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FLYNN CENTER PRESENTS ANDES MANTA Traditional Music from South America

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FLYNN CENTER PRESENTS

ANDES MANTA

Traditional Music from

South America

We appreciate and value your feedback.

Click here to evaluate our study guides.

Click here for Teacher Feedback Forms for the performance.

Click here for Student Feedback Forms for the performance.

Click here for Parent Forms to help parents engage with their children around the show.

Welcome to the 2015-2016 Student Matinee Season!

Today’s scholars and researchers say creativity is the top skill our kids will need when they

enter the work force of the future, so we salute YOU for valuing the educational and

inspirational power of live performance. By using this study guide you are taking an even

greater step toward implementing the arts as a vital and inspiring educational tool.

We hope you find this guide useful. If you have any suggestions for content or format of

this guide, please contact [email protected].

Enjoy the show!

This guide was written & compiled by the Education Department at the Flynn Center for the Performing Arts with materials taken

from the Andes Manta website and Study Guide and the Kennedy Center Study Guide.

Permission is granted for teachers, parents, and students who are coming to Flynn shows to copy & distribute this guide for

educational purposes only.

The Flynn Center recognizes that field trip resources for schools are extremely limited, thus matinee prices for

schools are significantly lower than prices for public performances. As a non-profit organization, the Flynn is

deeply grateful to the foundations, corporations, and individuals whose generous financial support keeps

matinees affordable for schools.

This performance is generously sponsored by Concept 2.

Thank you to the Flynn Matinee 2015-2016 underwriters: Andrea’s Legacy Fund, Champlain Investment

Partners, LLC, Bari and Peter Dreissigacker, William Randolph Hearst Foundation, Forrest and Frances Lattner

Foundation, Surdna Foundation, Tracy and Richard Tarrant, TD Charitable Foundation, Vermont Concert Artists

Fund of the Vermont Community Foundation, Vermont Community Foundation, New England Foundation for

the Arts, National Endowment for the Arts, and the Flynn Jazz Endowment.

Additional support from the Bruce J. Anderson Foundation, Green Mountain Fund, Walter Cerf Community

Fund, the Vermont Arts Council, the Susan Quinn Memorial Fund, and the Ronald McDonald House Charities.

The Performance & the Story

The Production

Things to Think About Before/During/After you see the show

The Company: Andes Manta

Meet the Performers

The Lopez Brothers: Wilson, Luis, Bolivar, Jorge

Context & History

Where History & Music Connect

The Evolution of Andean Instruments

Instrument Descriptions

Activities to Deepen Understanding

Create an Arpillera

Explore Making Music with Natural Materials

Make Your Own Instruments

Bring the Art Form to Life

Musical Vocabulary

Words Come Alive Activities:

Building a Place & Sound Effects

Your Visit

The Flynn Center

Etiquette for Live Performance

Why is Etiquette Important?

Being a Mindful Audience Member

Common Core Standards

The Common Core broadens the definition of a “text,” viewing performance as a form of text, so your students are experiencing and interacting with a text when they attend a Flynn show.

Seeing live performance provides rich opportunities to write reflections, narratives, arguments, and more. By writing responses and/or using the Flynn Study Guides, all performances can be linked to Common Core:

CC ELA: W 1-10

You can use this performance and study guide to address the following Common Core Standards (additional standards listed by specific activities):

CC ELA: RL 3&7, SL 1-2, WHST 7-9

NEXT GEN: LS2.A&C

C3Hist: D2.Geo.5-6&10

After you see the show:

How did the music impact you? Did the

mood shift depending on the song? How

did the brothers create different moods?

How did the brothers learn music when

they were children? What did you learn

about the brothers and about Ecuadorian

customs and traditions watching the show?

Did you see instruments that were familiar

to you? Did you see ones you’d never seen

before? Which instruments produced your

favorite sound?

The Production

During the program, the Lopez brothers will discuss and demonstrate

more than 35 traditional musical instruments, and share their history

and cultural traditions.

The Andes Manta musicians occasionally play instruments to suggest sounds of nature; the flutes and ocarina for birdcalls, other wind instruments played breathily to imitate the wind, and the cania de agua to represent rain. One piece, which they may perform this way, is called, "Oriente," after an area of jungle wilderness on the Peruvian border at the eastern foothills of the Andes.

Before you see the show:

Explore the country of Ecuador. Look at

maps and learn about the landscape,

culture, and geography.

Research other musical acts that are made

up of family members. What do you think

it’s like to be to perform with siblings?

What would be some of the benefits?

What would be some of the challenges?

Begin to listen to the world around you.

What nature sounds do you observe? How

does nature create music around us?

The Company

Andes Manta performs the traditional music of

the Andean mountains of South America,

rooted in the cultural heritage of the Incas and

their ancestors. The dynamic and mystical

songs that they play are filled with the exquisite

sounds of an ancient, yet still vital, civilization.

This music continues to be widely performed in

the modern Andean nations of Ecuador, Peru,

Bolivia, Chile, Colombia, Venezuela and

Argentina.

They have performed at Carnegie Hall, the

Smithsonian Institution, the Metropolitan

Museum of the Art, the Cathedral of St. John

the Divine, Yale University, Vassar College and

hundreds of other schools and universities.

Andes Manta has written and performed part

of the score for the Discovery Channel Special

''Rediscovering America'' as well as performing

Latin American music for the Silver Burdett-

Ginn series on music of the world. Andes Manta

has recorded with Koch International, Narada

Records and Living Music. The musicians play

over 35 traditional instruments.

As you watch the show:

Listen for songs sung in both Spanish and

Quechua.

Look for instruments that look similar but

vary in size. How does the size impact the

sound the instrument makes?

Observe how the brothers communicate to

each other while on stage. Look for yelling,

shouting, whistling. How else do they

communicate?

Listen for drastic and sudden shifts in the

speed of the music. How does this impact

the feel of the music?

The Brothers of Andes Manta

Wilson Lopez, a founding member of Andes

Manta, has been playing the entire range of

Andean wind and string instruments since

childhood. While in high school he was offered

a scholarship to the Quito Conservatory to

study classical guitar. During his conservatory

and high school years, Wilson performed

regularly in Quito with his brother Luis. It was

at this time that the group, Andes Manta, was

formed by the brothers. Wilson, a native of

Quito, Ecuador, now resides in New York.

Luis Lopez, the second founding member of

Andes Manta, is a noted virtuoso on the

charango (a native stringed instrument) and

the quena, the Andean flute. Luis learned to

play music in the traditional Andean way,

without benefit of written music, by passing

the art form from father to son and brother to

brother. Luis has been performing since the

age of thirteen. In addition to his performing credits, Luis is a well-known instrument maker,

creating instruments for many of Andean music's noted performers in North America.

Bolivar Lopez, like his older brothers, learned to play Andean instruments as a child. He is a

noted wind musician, and is the featured performer of the rondador, an Ecuadorian pan-pipe that

is unique in the world for the ‘’chordal’’ note that it produces. It is a difficult instrument to play and

requires substantial dedication and talent. Bolivar began performing with Andes Manta in 1989.

Jorge Lopez, youngest of the Lopez brothers, concentrates on the Andean stringed instruments,

although like the rest of the group he plays all 35 instruments in their repertory. Jorge joined

Andes Manta in 1991 and continues to learn the art from his older brothers, a cultural pattern

repeated for thousands of years in the Andes.

WHERE HISTORY & MUSIC CONNECT

PREHISTORIC ECUADOR: The prehistory of Ecuador

reaches back to man's earliest entry in the New World. New

discoveries tell us the migrants who first populated North and

South America may have come from Asia, Europe and even the

Pacific. Surprisingly little is known about Ecuadorian prehistory,

however archaeological sites, mostly on the coast, stretch back

for at least 9,000 years.

THE INCA INVASION: At the time of the rise of the Inca Empire, Ecuador was populated by chiefdoms with

names such as the Quitus, the Caras, the Cañaris and the Puruhas. In the early 1500s the Incas invaded what is now

Ecuador and conquered the local tribes. To bring peace, the Inca ruler Huayna-Capac married Paccha, the daughter of

a conquered chief. Together they had a son named Atahualpa. Huanya-Capac already had a son and heir named

Huascar in Cuzco, the Inca capital. Upon Huayna-Capac's death the kingdom was divided into northern and southern

parts. The two half-brothers clashed in a civil war, which would divide and exhaust the empire just in time for the

invasion of the Spaniards in 1532.

THE EUROPEANS ARRIVE: Archaeological discoveries tell us a great deal about the tragic invasion by the

Europeans. Armed with horses, cannons, guns, war dogs and, most of all, devastating disease, they brought the

mighty Inca Empire to a close in a few short, brutal years. Only the indestructible jewels of the empire such as the

music are reminders of its brilliant and colorful past.

MUSIC IN WESTERN CULTURE: Western culture tends to be dominated by a sophisticated musical tradition,

which includes the vast repertory of both concert and popular music. Westerners are generally less aware of the folk

traditions that were dominant before modern times and which still survive in isolated pockets of society. With the

advent of radio and television, we have become increasingly aware of the influence of folk music on music culture as

well as the ways that folk culture has been changed by the mass media.

FOCUS OF CONTEMPORARY MUSIC: Musicians today tend to focus on the ways a piece of music is unique

and on the complexity of its design. Of less interest is the extent to which the piece is understood by many listeners

or even a few professionals.

FOCUS OF FOLK MUSIC: In folk music, these values are usually turned around; uniqueness is less important

than acceptability. In an oral tradition, a song must be sung, remembered and taught by one generation to the next.

If this fails to happen, the song is lost. A piece of folk music represents, in some way, the musical taste and judgment

of all who know and use it, rather than being the product of one individual. Pieces of folk music may also be modified

to fit the taste of successive performers. Unlike written music, there is no "standard" version of folk pieces; songs

often develop variants over the years. Folk music has, then, the fascinating quality of being old and contemporary,

representative of a people's ancient traditions as well as indicative of current taste.

ROLE OF MUSIC IN THE ANDES: In the Andean communities celebratory songs bless a new marriage or a new home.

Work songs accompany sowing, reaping and cooking of the corn, grains and potatoes grown for local use. Religious songs are

often joined with dances to celebrate the religious feast days of Roman Catholicism. There are musical celebrations at the end

of market days, at bullfights, at parades, at celebrations of historic events and at harvest time.

ANDEAN MUSIC ENSEMBLES: Music ensembles are a focal point of a community working together in the Andes. A

band may consist of flutes, guitars, charangos, pan pipes, drums and rattles. Musicians who perform at festivals earn great

prestige and often work hard to prepare for them. Local band and street musicians are also common.

INFLUENCE OF SPANISH INSTRUMENTS: Andean music after the arrival of the Spanish in 1532 evolved into a blend

of the traditional Andean and Spanish styles. Whereas pre-conquest music was monophonic and lacked harmony, the Spanish

added the multi-part harmonies of church music with string accompaniments for dances. Researchers have been able to

determine pre-Columbian Andean scales by inferring them from ancient wind instruments with fixed finger holes. These

pentatonic scales are unlike those of the Europeans.

THE EVOLUTION OF ANDEAN INSTRUMENTS

Musical instruments developed in the vast region of the Andes thousands of years ago. Before the 16th century Spanish invasion, people made and played only two families of instruments, winds and percussion. But once the conquistadors and missionaries arrived with their European musical style, the native South Americans adapted and built stringed instruments and incorporated them into their music. THE PAN-PIPE FAMILY: The family of pan-pipes (known as "zamponas" in Spanish, or "sikus" in the Aymara language of highland Bolivia and Peru), appears in all sizes and shapes, both single and paired. One type of pan-pipe, the rondador, has pipes of alternating length in a "sawtooth" style. Unlike other pan-pipes, this one is played by blowing two pipes at the same time to produce a chordal note. The rondador is originally an Ecuadorian instrument. The quena, quenacho, pinkillo and monseno are all members of the flute family. STRINGED INSTRUMENTS: Stringed instruments were introduced to the New World with the coming of the Spanish. In imitation of the Spanish guitars, seen by the Inca for the first time in 1532, the Andean musicians created the charango, a ten-stringed mandolin-like instrument made from the shell of a kirkinchu (a member of the armadillo family) or carved from wood. GOAT AND LLAMA TOENAILS: Andes Manta plays many traditional percussion instruments, among them several types of drum–the bombo, the huancara and the tambor–as well as chakchas (rattles made from goat or llama toenails) and the palo de lluvia, or "rain stick." Other instruments include clay ocarinas (the "sweet potato"), bells, seed rattles, and whistles. Modern Andean music incorporates violins, accordions and horns to create the syncretized folk music performed in South America today. It continues to be a tradition in most of the highland villages for men to play the instruments while the women join in by singing and dancing. SCALES & METER IN ECUADORIAN MUSIC: The synthesized style heard today is essentially European and pre- Columbian. It is repetitive and based on four- or five-tone scales that sound rather melancholy. In music theory, a scale is any set of musical notes ordered by frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Melodies that have been traced to pre-Hispanic roots display a descending contour and a pentatonic minor scale (for example, A-G-E-D-C-A) or modal scales. The pieces played by Andes Manta are in minor keys with frequent shifts to the relative major keys. The San Juanito, the national song and dance of Ecuador, is usually sung in the minor key. The introduction of the seven-tone scales also required an adjustment in the manufacture of instruments. Flutes with six or seven holes are far more common now than the earlier flutes with three or four holes. Rhythms played by Andes Manta are usually played in the common meters of 2/4, 3/5, 4/4 and 6/8.

VOCALS AS WELL AS INSTRUMENTALS: In Ecuador, vocal and instrumental pieces are performed in equal numbers. The music can sound repetitive to a North American listener, but this hypnotic repetition is exactly what the Andean people enjoy hearing during their festivals, seasonal celebrations and social dances which last many hours and often for days. During their performances, the musicians of Andes Manta reflect the festive spirit of their homeland by yelling, shouting, whistling and speaking short phrases of encouragement to each other.

INSTRUMENT DESCRIPTIONS

The family of flutes

Quena or kena (kay-na): a vertical notched flute made of thick bamboo. It is primarily a melody

instrument but is often combined with another quena playing a harmony part in parallel chordal

harmony.

Quenilla (kaynee-yah): like the quena but shorter, a fourth of fifth higher than the quena. It plays

higher harmony.

Quenacho (kay-hah-cho): like the quena but longer, an octave below the quenilla. It plays lower harmony.

Mosenia (moh-syn-yah): a Bolivian transverse flute, two to four feet long, played with a complex mouthpiece creating a

reedy sound like an oboe.

Other Instruments

Zamponia (sampohn-yah), sika (see-koo), bajon (bak-hohn), malta (mahl-tah): different types of pan pipes, vertical flutes

cut from thing bamboo and bundled in sets. The long-to-short pipes produce the low-to-high tones of the melodic scale.

The medium-size panpipes are bundled as a double raft.

Flauta de pan (flah/oo-tah day pahn), palla (pah-yah): medium and small single-raft pan pipes.

Toyo (toy-oh): the biggest set of pan pipes; longest pipe measures six feet; plays the bass register.

Rondador (rohn-dah-dohr): pan pipes on which a skillful performer can play two tones at the same

time. This set of pipes is visually distinct by the zigzag "sawtooth" arrangement of the lower pipes. It

is made with numerous pipes of different lengths. Each piece of bamboo has to be perfect and each

pipe must be carefully tuned.

Ocarina (oh-ca-ree-nah): (Italian for little goose) sometimes called the "the sweet potato" in North America. It is classified

as a globular or vessel flute. Made of clay of terra cotta, the mouthpiece is on the long side. Finger holes are drilled along

the body of the horizontal instrument, and the sound hole is between the mouthpiece and finger holes.

Bocina (bo-see-nah): a conch shell or gourd played like a trumpet. Andes Manta also plays a bocina made from a thick

piece of bamboo with cow horns on the end as a double bell. Bocinas are big, loud horns, played to introduce songs and

for occasional emphasis.

The family of stringed instruments

Bandolin (bahn-doh-leen): the Andean name for a fretted mandolin, with an oval-shaped body and fifteen metal

strings in five triple courses.

Charango (chah-rahn-goh): a small-bodied, ten-string instrument in five double courses. Other charangos may

have four to fifteen strings in four or five single, double or triple courses. The charango is an adaptation of the

Spanish stringed instruments.

Guitarra (ghee-tah-rah): the acoustic guitar most familiar to North Americans.

Cuatro (kwah-troh) guitarra: small-bodied, fretted instrument with four strings.

Violin (vee-oh-leen): the Euro-American violin.

Percussion instruments

Bombo (bohm-boh): a large double-headed drum, the size of a small bass drum played with one drumstick.

Tambor (tahm-bohr): a smaller drum like a snare drum or tom-tom played with one or two drumsticks.

Cascabeles (cahs-cah-bay-lays): bells made of metal, worn by dancers or tied to the end of a shaken stick. Andes Manta uses bells

mounted on an 8-inch piece of wood with a handle, which is shaken or hit on the thigh.

Cania de aqua (cahn-yah-day-quah): literally a water stick, also called a "rain stick," which is a piece of

bamboo with small pegs inserted into the sides of the tube. When the tube is turned upside down, the

beads, seeds or pebbles fall from on end to the other, hitting the pegs and sounding like rainfall.

Chaichas (chak-chahs): rattles made of bundled llama or goat toenails.

Create an ARPILLERA

An arpillera is a story cloth, a cloth collage that tells the story of a

place, a community, or an individual experience. Arpilleras are

created primarily by South American women to reflect and tell their

stories, often ones coming from challenging or traumatic times. They

are part art, part historical record, and part political act.

Using fabric scraps, or even construction paper to mimic the look of

fabric, have students create their own arpillera.

To support students, you may want to provide prompts. Have them

represent:

an important moment with their family (a trip, a meal, a tradition)

a favorite place at school or in their community

a dream or wish they have for their future.

The arpilleras can either remain separate or be joined together to

create a large quilt representing all of the students.

Explore Making Music with Natural Materials

Take a nature walk as a class and pick up items you

encounter (rocks, sticks, leaves, acorns, etc.). While out

in nature, see what sounds and rhythms you can

discover using these items. What sound does a rock

against rough bark make? Against soft, smooth bark

like a birch tree? How does the sound of a stick tapped

against a boulder compare to a stick tapped against

moss? Explore the rhythm of your feet on the ground,

the scratchy noise of rustling leaves, or the thumpy

sludgy sound of feet against mud. If possible, record

some of the sounds and listen back in the classroom.

To extend this, try to replicate some of the sounds with

classroom items.

Make Your Own Instruments

Triangle: hang kitchen utensils from a string and tap

with a pencil.

Tambourine: experiment with aluminum pans.

Maraca: glue paper bowls together with uncooked

popcorn inside.

Drums: coffee cans with plastic lids on one or both

ends.

Unusual sounds: tap thimbles or grate sandpaper

on wooden blocks.

Kazoo: fasten wax paper to the end of a paper

towel roll.

Castanets: glue buttons onto strips of cardboard

and rub together.

To extend this activity, have students tell a story, either

imagined or based on an event from their own life. Use

the instruments created above (or even the nature

sounds) to make a soundtrack to support your

storytelling.

WORDS COME ALIVE: Arts Integration Activities Providing the opportunity to actively explore the world of the show helps students become more engaged and

connected audience members, thinking about artists’ choices and approaching the performance with enhanced

curiosity. For more information about our arts integration programs, click here, email

[email protected] or call 652-4548.

Junior Show Choir: “The Lion King” Flynn Youth Theater Company, “Into the Woods”

Musical Vocabulary

Acoustics: The production, transmission, and effects of

sound.

Beat: A sound recurring at regular intervals with

accented pulses to mark such beats.

Dynamics: The effect of varying degrees of loudness or

softness in the performance of music.

Instrumentation: The arrangement of music for specific

instruments.

Line: Melodies and repetition of rhythmic patterns

intertwined through the instrumentation.

Mood: Music composed to create a feeling and

atmosphere.

Repetition and Variation: The creation of a simple

musical idea and the development of an entire piece by

using repetition and variation of the original idea.

Rhythm: The regular rise and fall of pitch, stress and

speed; the flow of metrical form and movement.

Story Music: The music of old tales or stories where the

language takes on a beat and tone.

Texture: Layering of instruments and voices similar or

different to create dimension in the music.

Timbre: The color of the music; the quality of tone

distinguishing voices and instruments.

Visualization: To see or form a mental picture.

Activity: Building a Place

Learning goals: Visualize; draw inferences; deepen understanding of place. Performing goals: Communicate setting with shape and movement; build collaboration.

Choose an ecosystem in Ecuador. Ask students what makes up the specific place and create a list of components. Example: rainforest-waterfalls, vines, flowers, moss, fly trap plants, bamboo, etc. Then name each element and have the students come up with shapes that illustrate each element. Once the shapes have been agreed upon, outline an area in the room where the students will create the place with their bodies. Ask the students to form a line facing that area. One by one, ask the students to move into the open area to a spot of his/her choosing and form a still shape of an element. Encourage the students to consider when placing themselves what and where elements are still needed. Continue until all are involved. Repeat with students playing new roles.

Once the place is built, ask for volunteers to become humans or animals responding to the things in the place. Encourage the things to move or to make sounds, as appropriate.

Activity: Sound Effects

Learning goals: Visualize events; draw inferences; deepen understanding of setting and plot. Performing goals: Expand verbal range; follow cues. Using the rainforest place the students built, have students brainstorm sounds they might encounter in that place. Example: frogs, bats, water dripping, leaves rustling, etc. Identify a signal to use as a volume control, and show what it looks like when there is no sound and when the sound is at the highest volume. Use your hand or an object to conduct the students, explaining that when you point at them, they should begin making their sound until you indicate that they should stop.

Lead everyone to make each sound, using their voices, bodies and/or found materials. Then assign each student sound(s) to make and rehearse together. Record the sound effects, and as a group, listen and reflect upon the results.

The Flynn Center

The Flynn has been at the center of Vermont's cultural

landscape for over 80 years—from its earliest days as a

vaudeville house through five decades as a movie theater to its

present life as the region's leading performance center and

arts education organization. Today, the Flynn Center for the

Performing Arts is recognized internationally for its significant

artistic, educational, and community outreach activities;

superb technical capacity; beautiful historic setting; and world-

class presentations. At the Flynn, we celebrate a rich legacy of

connecting our community with the arts. The Flynn is

recognized for its stellar artistic programming in theater, dance, and music; and for educational programs

that reach far into the community to advance teaching and learning. For more about the Flynn, click here.

DISCUSS BEING A

MINDFUL AUDIENCE

MEMBER:

How is going to see a live

theatre performance

different from seeing a

movie, going to a

concert, or watching TV?

In small groups, come up

with a list of positive

audience behaviors, and

behaviors that would be

disruptive to performers

and other audience

members. Come

together and create a

master list.

Etiquette for Live Performances

The Essentials

Listen, experience, imagine, discover, learn!

Give your energy and attention to the performers.

At the end of the show, clap for the performers’ time and energy.

Eating, drinking, and chewing gum are not okay.

Talk only before and after the performance.

Turn off wireless devices. No photos, videos, texting, or listening to music.

Why is Etiquette Important?

A good live performance is a powerful communication

between audience and performer. The more the audience

gives to the performer, the more the performer can give

back to the audience. The performer hears the audience

laughing, senses its sympathy, and delights in the

enthusiasm of its applause. Furthermore, each audience

member affects those sitting near him or her, in addition to

the performers onstage. Technological devices (cameras,

phones, etc.) have become so prevalent in our daily lives,

but using these devices is distracting to the performers

onstage and other audience members trying to watch the

show. Even the light from checking the time, or the buzz of a phone on vibrate can pull

the people around you out of the experience. Cell phone frequencies can even interfere

with the microphones in the production, and taking photos can be unsafe for performers.

Additionally, an artist has the right to decide what photos and videos go out into the

world. Phones keep you from being present and fully engaged with the show. Thank you

for turning devices completely off!

We can’t wait to see you at the theater!

Teachers, a few reminders:

Fill out the Seating and Travel Survey, so we can best accommodate your group’s needs in regards to dismissal,

bussing, students with different needs, etc.

Share your experience with us! Use the feedback links, or share your students’ artwork, writing,

responses. We love to hear how experiences at the Flynn impact our audiences.

Explore other student matinees at the Flynn this season. We’ve still got seats in some shows and we’d love to

help you or other teachers at your school enliven learning with an engaging arts experience!

We have some new initiatives to deepen student connection and experience!

Pre or Post-Show Video Chats: Help students build enthusiasm or process their

experience with a free, 5-10 minute video chat before or after the show! We

can set up Skype/Facetime/Google Hangouts with your class to answer

questions about the content, art form, and experience. Contact Kat,

[email protected] to set up your chat!

Autism and Sensory-Friendly Accommodations: The Flynn Center has been

working diligently to break down barriers for audience members with

disabilities, with a particular focus on those with sensory-sensitivities. Social

stories, break spaces, sensory friendly materials, and more are available for all

student matinees. Feel free to let us know ahead of time if any of these would

be useful, or ask an usher at the show!

Make your field trip the most meaningful learning experience it can be with a preparatory

Companion Workshop in your classroom!

An engaging Flynn Teaching Artist can come to your school to deepen students’ understanding of both content and form

with an interactive workshop, enriching kids’ matinee experiences. Funding support is often available. To learn more, check

out this link. To book a workshop, click here. Questions? Contact Sasha: [email protected] or (802)652-

4508

Re-stock your teaching toolkit and reignite your passion with upcoming professional

development opportunities for educators!

Get certification renewal credits, invigorate your teaching, and learn new teaching strategies that can be tailored to most

curricular material. Sponsored by the Champlain Valley Educator Development Center

November 12, 4-6PM: Workshop with Improvised Shakespeare—Chicago’s Improvised Shakespeare company leads a two

-hour workshop specially designed for Middle and High School teachers. This workshop is sure to be rapid-fire fun that

gives you new tools to get kids’ creative and critical thinking juices flowing! 2 credit hours

November 18, 9-3PM: Engaging Active Learners Conference—Now in its 7th year, we are proud to offer a full-day

conference on arts integration for Vermont educators! In collaboration with the Creative Schools Initiative, we’re thrilled to

welcome five of the nation’s top experts on arts integration to the Flynn to work with educators. In addition, choose from

a variety of content- and grade-specific teacher break-outs and hands-on workshops, and snag resources to take back to

your school. Come be part of the conversation and leave inspired! 6 credit hours

Register Now!

Hello from

the Flynn!