May 14-

16, 201

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E n r i c h m E n t G u i d E

In collaboration with: Performances at Helfaer Theatre at Marquette University

GAthErinG BLuE

Dear Parents and Educators,

We are pleased you are joining us for our final production of our 26th sea-son, GATHERING BLUE. This production is a collaboration between First Stage's Young Company and the Helfaer Theatre at Marquette University. The companion novel in the Giver Series, written by Lois Lowry allows us to follow Kira's quest to uncover the secrets and truths about her world and dis-cover what lies beyond.

Enclosed in this enrichment guide is a range of materials and activities intended to help you discover connections within the play through the curricula. It is our hope that you will use the experience of attending the theater and seeing GATHERING BLUE with your students as a teaching tool. As educators and parents, you know best the needs and abilities of your students. Use this guide to best serve your children—pick and choose, or adapt, any of these sugges-tions for discussions or activities. We encourage you to take advantage or the enclosed student worksheets—please feel free to photocopy the sheets for your students, or the entire guide for the benefit of other teachers.

Julia MagnascoEducation Director(414) 267-2971Julia@firststage.org

SEttinG thE StAGEpreparing for the play

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . 3–5About the Author . . . . . . . . . . . . . . . . . . 6About the Playwright . . . . . . . . . . . . . . . 6Recommended Reading . . . . . . . . . . . . 7Pre-Show Questions . . . . . . . . . . . . . . . 7

For tEAchErSCurriculum connectionsbefore or after the play

ARTCreate a Story Quilt . . . . . . . . . . . . . . . . 8Story Quilt Worksheet. . . . . . . . . . . . . . 9

LANGUAGE ARTSStory Circle . . . . . . . . . . . . . . . . . . . . . . 10Active Thematic Discussion . . . . . . . . . 11

SCIENCECreating natural dyes . . . . . . . . . . . . . . 12

CoMMUNITY SERvICEBuilding an Altruistic Community/ Transactive (Authentic) Writing . .13–15

curtAin cALLPost-Show Questions . . . . . . . . . . . . . 16Who Said It? . . . . . . . . . . . . . . . . . . . . . 16Who Said it? (ANSWERS) . . . . . . . . . 17

First Stage Policies• The use of recording equipment and cameras are not permitted during the performance.• Food, drink, candy and gum are not permitted during the performance.• Electronic devices are not permitted in the theater space.• Should a student become ill, suffer an injury or have another problem, please escort him or her

out of the theater space.• In the unlikely event of a general emergency, the theater lights will go on and the stage manager will come on stage to inform the audience of the problem. Remain in your seats, visually locate the nearest exit and wait for the stage manager to guide your group from the theater.

Seating for people with special needs: If you have special seating needs for any student(s) and did not indicate your need when you ordered your tickets, please call our School Sales Specialist at (414) 267-2962. our knowledge of your needs will enable us to serve you better upon your arrival to the theater.

INSIDE THE GUIDEA Note to Teachers and Parents

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our story takes place in the near future. The setting is apocalyptic. The sound of wind, footsteps and gasps can be heard. The running f igure is being chased and falls to the ground. We hear the snarls and roar of a creature, then silence. Then we see a smaller f igure approach and kneel by the fallen f igure, which is covered by a large cloth. There is another roar heard in the distance. The smaller f igure is a teen dressed in rags named Kira. She calls for her mother, who no longer answers. Kira then stands with the help of a walking stick and slowly make her way to the village.

As Kira approaches the village she is met by Matt, a ten year old dressed in f ilthy rags. He is collecting twigs. Matt asks Kira about her visit to the Bone Field, the creatures that live there and her mother. Kira describes seeing her mother Katrina’s spirit leave. Matt describes the devastating of the fire that left the village in ruins. Kira asks Matt to remember and tell stories from the past. Matt agrees to do so and warns Kira that the women do not want her to stay, especially vandara.

vandara, muscular woman with a scar across her face, inquires why Kira is in there. Kira explains she plans to rebuild her hut. vandara states the ruins now belong to her. Kira disagrees citing her inheritance. Elders hear the exchange and begin to surround Kira. They take vandara’s side. Kira does not back down, requesting the conflict be settled by the Council of Guardians. vandara agrees and describes wining battles against the wild beasts that scared her face. Confident she will win, vandara leaves and the others follow.

Kira slumps to the ground when suddenly the spirit of her mother, Katrina, visits her and recounts their family history. Katrina describes the death of her husband and holding an infant Kira with a deformed leg and long-beautiful f ingers. She told of Kira’s grandfather, the Chief Guardian, and how her father was in line to be the next. As Kira speaks her father’s name, the spirit of Christopher appears. He died before Kira was born. Kira tells her mother of how badly she needs their guidance. Katrina explains she promised the village Kira would not be a burden. Kira cries for someone to take her side at the council meeting as the spirits of her parents fade. A drum is heard as a guard roughly grabs Kira. They walk to the council meeting.

The guard announces, “The accused orphan girl is here.” People with torches and lamps surround Kira. She and vandara participate in a ritual, then the Chief Guardian asks that the accuser speak. vandara states, “Kira should have been taken to the Bone Field at birth, because she is a burden. Her grandfather’s position spared her life.” Because of her age, Kira may or may not speak for herself. Kira chooses to have a defender. The council calls a man, Jamison. Jamison uses council law to address the charges made by vandara against Kira. He produces a large chest containing a magnif icent, large robe, the Singer’s Robe. The robe is used annually when the Ruin Song is performed. Kira’s mother was taught by a woman called Annabella’s to maintain the robe. Katrina passed the skill to Kira. Jamison announces Kira’s skills are greater than her mother’s. Because Annabella is still alive, Jamison suggests Kira study with her.

The council decides to allow Kira to stay and so that she may repair and complete the Singer’s Robe, which contains the entire story of their world in its threads. Unfortunately, vandara is granted Kira’s land. As vandara leaves the meeting she curses Kira. Jamison instructs Kira to prepare for a journey to her new residence.

The next day Matt sees Kira with her cane and asks if she will be taken to the Bone Field. Kira tells Matt about the council meeting. Matt now understands why vandara was so cross. Matt also reveals a bundle of remains he saved from Kira’s burned-out hut and gives them to her. Jamison comes to lead Kira to her new quarters. She asks if Matt may carry her bundle, indicating her leg. Jamison agrees.

They travel and finally reach the Edifice. With its rooms, windows, beds, prepared meals and water basins for washing, the Edifice is a very special place. Jamison tells Kira about other gifted residents. Jamison invites Matt to stay, as well. Matt declines. Wishing Kira well, Matt says good-bye.

Alone, Kira opens the bundle Matt presented to her. It contains a basket of thread, soap, herbs and a threading frame. These items make Kira think of her mother. Katrina appears and speaks to Kira. Listening to her mother’s sweet voice, Kira falls asleep in her new home.

Setting the Stage Synopsis

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Setting the Stage SynopsisThe next morning, Thomas awakens Kira. He is an orphan and gifted carver who lives across the hall. His job is to carve the Singer’s Staff for the Ruin Song. Thomas tells Kira a Guardian will check on her work each day. The only rule is “be productive.” As the work day bell rings, Jamison greets them. He asks Kira how she is adjusting. She assures him all is well. He gives her the Singer’s Robe and asks her to begin repairing the broken, faded threads. Kira tells him the blue threads will not be mended due to the absence of blue dye and inability to create it.

Jamison confirms what Kira said and tells her the future of their world depends on her f inishing the robe. She must try to remember what her mother taught her about dyeing the threads. Kira assures him she will accomplish her task. Jamison decides to send her to Annabella for instruction. The work must be completed by autumn. Annabelle lives a distance away and the journey is dangerous. Jamison appoints Matt to be Kira’s protector.

Kira is unsure of Matt’s ability to protect her even if she needed it. Matt reassures Kira he is capable and needed. They begin their journey to Annabella’s home. As they walk, they discuss the loss of their parents. Matt discloses his mother is still living and resides in the village called Fen. Kira shows Matt the gift her father created for her mother, a necklace. Matt explains that people don’t give gifts in Fen. As they walk, the see a crone with a walking stick in her multi-colored hands. It is Annabella.

Upon meeting her, Annabella says Kira looks like her mother. They speak kindly of Katrina. Kira introduces Matt to Annabella. Annabella looks at Kira’s f ingers and sees giftedness. Kira promises to be a good student. Annabelle begins teaching the plants and colors of the dyes and Kira’s memory comes alive. Kira then asks about the color blue. Annabella tells Kira she is not able to create the color blue, but there are others who can. Kira tells Annabella there are no other people. Annabella silently walks away while pointing in a certain direction.

Annabella returns to her residence and is greeted by Thomas. She tells him about her day with Annabella. Thomas volunteers to record her lessons. Kira is astonished Thomas is able to read and write. As Thomas writes, Kira repeats the words. Jamison enters and Thomas abruptly stops. Jamison is pleased to know the lesson with Annabella went well. He encourages Kira to learn all she can from Annabella.

The next day, Kira is with Annabella. Taking a break from their lesson, they discuss the Kira’s new home, the Tender. Annabella provides tea and tells Kira she is not impressed by the Tender. Looking into her eyes, Kira realizes Annabella is the only elder she has never known.

After returning home, Kira practices her work. Thomas stops by to show Kira his hands which are shaking from carving. He explains the Singer’s Staff get’s worn down and its images re-carved. She then shares the Singer’s Robe, describing its details. Thomas then takes a carving from his pocket. They speak of how wood and threads can speak and sing to an artist. In the shadows the spirit of Katrina watches with a smile. As Thomas begins to leave, Kira asks him about a sound

she hears at night, a child crying. Just then, Jamison enters the room and Thomas runs out. Jamison directs Kira to keep working and leaves.

The following day, Kira journeys to Annabella’s on her own. She hears sounds of nature and then an other-worldly growl. She runs to Annabella’s hut, out-of-breath. Annabella notices the change in Kira and serves her calming tea. Kira describes what she heard and how it never happens when Matt is with her. Annabella refutes her, “There are no beasts, only humans pretending.” That evening Kira shares a meal with Thomas. She asks him about the beasts and repeats what Annabella said.

In the morning there is a rainstorm. Kira works on the robe as she looks out the window, thinking of her life in the village. Jamison checks on her. She tells him about sharing stories with the children during rainstorms to keep them calm. Looking at the robe, she deciphers the story being told about the end of the world. Jamison tells her the story is about ruin and rebuilding. Kira wishes she had blue thread, the color of freedom. Jamison shows Kira an empty space she will f ill one day and encourages her not to worry, “Instructions will come.”

When he leaves the faint cry of a child is heard. Thomas and Matt come into her room, speaking of the soft cry. They decide to investigate the source of the sound coming from the floor below. As they walk toward a door the cry becomes a beautiful song. Looking through a keyhole, they discover a small child. Matt recognizes the child and calls her Jo from Fen. Matt remembers Jo’s mother’s illness and death in the Bone Field. Jo’s dad took his own life. Hearing footsteps they quickly return to their rooms, thinking of Jo.

That evening, Jamison visits Kira. Kira tells him what Annabella said about the beasts. Jamison dismisses her saying Annabella is old with a wandering mind. Kira is cautious, especially since her father was killed by beasts. Jamison reassures Kira she is doing good work before he leaves. Again, Kira hears soft cries.

Morning comes and Kira is ready to visit Annabella when Matt tells her Annabella has gone to the Bone Fields. Kira wants to speak with Thomas and Jamison. Matt tells her Jamison watched as the Draggers took Annabella to the Bone Field. Kira decides to speak with Jo.

Kira whispers through the door and a frightened Jo speaks about being good and trying hard. Kira comforts Jo with sweet words, promising to return. Kira tells Jo not to mention her visit to anyone. Back in her room, Kira and Thomas plan to free Jo.

That night they sneak downstairs. Thomas reveals a wooden master key that opens the door. They enter the room and find Jo asleep. A frightened Jo calls for her mother. Kira calms Jo with a song and introduces her to Thomas. Jo tells of how she is made to repeatedly sing songs. Kira realizes the importance of their gifts and how these gifts have saved them from going to the Bone Field. They pledge to be friends. Jo tells them of her desire for a doll. Thomas promises

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Setting the Stage Synopsisto make one for her. Before they leave Kira gives Jo a kissie on the forehead. Jo thinks of her mama.

The next day, Kira asks Thomas to visit the Fen with her. She wants to learn about Jo’s life and find Matt, who has been missing for a week. Thomas agrees. As they walk the sound of animals f ill their ears. Reaching the Fen, they f ind a village f illed with f ilthy, sorrowful people. Thomas tells her it has always been like this. Kira disagrees, “That’s not what the robe says. once, the lives of the people were green and golden.” Kira wonders if times could change by the art they create.

They pass a woman who they believe is Matt’s mother. When they ask for information about Matt, she demands payment for information. She grabs Kira’s necklace, when Thomas offers her an apple. After grabbing the fruit, she runs away calling out, “Matt’s gone. Good riddance.” She told of Matt’s desire to get some blue for his friend. With this news they returned to the Edif ice and check on Jo. Jo notices how sad Kira is. Kira tells Jo about the anticipated Gathering and the most important person, the Singer. Jo promises to one-day sing for Kira. As Kira returns to her room she hears slow drum beats. Thomas comes to her, “Are you ready?” Kira is ready. The robe and staff had been collected the day before.

Kira and Thomas join the gathering crowd and take their assigned seats before the final drum beat and moment of silence. Then Jamison announced, “The gathering begins.” The Guardians were introduced followed by Thomas (Carver of the Future) and Kira (the Robe-threader, Designer of our Future). Jo ran to Kira to sit with her. Finally, The Singer entered wearing the splendid robe. As he bowed a metallic noise is heard. The singer raised the staff above his head and began his song in a deep voice, “In the beginning…” With his f inal amen, the crowd disperses.

Kira asks Thomas is she noticed the scares around the singers ankles and blood on his feet, “He is chained so he can never f lee.” Just then Matt appears from the shadows with his gift for Kira… a scrap of blue cloth. It was found where Annabella said it would be. His journey was hard and full of hunger but no beats! He meet people in a far away village. They were broken but they had blue. Matt also brought a new friend with him. The man from the village was blind, wore a blue shirt and carried a pouch full of plants that will produce all sorts of colors. Thomas started to call Tenders to bring food, but the man refuses asking his presence be kept a secret. A hungry Matt races to get food.

The man and Kira talk about the Gathering. Jo notices a necklace that hangs around the man’s neck. It matches Kira’s necklace. The man explains he made both necklaces and his name is Christopher. Kira can’t believe it, “You were killed by beasts.” “No, I was taken by men. Your mother believed what the Guardians to her.” Christopher tells her the truth about

the day of his abduction. It happened not long before he was to join the Council of Guardians. Kira thinks about the words Annabella spoke.

Christopher had survived an assassination attempt, awaking in the Field of Leaving. He didn’t die, although he wanted to. Kind strangers nursed him and took him to their village f illed with gardens, homes and loving families. The spirit of Katrina appears then fades as he speaks. Christopher lost his memory, but as it slowly returned he remembered a lullaby and his girl-child. He’d lost his sight and thought he’d never be able to f ind her until Matt came to the village seeking blue for a friend named Kira.

Matt led Christopher to Kira and she wanted to share this good news with Jamison. Christopher reveals Jamison is the one who tried to kill him and may have poisoned his wife, as well. Thomas and Jo begin to realize the truth of their talent and great loss. Christopher warns that Jamison and the others will stop at nothing to control them. The three devise a plan to use their position and power for good.

The next day Kira gathers plants while hearing the instructions of Annabella in her mind. She will create blue. Kira thinks of the future she will weave, a new beginning for her people!

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About the Author – Lois Lowry

About the Playwright – Eric Coble

I’ve always felt that I was fortunate to have been born the middle child of three. My older sister, Helen, was very much like our mother: gentle, family-oriented, eager to please. Little brother Jon was the only boy and had interests that he shared with Dad; together they were always working on electric trains and erector sets; and later, when Jon was older, they always seemed to have their heads under the raised hood of a car. That left me in-between, and exactly where I wanted most to be: on my own. I was a solitary child who lived in the world of books and my own vivid imagination.

Because my father was a career military officer - an Army dentist - I lived all over the world. I was born in Hawaii, and moved from there to New York, where I began school. When the war began, Dad had to go overseas, and Mother took us back to the town of Carlisle, Pennsylvania, where she had grown up and where my grandparents lived. I finished elementary school there and during the summer following sixth grade we moved to Tokyo, where I went through seventh and eighth grades. I graduated from high school in New York city, but by the time I went to college, Brown University in Rhode Island, my family was living in Washington, D.C.

I married young. I had just turned 19 - just finished my sophomore year in college - when I married a Naval officer and continued the odyssey that military life requires. California. Connecticut (a daughter born there). Florida (a son). South Carolina. Finally Cambridge, Massachusetts, when my husband left the service and entered Harvard Law School (another daughter; another son) and then to Maine - by now with four children under the age of 5 in tow.

My children grew up in Maine. So did I. I returned to college at the University of Southern Maine, got my degree, went to graduate school, and finally began to write professionally, the thing I had dreamed of doing since those childhood years when I had endlessly scribbled stories and poems in notebooks.

After my marriage ended in 1977, when I was 40, I met Martin and we spent 30 happy years together, traveling the world but equally happy just sitting on the porch with the New York Times crossword puzzle! Sadly, Martin died in the spring of 2011. Today I am in Cambridge, Massachusetts, living alone and writing in a house dominated by a very shaggy Tibetan Terrier named Alfie and a funny little cat named Lulu. But a very happy part of my time is spent as well in Maine, in a 1768 farmhouse surrounded by meadows and flower gardens, and often with visiting grandchildren.

My books have varied in content and style. Yet it seems that all of them deal, essentially, with the same general theme: the importance of human connections. A Summer to Die, my first book, was a highly fictionalized retelling of the early death of my sister, and of the effect of such a loss on a family. Number the Stars, set in a different culture and era, tells the same story: that of the role that we humans play in the lives of our fellow beings.

Copyright © 2012. Content, photos, and illustrations by Lois Lowry.No images or content on these pages may be reproduced or republished in any form without permission.

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People find this hard to believe, but Eric Coble was born in Edinburgh, Scotland and raised on the Navajo and Ute reservations in New Mexico and Colorado, playing with rocks, sticks, seeing 1940s serials at the movie theatre thirty miles away, and wandering the desert with his friends trying to avoid cactus until he was 15 years old.

Much of that time was spent writing/drawing comics and rigging up poorly built stage shows (much falling out of trees ensued). Moving off the reservation led to acting in high school, which led to majoring in English at Fort Lewis College (Colorado) before winging it to ohio University for an M.F.A. in Acting. Along the way he started writing plays, which (thank god) were well-received enough to spur him on.

Since then he has written a lot of scripts for adults and not-quite adults, including BRIGHT IDEAS, THE DEAD GUY, NATURAL SELECTIoN, FoR BETTER, SoUTHERN RAPTURE, A GIRL’S GUIDE To CoFFEE, THE vELoCITY oF AUTUMN, MY BARKING DoG, and THE GIvER which have been produced off-Broadway, throughout the U.S., and on several continents, including productions at Manhattan Class Company, The Kennedy Center, Playwrights Horizons, Actors Theatre of Louisville Humana

Festival, the Denver Center, New York and Edinburgh Fringe Festivals, Alliance Theatre, Cleveland Play House, Alabama Shakespeare Festival, South Coast Repertory, Florida Repertory Theatre, Indiana Repertory Theatre, Asolo Repertory, Coterie Theatre, Curious Theatre, Actors Theatre of Charlotte, oregon Children’s Theatre, People’s Light and Theatre Company, Stages Repertory Theatre, Great Lakes Theater Festival, and The Contemporary American Theatre Festival.

Awards include an Emmy nomination, the 2011 AATE Distinguished Play Award for Best Adaptation, the AT&T onstage Award, National Theatre Conference Playwriting Award, Edgerton Foundation New American Play Award, an NEA Playwright in Residence Grant, a TCG Extended Collaboration Grant, the Cleveland Arts Prize, a Creative Workforce Fellowship from Cuyahoga Arts and Culture, and four ohio Arts Council Individual Excellence Grants.

Eric has now traded the cactus of the southwest for the poison ivy of northeast ohio, where he is a member of the Cleveland Play House Playwrights Unit. He does miss the mesas, but can’t stop admiring the lush trees and that huge body of water just north of him.

Source: http://ericcoble.com/biography/

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1. What makes a society civilized? How does fear control people? How do you know who to trust?2. What makes up a community? What are the challenges and benefits of working as a part of a

community? What different communities are you a part of?3. Kira has a special talent that makes her valuable to her community. What is your special talent and

how does it contribute to your community?

Pre-Show Questions

Recommended Reading

thE AnAStASiA SEriES

Anastasia Krupnik (1979)

Anastasia Again! (1981)

Anastasia at Your Service (1982)

Anastasia, Ask Your Analyst (1984)

Anastasia on Her Own (1985)

Anastasia Has the Answers (1986)

Anastasia's Chosen Career (1987)

Anastasia at This Address (1991)

Anastasia Absolutely (1995)

thE QuArtEt

The Giver (1993)

Gathering Blue (2000)

Messenger (2004)

Son (2012)

SAm KrupniK

All About Sam (1988)

Attaboy Sam! (1992)

See You Around, Sam! (1996)

Zooman Sam (1999)

tAtE FAmiLy

The One Hundredth Thing About

Caroline (1983)

Switcharound (1985)

Your Move, J.P.! (1990)

GoonEy Bird

Gooney Bird Greene (2002)

Gooney Bird and the Room Mother

(2006)

Gooney the Fabulous (2007)

Gooney Bird Is So Absurd (2009)

Gooney Bird on the Map (2011)

othEr BooKS

A Summer to Die (1977)

Here in Kennebunkport (1978)

Find a Stranger, Say Goodbye

(1978)

Autumn Street (1980)

Taking Care of Terrif ic (1983)

Us and Uncle Fraud (1984)

Rabble Starkey (1987)

Number the Stars (1989)

Stay! Keeper's Story (1997)

The Silent Boy (2003)

Gossamer (2006)

The Willoughbys (2008)

Crow Call (2009)

The Birthday Ball (2010)

Bless This Mouse (2011)

Like the Willow Tree (2011)

AutoBioGrAphy

Looking Back (1998)

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Create a Story QuiltvISUAL ART CLASSRooM ACTIvITY

Jamison— This large portion of blank material. The future will be told here. Our world depends upon the telling.

Kira— But how will I know what goes there?

Explain to the students that tapestries and needlework samplers have been used throughout history to tell stories–to preserve history.

mAtEriALS:

10” X 10” square pieces of construction paperPencilsScissorsMarkers

dirEctionS:In this project, students will be telling a true story about themselves. Ask students to think about a special family memory or a memorable time with a friend.

1. Before drawing or cutting, have students fill out the Story Quilt worksheet.

2. once the design gets approval, students may begin to create their square.

3. Encourage students to sketch and lay out the pieces before permanently attaching the cut outs.

4. After students are finished, connect the squares to form a class quilt on display in the classroom.

http://www.randomhouse.com/teachers/catalog/display.pperl?isbn=9780440229490&view=tg

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Story Quilt WorksheetvISUAL ART CLASSRooM ACTIvITY

Where and when did your memory take place? __________________________________________________

Who was there? ___________________________________________________________________________

What happened? __________________________________________________________________________

_________________________________________________________________________________________

_________________________________________________________________________________________

_________________________________________________________________________________________

How did it make you feel? ___________________________________________________________________

_________________________________________________________________________________________

_________________________________________________________________________________________

_________________________________________________________________________________________

Name 3-5 objects you remember seeing: _______________________________________________________

_________________________________________________________________________________________

_________________________________________________________________________________________

In the space below, sketch a few different images that represent your memory:

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Story Circle LANGUAGE ARTS CLASSRooM ACTIvITY

This robe contains the entire story of our world laid out in thread. We must keep it intact. More than intact. Kira, you will continue your mother’s work. You will repair the robe, then you will complete the robe. Kira... you are to become the Weaver of the future. —Jamison

mAtEriALS:Picture Talking stick (or other small, passable object)

Choose a picture from a magazine that may elicit an emotional response from the students. Make sure that there is a clear location and at least one person in the photo.

1. Review with students the essential elements of a story, primarily focusing on the BEGINNING, MIDDLE and END—and what those elements needs to include.

2. Show the picture and ask them “where do you think this picture was taken? Who is that in the picture? What is the title of the picture?” a. Allow them to creatively flesh out these questions!b. Write down the responses on the board.

3. From the list of ideas on the board, choose one WHo and the WHERE of the story. Inform students that together we are going to make up the story of (make up a title). Remind them that we will need to have a clear beginning, middle and ending to our story—remembering to include the essential elements of the beginning, middle and end in our story.

4. The facilitator will begin the story—“once upon a time, “ or some such, “there lived a (character) who (what did they do every day or like to do).a. The facilitator may ask questions to add detail or steer the direction of the story. b. Ideas from students may be in the form of: character names or relationships, specific actions a character does

to solve a problem, specific words a character speaks, places the characters go, etc.5. The facilitator will explain that whoever holds the talking stick will be the teller of the story. Each student in the

circle will be responsible for telling one line of the story, building on what the previous storyteller said.a. The facilitator may choose to divide the circle into 3 sections, “These students will be responsible for telling

the beginning of the story- introducing characters, establishing relationships, etc” the middle, and the end so that students have clear objectives in their storytelling.

b. The facilitator may interject details to steer the story or combine details together.6. once the story is finished, have students recall what happened in the beginning, middle and end of the story.

a. Write this information on the board.7. Inform students that you are now going to be acting this story out. Begin by casting the BEGINNING of the

story only. Tell students that you will serve as the narrator and they will have to act out the story as you tell it. Recast different students to act in the MIDDLE and ENDING of the story.

Take Directly from First Stage’s Literacy program

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Active Thematic Discussion LANGUAGE ARTS CLASSRooM ACTIvITY

1. Have students get up and stand by their desks in Neutral. Share with them that we are going to be actively discussing one of the main themes in GATHERING BLUE. Have them begin walking around the room in neu-tral—no talking, no touching, until FREEZE is said. Then, have students get into small groups of 3–4 with the people in the room closest to them. once in these new groups, they can sit down in the room with their group members. Share with students that they will have two minutes as a group to come up with a response to the following statement: What do you think the statement, “Helping others can help us overcome grief” means?a. After the two minutes are up, have each group share their response. other possible statements: Love never

dies, How can you use your talents and gifts for the good of others?b. This discussion may lead to journal writing or as a creative writing prompt.

Take Directly from First Stage’s Literacy program

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Creating natural dyes SCIENCE CLASSRooM ACTIvITY

The blue of the sky, the water. All the other colors I’ve seen my mother work with. But she never had any blue dye. She said we’ve lost the ability to create it. —Kira

mAtEriALS:Hot waterShredded beetsYellow onionsStrawberriesThree containersStrainersPieces of cotton or wool fabric or stringPieces of nylon and polyesterChart paper

dirEctionS:Tell the students that they are going to get to make their own dye. Ask students to tell you what fruits or vegetables they would use to make yellow, pink, and red.

Pour hot-to-boiling water over a container of the onion skins, one filled with the strawberries, and a third full of beets. Let them soak overnight. Ask the students to help you strain the mixture and throw away the fruits and vegetables. They can then take a piece of cotton or wool, wet it with water, and let it soak in one of the dyes. The longer it soaks, the darker the color will be. Explain to the students that the colors will be muted and not vibrant and bold like they are today.

Soak some polyester and nylon also and have the students note that the material does not absorb the dye very well.

The pieces of fabric should be run under cold water to help the color to set and then they can be hung up to dry.

WrAp up:The fabric squares can be decorated and put together in a quilt. This activity should be done outside and you should encourage your students to wear clothes that can get dirty or stained.

Taken directly from: http://www.teachnology.com/teachers/lesson_plans/history/dyes35.html

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Building an Altruistic Community/Transactive (Authentic) Writing CoMMUNITY SERvICE

1. Share with students the definition of altruism and communitya. Altruism—unselfish regard for or devotion to the welfare of othersb. Community—a unified body of individuals oR the people with CoMMoN interests living in a particular area

2. After looking at the elements of an Altruistic Community, ask students to list the examples of what they see happening in their classroom community.a. Discussion can also move to school communities or their neighborhoods.

GEnErAtinG portFoLio AppropriAtE trAnSActivE WritinGAdapted from materials provided by Dr. Charles Whitaker, Director, EKU Writing Project

During the teaching of the content from a Unit of Study, discussion should take place about issues, questions, problems, goals, needs in students’ lives that have relevance to the content being studied. These ideas are essential when teachers set up writing for authentic purposes and readers.

At the conclusion of the unit, with the teachers’ help, students brainstorm by “slicing the pie” to determine topics associated with content being studied and to help define their own writing task. The issues, questions, topics, etc., that come from a 7th grade literature unit on Building an Altruistic community might be divided into a “pie” as follows:

A student will then choose an issue and “slice the pie” further to help define important topics from which another choice can be made to narrow the focus for transactive writing.

For example: community Service

Naturally, each of these slices can be “cut” again to narrow the focus.

Taken directly from: http://teach.clarkschools.net/jbernhard/Literacy_Web/Units/Gathering_Blue_Interdisciplinary_Unit.pdf

talents

disabilities community organizations

Selflessness/altruism

community Service

rewardsdiversity

Equity

helping people

character building Shyness/other problems

Sense of belonging

personal connection

Local connectionvolunteering

Success Stories

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Building an Altruistic Community/Transactive (Authentic) Writing CoMMUNITY SERvICE

crEAtinG AnGLESAdapted from materials provided by Dr. Charles Whitaker, Director, EKU Writing Project

To help define their writing task further, with the teacher’s help, students can brainstorm angles or ideas for writing. These are phrased as statements to indicate the direction the writing will take or the basic purpose the writer may develop. Here are some models to generate issues or topics:

1. Here is an issue that readers may not know about and some reasons why I think readers should be aware of it.2. Here is a problem that has not been solved and here’s my suggestions for what should be done about

this problem.3. We need a new way of looking at a problem. I recommend this.4. I wanted to find answers to these important questions. This is what I have found out and why I think it is

important others should know what I’ve found out.5. My own experience backs up a belief or main idea that is important for readers.6. Although some people may agree with such and such, I do not. Let me explain and support my view so that

others will accept my ideas.7. In order to understand something or in order to do something, a person should know the answers to

these questions.8. How did all this come about? Here’s how it happened and why it is important.9. If you are not sure about such and such, let me help you.10. Let me discuss what makes something effective or ineffective.

crEAtinG titLES For trAnSActivE (AuthEntic) WritinG(memo, letter, editorial, article, speech, proposal, report, etc.)

To clarify this brainstorming strategy for students, angles can then be transformed into titles that reflect the content being studied. Not only is providing a title realistic, but also forming the title can help students with key concepts about writing: authentic, focused purpose; idea development, and reader awareness.

Here are some good tips for students to think about in creating titles:· In creating the title, think about how you are focusing on the subject. What is an angle that can make your writing

unusual? What is your main idea, and what might appeal to readers?· Titles often include key words that tell the writer’s purpose and the content of the writing. Try to use key words

in the title.· Don’t make the title too broad or general. Use the title to establish a focus on the subject.· Some titles have two parts. The first part is broad, for example, Teen’s Talents; then the writer uses a colon and

gives something more specific about the subject. For example, “Talented Teens: Using Them Wisely.”· Similarly, writers often use questions in their titles as a way to indicate their purpose and to try to interest

readers: “Community Service: What Are You Doing?”· Some titles are simply statements that have an impact: “Giving Up A Little Free Time Pays Huge Dividends”

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Building an Altruistic Community/Transactive (Authentic) Writing CoMMUNITY SERvICE

SAmpLE titLES For trAnSActivE (AuthEntic) WritinG ABout community SErvicE(memo, letter, editorial, article, speech, proposal, report, etc.,)

Here are some sample titles that could perhaps be used as models to generate students’ titles based on the content that was studied in the unit Building An Altruistic Community.

1. Kids Helping Their Communities: Reasons To Get Involved! (practical ways of getting involved and benefits)2. Tutoring Teens: Where Do You Fit In? (an invitation to get involved in a tutoring program as a tutor or student)3. Habitat for Humanity: Can You Swing a Hammer? (practical information about Habitat with an appeal to

get involved)4. Community Service Builds Character (examples of how community service helps boost selflessness)5. Share a Pet with Seniors: Share Reasons to Smile! (information about taking pets to nursing homes,

including research about why this is beneficial to seniors)6. Small Gifts: Huge Rewards (specific details about the advantages of community service)7. Serving Your Community: Who Benefits? (the benefits of community service)8. Make A Difference, Make A Commitment, Be A volunteer (an appeal to become involved in community service) 9. Toys for Tots: Teens To Collect (information about how teens are collecting toys to help the needy and an

appeal for donations)10. volunteers Needed at Animal Shelter (an appeal for additional volunteers from a student who is

already involved)

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1. We don’t want you here. Why didn’t you stay in the Land of the Living?

2. our fingers were long and well-shaped.

3. My hands were strong.

4. You will fail. They will kill you.

5. I learned to carve when I was young.

6. Today you begin work restoring the Singer’s Robe.

7. I only look wee.

8. Some of them have blue yonder.

9. I want my mama---

10. I did it to keep you alive!

11. I wish I had blue. The color of freedom.

WHo SAID IT?

1. How does Kira’s disability affect her status in society? What strengths must she possess in order to sur-vive and thrive in her village? How do her talents aid her in her survival?

2. Kira says, “All the other colors I’ve seen my mother work with. But she never had any blue dye. She said we’ve lost the ability to create it.” What do the colors symbolize? Why did they lose the ability to create it?

3. Why is the history of the people called the Ruin Song? The scenes on the Singer’s Robe represent Ruin, Rebuilding, Ruin Again, and Regrowth. How does this symbolize the history of our world?

Post-Show Questions

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1. We don’t want you here. Why didn’t you stay in the Land of the Living? vANDARA

2. … Your fingers were long and well-shaped. KATRINA

3. My hands were strong. KIRA

4. You will fail. They will kill you. vANDARA

5. I learned to carve when I was young. THoMAS

6. Today you begin work restoring the Singer’s Robe. JAMISoN

7. I only look wee. MATT

8. Some of them have blue yonder. ANNABELLA

9. I want my mama--- Jo

10. I did it to keep you alive! CHRISToPHER

11. I wish I had blue. The color of freedom. KIRA

WHo SAID IT? ANSWERS