Items tagged "Bipoc"

This course is led by Allison Green, a member of the Algonquin Band of Mattawa, and a drama and social sciences teacher in Northern Ontario, Canada. She believes that drama teachers should look at their teaching through an Indigenous lens for a few reasons: - It is time in North America to take a conscientious look at Indigenous people’s approach to learning and teaching. - For our Indigenous students, it’s important to see themselves in materials, activities, and classroom routines. - It is also valuable for our non-Indigenous students to see and better understand the diverse nature of the creative process and ways of seeing our world through this lens. This course aims to help teachers see their drama class through an Indigenous lens - by exploring the learning circle, culturally responsive approaches, and Indigenous pedagogy.

This Indigenous Storytelling unit is brought to you in a different format than a traditional lesson plan. It uses a learning circle format. It was developed by Allison Green, a member of the Algonquin Band of Mattawa Ontario, who is also the author and instructor of the DTA course Approaching Drama Class with an Indigenous Perspective. Students will discuss origin stories, research the background and land connection of a variety of Indigenous creation stories, create a plot graph of their story, share with the class what they have learned, and then retell the story in their own words. Once students have practiced this process, they will repeat the steps with an Abenaki creation story: Research | Recreate | Understand.

In this unit, students will write a monologue authentic to their unique voice rather than to a Eurocentric canon model. We are going to decolonize the monologue. The goal in decolonizing monologues is to be inclusive of all voices in the classroom and to allow those voices to grow out of the unique style and cultural background of every student.

In the study of theatre history, when we discuss the origins of theatre, most start with the Ancient Greeks. Unit 1 of this curriculum will look at the theatre of Ancient Egypt, Sanskrit drama, and Indigenous storytelling.

Students will develop characters based on the character traits of the Seven Grandfather Teachings. The unit begins with a focus on the traits (Love, Wisdom, Respect, Bravery, Honesty, Humility, and Truth) and the story of elders passing on teachings to the youth. Students will use tableau, viewpoints, and movement and explore how to develop a character with a clear backstory and identity. The unit uses open, neutral scenes as a partnered task that students can use to apply their learning followed by reflection and class discussion.

The objective of this unit is for students to be able to engage with Indigenous symbolism in art, and then interpret it in a theatrical context. It begins with an introduction of symbolism through a retelling of an Indigenous story with wolves representing human traits. Students develop a scene that focuses on how to “show and tell” an Indigenous story, clearly showing the symbolic meaning from the oral story. Students will then explore symbols by looking at the characteristics of Canadian Indigenous Art, delving into the symbols and story. Students then share their interpretation of the art by creating and presenting a piece of theatre, followed by reflection and class discussion.

Students will view examples of Brownface in film and use critical thinking skills to annotate a text about the issues of Brownface in the film West Side Story. Students will then produce a written reflection on why the use of Brownface in the 1961 film version of West Side story is problematic and offer their opinion on why it perpetuates a negative stereotype of the Latinx community. Includes options for distance learning delivery.

Close reading requires students to analyze a text more thoroughly then they might naturally be inclined to, and because of this, students will be required to read the text three times. The first reading focuses on what the text says, the second reading focuses on how the text works, and the third engages students in evaluating the text, comparing it with other texts, or thinking about its implications in their lives in relation to the text. This lesson applies the close reading technique to analyze a BIPOC-centred theatrical text.

Students will read an article about the history of blackface in American Theatre and use critical thinking skills to annotate the article. Students will then produce a written reflection on why the use of blackface was and continues to be a problematic issue in American Theatre.

Students will begin the lesson by applying research skills to produce a mini-project presentation on author Rabindranath Tagore, his work as a playwright, and themes explored in his play The Post Office. Students will read the play with an analytical eye and rehearse a scene to perform as a staged reading.

This close-reading lesson centers around students analyzing Chapter 15, “Who The Hell Are These Guys?” of the memoir It’s Always Loud In The Balcony: A Life in Black Theater, from Harlem to Hollywood and Back by Richard Wesley.

Students will read, annotate, and reflect on an article about the Black Arts Movement. By participating in the annotation exercise, students will obtain background knowledge which will lead to a mini research project and presentation.

American actor Ira Aldridge was a pioneer and an activist. He was a celebrated 19th-century Shakespearan actor in England and Europe and one of the first black men to play the role of Othello. In this lesson, students will learn more about his story and about how he changed his story several times throughout his career. Students will reflect on the concept of changing one’s story in the face of adversity. Rubrics are provided.

Students will create their own improvisational piece to an African fable called “Anansi: The Spider.” This lesson explores the different ways to tell a story through storytelling improvisation, which allows students to discover different movements, voices, and listening skills. In African theatre, there are many ways to tell a story; improv is often used when learning about fables.

In this lesson, students will create their own solo performance piece called “I Am From” and explore the different ways to tell a story through self-expression. This allows students to think about who they are and how they can communicate themselves theatrically. In African theatre, there are many ways to tell a story; this poem template allows the student to answer specific questions that will transform into a solo monologue which will be used for a performance.

In this lesson, students will create and perform their own “Nigerian Praise Poem.” Students will be able to express physically, verbally, and emotionally and think critically about who they are and what makes them unique.

In this lesson, students will be introduced to John Douglas Thompson specifically through the lens of diversity in Shakespeare. Students will research and share their findings on his career, read and discuss quotes on the topic of diversity in Shakespeare, and create their own scenes to respond to the concept of being in a space where you might not previously have been welcomed.

Students will learn basic critical-thinking and communication skills through learning the life of Susie King Taylor. Students will be able to identify key events that occurred during the life of Susie King Taylor after reading an original article and completing questions. This lesson explores how Susie King Taylor became the first Black nurse during the American Civil War and changed education. The lesson gives students the opportunity to create and present their own memoirs.

Masterclass is a series of one-on-one interviews with experts, creators and innovators in the world of Theatre that you can study in-depth, or share with your classes. Think of this series as ‘Inside the Actor’s Studio’ for Drama Teachers. This masterclass is with Jordan Hughes, a graduate with a BFA in Drama, from NYU Tisch Drama School. Matt Webster chats with her about finding a career in the arts after college.

This spreadsheet provides plays, playwrights, cast sizes, descriptions and more for Latinx plays and playwrights. CAUTION: not all of these plays are going to be suitable for all classrooms. Anything to be aware of is marked and plays should be reviewed before sharing with students.

Masterclass is a series of one-on-one interviews with experts, creators and innovators in the world of Theatre that you can study in-depth, or share with your classes. Think of this series as ‘Inside the Actor’s Studio’ for Drama Teachers. This masterclass is with Vincent Terrell Durham, a playwright who first honed his storytelling skills as a standup comic in comedy clubs across the country. Matt Webster chats with him about his journey in becoming a playwright.

This resource is a of plays in the Public Domain by BIPOC writers, including links as to where you can find the texts. Any translations included are also in the Public Domain. Not all texts are available in an English translation but we have included them in their original language. We have included cautions, but as always, please make sure you read/review the scripts before sharing with your students.

This resource is a list of poems and short stories in the Public Domain by BIPOC writers including links as to where you can find the texts. Any translations included are also in the Public Domain. Not all texts are available in an English translation but we have included them in their original language. Please make sure you read/review the texts before sharing with your students.

A set of posters with quotes from Black voices. Use these to inspire your students in the drama classroom and beyond.

Every year we see top ten lists containing the most popular plays performed by students and studied in the drama classroom. Shakespeare makes the list every year. So does Arthur Miller. Some say that Our Town is performed every day of the year. What is decidedly lacking from these lists are Black and Latinx plays and playwrights. These playwrights are writing and have been writing plays for years tackling the same themes as those on these top ten lists. The Theatrefolk Equity, Diversity & Inclusion Advisory Panel has assembled suggestions to include on your list for production and classroom study.

Use this list as a discussion starter for your students, or as a point of reference for your next production.

Quotes from BIPOC voices, organized in categories. Use these to inspire your students in the drama classroom and beyond.

In these times, it’s important to know if the BIPOC play you want to do can be livestreamed, recorded, or performed virtually. We’ve put together a list of plays and playwrights with all that information. As with all classroom material, it is incumbent on the instructor to familiarize themselves with the material before introducing it to their classes. Read the plays first to make sure they fit within any district guidelines with regard to language and subject matter.

This document contains a collection of quotes, notable works, awards and bio information for Black theatre artists in a variety of fields. Activity suggestions included.

A set of posters with quotes from BIPOC voices. Use these to inspire your students in the drama classroom and beyond. A slide deck version is also included.

Students can explore the history of protest and how art has played a role in protest. They can examine different protest plays and protest art to discuss how art is political. What are the creatives behind the art trying to say? Why was it created? Students can examine what other artists have done and what change is happening in the entertainment world now. While analyzing art students should be asking: Why this? Why now? Use the activities in this resource to discover how to respond to political art and how to identify works of protest.

This list compiles names of casting directors and producers of colors who are doing the work to make change. BIPOC students do not have to go into the room and try to be anything or prove themselves to white producers. They should be able to see themselves behind the table. As we work on equity and inclusion think about who is behind the table. Discuss what can be done to create change. How can we create equitable and representative spaces for BIPOC students not just on the stage but behind the table as well? This list makes it known that BIPOC students can be producers and can be casting directors. There is room for us all at the table.

During Shakespearean times, the roles William Shakespeare wrote were played by white men and performed for a typically white audience. Nowadays, Shakespearean plays are being modernized as companies put on productions that utilize color-conscious casting. Color-conscious casting specifically takes into consideration an actor’s skin color and ethnicity. And you can go further to include consideration of an actor’s gender, shape, mobility, etc. Through this resource students will be able to: • Explore what it means to have BIPOC actors perform Shakespeare. • Analyze and perform Shakespearean texts as they look at the stories through a color-conscious lens. • Critically think about how we can adapt Shakespeare to reflect today’s society. With this resource, students will be able to take ownership of the text and use Shakespeare to tell the stories they want to tell.

This document is a collection of Theatre for Young Audience plays (TYA) written by BIPOC (Black, Indigenous and People of Colour) writers/playwrights.

The BIPOC (Black, Indigenous, and People of Colour) Theatre Book List offers a selection of texts (memoirs, essay collections, books, novels) written by BIPOC artists. All of the texts have a theatre focus, which makes them perfect for study in the drama classroom, to use as an independent study project, or for students who require an alternative method of instruction (AMI). Along with the list of books, attachments include Reading Questions for 5 specific texts, and a Close Reading Lesson Plan.

Students will read, annotate, and reflect on an article about the Black Arts Movement. By participating in the annotation exercise, students will obtain background knowledge which will lead to a mini research project and presentation.

Students will review quotes from a variety of Black Theatre Professionals, write out their first impressions and reflect on the quote, and then create a one minute theatrical expression. The focus here is time management and self management. How will students use their time to complete their expression and present in the same period?

This resource offers guidance on working with your students to create an anti-slur policy. Included are two additional resources - Start With One Thing, and Social Awareness documents.

The goal in this ongoing work to be a loving, inclusive teacher in a loving, inclusive space is to continue to build the library in your room to represent every student. Providing access to these materials within the walls of a classroom allows students to engage in the literature without judgment. This document offers a teacher self-assignment task to populate your bookcase with inclusive, diverse material and then a couple of classroom tasks you can do to make sure your books get noticed.

Now more than ever, theatre are teachers looking for ways to expand their history curriculum to include BIPOC issues and cultural awareness. Many theatre teachers are looking to include more diverse history materials to enrich discussions with their students. That's why we want to invite you to a PLC where we explore content and share ideas that will help you bring Black History into your theatre classroom. Join us for this insightful and exciting conversation!