1

Purnama Sari suggests you to

lead fun and creative post-

show activities, such as mak-

ing original masks and com-

posing simple stories that

feature those masked charac-

ters. They could even create

short plays, incorporating their

stories and masks. Encourage

them to invent movements

that express their masked

characters. Remind them how

Purnama Sari dancers ex-

pressed their characters

through particular choreogra-

phy and improvisation. Addi-

tionally, you could also show

your students masks from

around the world to further

explore this fascinating topic.

Possibilities are endless, as

you can see!

Purnama Sari’s Mask Dances

of Bali introduces your stu-

dents to the Indonesian island

highly praised for its natural

beauty, rich culture and fasci-

nating arts. It provides your

students with an opportunity

to make connection between

the culture from a far away

land and their own. Not only

entertaining and artistic, Bali-

nese mask dance invites your

students to capture character

traits and express them

through creative movement

and acting. While having fun

throughout this program, your

students will develop

academic skills in school sub-

jects such as; language arts

(reading /listening comprehen-

sion and writing), social stud-

ies (geography), theater,

music, dance and visual arts.

To prepare your students for

the performance, Purnama

Sari encourages you to try any

or all of the pre-show lessons

suggested in this study guide;

Have your students read a

Balinese creation myth, Ra-

japala, which is included in

this study guide. Help them

identify the elements of the

story, such as the plot-line,

characters and setting. The

pre-show activities could also

include map study and listen-

ing to traditional Balinese mu-

sic, Gamelan. Ask your stu-

dents what instruments they

can recognize in gamelan mu-

sic and how it sounds different

from western classic music.

At their performance, Purnama

Sari will offer an interactive

talk on cultural values and

beliefs that are expressed

through Balinese mask danc-

es. There will be opportunities

for your students to try on

masks and create their own

movements that express indi-

vidual characters represented

by the masks. Your students

will also have a time to ask

questions and make com-

ments.

Purnama Sari (meaning

“essence of full moon” in Indo-

nesian) was founded by Surap-

sari and Indra of Sarasota,

Florida. Surapsari and Indra,

long time residents of Bali,

studied traditional Balinese

dance, theatre and shadow

puppetry with internationally

acclaimed artists from Ubud,

the arts capital of Bali. Since

its inception in 2000, Purna-

ma Sari has been performing

and teaching internationally.

Surapsari mastered a wide

range of Balinese dance in

both male and female styles.

Her extensive dance repertoire

includes Gambuh (the 500

year old Balinese theater),

classic court dances, ancient

ritual dances, mask dances

and dance-dramas. Surapsari

is also a published author and

teacher on Balinese perform-

ing arts and culture. She holds

a Master’s degree in intercul-

tural relations from Lesley

University in Massachusetts.

P r o g r a m o v e r v i e w

www.purnamasaribali.com

I N S I D E T H I S I S S U E :

C O N T E N T S

Program Overview 1

Introduction to Bali 2

Balinese Mask Dance 3

Pre-show Lessons 4

Mask Dance Performance 11

Post-show Lessons 12

P u r n a m a s a r i : t h e s p i r i t o f b a l i

P U R N A M A S A R I B A L I N E S E D A N C E C O M P A N Y

Mask Dances of Bali

Teacher’s Guide (grade 3-5)

Indra received a Master’s de-

gree in interdisciplinary study

from Lesley University. A great

deal of his academic work was

conducted in Bali and centered

on ethnographic studies, myth

and Balinese dance in practice

and theory. He studied with

renowned masters of Topeng

(mask dance) including legend-

ary I Made Djimat.

2

B a l i : t h e i s l a n d o f t h e g o d s

Bali is one of over 17,500 islands that make up the Republic of Indonesia., the fourth most populous

country in the world. Its rich landscape of hills, volcanic mountains, sandy beaches, lush rice terraces

along with tropical fauna and flora, provides a photogenic backdrop to its colorful and deeply spiritual

culture, awarding the island famed nicknames such as, “The Island of the Gods”, “The Morning of the

World” and “The Island of Thousands Temples”. The core of Balinese culture is Balinese Hinduism,

which has developed as the unique blend of Hinduism, Tantric Buddhism, native animism, ancestor

worship and magico-religious rituals. It reflects influences from different Asian cultures and traditions

over centuries. Balinese Hinduism (called Agama Hindu Dharma in Indonesian) permeates every

thread of Balinese life; from daily rituals to rites of passage celebrations, interpersonal relationships

to the structure of the society.

P e r f o r m i n g a r t s o f b a l i

The arts of Bali are also reflections of its spiritual beliefs and values, rather than a mode of self-

expressions. Dance, theatre, music, visual arts, architecture - all art forms exist and are utilized

to please the deities, celebrate spirituality and convey moral messages based on Balinese Hindu

principles. Among the all Balinese art forms, dance and theatre is the most prominent, arresting

showcase of beauty and refinement; otherworldly gamelan music, ancient chants, regal costumes

with glittering fabric and intricate leather work and sophisticated wood masks. Dance and theatre

is also irreplaceable entertainment in otherwise rather plain Balinese village life. It unites Bali-

nese people from young to the aged, thus making itself as an important social function. As tradi-

tional dances and theatres tread steady decline in the rest of the world, Balinese performing arts

are thriving, churning new creations and generating the ever increasing number of artists while

maintaining their unique style as well as cultural and spiritual values expressed through the arts.

GAMELAN The set of instruments which make up a traditional Indonesian music ensemble. It could consist of as few

as two metallophones or as many as sixty different percussive and wind instruments. Gamelan Angklung (the bamboo percus-

sion) was recognized as a World Cultural Heritage by UNESCO in 2010.

DANCE Balinese dance was created and has been performed as the offering to the

deities and ancestral spirits. It is characterized by intricate hand gestures, sharp eye movements,

low stances and dynamic yet refined choreography. All movements are done on both the right and

left sides to establish harmony, which is the reflection of Rwa Bhineda (the balance between

opposite forces), the principle of Balinese philosophy. Masks have been used in Balinese dance for

centuries, predating the arrival of Hindu culture from India. In Bali, dance is performed at temple

ceremonies, rites of passage rituals, social functions and tourism sites. Any village that can afford it

has its own gamelan ensemble and dance club where anyone from young to aged can learn to dance

for free of charge.

THEATRE In Bali, theatre cannot be separated from dance and gamelan. Performers are required to be skilled in

acting, dancing, singing and chanting. Stories of popular theatrical works have been taken from the Indian epics of Ramayana

and Mahabharata, as well as indigenous Indonesian epics and chronicles such as Malat and Babad. Gambuh, the oldest

Balinese theatre was developed from elegant performances at Javanese courts.

SHADOW PUPPET Shadow puppet is considered to be the source of Balinese dance. Its highly stylized movement reflects the

motion of jointed puppet figures. In Bali, Wayang Kulit (shadow puppet in Indonesian) is not only for children, but for people

of all ages. It is the medium to convey moral messages and philosophy in entertaining and artistic manner. Wayang Kulit was

also designated as a World Cultural Heritage by UNESCO.

© Purnama Sari Balinese Dance Company

3

the archaic language mixture of

Indian Sanscrit, classic Javanese

and native Balinese languages.

Chants often include prayers and

imply principles of Balinese philoso-

phy.

After centuries of existence, Topeng

is thriving in Bali. This is the heart

of the Balinese, the spirit of the

enchanted island.

Balinese Topeng (mask dance and

dance-drama) is rooted in ancient

rituals and is truly native. It pays

homage to ancestor spirits and the

glorious past. Topeng exhibits array

of archetypes; King, Servant, Old

Man, Shaman, Prime Minister,

Clown—characters from every rank

of society are accommodated in

this art form. No one is perfect.

Even noble or holy characters have

faults and are troubled by mis-

takes, which makes Topeng acces-

sible to anyone.

Mask-making itself is a ritual in

Bali. It begins with collecting pule

wood at graveyard on an auspi-

cious day. The mask-maker pre-

sents offerings to ask for a permis-

sion

to take the wood. Once the material

is obtained, the mask-maker waits

for inspiration as to which mask to

make. He eventually carves out a

character face, smooth the surface

with sandpaper and apply layers of

color coating. He finishes the mask

with the hair, eyebrows and mus-

tache made of goat hair. A number

of purification ceremonies have to

be performed before the mask is

worn for sacred dances.

Topeng dancers must go through a

series of purification ceremonies as

well. They meditate on the particular

mask to receive taksu, the divine

energy charged with the spirit of the

mask. Topeng dancers’ movements

are highly stylized reflecting traits of

each character, with some room for

improvisation. Some Topeng charac-

ters chant ancient verses in Kawi,

Dalam (King)

The embodiment of refine-

ment, generosity and com-

passion.

Telek (Guardian of Forest)

She is graceful yet powerful.

She chases away disturbing

forces with calm attitude.

Lucu (Comic)

The naughty and funny char-

acter whom the Balinese love

to watch.

m y s t e r y b e h i n d

B a l i n e s e m a s k d a n c e

M e e t t h e c h a r a c t e r s

Barong (Sacred Beast)

This Protector of the Village

defends the cosmic order

that Balinese Hindus ad-

here to.

Tua (Elderly man)

His humorous manner brings

out laughter from the audi-

ence.

Keras (Prime Minister)

He is rigid, authoritative

and determined.

© Purnama Sari Balinese Dance Company

4

Social Studies

SS.3.G.1.2 Review basic map elements (coordinate grid, cardinal and intermediate directions, title, compass rose,

scale, key/legend with symbols).

SS.3.G.1.3 Label the continents and oceans on a world map.

SS.4.G.1.4 Interpret political and physical maps using map elements (title, compass rose, cardinal directions, inter-

mediate directions, symbols, legend, scale, longitude, latitude).

SS.5.G.1.2 Use latitude and longitude to locate places.

Language Arts

LACC.3.RF.4.4, LACC.4.RF.4.4 LACC.5.RF.4.4 Read with sufficient accuracy and fluency to support comprehension.

LACC.3.RL.1.2 Recount stories, including fables, folktales, and myths from diverse cultures; determine the central

message, lesson, or moral and explain how it is conveyed through key details in the text.

LACC.4.RI.1.2 Determine the main idea of a text and explain how it is supported by key details; summarize the text.

LACC.5.RL.1.2 Determine a theme of a story, drama, or poem from details in the text, including how characters in a

story or drama respond to challenges or how the speaker in a poem reflects upon a topic; summarize the text.

LACC.3.RL.1.3 Describe characters in a story (e.g., their traits, motivations, or feelings) and explain how their actions

contribute to the sequence of events.

LACC.4.RL.1.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the

text (e.g., a character’s thoughts, words, or actions).

LACC.5.RL.1.3 Compare and contrast two or more characters, settings, or events in a story or drama, drawing on

specific details in the text (e.g., how characters interact).

1. Map study; 1) Label the Asian continent and surrounding oceans on a world map. 2) Mark Indonesia and Bali on a

regional map. 3) Describe the location of each country using map elements such as cardinal directions, longitude and

latitude.

2. Reading comprehension & discussion; Have your students read a Balinese creation myth, Rajapala (page 7 of this

guide). Ask them questions about character traits, setting and story-line, using the Story Analysis sheet on page 10.

Lead a discussion about cultural traits that are expressed through characters, environment and messages in the story.

3. Music; Play Balinese traditional music, Gamelan (http://www.tunasmekar.org/listen.html) and ask your students ;

1) what instruments they can recognize, 2) what feeling or mood is expressed through the music. Tell your students

how Balinese practice music and how music is an important element of Balinese village life, using the information

P r e - s h o w l e s s o n s

L e s s o n p l a n s

n e x t g e n e r a t i o n s u n s h i n e s t a t e s t a n d a r d s

5

Music

MU.3.H.1.1 Compare indigenous instruments of specified cultures.

MU.4.H.1.1 Examine and describe a cultural tradition, other than one’s own, learned through its musical style and/

or use of authentic instruments.

MU.5.H.1.1 Identify the purposes for which music is used within various cultures.

MU.3.H.1.3 Identify timbre(s) in music from a variety of cultures.

MU.4.H.1.3 Identify pieces of music that originated from cultures other than one’s own.

MU.5.H.1.3 Compare stylistic and musical features in works originating from different cultures.

r e s o u r c e s

p r e - s h o w l e s s o n s

G a m e l a n

Gamelan is a generic term for the traditional music style, instruments and orchestra that originated in Indonesia. Its ensem-

ble could consist of as few as two metallophones or as many as sixty different percussive and wind instruments. Currently,

there are over thirty types of gamelan ensemble in Bali. Any village that can afford it owns a gamelan ensemble and club

where villagers, from young to aged can come and learn the art.

Gamelan is a symbol for unity and solidarity. The musicians gather together and practice the same piece of music again and

again, over a long period of time. Each music piece is taught orally with great deal of demonstration; there is no written text-

book to refer to, definitely no lessons on the Internet! The musicians support each other by giving constructive critique and

instructing younger, less experienced members. There is no room for personal interpretation or improvisation in gamelan.

Through the process of practice, the musicians, regardless of their ages become strongly bonded, as one family.

Traditionally, gamelan had been played only by men, but that changed with modernity. Nowadays, many villages have a wom-

en’s gamelan ensemble where grandmothers, housewives, young ladies and girls happily beat drums and hit metallophone

keys. Some womens’ gamelan clubs enter contests and perform for tourists.

In the past few decades, there has been great innovation in the gamelan world. The great number of new music pieces have

been created, under the influences from foreign cultures and modern technologies.

The Angel and Rajapala (A Balinese Fairy tale) on Vimeo http://vimeo.com/11074221

Gecko: A Balilnese Folktale — on Youtube http://www.youtube.com/watch?v=1hxbyeC5h9w

A Balinese Folktale: Cupak and Grantang - Bali Hotel Villa Blog http://blog.baliwww.com/tale/707

What is Gamelan? - Bali & Beyond http://www.balibeyond.com/gamelan.html

THE INSTRUMENTS FOR GAMELAN BALI - University of Hawaii http://remus.shidler.hawaii.edu/gamelan/baliinst.htm

Listen to Balinese gamelan music recorded by Gamelan Tunas Mekar http://www.tunasmekar.org/listen.html

6

Southeastern Asia Map

7

RAJAPALA Balinese Creation Myth

Encounter by the pond

Once upon a time, deep in the forest of Singapanjara, there lived a young hunter named Rajapala. One day, being exhausted from a long hunt, Rajapala was resting by a pond.

Suddenly, a beautiful rainbow appeared in the sky.

Bidadaris, heavenly maidens descending from the kingdom of Gods and Goddesses, flew over the sky flipping their scarves as wings. They slid on the rainbow and landed by the pond. They all had beautiful hair as shiny as gold and their skin smooth as silk. They were laughing and chatting to each other like playful birds. They took off their scarves and walked into the water to bathe.

Rajapala was struck by the beauty of the Bidadaris. Especially, the youngest caught his heart. Her name was Kensulasih. He felt immediate love for her and couldn’t resist stealing her scarf to create a chance to meet her.

After a long bath, the Bidadaris came out of the pond one by one. Flipping their scarves, they flew back to heaven.

At last, Kensulasih emerged out of the water. She looked for her scarf but couldn’t find it. Kensulasih was alone and in despair. All the other Bidadaris had gone back to heaven.

Rajapala appeared behind a bush and approached Kensulasih. “Beautiful young lady, what’s troubling you?”

Kensulasih told him how she was left behind her celestial sisters and asked him to help her. Rajapala said to her, “I can’t send you back to heaven. But I will make you happy as my wife.” Kensulasih really wanted to return to heaven, but without her scarf, she couldn’t fly.

She agreed to marry Rajapala but told him that she would have to return to heaven once their child was born, which should give her power to fly back home. In this way, they were married.

Rajapala hid her scarf in the bottom of piled sacks of rice in the storage, hoping that she wouldn’t find it.

Magic of rice

Rajapala and Kensulasih lived together happily. Kensulasih’s love for her husband grew day by day, and she soon became preg-nant. Kensulasih was so content about her new family that she forgot about returning to heaven. She was a wonderful wife, showing great love for her husband. Life as a hunter was not easy one. Often times, game was scarce in the forest, and Rajapala came back home with no food for dinner. However, Kensulasih always had a magical way of producing rice enough to feed them for weeks after weeks, never opening a new sack of rice.

One day, Rajapala asked Kensulasih how she can offer him rice at every meal although they hardly had any money to buy the grains. Kensulasih smiled and said to him, “My dear husband. It is made possible with my love.” She then told him never to look at her cooking rice. Rajapala became very curious and decided to watch secretly how Kensulasih cooked rice.

One early morning, before the birds began singing their daybreak song, Rajapala quietly approached the kitchen, opened the door slightly and peeked inside. He saw Kensulasih pick up just one grain of rice and put it into the pan. She poured plenty of water, covered with a lid and put the pot on fire. First, the sound of boiling water and then, aroma of cooked rice came from the pot. Kensulasih opened the lid, and the pot was full of rice – from just one grain!

Rajapala was very surprised and gasped loudly. Kensulasih noticed that she had been spied on and felt betrayed. “I have been a faithful wife since the day I met you. In this marriage, I didn’t ask you for any luxury, nor money, but just a promise not to see me cooking. Since you broke your promise, I will return home to heaven.”

© Purnama Sari Balinese Dance Company

8

Rajapala apologized and begged Kensulasih to stay. At first, Kensulasih refused his request but realized that she still loved him so much. She was also concerned about their unborn baby. She agreed to stay with Rajapala.

One day, Kensulasih went to the storage, looking for rice. Then, she saw a little piece of beautiful cloth showing under a pile of empty rice sacks. It was the scarf she lost at the pond. Kensulasih retrieved it and decided to fly back to heaven when their child was old enough to live without her.

Kensulasih’s departure

Soon, Rajapala and Kensulasih gave birth to their son, Durma. Durma was a beautiful boy with the eyes shining like stars. Kensulasih was very happy about her new family on the earth. Rajapala, regretful about his broken promise, became a very faithful husband and caring father. Their life remained very modest, but their little home in the forest was filled with love.

There was nothing Kensulasih was unhappy about her life on the earth, but she knew that she had to return to heaven where she truly belonged. One day, Kensulasih told her family that now is the time for her to return to heaven. Little Durma cried and begged her not to leave them. But Kensulasih’s heart was already set. She told her husband and son that she would al-ways be watching over them from heaven. She put on her scarf and flew away.

Rajapala’s departure

Rajapala had been heart broken since Kensulasih was gone. He blamed himself for her departure and felt great sorrow for Durma losing his mother at such a tender age. Rajapala took good care of his son and tried to live happily with him. But Ra-japala’s despair was endless.

Many years passed, and Durma grew up to be a strong, clever, young man with a noble heart. Rajapala saw him mature enough to be on his own. Rajapala decided to retreat deep into the forest, to meditate on his past mistakes and pray for his son’s future.

Durma was left alone in the little hut, without guidance from his parents. Durma, sad and angry, began a journey into the deep forest, searching for his father.

Durma’s adventure

The forest grew thicker and thicker as Durma journeyed. Suddenly, a hideous giant appeared in front of him. Her name was Durgadeni. Durgadeni, the merciless witch, fell in love with handsome Durma. She threatened him, “I will eat you up if you don’t marry me!”

Durma had no choice but making her his wife. Durgadeni was so delighted that she couldn’t resist boasting about the secret of her magical power. “There is only one being who can destroy me – somebody born from a Bidadari and a human! But there is no such a being in this world, and that is why I’m immortal! Ha, ha, ha, ha!!”

Learning about her secret, Durma came up with a plan.

Later at night, Durma quietly approached Durgadeni who was in the deep sleep.

Durma prayed a while for Durgadeni’s soul.

Then, he took out his dagger and thrusted it into her body.

In this way, Durma got away from Durgadeni.

Family reunion

Durma continued the search for his father. After many adventures, Durma finally found him meditating under a tall Bodhi-tree.

© Purnama Sari Balinese Dance Company

9

Durma approached him quietly. Rajapala, still his eyes closed, felt the presence of his beloved son and talked to him. “My son, please forgive me. I didn’t leave you for the sake of my own happiness. I needed to be alone so that I can return as a stronger, wiser father who can assist you throughout your life.”

Durma was filled with a great joy of being reunited with his father. He forgot about all the resentment and anger he had been feeling. Only endless love and sympathy for his father filled his heart.

The father and son held each other and wept. At the same time, a light shone down from heaven. Rajapala and Durma looked up and then, saw their beloved Kensulasih in the sky.

Kensulasih smiled down and told them that she would be with them whenever and wherever they were. She also told Durma never to forget that he belongs to the both worlds of heaven and earth.

Even today, when a Balinese baby cries, his mother takes him out under the starry sky and tells him that he was born from heaven and earth.

THE END

© Purnama Sari Balinese Dance Company

10

Name: ________________________________ Date: __________________

RAJAPALA: STORY ANALYSIS

Setting (where and when does the story take place?)

_____________________________________________________________________________________

Plotline (No more than 5 sentences)

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

Traits of the main characters

Rajapala _____________________________________________________________________________

Kensulasih __________________________________________________________________________

Theme

_____________________________________________________________________________________

Moral/messages of the story

_____________________________________________________________________________________

______________________________________________________________________________________

11

The students will watch a presentation of Balinese mask dances and

learn how cultural traits and values are expressed through this art form.

The students will listen to the gamelan music that accompanies each

dance piece and compare it with other musical forms.

The students will learn how a mask evokes certain feelings and moods

which culminate into a series of physical movements that make up a

dance piece.

The students will try on Balinese masks or watch their peers’ trial and

experience or witness embodiment of the masked character.

The students will participate in Q & A and discussions in appropriate

manner.

LACC.3.SL.1.1, LACC.4.SL.1.1, LACC.5.SL.1.1 Engage effectively in a range of collaborative discussions.

LACC.3.SL.1.2 Determine the main ideas and supporting details of a text read aloud or information presented in di-

verse media and formats, including visually, quantitatively, and orally.

LACC.3.SL.1.3 Ask and answer questions about information from a speaker, offering appropriate elaboration and de-

tail.

VA.3.H.1.3 Identify and be respectful of ideas important to individuals, groups, or cultures that are reflected in their

artworks.

MU.3.H.1.3 Identify timbre(s) in music from a variety of cultures.

MU.4.H.1.3 Identify pieces of music that originated from cultures other than one’s own.

B a l i n e s e m a s k d a n c e p e r f o r m a n c e

B y p u r n a m a s a r i

N e x t g e n e r a t i o n s u n s h i n e s t a t e s t a n d a r d s

o b j e c t i v e s

Welcome to Purnama Sari’s Balinese mask dance performance! You and your students will meet a variety of masked

characters who dance in individually stylized manners with some improvisation. These masked characters embody

cultural values and beliefs of Balinese people. Purnama Sari will tell you the stories behind the masks which assist your

students understand the different culture. There will be opportunities for your students to try on Balinese masks and

improvise movements that express the characters. In Bali, dance means much more than physical movement; it is a

showcase of movement, visual arts (masks, costumes, headdresses and stage setting), music (traditional gamelan) and

theater (storytelling through dance). Be dazzled by legal costumes glittered with gold. Flow into mystical chants and

otherworldly sound of gamelan. In the end of the performance, your students will have a time to ask questions and

make comments to conclude their rare experience of the exquisite art from a far away land.

12

P o s t - s h o w l e s s o n s

1. By referring to the websites listed in the Resource section on page 14, have your students create a mask of their own

design.

2. Divide the class into groups of four or five and have each group create a simply story that features each group mem-

ber’s masked character.

3. Instruct the groups to create movements that express their masked characters.

4. Instruct the groups to create a short play incorporating their masks, original story and movements. Have each group

do a ten minute presentation.

5. Show your students masks from around the world, using an online PowerPoint document

(www.whms.jordan.k12.ut.us/teachers/packer/powerpoints/masks.ppt ). Lead a discussion on similarity and

differences among masks from different cultures; in terms of material, features and purpose for use.

L e s s o n p l a n s

n e x t g e n e r a t i o n s u n s h i n e s t a t e s t a n d a r d s

Language Arts

LACC.3.L.1.1, LACC.4.L.1.1,LACC.5.L.1.1 Demonstrate command of the conventions of standard English grammar

and usage when writing or speaking.

LACC.3.L.1.2, LACC.4.L.1.2, LACC.5.L.1.2 Demonstrate command of the conventions of standard English capitaliza-

tion, punctuation, and spelling when writing.

LACC.3.W.1.3. LACC.4.W.1.3, LACC.5.W.1.3 Write narratives to develop real or imagined experiences or events us-

ing effective technique, descriptive details, and clear event sequences.

Dance

DA.3.F.1.1 Create dance pieces that interpret characters from stories, poems, and other literature sources.

DA.3.F.3.1 Be on time and prepared for classes, and work successfully in small- and large-group cooperative

settings, following directions given by the teacher or peers.

DA.4.F.3.1 Be on time, prepared, and focused in classes, and share skills and ideas with peers appropriately.

DA.5.F.3.1 Show leadership by sharing ideas or by demonstrating or teaching skills to others.

DA.3.H.3.1 Create and perform a dance, inspired by developmentally appropriate literature, stories, or poems, that

has a beginning, middle, and end.

DA.4.H.3.1 Create a dance with student-selected components from other content areas and/or personal interests.

13

DA.5.H.3.1 Create a dance, inspired by another art form, which shows one or more connections between the two

disciplines.

DA.3.S.1.1 Create movement to express feelings, images, and stories.

DA.3.S.1.2 Respond to improvisation prompts, as an individual or in a group, to explore new ways to move.

Theater

TH.3.F.3.1 Participate in a collaborative project to create a theatrical performance and reflect on the experience.

TH.4.O.2.2 Create a mask to show a comic or tragic character.

TH.4.H.3.3 Create an original story after listening to music or viewing a work of art.

TH.4.S.2.1 Collaborate with others to share responsibilities for a production.

TH.5.C.3.2 Use a photograph, sculpture, or two-dimensional work of art to inspire creation of an original scene or

monologue.

TH.5.F.1.3 Take creative risks through improvisation, using sensory skills to explore characters’ feelings and envi-

ronments.

TH.5.H.1.2 Participate in a performance to explore and celebrate a variety of human experiences.

Visual Arts

VA.3.C.1.1 Use the art-making process to develop ideas for self-expression.

VA.3.F.1.1 Manipulate art media and incorporate a variety of subject matter to create imaginative artwork.

VA.4.F.1.1 Combine art media with innovative ideas and techniques to create two- and/or three-dimensional works

of art.

VA.3.F.3.3 Demonstrate the skills needed to complete artwork in a timely manner, demonstrating perseverance

and development of 21st-century skills.

VA.4.F.3.3 Work purposefully to complete personal works of art in a timely manner, demonstrating development of

21st-century skills.

VA.3.H.1.1 Describe cultural similarities and differences in works of art.

VA.4.H.1.1 Identify historical and cultural influences that have inspired artists to produce works of art.

VA.3.H.2.1 Compare differences or similarities in artworks across time and culture.

VA.3.O.2.1 Use creative and innovative ideas to complete personal artworks.

VA.4.O.2.1 Use a variety of resources and art skills to overcome visual challenges in personal artworks.

VA.3.S.1.1 Manipulate tools and media to enhance communication in personal artworks.

P o s t - s h o w l e s s o n s

14

P o s t - s h o w l e s s o n s

VA.4.S.1.1 Manipulate tools and materials to achieve diverse effects in personal works of art.

VA.3.S.2.2 Follow procedures, focusing on the art-making process.

VA.3.S.3.1 Use materials, tools, and processes to achieve an intended result in two- and/or three-dimensional art-

works.

VA.4.S.3.1 Experiment with various materials, tools, techniques, and processes to achieve a variety of results in two

- and/or three-dimensional artworks.

VA.5.S.3.1 Use materials, tools, techniques, and processes to achieve expected results in two- and/or three-

dimensional artworks.

VA.3.S.3.3 Work within safety guidelines while using tools, media, techniques, and processes.

VA.4.S.3.3 Follow procedures for using tools, media, techniques, and processes safely and responsibly.

VA.5.S.3.3 Use tools, media, techniques, and processes in a safe and responsible manner.

VA.4.C.1.1 Integrate ideas during the art-making process to convey meaning in personal works of art.

VA.5.C.2.1 Revise artwork as a necessary part of the creative process to achieve an artistic goal.

VA.5.F.3.4 Follow directions and complete artwork in the timeframe allotted to show development of 21st-century

skills.

VA.5.H.1.1 Examine historical and cultural influences that inspire artists and their work.

VA.5.H.2.1 Compare works of art on the basis of style, culture, or artist across time to identify visual differences.

VA.5.O.3.1 Create meaningful and unique works of art to effectively communicate and document a personal voice.

r e s o u r c e s

How to Make a Papier Mâché Mask (for Kids): 9 Steps - wikiHow

http://www.wikihow.com/Make-a-Papier-M%C3%A2ch%C3%A9-Mask-%28for-Kids%29

Mask Making for Children | eHow

http://www.ehow.com/way_5201972_mask-making-children.html

At Home Mask-Making | DuPage Children's Museum Mask Project

http://www.aforceforearlylearning.org/maskproject/childrens-art-project/at-home-mask-making-project/

Masks From Around the World

www.whms.jordan.k12.ut.us/teachers/packer/powerpoints/masks.ppt

15

Mexico

Masks have been used in Mexi-

co since 3,000 BCE for rituals

and ceremonies. In ancient

times, priests used masks for

purification and healing. Mayans

created masks representing

their gods and placed them over

the faces of their rulers at the

funerals. Masks were also used

to commemorate life cycles.

Korea

Koreans have a long tradition of

using masks for a variety of

purposes; they were worn by

soldiers and their horses and

were also used as death masks

at funerals. Mask dances are

still performed throughout Ko-

rea and attract many spectators

at annual mask dance festivals.

Italy

.

The citizens of Venice wore masks

to conceal their identities, which

created an equal playing filed

among different social ranks and

gave voice to everyone. Unfortu-

nately, many took advantage of the

situation and behaved unmorally,

which culminated into decadence.

The wearing of masks in daily life

was eventually prohibited.

Australia

Aborigines, the native people of

Australia have been creating

masks for their ceremonies, rituals

and dances, to honor ancient spir-

its . The typical Aboriginal masks

are made of a variety of material

such as wood, copper, iron and

ivory. They are decorated with nu-

merous colorful small dots.

Africa

African masks usually contain spir-

itual and religious meaning and

have been essential part of their

ritual dances and religious events.

The wearer of animal masks be-

comes a medium to speak to ani-

mals of the kind. Masks that repre-

sent feminine beauty also have

been widely worn, in many cases

strictly by men.

www.purnamasaribali.com

M a s k s f r o m a r o u n d t h e w o r l d

United States of America

Native American masks are often

of animal motifs. They are usually

made of wood or gourd and are

decorated with a variety of materi-

al such as corn husks, leather,

shells and cloth. They have been

used as an important element of

the tribal rituals. It was believed

that the spirit of the animal would

enter the person who wears during

an auspicious ceremony.