"\" width=\"828\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774.jpg 828w, https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774-800x930.jpg 800w, https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774-160x186.jpg 160w, https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774-768x893.jpg 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">Evansville Vanderburgh School Corporation All-City Summer Musical production of Les Misérables. \u003ccite>(Courtesy of EVSC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The All-City Summer Musical in Evansville, Indiana, a showcase of the best high school talent in the city, has been a big summer box-office draw in an area that boasts a strong performing tradition for more than thirty years, including when I attended this program as a high schooler many years ago. When performances of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sweeney Todd\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, set for mid-July, were cancelled, all but two of the students decided to stay on for an online experience—even when director Robert Hunt and producer Tiffany Schriber Ball weren’t exactly sure what that would look like. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Based loosely on what they’d seen Broadway performers put together online, Schriber Ball and Hunt quickly decided that the performers would work on musical theatre scenes and song selections, and the orchestra would work on the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sweeney Todd Suite\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, all on Zoom. They enlisted the help of a local university technical director to teach the backstage crew—the students who usually build the sets, and run lights and sound—how to design a set. Using both set-design software and old-fashioned popsicle sticks and glue to create models, students are gaining a new skill they wouldn’t have a chance to learn during a “normal” summer production. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early rehearsals have shown the social aspect of doing theater together—one of its biggest draws—is still lively, even online. Students are hanging around in “meetings,” even during the scheduled breaks, to joke around and talk. “One of the cast traditions is playing frisbee during breaks,” Hunt said. “And I was so thrilled to see they were playing ‘virtual’ frisbee with each other, saying ‘here, it’s coming for you!’” \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Uncertain what the future brings, the show goes on \u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even one of the country’s largest high school theater gatherings and competitions, the\u003c/span>\u003ca href=\"https://itf.pathable.co/performances\"> \u003cspan style=\"font-weight: 400\">International Thespian Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held for the past 25 summers at the University of Nebraska in Lincoln, is going virtual this year. The Educational Theatre Association, with chapters in 45 states and serving more than 130,000 theatre educators and students, is hosting the virtual event. It will include both pre-recorded performances of school productions that happened before schools closed, as well as an online showcase and some live-streaming events. \u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fy_Eq59EYlo&feature=youtu.be\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The professional group is providing guidance for schools and programs as summer programs move online and re-invent a theatrical experience for students, even as the future for performances is uncertain. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jim Palmarini, the Educational Theatre Association’s educational policy director, said their “\u003ca href=\"https://higherlogicdownload.s3.amazonaws.com/SCHOOLTHEATRE/7f9e7fa8-ea41-4033-b6a3-1ce9da6a7b6f/UploadedFiles/HPVMgpNDTw2FWro1JLiL_EdTA_ReOpen_Guide_2020_FINAL.pdf\">Recommendations for Reopening Theatre Programs\u003c/a>” guide was issued in June, acknowledging that ultimately each state’s and district’s requirements will be different. “The guide is seeking to address the middle ground of how each theatre program can safely reopen in the fall,” he said. “While performance remains central to school theatre programs, we know that producing live shows will be a challenge for many schools this upcoming school year. Because of that, we’re putting a lot of emphasis on the creative ways that schools can move their performances to an online format. Things are changing so fast that it is hard to say which school will be to do live performances, and which will not.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The loss of public performances is bigger than dashed dreams of stardom. After spring shows were cancelled, and summer programs moved online, many programs lost a season’s worth of box office revenue to help mount the next show. A recent\u003c/span>\u003ca href=\"blank\"> \u003cspan style=\"font-weight: 400\">CDC study showing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that aerosol droplets transmitted by singing could pose a serious risk not just to singers standing close together, but to the audience as well, may mean performances are postponed for much longer. And providing summer online experiences also reveal \u003c/span>\u003ca href=\"https://hechingerreport.org/should-schools-teach-anyone-who-can-get-online-or-no-one-at-all/\">\u003cspan style=\"font-weight: 400\">big gaps in student equity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, since not everybody has a computer at home, or a decent internet connection. Schools and programs want to know: when will it be safe to perform in person again? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">School theaters are also worried about looming\u003c/span>\u003ca href=\"blank\"> \u003cspan style=\"font-weight: 400\">state budget cuts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, due to lost tax revenue affected by the pandemic, for which the arts are usually first on the chopping block. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But for some programs, lost revenue and public performances have to be set aside: for students, the show must go on. For the past ninety-two summers, some of the country’s most accomplished high school actors, singers, dancers and musicians arrive at the \u003c/span>\u003ca href=\"https://www.interlochen.org/\">\u003cspan style=\"font-weight: 400\">Interlochen Center for the Arts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the woods of northern Michigan for a remote, focused six-week summer arts program to hone their skills. This summer’s online program, which will feature acting and musical theater classes and some kind of recorded end-of-season performance, won’t look the same. But the distance, said theater arts summer program director Bill Church, will make hearts grow fonder—not just for theater kids, but the educators who teach them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When we get to invite people back, it’s going to be ridiculous,” Church said. “The celebration and the joy—I don’t think anyone will ever take theater or rehearsal for granted ever again.” \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article misspelled Jack Tatara's name. We regret this error. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"High school theater programs are reinventing the summer arts camp during a pandemic, all to keep theater alive for students.","status":"publish","parent":0,"modified":1594835451,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":2041},"headData":{"title":"When the Show Must Go On Online for Theater Students - MindShift","description":"High school theater programs are reinventing the summer arts camp during a pandemic, all to keep theater alive for students.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"When the Show Must Go On Online for Theater Students","datePublished":"2020-06-29T09:30:39.000Z","dateModified":"2020-07-15T17:50:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"56168 https://ww2.kqed.org/mindshift/?p=56168","disqusUrl":"https://ww2.kqed.org/mindshift/2020/06/29/when-the-show-must-go-online-for-theater-students/","disqusTitle":"When the Show Must Go On Online for Theater Students","path":"/mindshift/56168/when-the-show-must-go-online-for-theater-students","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">After roles as a gravedigger in a grunge rock musical adaptation of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hamlet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and the Wicked Witch’s second-in-command in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Wiz\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, this spring, due to the spread of COVID-19, high school junior Jack Tatara found himself trying out a brand-new role: quarantined theater kid. When school closed and the theater program moved online, Tatara performed in their Zoom-based radio play of “The Twilight Zone.” He enjoyed performing from his bedroom so much, he’s considering joining the school’s summer program, which is now going online as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In years past, Winston Prep in New York City, which serves students with learning disabilities and challenges like dyslexia, ADHD and Nonverbal Learning Disorder, offered the Summer Theater, Arts and Music Program, or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Stamp\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, for students to hone their performing skills, socialize and have fun outside the classroom environment. But this year, due to coronavirus restrictions, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Stamp\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is trying to recreate itself online. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Summer online offerings include work on acting and music skills, and a performance of some kind. Rachel McAlinn, Winston Prep’s theater teacher, said that even though this year Stamp can’t happen in person, students still need the support the arts program provides: keeping up social skills and fostering an important sense of community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of these kids would not be grouped together academically in school, based on their learning profiles,” McAlinn said. “But we’re all together in the theater program. We consider ourselves a family.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like summer stock and Shakespeare in the Park, summer theater programs for students have a long tradition. For young performers, summer programs are often the place where they can hone their skills in a focused environment, build community with like-minded kids and have fun—not to mention have the opportunity to put on a high-quality performance. While most professional theaters have discontinued public performances\u003c/span>\u003ca href=\"blank\"> \u003cspan style=\"font-weight: 400\">until 2021\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and most school districts remain closed due to the spread of the coronavirus, many educational theater programs are turning to online programs to keep students engaged over the summer. Legacy arts institutions and local groups alike are remaking the summer theater program for students from their homes—performing “radio plays,” providing online singing and dancing classes, and learning new skills like acting for the camera—all to keep theater alive for their students. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the same time, educational theater programs are straining to keep their organizations alive. Many of these programs are self-sustaining, raising money through box office sales and program advertising from big summer performances that won’t be happening. Without those sales, and without enrollment fees from students, programs are hoping they can hang on long enough to reopen safely next summer. Though arts programs are almost always in jeopardy, the pressures of closures from COVID-19, mixed with economic distress, make this summer especially consequential. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Summer theater moves online\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the University of North Carolina School of the Arts \u003c/span>\u003ca href=\"https://www.uncsa.edu/summer/index.aspx\">\u003cspan style=\"font-weight: 400\">Summer Intensive\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> closed due to COVID-19, the faculty and staff quickly processed their initial shock and sprang into action. In summers past, UNCSA provided serious theater students with the kind of immersive training that prepares future regional professionals and Broadway stars. Ranging in age from fourteen to nineteen, students accepted into the prestigious program participated in four weeks of intense training, with days of acting, singing and dancing often running from 9 a.m. until 9 p.m., and ending with a big performance. \u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1275243369032269834"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer, drama program director Kelly Maxner and the faculty decided to innovate quickly, offering a scaled-back online program with fewer students, more teachers, and slashing the attendance cost in half. With a curriculum based on what they learned teaching performance online during the spring semester to UNCSA undergrads, the online classes in singing, dancing and acting for high schoolers will be less focused on a final performance and more on boosting specific skills, like acting for the camera. They’ve also added a master class in art for social change—how artists behave as citizens, taking a specific look at current events and how artists adapt and express themselves. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We recognize strongly that we can’t do what we did before,” Maxner said. “But what we’ve done is distilled the curriculum, the essentials of the training. We decided what was essential and important—not just for the arts training but for the whole experience of the intensive.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ca href=\"https://ccm.uc.edu/summer/high-school-arts-immersion.html\">\u003cspan style=\"font-weight: 400\">High School Summer Immersion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> program at the University of Cincinnati College-Conservatory of Music, in Cincinnati, Ohio, is running through all of June and a part of July, and includes a high school musical theater workshop, a ballet camp for elementary kids, and private music lessons. Enrollment in the summer program has remained high, even after the summer’s classes moved online. The High School Immersion Musical Theatre Workshop, for example, filled up in just a few days—a testament to how much kids want to keep performing even though the environment won’t be the same, said Anne Cushing-Reid, Director of Preparatory and Community Engagement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Conservatory’s focus has been on making students feel as if they were present on campus “These aren’t your typical online classes,” Cushing-Reid wrote in an email. “They’re designed to get students out of their seats and onto their at-home ‘dance floors’ or ‘music studios’—whether that is their living room, driveway or bedroom.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Students in the musical theater workshop will also get a chance to work with more guest faculty through Zoom than had they met in person. Successful alumnus from Broadway, Off-Broadway and regional theater are able to join online meetings more easily, “expanding students’ networks and imparting expert knowledge from the performing arts industry,” Cushing-Reid said. \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Different challenges, new benefits\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even smaller, regional programs are finding creative ways to engage young performers. The nonprofit \u003c/span>\u003ca href=\"http://www.mudlarktheater.org/\">\u003cspan style=\"font-weight: 400\">Mudlark Theatre\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Evanston, Illinois, is hoping to be able to open for summer camps, according to state guidelines, by late June or early July. In the meantime, Mudlark has been providing experiences for students online, including parodies of the news and a character-based role-playing game like \u003ca href=\"https://www.kqed.org/mindshift/tag/dungeons-dragons\">Dungeons & Dragons\u003c/a>, to keep students performing even if it’s not exactly theater.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_56169\" class=\"wp-caption alignnone\" style=\"max-width: 828px\">\u003cimg class=\"size-full wp-image-56169\" src=\"https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774.jpg\" alt=\"\" width=\"828\" height=\"963\" srcset=\"https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774.jpg 828w, https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774-800x930.jpg 800w, https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774-160x186.jpg 160w, https://ww2.kqed.org/app/uploads/sites/23/2020/06/IMG_0774-768x893.jpg 768w\" sizes=\"(max-width: 828px) 100vw, 828px\">\u003cfigcaption class=\"wp-caption-text\">Evansville Vanderburgh School Corporation All-City Summer Musical production of Les Misérables. \u003ccite>(Courtesy of EVSC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The All-City Summer Musical in Evansville, Indiana, a showcase of the best high school talent in the city, has been a big summer box-office draw in an area that boasts a strong performing tradition for more than thirty years, including when I attended this program as a high schooler many years ago. When performances of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sweeney Todd\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, set for mid-July, were cancelled, all but two of the students decided to stay on for an online experience—even when director Robert Hunt and producer Tiffany Schriber Ball weren’t exactly sure what that would look like. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Based loosely on what they’d seen Broadway performers put together online, Schriber Ball and Hunt quickly decided that the performers would work on musical theatre scenes and song selections, and the orchestra would work on the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sweeney Todd Suite\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, all on Zoom. They enlisted the help of a local university technical director to teach the backstage crew—the students who usually build the sets, and run lights and sound—how to design a set. Using both set-design software and old-fashioned popsicle sticks and glue to create models, students are gaining a new skill they wouldn’t have a chance to learn during a “normal” summer production. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Early rehearsals have shown the social aspect of doing theater together—one of its biggest draws—is still lively, even online. Students are hanging around in “meetings,” even during the scheduled breaks, to joke around and talk. “One of the cast traditions is playing frisbee during breaks,” Hunt said. “And I was so thrilled to see they were playing ‘virtual’ frisbee with each other, saying ‘here, it’s coming for you!’” \u003c/span>\u003c/p>\n\u003ch2>\u003cb>Uncertain what the future brings, the show goes on \u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even one of the country’s largest high school theater gatherings and competitions, the\u003c/span>\u003ca href=\"https://itf.pathable.co/performances\"> \u003cspan style=\"font-weight: 400\">International Thespian Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held for the past 25 summers at the University of Nebraska in Lincoln, is going virtual this year. The Educational Theatre Association, with chapters in 45 states and serving more than 130,000 theatre educators and students, is hosting the virtual event. It will include both pre-recorded performances of school productions that happened before schools closed, as well as an online showcase and some live-streaming events. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fy_Eq59EYlo'\n title='//www.youtube.com/embed/fy_Eq59EYlo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The professional group is providing guidance for schools and programs as summer programs move online and re-invent a theatrical experience for students, even as the future for performances is uncertain. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jim Palmarini, the Educational Theatre Association’s educational policy director, said their “\u003ca href=\"https://higherlogicdownload.s3.amazonaws.com/SCHOOLTHEATRE/7f9e7fa8-ea41-4033-b6a3-1ce9da6a7b6f/UploadedFiles/HPVMgpNDTw2FWro1JLiL_EdTA_ReOpen_Guide_2020_FINAL.pdf\">Recommendations for Reopening Theatre Programs\u003c/a>” guide was issued in June, acknowledging that ultimately each state’s and district’s requirements will be different. “The guide is seeking to address the middle ground of how each theatre program can safely reopen in the fall,” he said. “While performance remains central to school theatre programs, we know that producing live shows will be a challenge for many schools this upcoming school year. Because of that, we’re putting a lot of emphasis on the creative ways that schools can move their performances to an online format. Things are changing so fast that it is hard to say which school will be to do live performances, and which will not.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The loss of public performances is bigger than dashed dreams of stardom. After spring shows were cancelled, and summer programs moved online, many programs lost a season’s worth of box office revenue to help mount the next show. A recent\u003c/span>\u003ca href=\"blank\"> \u003cspan style=\"font-weight: 400\">CDC study showing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that aerosol droplets transmitted by singing could pose a serious risk not just to singers standing close together, but to the audience as well, may mean performances are postponed for much longer. And providing summer online experiences also reveal \u003c/span>\u003ca href=\"https://hechingerreport.org/should-schools-teach-anyone-who-can-get-online-or-no-one-at-all/\">\u003cspan style=\"font-weight: 400\">big gaps in student equity\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, since not everybody has a computer at home, or a decent internet connection. Schools and programs want to know: when will it be safe to perform in person again? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">School theaters are also worried about looming\u003c/span>\u003ca href=\"blank\"> \u003cspan style=\"font-weight: 400\">state budget cuts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, due to lost tax revenue affected by the pandemic, for which the arts are usually first on the chopping block. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But for some programs, lost revenue and public performances have to be set aside: for students, the show must go on. For the past ninety-two summers, some of the country’s most accomplished high school actors, singers, dancers and musicians arrive at the \u003c/span>\u003ca href=\"https://www.interlochen.org/\">\u003cspan style=\"font-weight: 400\">Interlochen Center for the Arts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the woods of northern Michigan for a remote, focused six-week summer arts program to hone their skills. This summer’s online program, which will feature acting and musical theater classes and some kind of recorded end-of-season performance, won’t look the same. But the distance, said theater arts summer program director Bill Church, will make hearts grow fonder—not just for theater kids, but the educators who teach them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When we get to invite people back, it’s going to be ridiculous,” Church said. “The celebration and the joy—I don’t think anyone will ever take theater or rehearsal for granted ever again.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article misspelled Jack Tatara's name. We regret this error. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/mindshift/56168/when-the-show-must-go-online-for-theater-students","authors":["4445"],"categories":["mindshift_21358"],"tags":["mindshift_20854","mindshift_950","mindshift_21344","mindshift_21343","mindshift_358","mindshift_20784","mindshift_1040","mindshift_21007"],"featImg":"mindshift_56171","label":"mindshift"},"mindshift_45909":{"type":"posts","id":"mindshift_45909","meta":{"index":"posts_1591205157","site":"mindshift","id":"45909","score":null,"sort":[1471853709000]},"guestAuthors":[],"slug":"how-performing-in-theater-can-build-empathy-in-students","title":"How Performing in Theater Can Help Build Empathy in Students","publishDate":1471853709,"format":"standard","headTitle":"MindShift | KQED News","labelTerm":{"site":"mindshift"},"content":"\u003cp class=\"p1\">One of the first exercises Kyle Ware does with teachers in the Kentucky Shakespeare \u003ca href=\"http://www.kyshakespeare.com/education/pd/\">From the Page to the Stage\u003c/a> development workshop is to get them on their feet and using the words of Shakespeare in action, in a game called, “Shakespearean Insults and Compliments.” Ware, who is director of education for the company’s extensive schools program, said that teachers take each other down and lift each other up using the words of the Bard—no matter if they’re accurate: “Thou art an ill-fated huggermugger!” is an example Ware gave.\u003c/p>\n\u003cp class=\"p1\">“Then the other person might throw something back at them. The idea is that, when put in context, this insult is something that can easily be understood. Even though I don’t exactly know what a \u003cem>huggermugger\u003c/em> is, I get it.”\u003c/p>\n\u003cp class=\"p1\">From the Page to the Stage was developed by Kentucky Shakespeare in conjunction with the \u003ca href=\"http://www.folger.edu/\">Folger Shakespeare Library\u003c/a> in 1991, as a way to help teachers get the most out of teaching Shakespeare to their classes, and has been honored by the Library as an exemplary program and used as a model for other professional development programs. The idea behind it, said Ware, was to get Shakespeare “back up on its feet,” where it belongs. Since Shakespeare’s plays were meant to be performed, Ware said they have seen that students get more out of Shakespeare when they are doing both reading and performance.\u003c/p>\n\u003cp class=\"p1\">Ware also shows teachers ways to let kids interpret the text when doing analysis, often using Othello’s Act III, Scene III as an example, which he studied with a recent group of high schoolers. Ware tells teachers about a particular student’s reaction to Iago, who doesn't say much, but let's Othello do all the talking, and therefore all the work of the scene:\u003c/p>\n\u003cp class=\"p1\">IAGO: My noble lord--\u003cbr>\nOTHELLO: What dost thou say, Iago?\u003cbr>\nIAGO: Did Michael Cassio, when you woo'd my lady,\u003cbr>\nKnow of your love?\u003cbr>\nOTHELLO: He did, from first to last: why dost thou ask?\u003cbr>\nIAGO: But for a satisfaction of my thought; No further harm.\u003cbr>\nOTHELLO: Why of thy thought, Iago?\u003cbr>\nIAGO: I did not think he had been acquainted with her.\u003cbr>\nOTHELLO: O, yes; and went between us very oft.\u003cbr>\nIAGO: Indeed!\u003cbr>\nOTHELLO: Indeed! ay, indeed: discern'st thou aught in that? Is he not honest?\u003cbr>\nIAGO:\u003cspan class=\"Apple-converted-space\"> \u003c/span>Honest, my lord!\u003cbr>\nOTHELLO: Honest! ay, honest.\u003cbr>\nIAGO: My lord, for aught I know.\u003cbr>\nOTHELLO: What dost thou think?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">As Ware tells it, a student then popped up and said, “Hey, he’s clownin’ him!”\u003c/p>\n\u003cp class=\"p1\">“So that is exactly what’s happening in this scene - Iago \u003ci>is\u003c/i> clowning Othello,” Ware said. Though ‘clownin’ someone isn’t exactly a scholarly term, Ware said that’s more than all right: what matters is that students are making connections between themselves and the feelings of 400-year-old Shakespearean characters.\u003c/p>\n\u003cp class=\"p1\">“And when a teacher hears that, she says, ‘Yes, I see my own window to my students. I see my own window into this work.’ Then hopefully, they can relay this idea through their own curriculum, their own text analysis. That’s the thing we try to do, leave them [educators] with the tools to do this kind of work.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vdCjKH5IKJ8\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>THE BENEFITS OF THEATER\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">In his book \u003ca href=\"http://https://www.amazon.com/Doing-Well-Good-Art-Achievements/dp/1449904335\">D\u003ci>oing Well and Doing Good by Doing Art\u003c/i>,\u003c/a> UCLA professor James Catterall details the results of a twelve-year study in which he followed secondary students who participated in music or theater arts in school into their adult lives to see if the arts made a difference, and what kind of difference it made. Catterall found a strong association between high school theater and inner development. “Sustained student involvement in theatre arts (acting in plays and musicals, participating in drama clubs, and taking acting lessons) associates with a variety of developments for youth,” he writes in the first chapter. “Gains in reading proficiency, gains in self-concept and motivation, and higher levels of empathy for others.”\u003c/p>\n\u003cp class=\"p1\">Ware said that teachers he works with find Shakespeare more challenging to teach in today's digital climate, an observation Ware himself makes when he works directly with students in classrooms. In\u003cspan class=\"Apple-converted-space\"> \u003c/span>recent years, Kentucky Shakespeare has added Shakespeare workshops that work with students and teachers on developing skills like conflict resolution, body language and empathy—ways of communicating they feel may be getting lost when most interactions happen screen-to-screen instead of face-to-face.\u003c/p>\n\u003cp class=\"p1\">One such program was a four-week residency conducted by Kentucky Shakespeare’s producing artistic director, Matthew Wallace, at a Jefferson County school for students with behavioral and emotional disorders. Wallace, who is also a facilitator at the \u003ca href=\"http://www.shakespearebehindbars.org/documentary/\">Shakespeare Behind Bars\u003c/a> program conducted in the Luther Luckett state prison, had experience in teaching conflict resolution using acting techniques and Shakespeare.*\u003c/p>\n\u003cp class=\"p1\">For art and humanities teacher Sharon Lillie, who applied for a Very Special Arts grant to bring Wallace and crew to the school twice per week for four weeks, teaching Shakespeare in this way to her students—boys and girls who had already been kicked out of traditional school—the experience was “absolutely worth it.”\u003c/p>\n\u003cp class=\"p1\">For more than two hours, Wallace worked with eleven of Lillie’s ninth- and tenth-gradeers on the \u003ca href=\"http://shakespeare.mit.edu/romeo_juliet/full.html\">first scene of Romeo and Juliet,\u003c/a> in which the servants of the two warring households get into a fight.\u003c/p>\n\u003cp class=\"p1\">“You would think that working on a scene where the characters fight wouldn’t be such a great idea with our kids,” said Lillie. “But it worked. They learned the lines, they learned what the lines meant, they talked about things like: what kind of body language does somebody have when they’re ready to fight? What about when somebody’s backing off? How would you step into the area, and out? How would you vary your tone of voice?”\u003c/p>\n\u003cp class=\"p1\">Lillie said that, once the students had gone through the text and learned what the words meant, performing even the most confrontational scenes was fun for them because they weren’t themselves: they were the characters.\u003c/p>\n\u003cp class=\"p1\">Since many of her students end up in the special school in the first place because they have a hard time reading physical or verbal cues, practicing them “for pretend” strengthened their ability to read others’ reactions. Being able to do this in a safe environment, said Lillie, with the added fun of acting, made a visible difference in her students.\u003c/p>\n\u003cp class=\"p1\">“On the days when Matt came,” Lillie said, “Their homeroom teacher reported these students got along a lot better the rest of that day. They were more relaxed with each other, they could take things a little less seriously than what they had been doing.”\u003c/p>\n\u003cp class=\"p1\">Wallace, who said that his workshops often focus on issues like conflict resolution, was adamant that he never wants the scenes themselves to turn into some kind of therapy. “The brilliance of Shakespeare is that, at the time the plays were performed, it was still a mostly oral society, \" Wallace said, noting that most of the population was illiterate. \"So it’s all about the words—the sounds of the words, and how it makes you feel when you hear them and when you are saying them. We think that sort of visceral experience of saying these words out loud is valuable,\" he said.\u003c/p>\n\u003cp class=\"p1\">\"It’s using the healing power of the arts to create this structure and using teamwork. And the building of empathy is huge.”\u003c/p>\n\u003cp class=\"p1\">At the end of the four-week workshop, the students performed their Romeo and Juliet scenes in the cafeteria for the whole school, which Lillie considered a symbol of how far they’d come: though the students were visibly nervous, they didn’t get stage fright and they remembered their lines.\u003c/p>\n\u003cp class=\"p1\">Throughout the experience, students kept a journal of their thoughts and feelings. While many had recorded positive details about the experience, Lillie remembers two students especially, one who wrote, “I really love this.” And another, who wrote, “It was fun to be joking on each other and getting away with it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\u003cem>*A previous version of this post misstated that Wallace was a former facilitator of Shakespeare Behind Bars, when in fact, he continues to in that role. We regret this error. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"By encouraging students to add more performance back into the text, Shakespeare's works are gaining greater purpose. ","status":"publish","parent":0,"modified":1471890247,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":2,"wordCount":1463},"headData":{"title":"How Performing in Theater Can Help Build Empathy in Students | KQED","description":"By encouraging students to add more performance back into the text, Shakespeare's works are gaining greater purpose. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Performing in Theater Can Help Build Empathy in Students","datePublished":"2016-08-22T08:15:09.000Z","dateModified":"2016-08-22T18:24:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"45909 http://ww2.kqed.org/mindshift/?p=45909","disqusUrl":"https://ww2.kqed.org/mindshift/2016/08/22/how-performing-in-theater-can-build-empathy-in-students/","disqusTitle":"How Performing in Theater Can Help Build Empathy in Students","path":"/mindshift/45909/how-performing-in-theater-can-build-empathy-in-students","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">One of the first exercises Kyle Ware does with teachers in the Kentucky Shakespeare \u003ca href=\"http://www.kyshakespeare.com/education/pd/\">From the Page to the Stage\u003c/a> development workshop is to get them on their feet and using the words of Shakespeare in action, in a game called, “Shakespearean Insults and Compliments.” Ware, who is director of education for the company’s extensive schools program, said that teachers take each other down and lift each other up using the words of the Bard—no matter if they’re accurate: “Thou art an ill-fated huggermugger!” is an example Ware gave.\u003c/p>\n\u003cp class=\"p1\">“Then the other person might throw something back at them. The idea is that, when put in context, this insult is something that can easily be understood. Even though I don’t exactly know what a \u003cem>huggermugger\u003c/em> is, I get it.”\u003c/p>\n\u003cp class=\"p1\">From the Page to the Stage was developed by Kentucky Shakespeare in conjunction with the \u003ca href=\"http://www.folger.edu/\">Folger Shakespeare Library\u003c/a> in 1991, as a way to help teachers get the most out of teaching Shakespeare to their classes, and has been honored by the Library as an exemplary program and used as a model for other professional development programs. The idea behind it, said Ware, was to get Shakespeare “back up on its feet,” where it belongs. Since Shakespeare’s plays were meant to be performed, Ware said they have seen that students get more out of Shakespeare when they are doing both reading and performance.\u003c/p>\n\u003cp class=\"p1\">Ware also shows teachers ways to let kids interpret the text when doing analysis, often using Othello’s Act III, Scene III as an example, which he studied with a recent group of high schoolers. Ware tells teachers about a particular student’s reaction to Iago, who doesn't say much, but let's Othello do all the talking, and therefore all the work of the scene:\u003c/p>\n\u003cp class=\"p1\">IAGO: My noble lord--\u003cbr>\nOTHELLO: What dost thou say, Iago?\u003cbr>\nIAGO: Did Michael Cassio, when you woo'd my lady,\u003cbr>\nKnow of your love?\u003cbr>\nOTHELLO: He did, from first to last: why dost thou ask?\u003cbr>\nIAGO: But for a satisfaction of my thought; No further harm.\u003cbr>\nOTHELLO: Why of thy thought, Iago?\u003cbr>\nIAGO: I did not think he had been acquainted with her.\u003cbr>\nOTHELLO: O, yes; and went between us very oft.\u003cbr>\nIAGO: Indeed!\u003cbr>\nOTHELLO: Indeed! ay, indeed: discern'st thou aught in that? Is he not honest?\u003cbr>\nIAGO:\u003cspan class=\"Apple-converted-space\"> \u003c/span>Honest, my lord!\u003cbr>\nOTHELLO: Honest! ay, honest.\u003cbr>\nIAGO: My lord, for aught I know.\u003cbr>\nOTHELLO: What dost thou think?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">As Ware tells it, a student then popped up and said, “Hey, he’s clownin’ him!”\u003c/p>\n\u003cp class=\"p1\">“So that is exactly what’s happening in this scene - Iago \u003ci>is\u003c/i> clowning Othello,” Ware said. Though ‘clownin’ someone isn’t exactly a scholarly term, Ware said that’s more than all right: what matters is that students are making connections between themselves and the feelings of 400-year-old Shakespearean characters.\u003c/p>\n\u003cp class=\"p1\">“And when a teacher hears that, she says, ‘Yes, I see my own window to my students. I see my own window into this work.’ Then hopefully, they can relay this idea through their own curriculum, their own text analysis. That’s the thing we try to do, leave them [educators] with the tools to do this kind of work.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vdCjKH5IKJ8'\n title='//www.youtube.com/embed/vdCjKH5IKJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cstrong>THE BENEFITS OF THEATER\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">In his book \u003ca href=\"http://https://www.amazon.com/Doing-Well-Good-Art-Achievements/dp/1449904335\">D\u003ci>oing Well and Doing Good by Doing Art\u003c/i>,\u003c/a> UCLA professor James Catterall details the results of a twelve-year study in which he followed secondary students who participated in music or theater arts in school into their adult lives to see if the arts made a difference, and what kind of difference it made. Catterall found a strong association between high school theater and inner development. “Sustained student involvement in theatre arts (acting in plays and musicals, participating in drama clubs, and taking acting lessons) associates with a variety of developments for youth,” he writes in the first chapter. “Gains in reading proficiency, gains in self-concept and motivation, and higher levels of empathy for others.”\u003c/p>\n\u003cp class=\"p1\">Ware said that teachers he works with find Shakespeare more challenging to teach in today's digital climate, an observation Ware himself makes when he works directly with students in classrooms. In\u003cspan class=\"Apple-converted-space\"> \u003c/span>recent years, Kentucky Shakespeare has added Shakespeare workshops that work with students and teachers on developing skills like conflict resolution, body language and empathy—ways of communicating they feel may be getting lost when most interactions happen screen-to-screen instead of face-to-face.\u003c/p>\n\u003cp class=\"p1\">One such program was a four-week residency conducted by Kentucky Shakespeare’s producing artistic director, Matthew Wallace, at a Jefferson County school for students with behavioral and emotional disorders. Wallace, who is also a facilitator at the \u003ca href=\"http://www.shakespearebehindbars.org/documentary/\">Shakespeare Behind Bars\u003c/a> program conducted in the Luther Luckett state prison, had experience in teaching conflict resolution using acting techniques and Shakespeare.*\u003c/p>\n\u003cp class=\"p1\">For art and humanities teacher Sharon Lillie, who applied for a Very Special Arts grant to bring Wallace and crew to the school twice per week for four weeks, teaching Shakespeare in this way to her students—boys and girls who had already been kicked out of traditional school—the experience was “absolutely worth it.”\u003c/p>\n\u003cp class=\"p1\">For more than two hours, Wallace worked with eleven of Lillie’s ninth- and tenth-gradeers on the \u003ca href=\"http://shakespeare.mit.edu/romeo_juliet/full.html\">first scene of Romeo and Juliet,\u003c/a> in which the servants of the two warring households get into a fight.\u003c/p>\n\u003cp class=\"p1\">“You would think that working on a scene where the characters fight wouldn’t be such a great idea with our kids,” said Lillie. “But it worked. They learned the lines, they learned what the lines meant, they talked about things like: what kind of body language does somebody have when they’re ready to fight? What about when somebody’s backing off? How would you step into the area, and out? How would you vary your tone of voice?”\u003c/p>\n\u003cp class=\"p1\">Lillie said that, once the students had gone through the text and learned what the words meant, performing even the most confrontational scenes was fun for them because they weren’t themselves: they were the characters.\u003c/p>\n\u003cp class=\"p1\">Since many of her students end up in the special school in the first place because they have a hard time reading physical or verbal cues, practicing them “for pretend” strengthened their ability to read others’ reactions. Being able to do this in a safe environment, said Lillie, with the added fun of acting, made a visible difference in her students.\u003c/p>\n\u003cp class=\"p1\">“On the days when Matt came,” Lillie said, “Their homeroom teacher reported these students got along a lot better the rest of that day. They were more relaxed with each other, they could take things a little less seriously than what they had been doing.”\u003c/p>\n\u003cp class=\"p1\">Wallace, who said that his workshops often focus on issues like conflict resolution, was adamant that he never wants the scenes themselves to turn into some kind of therapy. “The brilliance of Shakespeare is that, at the time the plays were performed, it was still a mostly oral society, \" Wallace said, noting that most of the population was illiterate. \"So it’s all about the words—the sounds of the words, and how it makes you feel when you hear them and when you are saying them. We think that sort of visceral experience of saying these words out loud is valuable,\" he said.\u003c/p>\n\u003cp class=\"p1\">\"It’s using the healing power of the arts to create this structure and using teamwork. And the building of empathy is huge.”\u003c/p>\n\u003cp class=\"p1\">At the end of the four-week workshop, the students performed their Romeo and Juliet scenes in the cafeteria for the whole school, which Lillie considered a symbol of how far they’d come: though the students were visibly nervous, they didn’t get stage fright and they remembered their lines.\u003c/p>\n\u003cp class=\"p1\">Throughout the experience, students kept a journal of their thoughts and feelings. While many had recorded positive details about the experience, Lillie remembers two students especially, one who wrote, “I really love this.” And another, who wrote, “It was fun to be joking on each other and getting away with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cem>*A previous version of this post misstated that Wallace was a former facilitator of Shakespeare Behind Bars, when in fact, he continues to in that role. We regret this error. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/mindshift/45909/how-performing-in-theater-can-build-empathy-in-students","authors":["4445"],"categories":["mindshift_192"],"tags":["mindshift_20711","mindshift_20699","mindshift_20784","mindshift_1040","mindshift_978","mindshift_21007"],"featImg":"mindshift_46161","label":"mindshift"},"mindshift_45471":{"type":"posts","id":"mindshift_45471","meta":{"index":"posts_1591205157","site":"mindshift","id":"45471","score":null,"sort":[1466684477000]},"guestAuthors":[],"slug":"how-theater-can-offer-students-new-perspectives-on-history","title":"How Theater Can Offer Students New Perspectives On History","publishDate":1466684477,"format":"standard","headTitle":"MindShift | KQED News","labelTerm":{"site":"mindshift"},"content":"\u003cp>Teachers work hard to help students understand the crucial role of perspective in shaping historical narratives. And yet for the sake of time and convenience, history textbooks often flatten the narratives, excluding events and upholding a Euro-centric narrative of what constitutes \"history.\" Teachers are coming up with amazing ways around this problem from \u003ca href=\"https://ww2.kqed.org/mindshift/2014/01/16/forget-the-textbook-video-games-as-social-studies-content/\" target=\"_blank\">integrating video games as social studies texts\u003c/a>, to creating their own \u003ca href=\"https://ww2.kqed.org/mindshift/2012/05/31/how-open-education-is-changing-the-texture-of-content/\" target=\"_blank\">open educational resources\u003c/a>. Some teachers are even \u003ca href=\"http://ww2.kqed.org/mindshift/2016/03/14/how-teachers-are-using-hamilton-the-musical-in-the-classroom/\" target=\"_blank\">using theater\u003c/a> to help kids access the untold histories of minority groups that often get overlooked in the dominant narratives.\u003c/p>\n\u003cp>In her \u003ca href=\"http://www.theatlantic.com/education/archive/2016/06/can-theater-save-minority-history-in-us-classrooms/486149/\" target=\"_blank\">article for The Atlantic\u003c/a>, Audrey Cleo Yap discusses recent controversies over how some approved textbooks portray Mexican-Americans or characterize Indian culture. Researchers have found that when students feel a text stereotypes minority experiences, they are less likely to trust its validity and by extension distrust the class, teacher and subject. Several theater programs hope to offset those effects by diving deeply into the experiences of minority communities in the U.S., as Cleo Yap reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Theater, then, has become one avenue through which non-profit groups in California—a state with a 62 percent minority population and one of the most diverse make-ups in the country—ensure students learn about minorities in U.S. history, both past and present. The ramification of pushing a white-dominant historical narrative, argues EWP’s Tokuda, is erasure of minority voices: 'The consequences are that no one will care, and we become invisible again.' \"\u003c/p>\u003c/blockquote>\n\u003cp>http://www.theatlantic.com/education/archive/2016/06/can-theater-save-minority-history-in-us-classrooms/486149/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Theater is providing an opportunity for students to express parts of history textbooks overlook. ","status":"publish","parent":0,"modified":1466684477,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":268},"headData":{"title":"How Theater Can Offer Students New Perspectives On History | KQED","description":"Theater is providing an opportunity for students to express parts of history textbooks overlook. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Theater Can Offer Students New Perspectives On History","datePublished":"2016-06-23T12:21:17.000Z","dateModified":"2016-06-23T12:21:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"45471 http://ww2.kqed.org/mindshift/?p=45471","disqusUrl":"https://ww2.kqed.org/mindshift/2016/06/23/how-theater-can-offer-students-new-perspectives-on-history/","disqusTitle":"How Theater Can Offer Students New Perspectives On History","path":"/mindshift/45471/how-theater-can-offer-students-new-perspectives-on-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Teachers work hard to help students understand the crucial role of perspective in shaping historical narratives. And yet for the sake of time and convenience, history textbooks often flatten the narratives, excluding events and upholding a Euro-centric narrative of what constitutes \"history.\" Teachers are coming up with amazing ways around this problem from \u003ca href=\"https://ww2.kqed.org/mindshift/2014/01/16/forget-the-textbook-video-games-as-social-studies-content/\" target=\"_blank\">integrating video games as social studies texts\u003c/a>, to creating their own \u003ca href=\"https://ww2.kqed.org/mindshift/2012/05/31/how-open-education-is-changing-the-texture-of-content/\" target=\"_blank\">open educational resources\u003c/a>. Some teachers are even \u003ca href=\"http://ww2.kqed.org/mindshift/2016/03/14/how-teachers-are-using-hamilton-the-musical-in-the-classroom/\" target=\"_blank\">using theater\u003c/a> to help kids access the untold histories of minority groups that often get overlooked in the dominant narratives.\u003c/p>\n\u003cp>In her \u003ca href=\"http://www.theatlantic.com/education/archive/2016/06/can-theater-save-minority-history-in-us-classrooms/486149/\" target=\"_blank\">article for The Atlantic\u003c/a>, Audrey Cleo Yap discusses recent controversies over how some approved textbooks portray Mexican-Americans or characterize Indian culture. Researchers have found that when students feel a text stereotypes minority experiences, they are less likely to trust its validity and by extension distrust the class, teacher and subject. Several theater programs hope to offset those effects by diving deeply into the experiences of minority communities in the U.S., as Cleo Yap reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Theater, then, has become one avenue through which non-profit groups in California—a state with a 62 percent minority population and one of the most diverse make-ups in the country—ensure students learn about minorities in U.S. history, both past and present. The ramification of pushing a white-dominant historical narrative, argues EWP’s Tokuda, is erasure of minority voices: 'The consequences are that no one will care, and we become invisible again.' \"\u003c/p>\u003c/blockquote>\n\u003cp>http://www.theatlantic.com/education/archive/2016/06/can-theater-save-minority-history-in-us-classrooms/486149/\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/mindshift/45471/how-theater-can-offer-students-new-perspectives-on-history","authors":["4354"],"categories":["mindshift_192"],"tags":["mindshift_20624","mindshift_21007"],"featImg":"mindshift_45604","label":"mindshift"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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