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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!