Project Blueprint:The Backstory

STUDY GUIDE CONTENTS

4. Theatre&Education 5.ElementsofArt&Design 6.AMessagefromtheDirector 7.RosietheRiveter 13.HarrietTubman 19.ZoraNealeHurston 25.Hip-Shake 31.AnneFrank 37.RosalieRandazzo 43.LockheedMartinProjectBlueprint presentsGeorgeWashingtonCarver 48.AdditionalResources 51.AboutEducationalOutreach

© 2008 Syracuse Stage Educational OutreachEdited by Lauren Unbekant and Adam Zurbruegg

Design & Layout by Adam ZurbrueggBackstory & Project Blueprint logos by Kiefer Creative

Timothy BondProducingArtisticDirector

Jeffrey WoodwardManagingDirector

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820 E. Genesee StreetSyracuse, NY 13210

ArtisticOffice(315) 443 - 4008

EducationalOutreach(315) 443 - 1150

(315) 442 - 7755

BoxOffice(315) 443 - 3275

GroupSalesandStudentMatinees(315) 443 - 9844

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www.syracusestage.org

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Syracuse Stage is Central New York’s premiere professional theatre. Founded as a not-for-profit theatre in 1974, Stage has produced more than 220 plays in 35 seasons including numerous world and American premieres. Each season, upwards of 90,000 patrons and 30,000 students enjoy an exciting mix of comedies, dramas and musicals featuring the finest professional theatre artists.

Stage attracts leading designers, directors, and performers from New York and across the country. These visiting artists are supported by a full-time and seasonal staff of artisans, technicians, and administrators.

Syracuse Stage is a member of The League of Resident Theatres (LORT), Theatre Communications Group (TCG), the Syracuse Chamber of Commerce, the Arts & Cultural Leadership Alliance (ACLA), and the East Genesee Regent Association.

Carrier is proud to continue to support Syracuse Stage and is delighted to sponsor the Backstory program this season. We salute Syracuse Stage for remaining committed to its mission of bringing such exceptional performances and educational programming of live theatre to our community for over 35 years.

&2008 - 2009 Educational Outreach Supporters

Student Matinee ProgramPlaywrights Circle ($5,000 - $7,499)

National Grid

Directors Circle ($1,500 - $2,799)

Grandma Brown FoundationPrice Chopper’s Golub Foundation

Carrier Backstory ProgramRegents Circle ($7,500 - $13,999)

Carrier CorporationSyracuse Campus-Community Entrepreneurship

Initiative, funded by the Kauffman FoundationSyracuse University GEAR-UP

Playwrights Circle ($5,000 - $7,499)

KARE Foundation


Time Warner CableLockheed Martin Employees Federated Fund

Lockheed Martin Project BlueprintRegents Circle ($7,500 - $13,999)

Lockheed Martin MS2

Bank of America Childrens TourFounders Circle ($14,000 - $24,999)

Bank of America

Producers Circle ($2,800 - $4,999)

Lockheed Martin Employees Federated Fund


Wegmans

Benefactors ($1,000 - $1,499)

Excellus BlueCross BlueShield

Chase Young Playwrights FestivalFounders Circle ($14,000 - $24,999)

Chase

Arts EmergingFounders Circle ($14,000 - $24,999)

Partnership for Better Education

Regents Circle ($7,500 - $13,999)

NYS Assembly through the office of William Magnarelli


Bristol-Myers Squibb Company

Since 1849 National Grid and its predecessor companies have been part of the Syracuse community, helping to meet the energy needs of over two million Upstate New York customers. We are proud to contribute to the quality of life through the energy we deliver and through the many ways we give back to the communities we serve.

2008 - 2009 Syracuse Stage Season Sponsors

John Quertermous in the Bank of America Childrens Tour ( , 2008)

Theatre & Education

4

“Theatre

When the first cave-dweller got up to tell a story, theatre began. Almost every culture has some sort of live

performance tradition to tell stories. Television and film may have diminished the desire for access to theatre, but they have not diminished the importance.

Live theatre gives each audience member an opportunity to connect with the peformers in a way he or she never could with Tom Cruise or Lindsay Lohan. The emotions can be more intense because the events are happening right in front of the audience.

In the classroom, theatre can be used in a variety of ways. In many respects the teacher is much like an actor on stage: with an audience, a script (lesson plan), props (visual aids), and scenery (the classroom setting). Both theatre and teaching rely on the interplay between performer and audience.

From this perspective, all that can be taught can be taught theatrically. Young children can create a pretend bank to learn about money and mathematics. Older students may be asked to act out scenes from a play or novel. Theatre provides both an opportunity to teach and the means to do so.

Utilizing this study guide to integrate these performances into your lesson plans fulfills elements of the New York State core requirements. We know that as educators, you are qualified to determine how our plays and study guides blend with your goals and requirements. We hope that we can help you to discover possibilities spanning many disciplines.

So, without further ado, welcome to Syracuse Stage’s BACKSTORY Program... and enjoy the show!

5Educational Outreach

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Educational Outreach

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EDUCATIONAL OUTREACH AT SYRACUSE STAGE

Syracuse Stage is committed to providing students with rich theatre experiences that connect to and reveal what it is to be human. Research shows that students who participate in or are exposed to the arts show higher academic achievement, stronger self-esteem, and an improved ability to plan and work toward a future goal.

Last season more than 35,000 students from 24 counties attended or participated in in-depth integrated arts partnerships with Syracuse Stage. For more information, call (315) 443-1150 or (315) 442-7755.

Bank of America CHILDREN’S TOURbrings high-energy, interactive, and culturally diverse performances to elementary school audiences.

artsEMERGING takes students on an in-depth exploration of a mainstage play using a multi-cultural, multi-arts lens.

ChaseYOUNGPLAYWRIGHTSFESTIVALchallenges high school students to submit original plays for the opportunity to see their work performed at Syracuse Stage.

STUDENT MATINEES allow students to experience the quality mainstage productions of Central New York’s premiere professional theatre.

THEATRE USUALLY ENGAGES MANY FORMS OF ART, INCLUDING: -Writing -Visual/Design •Scenery&Props •Costumes •Sound •Lighting -Casting -Music -Dance/Movement

ELEMENTS OF DRAMA:

- Character WHO are the characters and what is their relationship to each other? - Plot/Story

WHAT is the story line? What happened before the play started? What do the characters want? What will they do to get it? What do they stand to gain or lose?

- Setting WHEREdoesthestorytakeplace? Howdoesitaffectthecharacters? Howdoesitaffecttheplot? Howdoesitaffectthedesign? - Time WHEN does the story take place? What year is it? Season? Time of day? How does this affect the characters, plot and design of the play?

Other Elements to Explore:Conflict/Resolution,Action,Improvisation,

Non-verbalcommunication,Staging,Humor,Realismandotherstyles,Metaphor,Language,

Tone,Patternandrepetition,Emotion,Pointofview.

1.

2.CREATING QUESTIONS

FOR EXPLORATION

Creatinganopen-endedquestionusinganelementfor exploration (otherwise known as a “line ofinquiry”)canhelpstudentsmakediscoveriesaboutapieceoftheatreanditsrelevancetotheirlives.

A line of inquiry is also useful for kinestheticactivities(on-your-feetexercises).

Examples of Lines of Inquiry:

1.Howdoactorscreatecharactersusing theirbodies?Howwouldyouimplythevariouselementsofdramausingyourbody?2.Howmightadirectorcreateasenseofrealism

on stage? Why might you not want to userealism?Whatareotherstyleoptions?

3.Howdoactorsusethelanguageofgesturetoconveyemotion/feeling?4.Howdoestheuseofmusicconveythemoodofascene?

Elements of Visual ArtAnypieceofvisualart(includingscenery,costumes,

etc.)containsthefollowingelementsofart:Line SpaceShape ColorForm Texture

Principles of DesignTheuseoftheseelementscanbeexamined

furtherthroughtheprinciplesofdesign:Balance ProportionRhythm Emphasis

Unity

How have the artists utilized these? Why have they done so?

What are they trying to convey visually?What would be other options?

Elements of Art & Design

lifeO LIFE.”T brings

-ZeldaFichandlerFoundingArtisticDirector

ArenaStage,D.C.

A Message from the Director


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PRESENTS THE CARRIER BACKSTORY PROGRAM

FEATURING Dana Berger

WRITTEN BY Lauren Port

DIRECTED BY Lauren Unbekant

Timothy BondProducing Artistic Director

Jeffrey WoodwardManaging Director

NAMING SPONSOR

“We Can Do It !”Rosie the RiveteR

ADDITIONAL SUPPORT

Dear Educator,It is because of your commitment to bringing quality theatre arts programming to your students that I am very pleased to introduce you to our fourth season of Backstory. We are thrilled that Backstory and our science-geared Project Blueprint have become two of our most popular educational programs at Syracuse Stage. This years’ repertoire of characters promises to be as engaging as last year!

This season we are offering two new characters for our Backstory roster: Rosie the Riveter, the icon of working women during World War II, and the scientist George Washington Carver, best known for developing three hundred uses for peanuts and hundreds more for other crops. We will also be bringing back some popular Backstories from years past, including Harriet Tubman, our local heroine of the Underground Railroad, Zora Neale Hurston, the Harlem Renaissance writer, and Anne Frank.

Prior to any performance, we encourage you and your students to make use of our study guides, as well as the opportunity to participate in professional development for teachers and teaching artist-led workshops for students. As always, our Backstories are performed by professional actors with the classroom in mind, mixing history with the artistry of theatre. We hope you enjoy!

Sincerely,

Lauren Unbekant Director of Educational Outreach Syracuse Stage


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“We Can Do It !”Rosie the Riveter

When WWII pulled men from the American workforce, and women were needed to fill open jobs, Rosie the Riveter cried, “We can do it!” Millions of women did, in fact, do it: taking up rivet guns and welding torches. Many other women, though, could have raised their eyebrows at the statement “We can do it” and responded, “We already are!”

OMEN in the

The history of women in the workforce does not begin with a magazine cover in 1943.

It begins in colonial Ameri-ca, when most homes were

essentially small factories that produced food, clothing, candles, and anything else that was needed. The work was often roughly divided by gender: women working indoors, men working out-doors. This structure was flexible, though, to adapt to changing needs. If help was needed in the fields, women plowed or hunted; when needs changed the men came inside to sew or cook.

In the early 19th century, at the dawn of industrialization, many women worked within “cottage industries.” A mer-chant would deliver materi-als (such as fabric) to your house. You would then work

from home, turning the ma-terials into goods (cloth-ing). The merchant col-lected the finished goods, paid you for your work, and sold the goods elsewhere.It was a good system: the merchant made a profit and you were able to work from home, earning extra income when crops were not in sea-son.

Around the time of the in-dustrial revolution, howev-er, merchants realized they could maximize their profits by keeping all of their work-ers in one location: a large central factory. To entice workers out of their homes, factory owners offered wag-es that could top the pay

received through cottage in-dustries.

At this point in the late 19th century women were a sig-nificant, but not staggering, percentage of the total work-force: between 25-35%. Of these working women, most were European immigrants and African Americans. They worked in offices, schools, and farms, but the growing trend was toward factories.

Both male and female facto-ry workers faced wage cuts, unsafe conditions, little or no heating and ventilation, and twelve to fourteen hour work days, seven days a week. Fe-male workers, though, made on average only 60% of the wages earned by men.

Many male workers union-ized to combat the abusive practices of factory own-ers. Within a union, work-ers agree to stand as one in demands and sometimes, strikes.

Unfortunately, the unions became a sort of “boys-only” club. Twenty percent of male workers in 1905 were union members, compared to only three percent of working women. One union that did boast a high female mem-bership was the Knights of Labor. In the 1880’s it was one of the largest unions in the country. The Knights, who were eager to achieve both labor and moral reform, valued the leadership of women.

The organization declined in the 1890’s but paved the way for the International Ladies Garment Worker’s Union (IL-GWU). In 1909 over 20,000 New York ILGWU members refused to work, and four years later the union held an even larger strike.

Throughout the early years of the 20th century, women were granted more and more leadership roles in the campaign for labor reform known as the Progres-sive Era. They fought for “bread and roses.” The bread was fair pay. Roses were cultural and educational oppor-tunities for career advancement and personal enrichment. For the first time, women were accepted to schools of law, medicine, and journalism. Working en-vironments began improving across the country for men and women alike.

All this was halted by the stock market crash of 1929 and the Great Depression


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ORKFORCEW

[Continued on next page]

“We Can Do It !” Rosie the Riveter

that followed. Each family was affect-ed differently. Four million working women were laid off. Others who had never worked sought jobs to support their families after their husbands were laid off. These female job seekers faced harsh criticism, both for “stealing” jobs from unemployed men and for “aban-doning” their families in a time of need. Companies and labor unions across the country shut their doors to women.

Undeterred, many women continued the progressive spirit by organizing groups known as Housewives’ Leagues to demand fairness in rent/food prices, employment opportunities, and govern-ment relief programs. Their boycotts and protests achieved great success influ-encing meat industry prices and unem-ployment benefits. The African Ameri-can Housewives’ League of Detroit was credited with creating over 75,000 jobs for African American women.

Franklin Roosevelt’s 1933 New Deal programs created jobs and increased opportunities for women in organized labor unions. Eight-hundred thousand women were unionized by 1940 — tri-ple the number since 1930. Within a few years the American workforce would include twelve million women: an impressive number, but still only 25% of the total force. Today that number is 46%. To get there, it took a war, a will, and a catchy slogan.

Sources:

“A History of Women in Industry”www.nwhm.org/exhibits/Industry/10.htm

“US Dept. of Labor Women’s Bureau”www.dol.gov/wb

For more on factory working conditions circa 1900, see the “Rosalie Randazzo”

Women in organized labor unions (left) fought for fair pay and educational opportunity. They called it “bread and roses,” not to be confused with “Guns n’ Roses” (above).

[Continued from previous page]

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10 11Educational Outreach

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It was the most costly war of all time, both in dollars spent and lives lost. Sixty-one countries mobilized one hundred million troops and spent over a trillion dollars. In the end, fifty-five million people died. More than half were civilians. What follows is a brief look at WWII: how it began, how we got in, and why we needed the help of a woman named Rosie.

After the First World War, three na-tions were dissatisfied with the peace

agreement. Italy and Japan, both on the winning side, claimed they did not gain enough territory to offset the costs of war. Germans felt that the punishments imposed upon them by the Versailles Treaty, including loss of territory and payment of reparations, were too harsh. The German economy and infrastruc-ture were devastated.

From the anger and despair within Ger-many rose a leader who promised to overturn the Versailles Treaty and turn their struggling country around. This was Adolf Hitler, the leader of the Ger-man National Socialist (Nazi) Party. In 1933 Hitler was named Chancellor of Germany.

Ignoring the Versailles Treaty, Hit-ler re-armed the German military and established an alliance with the other discontented nations: Italy and Japan. This would become known as the Rome-Berlin-Tokyo Axis.

Hitler’s first military goal was to annex the bordering nation of Austria, which he easily captured in 1938. The world watched to see how the major Allied powers would react.

The United States had adopted a policy of isolationism after the First World War, and was hesitant to re-involve it-self in European conflict so soon. Brit-ain and France chose not to stop the Austrian annexation. This marked the beginning of a tactic known as appease-ment. The idea was to literally “choose one’s battles,” and not launch another war over a relatively “minor” issue.

Hitler, of course, saw this as a green light to continue his expansion with-out the threat of Allied intervention. Over the next year Germany annexed parts of Czechoslovakia and made serious threats against Poland. This is where Britain and France drew the line. When German armies en-tered Poland in September 1939, the Second World War officially began.



The United States remained neutral, but began preparing itself for pos-

sible entry into the war. In 1940 a mili-tary service draft was issued. In 1941 Congress passed the Lend-Lease Act, which authorized loaning several bil-lion dollars to Allied nations. President Franklin D. Roosevelt compared it to “lending a neighbor a garden hose to put out a fire.”

Two years prior, Germany and the USSR had signed the Nazi-Soviet Non-Aggression Pact. It seems clear that the pact was simply a ploy to take the USSR by surprise. Hitler expressed interest in capturing parts of Russia as early as 1925, in his book Mein Kampf. In June 1941 Hitler invaded the unsuspecting USSR and achieved some early success.

Meanwhile, Japan was expanding its military into parts of China and French Indochina. The US and Britain reacted by halting trade with Japan and freez-ing its assets. The strategy: hurting the Japanese economy would limit their ability to buy oil and steel, making it impossible to wage a full war.

When Germany invaded the USSR, Japan predicted that the United States would soon enter the war. With US fo-cused on Germany, the timing would be perfect for Japan to seize several is-lands in Southeast Asia, primarily for oil resources. To ensure that the US would be unable to step in, Japan would first need to disable the American naval fleet stationed at Pearl Harbor, Hawaii.

On December 7, 1941 Japan attacked Pearl Harbor. President Roosevelt called it “a day that would live in in-famy,” and Congress declared war the next day.

WWARoRld

“We Can Do It !” Rosie the Riveter

Along with the 1940 draft, the Unit-ed States had prepared for possible

warfare by issuing contracts with pri-vate companies to produce equipment such as planes, ships, and weapons. These preparations were designed for a war abroad. With the US homeland now under attack, these efforts needed to be sped up to protect against any fu-ture attacks.

Many of the resources we find in our homes have enormous value to war ef-forts. Oil and gasoline, metal, paper, rubber, and fabric were desperately needed by the government’s war manu-facturers. Families were issued rations. These had to be presented when buying certain goods, thus limiting the amount that any one person could buy. It was presented as a patriotic sacrifice — making do with less so that the soldiers could have more. People were also en-couraged to buy war bonds. The pur-chaser was essentially loaning the gov-ernment money to spend on the war.

Yet all the rations and war bonds in the world can’t win a war if there is no one to build the equipment. With so many able-bodied men drafted into the war, factories and manufacturing plants were severely short-handed. Women across the country were asked to pack a lunch, punch in, and serve their country.

Sources: MSN Encarta <http://encarta.msn.com/> World War II <www.worldwar-2.net/>


FEATURING Veanna Black

WRITTEN BY Myxolydia Tyler & Lauren Unbekant


COSTUME DESIGN BY Gretchen Darrow-Crotty



NAMING SPONSOR

ADDITIONAL SUPPORT

dreamprintsa conversation with

Harriet Tubman



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When Pearl Harbor was attacked in 1941, 12 million women were

working (25% of the total workforce). Over the next two years, almost 3 mil-lion more women were drawn into the work force. The war, however, de-manded more planes, more ships, more ammunition. Analysts decided an ad-ditional 2 million women were needed. This would be tremendously difficult. The women who resisted working had good reason. Most of the country re-mained in the Great Depression mind-set that women owed it to their children to stay at home. Others worried about soldiers who might return from the war to find their jobs filled by women. How could 2 million women be persuaded to work?

In 1942 the US Government estab-lished the War Advertising Council to alert the public to the importance of rationing and buying war bonds. They campaigned over the radio and in print ads (like the ones shown on the previ-ous page) to great success. In 1943 the Council took on the challenge of re-cruiting women into the workforce. A song titled “Rosie the Riveter” hit the airwaves with lyrics such as:

Rosie’s got a boyfriend Charlie,Charlie, he’s a marine.Rosie is protecting Charlie,Working overtime on the riveting machine.

The character caught on and on May 29, 1943 the Saturday Evening Postprinted Norman Rockwell’s vision of Rosie. The government issued the fa-mous “We Can Do It!” poster just a few months later. As a testament to Rosie’s legacy, Rockwell’s painting (pictured top right) sold at a 2002 auction for nearly five million dollars.

The ad campaign was a success. The Council produced 125 advertisements, and by the war’s end 18 million women were working. Their contributions were in-tegral to the outcome of the war. Though many women returned home after the war, the spirit of Rosie the Riveter and the quality work these women produced altered the course of the 20th century and paved the way for the daughters and grandaughters of the women who won the war.

Sources:

www.adcouncil.orgwww.nps.gov

www.rosietheriveter.org

WE CAN

Harriet Tubman


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Tubman was born a slave in Maryland’s Dorchester County

around 1820. At age five or six, she be-gan to work as a house servant. Seven years later she was sent to work in the fields. While she was still in her early teens, she suffered an injury that would follow her for the rest of her life. Al-ways ready to stand up for someone else, Tubman blocked a doorway to protect another field hand from an an-gry overseer. The overseer picked up and threw a two-pound weight at the field hand. It fell short, striking Tubman on the head. She never fully recovered from the blow, which subjected her to spells of narcolepsy (suddenly falling into a deep sleep).

Around 1844 she married a free black man named John Tubman and took his last name. (She was born Araminta Ross; she later changed her first name to Harriet, after her mother.) In 1849, in fear that she, along with the other slaves on the plantation, was to be sold, Tubman resolved to run away. She set out one night on foot. With some as-sistance from a friendly white woman, Tubman was on her way.

She followed the North Star by night, making her way to Philadelphia, where she found work and saved money. The following year she returned to Mary-land and escorted her sister and her sister’s two children to freedom. She made the dangerous trip back to the South soon after to rescue her brother and two other men. On her third return, she went after her husband, only to find he had taken another wife. Undeterred, she found other slaves seeking freedom and escorted them to the North.

“Every great dream begins with a dreamer. Always re-member, you have within you the strength, patience, and the passion to reach for the stars to change the world.”

Tubman returned to the South again and again. She devised clever techniques that helped make her “forays” success-ful, including: using the master’s horse and buggy for the first leg of the jour-ney; leaving on a Saturday night (since runaway notices couldn’t be placed in

newspapers until Monday morning); turning about and heading south if she encountered possible slave hunters; and carrying a drug to use on a baby if its crying might put the fugitives in danger. Tubman even carried a gun which she used to threaten the fugi-tives if they became too tired or dec-ided to turn back, telling them,

“You’ll be free or die.”

By 1856, Tubman’s capture would have brought a $40,000 reward from the South. On one occasion she overheard some men reading her wanted poster, which stated that she was illiterate. She promptly pulled out a book and feigned reading it. The ploy was enough to fool the men.

Tubman had made the perilous trip to slave country nineteen times by 1860, including one especially challenging journey in which she rescued her 70-year-old parents. Of the famed hero-ine, who became known as “Moses,” Frederick Douglass said, “Excepting John Brown, I know of no one who has willingly encountered more perils and hardships to serve our enslaved peo-ple.” And John Brown, who conferred with “General Tubman” about his plans to raid Harper’s Ferry, once said that she was “one of the bravest persons on this continent.”

During the Civil War, Harriet Tubman worked for the Union army as a cook, a nurse, and even a spy. After the war she settled in Auburn, New York, where she would spend the rest of her long life. She died in 1913.

From www.pbs.org

BIOGRAPHYHarriet Tubman is perhaps the most well-known of all the Underground Railroad’s “conductors.” During a ten-year span she made nineteen trips into the South and escorted over three hundred slaves to freedom. And, as she once proudly pointed out to Frederick Douglass, in all of her journeys she

“never lost a single passenger.”

Harriet Tubman

Harriet Tubman

- Harriet Tubman


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Harriet Tubman Harriet Tubman

Slavery Comes to the Americas

The practice of slav-ery may well be

as old as humanity itself. There is evidence of slav-ery in ancient Greek, Ro-man, Egyptian, Chinese, Incan, and Aztec societ-ies. When slavery came to the gold mines of the Caribbean and Central America, it might have seemed like just the next chapter in the world his-tory of slavery. Yet in this new era of slavery,

the economies of Europe and the Americas became, for the first time, linked. This created what has been called the first “glob-al economy,” and the prof-its derived from slavery are largely responsible for America and Western Eu-ropean countries becom-ing the major powers of the world.

Far fewer slaves were brought to North America than South America. Many landowners preferred to use white indentured ser-vants whose labor could be bought more cheaply than the price of slaves, and weren’t considered “morally and intellectu-ally inferior” as Africans were. Slavery was profit-able in the tobacco and rice industries of Virginia and Maryland, but these crops could not be farmed in the new territories of

the westward expansion. Around the time of the Constitutional Conven-tion, it was generally as-sumed that slavery would slowly end over the next few decades.

Of course, it did not. Perhaps the most im-portant rea-son slavery cont inued was the in-vention of the cotton gin by Eli Whitney in 1793. This machine made the process of removing seeds from cotton faster and more profitable. At the same time, England began switching from wool to cotton for most of its tex-tiles, and the demand for cotton skyrocketed. As the value of cotton rose, so

too did the value of slave labor.

A second reason for the continuation of slavery is that plantation owners began to notice a surpris-

ing trend. In most other na-tions, slave m o r t a l i t y rates were much high-er than birth rates. This meant that new slaves needed to be continu-

ously brought into the country: an expensive and time-consuming process. In America, however, the slave birth rate was just as high as the free white birth rate, due in part to extended family structures and (only relatively) toler-able working conditions.

Year

# ofSlaves

# FreeBlacks

1790 697, 681 59,5271800 893,602 108,4351810 1,191,362 186,4461820 1,538,022 233,6341830 2,009,043 319,5991840 2,487,355 386,2931850 3,204,313 434,4951860 3,953,760 488,0701870 0 4,880,009

By the time of the American Civil War, four million slaves toiled on the plantations of the South. Only a small number were African-born. The rest were descendants of the twelve generations of African Americans who, despite brutality and dehumanizing conditions, established strong family structures, deep religious convictions, and a culture that honored their past while yearning for better days ahead.

Plantation owners now saw slaves as not just a source of labor but also a sound investment: the purchase of one female slave could produce a number of slave children. Even when the importa-tion of slaves was banned in 1808, the total number of slaves in America con-tinued to grow for the fol-lowing fifty years.

Life in Slavery

Though conditions were somewhat bet-

ter in North America than in South America, slavery was undeniably a “brutal system based upon physi-cal force, threats, torture, sexual exploitation, and intimidation.” Slaves were considered human proper-ty, so laws against assault and rape did not offer any protection – legally a slave owner had as much

right to beat his slave as his horse or his ox. Pun-ishments often included “verbal rebukes, a few ‘cuts’ with a stick or rid-ing whip, kicks to the body, boxing of ears, con-finement in tool sheds, branding on the flesh with a hot iron, and mutilation of the body by clipping the ears, breaking legs, severing fingers, and slit-ting tongues.”

Underlying the physical torture was the constant threat of separation from one’s family. For personal reasons or for profit, slave owners were at liberty to sell their slaves at any time. This almost always meant the parting of mothers from children, husbands from wives, brothers from sisters. Most slaves were allowed to marry whomever they chose.

Families were tight-knit, with parents teaching their children “proper work habits, respect for elders, reverence for a spiritual world, and how to deal with whites.” Slaves were generally allowed to at-tend white churches, so long as they sat apart from the white congregation. Religion became an im-portant way to cope with captivity.

Over time, Christian hymns melded with Af-rican rhythms to create a unique style of music that was often sung during and after work. It would even-tually serve as the basis for jazz and blues music, but it initially served the purpose of establishing a sense of community from shared experience and providing moments of simple joy in an other-

wise bleak environment.

Many slaves resisted their masters, either secretly or openly. Some performed acts of sabotage such as setting fires, abusing or killing farm animals, or simply working slowly. Others organized rebel-lions, most of which end-ed in terrible bloodshed. Others simply ran away.

Escaping Slavery

Runaway slaves were a somewhat common

occurance. Some histori-ans estimate that 50,000 slaves escaped each year. Though most were cap-tured or returned on their own, many found free-dom in northern states, Canada or Mexico. Over time, a series of well-trav-eled trails and safe houses emerged known as the Underground Railroad.


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PHOTOS:At far left, a newspaper’s visual account of a slave rebellion, from a decidedly white perspective

At near left, a printed notice on the sale of 250 slaves

ARTICLE SOURCE:www.slaveryinamerica.org/history/hs_es_overview.htm

A Brief History of

SlaveryIn America



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The so-called “Father of the Un-derground Railroad” was a

Quaker (a Christian religion) aboli-tionist from Pennsylvania named Isaac Hopper. He began helping runaway slaves in the 1790s.

Quakers, who believe strongly in equality, played an important role in both the Underground Railroad and the Women’s Rights Movement. Harriet Tubman herself said that Quakers were “almost as good as colored. They call themselves friends and you can trust them every time.”

The Railroad was not an organized sys-tem but more of a concept or a move-ment. Maps like the one below didn’t exist at the time because if they were

found, thousands of runaways could be caught and returned to slavery or killed. So without a planned structure or any maps to guide the way, how did it work?

To successfully escape, fugitive slaves needed: a change of clothes to disguise them, food and water to keep them going, a place to hide during daylight hours, and money to start a new life in Canada or elsewhere. At “safehouses”or “stations,” these necessities were provided. “Passengers” would travel 15-20 miles each night to reach a sta-tion by daybreak. Once they arrived, a messenger was sent to the next stop to prepare them for the train’s arrival. But “stationmasters” only knew one or two stops North of their own. This was for

safety: a stationmaster who was caught could be tortured or imprisoned, but they could never reveal enough infor-mation to hurt the cause.

The Railroad was so successful (an estimated 100,000 escapes between 1810-1850) that slave owners demand-ed action from the government. The Fugitive Slave Law of 1850 created penalties for anyone caught assisting a runaway slave and for federal agents who might be tempted to look the other way. “Slave catching” became a big business. Bounty hunters tracked fugi-tives all the way to Canada, hoping to cash in on a reward or simply sell the slave to another owner. Still, the dan-gers did not dissuade those who were committed to the cause (see quote).

“I would never obey it (the Fugitive Slave Law). I had assisted 30 slaves to escape to Canada dur-ing the last month. If the authorities wanted any-thing of me, my residence was at 39 Onondaga Street. I would admit that and they could take me and lock me up in the penitentiary on the hill; but if they did such a foolish thing as that, I had friends enough in Onondaga County to level it to the ground before the next morning.” Reverend Luther Lee, 1855 Pastor, Wesleyan Methodist Church Syracuse, NY

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Harlem

Renaissance

Source: MSN Encarta

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ZORA NEALE HURSTON US HISTORY


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Zora Neale Hurston

mother died in 1904. Zora was only 13 years old. “That hour began my wanderings,” she later wrote. “Not so much in geography, but in time. Then not so much in time as in spir-it.”

After Lucy Hurston’s death, Zora’s father remarried quickly and seemed to have little time or money for his children. “Bare and bony of comfort and love,” Zora worked a series of menial jobs over the ensuing years, struggled to finish her schooling, and eventually joined a Gilbert & Sullivan traveling troupe as a maid to the lead singer.

Zora had a fiery intellect, an infec-tious sense of humor, and “the gift,” as one friend put it, “of walking into hearts.” Zora used these talents — and dozens more — to elbow her way into the Harlem Renaissance of the 1920s. By 1935 Hurston

Zora Neale Hurston knew how to make an entrance.On May 1, 1925, at a literary awards dinner sponsored by Opportunity Magazine, the earthy Harlem new-comer turned heads and raised eye-brows as she claimed four awards. Hurston made a wholly memo-rable entrance at a party following the awards dinner. She strode into the room — jammed with writers and arts patrons, black and white — and flung a long, richly colored scarf around her neck with dramatic flourish as she bellowed a remind-er of the title of her winning play: “Coloooooor Struuuckkkkk!”

By all accounts, Zora Neale Hur-ston could walk into a room full of strangers and, a few minutes and a few stories later, leave them so completely charmed that they often found themselves offering to help her in any way they could.

Gamely accepting such offers — and employing her own talent and scrappiness — Hurston became the most successful and most significant black woman writer of the first half of the 20th century. Over a career that spanned more than 30 years, she published four novels, two books of folklore, an autobiography, numer-ous short stories, and several essays, articles and plays.

Born on January 7, 1891 in Notasul-ga, Alabama, Hurston moved with her family to Eatonville, Florida when she was still a toddler. Estab-lished in 1887, the rural community near Orlando was the nation’s first incorporated black township.

In Eatonville, Zora was never indoc-trinated in inferiority, and she could see the evidence of black achieve-ment all around her. She could look to town hall and see black men, in-

cluding her father, formulating the laws that governed Eatonville. She could look to the Sunday schools of the town’s two churches and see black women, including her mother, directing the Christian curricula. She could look to the porch of the village store and see black men and women passing the world through their mouths in the form of colorful, engaging stories.

Growing up in this culturally af-firming setting in an eight-room house on five acres of land, Zora had a relatively happy childhood. Her mother urged young Zora and her seven siblings to “jump at de sun.” Hurston explained, “We might not land on the sun, but at least we would get off the ground.”

Hurston’s idyllic childhood came to an abrupt end, though, when her

Zora Neale Hurston


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— who’d graduated from Barnard College in 1928 — had published several short stories and articles, as well as a novel and a well-received collection of black Southern folk-lore. But the late 1930s and early 40s marked the real zenith of her career. She published her master-work, Their Eyes Were Watching God, in 1937; Tell My Horse, her

study of Caribbean voodoo practic-es, in 1938; and another masterful novel, Moses, Man of the Mountain,in 1939. When her autobiography, Dust Tracks on a Road, was pub-lished in 1942, Hurston finally re-ceived the well-earned acclaim that had long eluded her. She went on to publish another novel, Seraph on the Suwanee, in 1948.

Still, Hurston never received the financial rewards she deserved (the largest royalty she ever earned from any of her books was $943). So when she died on January 28, 1960 — at age 69 after suffering a stroke — her neighbors in Fort Pierce, Florida had to take up a collection for her funeral. The collection didn’t yield enough for a headstone, however, so Hurston was buried in a grave that remained unmarked until 1973, when it was dressed with a fitting epitaph: “Zora Neale Hurston: A Genius of the South.”

HurstonZora Neale

biographyby Valerie Boyd

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To study her own people as a native anthropologist ran counter to the prevailing intellectual winds. Further, her blurring of literary conventions with ethnographic data was a challenge of which she was keenly aware. Hurston’s willingness to go against the grain

and to experiment with new ethnographic styles and methods positions her as the foremother of what is today called interpretive anthropology, or the new ethnography.

-Irma McClaurin, Anthropologist

If you trace the word back to its Greek origins, “anthro-pology” literally means “to talk about humans.” We

use it to refer to the scientific study of human cultures. At Barnard College, Zora Neale Hurston studied anthropology and, though she is generally remembered as a fiction writ-er, she always examined her characters through the “spyglass of anthropology.”

As a child, Hurston was intrigued by sto-ries and tales. After studying anthropol-ogy with the “father of modern anthro-pology,” Franz Boas, she came to the opinion that folklore is “the boiled-down juice of human living.” With folklore as her subject, Hurston used the scientific process of acquiring her data first-hand. She travelled constantly, talking to peo-ple and collecting stories that portrayed the values, ideals, and traditions of the cultures she examined.

When Mules and Men was published in 1935, no black author or anthropologist had ever published a book on black culture for a mainstream audience. Hurston was a pioneer in both the fields of literature and anthropology, and the key to her success was the way she skillfully combined the two. While most anthropologists use the scientific approach of distancing them-selves from the subject in order to gain an objective perspective, Hurston wrote with a more intimate style of narration.

By collecting her data scientifically, then communicating it on a more personal level, Hurston was able to bring her cultural findings to a wider audience.

This was a technique that Hurston had to learn. In 1927 Boas helped her to secure a fellowship that would fund a research trip to her hometown of Eatonville, Flor-ida. Hurston later admitted that the first trip was a failure, mainly because she did not have “the right approach.” She adjusted her techniques and got much better results on a second trip to Eaton-ville, which became the basis for the first half of Mules and Men. By “the right ap-proach,” Hurston referred to her method of collecting data. She is one of many anthropologists who use ethnography in their research. Ethnography is a style of research in which the anthropologist immerses herself in a community and interviews subjects first-hand. While some anthropologists prefer to look at

the individual elements of culture (tradi-tion, folklore, economics, etc.), ethnolo-gists observe the total sum of these ele-ments as a cohesive environment.

Hurston playing the Hountar, a Haitian drum

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Okay. Shakespeare and hip-hop might seem like a strange pairing, but trust us: Shakespeare was a stone cold gangsta. In Hip-Shake, we’ll show

you how the Grandmaster Bard and modern hip-hop artists use the English language in very similar ways. To start off, here’s a few fun facts about Billy Shakes that might just boost his street cred.

Shakespeare came from nothing. His parents couldn’t read or write, but he managed to become one of the most prolific writers of all time. Not bad, huh?

Don’t let the frilly clothes fool you — Shakespeare was tough. The year he was born, his town was hit with the Black Plague. Thousands died, but baby Shakes survived. 50 Cent may have been “hit with a few shells (he don’t walk with a limp)” but he never had to deal with the Plague.

His performances probably felt more like a rap concert than a trip to the opera. While the royal and elite audience members sat in private boxes, the “floor seats” (standing room only) were available to the lower-class “groundlings.” We don’t think there was a mosh pit, but it could get pretty raucous down there. Check out page 30 for more on the groundlings.

Rap producer and artist Timbaland raised $800,000 for Hillary Clinton’s presidential cam-paign. Russell Simmons and Sean Combs are outspoken political activists. But Shake-speare wins again. Queen Elizabeth I was one of his biggest fans. When Hillary goes to see a Timbaland show, we’ll talk.

He didn’t think to add “-izzle” to any of them, but Shakespeare invented an estimated 1,700 words. Here’s a few of our favorites: assassin, bloody, critic, generous, gloomy, gnarled, laughable, lonely, majestic, and puke.


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One.

Two.

Three.

Four.

Five.

Hip Shake


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Many students complain that Shakespeare is hard to understand, that the language is outdated and unclear. But believe it or not, the English language has changed very little since Elizbethan times. Linguists (people who study languages) consider Shakespeare’s writing only one “generation” apart from our own. Grammar and sentence structure are virtually the same today as they were 400 years ago. If Shakespeare confuses you, it is likely that the problem is only the individual words. Here’s how to get past that.

Some words from Shakespeare’s time have completely disappeared from the English language. For example, you’d be rightfully confused if someone asked you to bacarre the roisting wassail. Most published versions of Shakespeare’s plays include footnotes to explain these outdated words. Use them — they are there to help you.

If you are still hung up on a phrase or a sentence, move on. Don’t frustrate yourself reading the same line over and over again. Instead get an idea of how the character is feeling, or what s/he wants in the scene, and see if it begins to make more sense as you continue.

But how can you understand how a character is feeling if you don’t understand the words s/he says? Do what actors do. Modern actors are trained to pick out clues in Shakespeare’s writing. These clues really do exist. In Shakespeare’s time, plays were barely rehearsed. Ac-tors quickly memorized their lines and then performed only days later. There was no time to sit around asking, “What is my motivation?” So Shakespeare, being an actor himself, knew that he needed to write in a style that would give his actors all the information they need-ed right inside the words.

Consonants and vowels are a great starting point for de-ciphering these clues. As a basic rule: the angrier some-one is, the more consonants they use; the happier, the more vowels. This is a bit oversimplified, but think of examples in your own life. Say this sentence out loud (like you really mean it) and notice how prominent the consonants feel as you say them.

“I can’t believe you’d do that! You’re so selfish!”

Now try this one:

“I love how you look at me. I feel so wonderful!”

The vowels here are fuller, and they make the whole sentence sound lighter and just plain nicer.

When the same consonant sound is used repeatedly, this is called alliteration. Here’s an example from Son-net 30: “When to the sessions of sweet silent thought.”If a vowel sound is repeated, it’s called assonance: “Is crimson in thy lips and in thy cheeks?” (Romeo & Ju-liet)

Rappers and hip-hop artists use alliteration and asso-nance all the time. They also use rhythm, and Shake-speare is no different. There is a beat that drives each line of Shakespearean text (more detail on the next page).

This is just a small example of how the sound of Shake-speare’s lines contains their meaning. Don’t forget that he didn’t intend his plays to be studied in classrooms. He wrote them to be spoken and heard. If you are stumped by the words he uses, say the line out loud. Use the sound and feel of the line, plus the context of the play, to get the meaning. Just like listening to a song, you don’t always need to understand every word to get the big picture.

For more of Shakespeare’s grammatical clues, visit:www.bardweb.net/grammar/02rhetoric.html

Understanding ShakespeareHow to read Shakespeare . . . and actually get it!


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“I’m here to say what’s in my heart . . .

And you call it a style.”- DMX, Let Me Fly

A Hip-Hop artist is a poet. Shakespeare was a poet. Both tell stories through words, rhyme and rhythm. The only difference is the style.

Shakespeare’s style of choice was rhym-ing couplets. He didn’t use them all the time, but whenever he wanted to make a point or leave the audience with a lasting impression, he used a couplet.

A couplet is simply a pair of lines that rhyme and are the same length. How do we measure the length? In syllables. How

many syllables are in each of the lines in the example on the left? Ignore the “u / u /” stuff for now.

Alright. Time’s up. Did you count ten syllables? That’s Shakespeare’s favorite kind of couplet, and probably the most common kind in the entire English language. It’s called iambic pentameter.

Iambic pentameter is a complicated name for a really simple style. In fact, the reason so many writers use iambic pentam-eter is that it’s very close to the way we speak in normal conversation. Here’s what it means. “Penta-” means “five” (like a pentagon has five sides) and “meter” is just another word for “rhythm” or “beat.” This beat has five sets of iambs, and each iamb is two syllables long, making ten syllables total. Are you still with me?

Each iamb has one stressed syllable and one unstressed. The stressed syllables just have a little extra emphasis. Basically, it sounds like “dum-DUM dum-DUM dum-DUM dum-DUM dum-DUM.” In the example above, we marked the stressed syllables with “/” above them and the unstressed syllables with “u.” Try reading it aloud and see if you can get the rhythm.

“Iambic pentameter is rap. It’s the structure.” - Tupac Shakur

What do you think Tupac means by this? Of course, most rap is not written in iambic pentameter. To mix things up, poets and rap artists use lots of different meters in their songs. Shakespeare mixed things up, too, when he wanted to make certian points, but rap artists use “irregular” meter more frequently.

ACTIVITY: Pick a rap or hip-hop song that you like and print the lyrics from the internet (let’s try to keep it clean, okay?) Read it aloud to get a feel for the rhythm. Now look closer. Is there a rhyme scheme? Are there the same amount of syllables in each line or not? Now try marking the stressed and unstressed beats. If you’re feeling creative, try writing your own poem. Pick a style and have fun!

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This quote is a first-hand account of what a trip to the theatre was like in Elizabethan England: pushing to sit next to the prettiest ladies, accidentally stepping on each other’s clothes, rough-housing and laughing. Sounds more like a rap or rock concert than a trip to the theatre.

In those days, the theatre experience was not unlike an outdoor concert. Take a look at this picture of the Globe Theatre. First, notice how the audience surrounds the stage on three sides. This is known as a thrust stage. Next, check out the three-tiered covered gallery seats. These were like modern luxury boxes for those who could afford it. The best seats were reserved for royalty like Queen Elizabeth herself. She preferred seats where she could be seen and envied by the poorer audience members and addressed by the actors.

Upper-class men and women were not the only ones who enjoyed live theatre. Today there are so many entertain-ment options (TV, movies, YouTube, concerts, etc.) that it is easy to forget that at one time, theatre was one of the only games in town. Tanners, butchers, shoe-makers, even servants could see any of Shakespeare’s plays for the cost of only one penny. Here among the “groundlings,” we would have found the heaving and shoving that Stephen Gosson spoke of. The groundlings weren’t concerned with manner or etiquette like the royalty was. They didn’t need to be. They came to hoot and holler, cheer and boo, eat and drink.

Shakespeare knew this. He knew that his plays needed to appeal to queens and servants alike. So he wrote about royal families and Greek history to please the galleries, but added brutal swordfights, sexual innuendo, silly drunks, and mischevious servants for the groundlings.

Where would you rather be: with the groundlings or with the royalty? Look at the pic-ture. Where would you get the best view of the stage? From where would you best hear the actors? What happens to the groundlings when it rains? Where would be the most fun place to watch? If you were a writer, what would you put in your plays to appeal to both classes of audience?

“You will see such heaving and shoving, such itching and shouldering to sit by the women, such care for their garments that they not be trod on... such toying, such smiling, such winking, such manning them home... that it is a right comedy to mark their behavior.”

- Stephen Gosson, The School of Abuse (1579)

InsideGlobe Theatre

the

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German&WorldHistory

Adolph Hitler becomes Chancellor of Germany and enacts Anti-Semitic laws. The first concentra-

tion camp is built in the town of Dachau.

Nov. 9-10. ‘Kristallnacht.’ Jewish businesses and synagogues in Austria

and Germany are looted and destroyed.

Nazis implement the T-4 Program, which autho-rized the killing of mentally & physically handi-

capped persons, and the institutionalized.

Germany invades the Netherlands.

Dec. 11. Germany declares war on the U.S.

The ‘Final Solution’ is adopted by Nazi party leaders. Auschwitz, Belzec, and Sobibor become fully operational death camps.

June 6. ‘D-Day.’ Allies invade the German stronghold on the beaches of Normandy, France.

Jan. 27. Allies liberate Auschwitz. Otto Frank is among the survivors.

April 30. Adolph Hitler commits suicide.

May 7. Germany surrenders the war.

The Nuremberg War Crimes Trials. Of the 22 defendants, 11 were sentenced to death,

8 were imprisoned, and only 3 were acquitted.

FrankFamilyHistory

June 12. Anne Frank is born in Frankfurt, Germany.

The family moves to the Netherlands to escape growing violence against Jews in Germany.

Otto Frank’s business moves to new offices on the Prinsengracht Canal.

The family, along with all other Dutch Jews, are forced to wear yellow stars at all times.

June 12. Anne receives a diary for her birthday.

July 5. Anne’s sister Margot is summoned to a labor camp. The family goes into hiding the next day.

July 13. The Van Pels family joins the Franks.

Nov. 16. Fritz Pfeffer joins the group.

Aug. 4. The annex is discovered. Occupants are arrested and sent to Westerbork Transit Camp.

Sept. 3. The family is relocated to Auschwitz, where the men and women are separated. Hermann van Pels is gassed three days later.

Oct. 28. Anne & Margot are sent to Bergen-Belsen.

Dec. 20. Fritz Pfeffer dies at Neuengame.

Jan. 6. Edith Frank dies at Auschwitz.

March. Anne & Margot die of typhus.

June. Otoo Frank returns to Amsterdam, unaware of his daughters’ fates.

Oct. 24. Otto learns in a letter of his daughters’ deaths. He is given Anne’s diary.

Anne’s diary is published in Amsterdam. It would be published in the USA in 1952.

1929

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TimelineThe Holocaust

“I can remember that as early as 1932, groups of Storm Troopers came marching by singing: ‘When Jewish blood splatters from the knife.’” - Otto Frank

D uringWorldWarII,NaziGermanyanditscollaboratorsmurderedapproximatelysixmillionJews.TheHolocaustisthenameusedtorefertothisstate-sponsoredpersecutionandmurder.Beginningwithra-

ciallydiscriminatorylawsinGermany,theNazicampaignexpandedtothemassmurderofallEuropeanJews.

DuringtheeraoftheHolocaust,theNazisalsotargetedothergroupsbecauseoftheirperceived“racialinfe-riority”:gypsies,peoplewithdisabilities,andsomeSlavicpeople(Polish,Russian,andothers).Othergroupswerepersecutedonpoliticalandbehavioralgrounds,amongthemCommunists,Socialists,Jehovah’sWitnesses,andhomosexuals.

TheNaziscametopowerinGermanyin1933.AccordingtoNazileadership,Germanswere“raciallysuperior.”TheJews,andothersdeemed“inferior”wereconsidered“unworthyof life.”Theyestablishedconcentra-tion camps toimprisonJewsandother“inferior”people.Einsatzgruppen (mobilekillingunits)carriedoutmassmurderoperations.MorethanamillionJewishmen,women,andchildrenweremurderedbytheseunits,usuallyinmassshootings.Between1942and1944,NaziGermanydeportedmillionsmoreJewsfromoccupiedterritoriestoextermination camps,wheretheyweremurderedinspeciallydevelopedkillingfacilitiesus-ingpoisongas.Atthelargestkillingcenter,Auschwitz-Birkenau,transportsofJewsarrivedalmostdailyfromacrossEurope.

Inthefinalmonthsofthewar,asAlliedforcesmovedacrossEurope,theybegantofindandliberateconcen-trationcampprisoners.Bywar’send,closeto2outofevery3JewsinEuropehadbeenmurderedbyNaziGermanyanditscollaboratorsinthemassivecrimewenowcalltheHolocaust.

“The United States Holocaust Museum”www.ushmm.org

Photos:

At left, cannisters of a poison gas called Zyklon B.

At right, a sign at the Bergen-Belsen campwarns of a typhus

outbreak. Anne and Margot died of typhusat Bergen-Belsen only

weeks before thecamp’s liberation.

[www.annefrankguide.net]

Anne Frank

Anne’s father, Otto, works at his family’s bank. Her moth-

er, Edith, takes care of everything at home. It is a carefree period for Margot and Anne. However, their parents are worried. Adolf Hitler and his Nazi party have made Jews the scapegoat for all of Germany’s social and economic problems.

Anne’s parents no longer feel safe, and Otto’s bank is also in financial trouble because of the worldwide economic crisis. Otto and Edith de-cide to leave Germany. Otto goes to the Netherlands to start a company in Amsterdam, where his family would join him a year later. They feel free and safe until the German army invades the Netherlands on May 10, 1940.

My father, the most adorable father I’ve ever seen, didn’t marry my mother until he was thirty-six and she was twenty-five. My sister Margot was born in Frankfurt am Main in Germany in 1926. I was born on June 12, 1929. - The Diary of Anne Frank

Discrimination against the Jews be-gan there as well: Jews could not own their own businesses, Jew-ish children had to go to separate schools, all Jews had to wear a yel-low star, and countless other restric-tions.

On her thirteenth birthday in 1942, Anne receives a diary as a present. It is her favorite gift. She begins writing in it immediately:

“I hope I will be able to confide everything to you, and I hope you will be a great source of comfort and support.”

Like thousands of other Jews, Mar-got receives orders to report to a German work camp on July 5, 1942.


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Her parents have expected such a call-up: the secret hiding place is al-most ready. Not only for their own family, but also for the Van Pelsfamily: Otto’s co-worker Hermann, his wife Auguste, and their son Peter. The next day, the Frank family immediately takes to hid-ing. They are helped by four of Otto’s employees: Miep Gies, Jo-hannes Kleiman, Victor Kugler, and Bep Voskuijl. They arrange the food supplies, clothing, books, and all sorts of other necessities.

Margot, Otto, Anne, and Edith Frank (1940)

Peter van Pels (date unknown)

Margot and Anne Frank (1933)

In November, 1942 an eighth person joins: Fritz Pfeffer, an acquaintance of both families. The people in hid-ing pass their time by reading and studying. There is a lot of tension, probably due to the oppressive na-ture of the hiding place and their con-stant fear of being discovered. They often quarrel among themselves.

When the people in hiding have spent almost two years in the Se-cret Annex, there is fantastic news: a massive landing of the Allies on the beaches of Normandy. Europe could soon be liberated. Anne hopes to return to school in the fall.

But on August 4, 1944, an SS Of-ficer and three Dutch policemen ar-rive and demand to be taken to the Secret Annex. The people in hiding have been betrayed. They are arrest-ed, as are some of their helpers, but Miep and Bep are left behind, where they find and rescue Anne’s diary.

The occupants of the Annex spend a month at a transit facility before being taken by train to Auschwitz. At the end of October 1944 Anne and Margot are moved to Bergen-Belsen. Their mother remains be-hind, but soon falls ill and dies of exhaustion. Anne and Margot suc-cumb to typhus in March 1945, only a few weeks before the camp is lib-erated by the British army.

Otto Frank is liberated from Aus-chwitz in January 1945. He does everything he can to find out the fate of his daughters: placing an ad in the newspaper and talking to sur-vivors, until he meets witnesses of their deaths. When Miep Gies hears the news, she gives Otto Anne’s di-ary and notebooks. Otto reads about the plan Anne had to publish a book about the time she spent in the Annexand decides to fulfill his daughter’s wish.

Following the war, Otto devotes himself to human rights, and an-swers thousands of letters from across the world. He says,

“Young people especially always want to know how these terrible things could ever have happened. I answer them as well as I can. And then at the end, I often finish by saying, ‘I hope Anne’s book will have an effect on the rest of your life so that insofar as it is possible in your own circumstances, you will work for unity and peace.’”


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Miep Gies (date unknown) Otto Frank (date unknown)

Anne’sStoryAdapted from www.annefrank.org

Anne Frank Anne Frank



The Annex is an ideal place to hide in. It may be damp and lopsided, but there’s probably not a more comfortable hiding place in all of Amsterdam. No, in all of Holland.

- The Diary of Anne Frank

T he quote above reveals Anne’s spirit of optimism, but their stay was longer than expected: 2 years and 1

month total. What was life like inside the Annex?

Otto Frank’s spice company moved into its new Amsterdam offices in 1940. Facing the historic Prinsengracht Canal, the building includ-ed an Achterhuis (“back house’) in the rear which was surrounded on all sides by houses. This made it an ideal hiding location, which Otto realized in 1942, when Anti-Semitic violence spread to Amster-dam. When his oldest daughter, Margot, was summoned to report to a Nazi labor camp, he took his family into hiding the very next day.

The Annex measured only 500 square feet. By November, these tight quarters were shared by eight people. The Frank family lived in two rooms on the first floor, the Van Pels family in the other two rooms on the second floor. Through Peter Van Pel’s tiny bedroom was an entrance to the attic.

The hiding place was a storage space for the business, and consisted of no more than a few windows, stacks of boxes, and a loft space. There was also, fortunately, a toilet and a sink. The Franks’ first or-der of business was to make curtains for the windows for security reasons. When this was finished, they made every effort to turn the bare storage space into a home, but just beyond the fake bookcase that hid the secret entrance were functioning offices. During busi-ness hours they were forced to maintain an insufferable silence.

Informal tours of the Annex began shortly after the diary’s first pub-lication, but by 1955 the building was in danger of being demol-ished. A public campaign was launched to save the building, and in 1957 Otto Frank founded the Anne Frank Foundation with the primary goal of saving the building. It was graciously donated to the Foundation the following year. In its first year as a historical site and museum it drew 9,000 visitors. In 2006, visitors numbered just under one million. For visiting information, log on to www.annefrank.org.

Photos(Top to bottom)

(1) The exterior of Otto’s Amsterdam offices, with the canal in the fore-

ground

(2) The room shared by Anne and Fritz

Pfeffer

(3) A drawing de-tailing the interior

of the hiding space

Photos courtesy of www.

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InsideAnnexthePRESENTS

THE CARRIER BACKSTORY PROGRAM

WRITTEN BY Sara Ariello & Anna Cometa


COSTUME DESIGN BY Julia Bower



NAMING SPONSOR

ADDITIONAL SUPPORT

Rosalie Randazzo Child Garment Worker

Anne Frank


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Pretendfor a moment that you are the child of a family moving to America in 1906. You don’t know much English, you’ve left all your friends behind, and you live in a tiny, dirty, cramped tenement

apartment in New York City. Your family came here to find a better life, and you still believe there is hope for happiness, but your family is quickly running out of money. They ask you to help, and you go to work.

You go to the nearest textile factory, where clothing is made, and you are hired on the spot. They make you a scavenger and quickly show you what to do. The machines that the older workers use are enormous and noisy, with lots of moving parts. As the machine is used, bits of cotton fall to the floor beneath it or get stuck between the moving parts.

“This is wasted money,” your boss explains. “All you need to do is pick up the cotton when it falls, so we can re-use it.” He smiles and tells you it will be easy, and it does sound easy . . . at first.

Then you look up at the machine, with its sharp metal parts whirring around so quickly, and you realize how dangerous this job is. Your boss tells you to get to work, so you do. You lay on the floor, making yourself as thin as possible while you carefully crawl underneath the machine. The noise is tremendous. The whirring pieces of metal swoop just inches above your head. One mistake and your hair could get caught and ripped from your head. One mistake and you could lose an arm. Dust is everywhere and it rushes into your nose when you breathe. Already you want to quit, but you think about your family and the few pennies you will earn for them today.

“At least I am being paid,” you think as you look at the orphan boys and girls working beside you.

Orphans usually were not paid. Instead the factory gave them food, clothing and a place to sleep. That seems fair, you think, but as you look at the tired, hungry orphans in their tattered clothes, you pity them. One orphan is in the corner — a supervisor is beating him with a cane. Another is forced to work with a heavy weight tied around her neck. You quickly learn not to make the supervisors angry.

Back to work. Dozens of other machines need to be cleaned, so you hurry along the line. A girl who has worked there for months says sometimes she counts her steps to pass the time. Most days she walks twenty miles back and forth be-

tween the machines. Twenty miles? You feel a knot in your stomach thinking about the next fourteen hours. You will work well into the night, with only one short break.

You think about your family again. You are doing the right thing, aren’t you? You want to help and you wouldn’t mind working — if only you had more breaks and a safer job.

Best not to think about that, though. You have a long day ahead of you.

Can you see the crawl space under this machine? Could you fit?

Growing Up FactoriesINTHE

Rosalie Randazzo Rosalie Randazzo


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M any attempts were made to stop unfair child labor with laws and regulations, but all of them faced the problem of constitutionality. The Constitution protects the rights of all its citi-

zens, including business owners. The question was: is it fair to tell a business owner how to run his/her business? Would that violate the owner’s right to negotiate contracts with his/her employees?

Of course no employer has the right to abuse their employees, and in 1938 the Fair Labor Standards Act (FLSA) was passed. In 1941 the Supreme Court upheld the law, deciding that it did not violate the employer’s rights.

Since then, the law has been amended with the changing times. Here is a look at the FLSA then and now.

Original Minimum Wage (1938) $0.25/hourCurrent Minimum Wage (2009) $7.15/hour [will be raised to $7.25 in July]

Original Maximum Hours per Week (1938) 44Current Maximum Hours per Week (2009) 40

“Overtime” Employees working more than the maximum number of hours per week must be paid 1.5 times their normal wage for hours worked past the maximum. Many jobs are exempt from this regulation, but it does apply for most hourly jobs.

Children 16-17 years old may work unlimited hours in any occupation that is not hazardous. Hazardous jobs include those requiring use of heavy machinery, meat slicers, grinders, or choppers.

Children 14-15 years old are limited on school days to 3 hrs/day, 18 hrs/week, and no later than 7:00PM. On weekends and summers, may work 8 hrs/day, 40 hrs/week, but no later than 9:00PM.

Jobs that have different rules than these include farm work, performing, businesses owned by the child’s parents, newspaper delivery, and others.

Fair Labor Standards ActThe


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If you have a job, or are thinking about getting one, know your rights!

Visit www.dol.gov, www.labor.state.ny.us, or check in with your school’s guidance office!

The NCLC knew that if the public supported labor re-form, the government would be forced to consider it a serious issue. Many adults, however, thought that chil-dren benefitted from jobs that taught them responsibil-ity, and low-income families often depended on the ex-tra money their children brought home each week. The NCLC needed to prove to the public that child labor was hurting kids, not helping them. They needed proof. They needed Lewis Hine.

Hine accepted the job and travelled the country docu-menting working conditions. Factory owners began to recognize him and would often refuse to let him inside. Others would hide their young workers when Hine ar-rived. Hine would fool them by posing as a fire inspec-tor or another important figure.

After Hine and the NCLC achieved their goal of labor reform, Hine began photographing Red Cross workers during World War I, and was later hired to capture im-ages of the Empire State Building construction and New Deal work programs during the Great Depression. He dedicated his life to improving society but never earned much money for it. He died in poverty in 1940.

There is a show on cable television that looks inside the dirtiest jobs in America. One hundred years

ago, Lewis Hine did the same. As the official photog-rapher for the National Child Labor Committee and a freelance photographer for a social reform magazine, Hine was a pioneer of “documentary photography”— using cameras to capture moments of everyday life that symbolize a period of history. But Hine wasn’t just interested in recording history. He used photographs to change history.

Hine was a school teacher in New York City when he began photographing the arrival of immigrants to El-lis Island. He was also interested in issues of poverty, investigating the condition of cheap tenement housing and industrial work environments. By showing the pub-lic visual evidence of things they might normally be unaware of, Hine hoped to inspire people to reform and improve our society.

Meanwhile, the National Child Labor Committee was lobbying for the government to protect children’s rights in the workforce, but they faced resistance from big business owners who had a lot of political influence.

Lewis HinePutting a Face on Child Labor

Rosalie Randazzo Rosalie Randazzo

PRESENTS

FEATURING Atticus Cain

WRITTEN BY Kyle Bass




NAMING SPONSOR

ARVERCGeorge Washington

Rosalie Randazzo

Immigration is a vital piece of American history. From the period of European colonization to today, every

major period in our history is influenced by immigra-tion. However, our history is also marked by periods of fear and prejudice toward immigrant communities. From the forced migration of Africans to North Amer-ica under the institution of slavery to the internment of immigrants in the 1940s, immigrants and their treatment are issues that affect every aspect of society.

Europeans have immigrated to the Americas since the 16th century. The reasons for their arrival are as numer-ous as the individuals themselves, but certain historical events caused surges in immigration: the Irish potato famine of 1845, the American Gold Rush of 1849, and failed revolutions in Ger-many and France in 1848. Yet it was not until the 1880s that America saw its first great wave of European immi-gration. An average of 560,000 immigrants arrived each year between 1880 and 1924, amounting to over 25 million immigrants in a 44 year period. This period also featured the opening of Ellis Island in the New York harbor, which processed more than 22 million im-migrants before it closed in 1954.

The high rate of immigration in this short period of time led to growing frustration over the congestion immigra-tion was causing. In 1924 Congress moved to limit im-migration in an attempt to control the growth of the popu-

lation. The Immigration Act of 1924 established fixed quotas based on nationality and suspended all immigra-tion from the Far East. The establishment of permanent quotas in 1929, coupled with the stock market crash and the Great Depression, caused a dramatic decrease in immigration during the 1930s. Although immigration slowed considerably during World War II, immigration resumed its normal pace when the war ended in 1945. Yet, further immigration legislation in 1952 decreased the average number of immigrants per year. All in all, the period between 1925 and 1964 witnessed a 70 per-cent drop in immigration.

In 1965 the immigration controls enacted in the previ-ous 40 years came to an end and im-migration resumed at a pace nearly equal to the great wave of the early 20th century. With the passage of the Immigration Act of 1965, the system of overarching quotas was abolished and replaced with national quotas. Be-tween 1965 and 1989, the US grew by nearly 500,000 immigrants per year. However, immigration did not remain at that level for long.

The 1990s brought a new face to im-migration. The passage of the North American Free Trade Agreement (NAFTA) in 1992 led to an increase

in the availability of cheap labor from Mexico, leading to a major spike in immigration lev-els. Immigration rates nearly doubled, with an average of 1,000,000 immigrants entering the country annually. This influx of new labor led to calls for immigration reform, especially as industries began to move produc-tion out of the country in an effort to lower their costs. However, it was the attacks of September 11, 2001 that once again put immigration reform in the spotlight. In Washington, D.C., the debate over immigration reform continues to this day and prove to be a major issue in Congressional and Presidential elections.

Adapted from http://www.immigrationarchive.com/42Educational Outreach

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Immigrants at Ellis Island, NY

ImmigrationA Century of

George Washington Carver

1861 1863

1865

1882

1896

1909

1917 1919

1920’s

1929

1932

1936

1939

1941

1945 1948

1864

1876

1890 1891 1893 1894 1896

1916

1923 1925 1927 1928

1935 1938 Life of George Washington Carver 1939 1940 1943

TIME LINEUS HISTORY CARVER HISTORY

The Civil WarIn March of 1864, three years into the American Civ-il War, President Lincoln appointed Major General Ulysses S. Grant the commander of all Union forces. Grant was a brilliant military tactician who won the key battles of Shiloh in 1862 and Vicksburg, Mississippi in 1863, considered to be the major turning point of the war.

Lincoln, Grant, and his second-in-command Major General William Sherman decided to adopt the strategy of “total war.” They believed the quickest way to end the war and limit future casualties was to destroy the Confederate economy and infrastructure. Farms, rail-road tracks and homes were now considered key strate-gic targets in the South.

In the fall of 1864, Sherman captured Atlanta — a huge victory for the North and a major factor in Lincoln’s re-election that year. In keeping with the “total war” con-cept, Sherman led his troops from Atlanta to Savannah in the now-famous “March to the Sea.” Along the 300-mile trek, Sherman’s men inflicted an estimated $100 million of damage. They destroyed railroads, bridges and telegraph lines. They seized thousands of horses, mules and cattle, and confiscated millions of pounds of food. The effects of “total war” practices like this were be felt all across the South for decades, and played a major role in shaping George Washington Carver’s legacy.

By the following spring the Confederate forces were depleted and their economy was in ruins. General Robert E. Lee surrendered on April 9, 1865 to end the Civil War.

George Washington Carver was born in a year of great changes for America and the entire world. A leap year, the 366 days of 1864 contained events that would influence both Carver’s life and American history.

SlaveryMissouri, where Carver was born, had been a slave state since it was admitted to the Union in 1821. It lacked the topography for huge plantations, though, and slavery was a relatively small institution there. When southern states began to secede, Missouri voted to stay with the Union.

Lincoln issued the Emancipation Proclamation in 1863, but this only freed slaves in the Confederate states. In Missouri, one of the few Union states where slavery still existed, slavery would continue to exist until the passage of the 13th Amendment in December 1865.

For more on the institution of slavery in America, see pages 16-17

1864

Atlanta

Savannah

Sherman’s “March to the Sea”


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George Washington CarverGeorge Washington Carver

LEGACYBehind Carver’s work was a pas-sion for nature and a deeply-rooted spirituality. Despite his many dis-coveries, he never profited directly from them, only applying for three patents in his entire life. He said, “God gave them to me. How can I sell them to someone else?”

Carver was issued the NAACP’s Spingarn Medal and the Theodore Roosevelt medal for distinguished research, and the International Fed-eration of Architects, Engineers, Chemists and Technicians named him Man of the Year in 1940.

George Washington Carver died on January 5, 1943. That year, Presi-dent Franklin Roosevelt established a national monument in his honor near his Missouri birth site. He was the first African American to receive a national monument.

Today, his gravesite is marked with a fitting epitaph:

“He could have added fortune to fame, but caring for neither, he found happiness and honor in being helpful to the world.”


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CHILDHOOD & EDUCATIONOne night, the infant Carver and his mother were kidnapped by slave raiders from the Confederacy. Their owner, Moses Carver, reclaimed the baby shortly thereafter, but his mother was never found. The boy’s father is unknown to history, be-lieved to be a slave from a neigh-boring farm. Now without mother or father, he and his brother were raised by Moses and Susan Carver as if they were their own children. When slavery was abolished by the 13th Amendment in 1865, George stayed on the Carver farm, where he fell in love with nature. He collect-ed rocks and plants, and was nick-named “The Plant Doctor.”

George Washington Carver was clearly a bright child, but schools at the time were segregated and there were no all-black schools near Dia-mond Grove. Knowing that George could have a bright future, the Carv-ers sent him to Newton County, Mis-souri to study in a one-room school-house. He lived on a nearby farm, working when he wasn’t at school.

Carver continued his studies through high school but once again encoun-tered racial barriers. He struggled to find acceptance into college un-til 1890, when he was admitted to Simpson College in Indianola, Iowa. He was their first black stu-dent. Simpson did not offer science courses, so Carver studied art and music. He was an accomplished pianist and a talented painter – his work was exhibited at the Chicago World’s Fair, where they received honorable mention.

Nonetheless, science was Carver’s true passion. He transferred to the Iowa Agricultural College, now known as Iowa State University, in 1891. Three years later he was granted a Bachelor’s of Science de-gree and began working toward his Master’s.

WORKCarver began teaching classes at Iowa while studying for his Mas-ter’s. He taught soil conservation and chemurgy (making indus-trial products from crops), and re-searched fungal diseases in cherry plants. Two funguses would later be named after him.

In 1897 Carver was awarded his Masters of Science in Bacterial Botany and Agriculture, and was immediately offered the position of Director of Agriculture at the Tuskegee Institute. Tuskegee was founded in 1881 on the grounds of an old plantation as a college for Af-rican Americans. Its President was the legendary Booker T. Washing-ton, who personally courted Carver for the Institute. Carver would teach there until the day he died.

Agriculture was a major concern for the southern economy, which lay in ruins after the Civil War. Union sol-diers destroyed many farms in an effort to undermine the Confederate economy (see previous page). The

In the summer of 1864, three years into the American Civil War, a child was born on a farm near Diamond Grove, Missouri: a frail boy who would struggle with sickness for most of his child-hood. Almost eighty years later, he would become the first African American given a national monument. A fitting honor for a child who was given such a historic namesake:

remaining farms were essentially dried up from centuries of growing cotton and tobacco, and no longer produced healthy crops. Unless a solution could be found, the Ameri-can economy would be crippled.

Carver had an answer: crop rotation. Cotton and tobacco are soil-deplet-ing crops that drain the nutrients plants need to grow. To rejuvenate the depleted southern soil, Carver suggested alternating each year be-tween these soil-depleting crops and soil-enriching ones. Peanuts, peas, soybeans, sweet potatoes, and pe-cans actually pump nutrients back into the soil, keeping it rich.

Crop rotation was not a completely new idea – Europeans began rotating their grain fields in the Middle Ages – but it was Carver who realized the system was needed for cotton and tobacco, and actively sought to in-form farmers across the country. The system worked. In just a few years farmers noticed improved harvests. They also noticed something else: huge surpluses of the peanuts, sweet potatoes, and other crops they were now growing. These were not prof-itable crops to sell, and the farmers didn’t know what to do with them.

“There is no shortcut to achievement. Life requires

thorough preparation. Veneer isn’t worth anything.”

- George W. Carver

Frustrated, the farmers of the American South turned once more to George Washington Carver. His charge: find uses for these seem-ingly useless crops. We often hear that Carver invented peanut but-ter, but many are unaware of the 325 other uses for peanuts that he devised: cooking oil, printer’s ink, cosmetic cream, soap, shampoo, wood stains, rubber, gasoline, and hundreds more. He turned sweet potatoes into rubber and pecans into pavement. Many of these products, such as rubber and dyes, became vi-tally important during World War I, and in 1935 Carver was appointed collaborator to the US Department of Agriculture.


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How far you go in life depends on your being tender with the young, compassionate with the aged, sympathetic with the striving, and tolerant of the weak and the strong. Because someday in life you will have been all of these.

-George Washington Carver

GEORGE WASHINGTON CARVER



ADDITIONAL RESOURCES

ROSIE THE RIVETER

A History of Women in Industry <www.nwhm.org/exhibits/Industry/10.htm>

The Ad Council <http://www.adcouncil.org/default.aspx?id=128>

US Dept. of Labor Women’s Bureau <www.dol.gov/wb>

Women in Transportation <www.fhwa.dot.gov/wit/rosie.htm>

World War II <www.worldwar-2.net/>

www.rosietheriveter.org

www.rosietheriveter.com

http://womenshistory.about.com/

HARRIET TUBMANAboard the Underground Railroad <www.nps.gov/history/nr/travel/underground/>

Abolition <www.loc.gov/exhibits/african/afam005.html>

America’s Library <www.americaslibrary.gov/cgi-bin/page.cgi/aa/tubman>

Civil War <www.civilwar.com>

Harriet Tubman House (Auburn, NY) <www.harriethouse.org/>

PBS <www.pbs.org/wgbh/aia/part4/4p1535.html>

National Freedom Center <www.freedomcenter.org/>

NY History Net <www.nyhistory.com/harriettubman/life.htm>

Slavery in America <www.slaveryinamerica.org/history/hs_es_overview.htm>

www.harriettubman.com/

ZORA NEALE HURSTON

www.zoranealehurston.com

Women in History <www.lkwdpl.org/wihohio/hurs-zor.htm>

Links/Articles <www-hsc.usc.edu/~gallaher/hurston/hurston.html>

Teacher Resource File <http://falcon.jmu.edu/~ramseyil/hurston.htm>

About: Women’s History <http://womenshistory.about.com/od/hurstonzoraneale/p/hurston_bio.htm>

Harlem Renaissance <http://encarta.msn.com/encyclopedia_761566483/harlem_renaissance.html>

Library of Congress Materials <www.loc.gov/rr/program/bib/harlem/harlem.html>

American Anthropological Association < http://www.aaanet.org/>


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ADDITIONAL RESOURCES (Cont’d)

HIP-SHAKE

Complete Works of Shakespeare <http://shakespeare.mit.edu>

Flocabulary <www.flocabulary.com/shakes/shakeshome.html>

Poetics of Hip-Hop <http://artsedge.kennedy-center.org/content/3656>

Shakespeare-HipHop Analogues <www.stylusmagazine.com/articles/staff_top_10/ top-ten-shakespeare-hip-hop-analogues.htm>

www.Shakespeare.com

www.Shakespeare-online.com

www.bardweb.com

ANNE FRANK

Anne Frank Center <www.AnneFrank.com>

Anne Frank Museum <www.AnneFrank.org>

Anne Frank Tree <www.AnneFrankTree.com>

Time Magazine <www.time.com/time/time100/heroes/profile/frank01.html>

WWII <www.historyplace.com/worldwar2/timeline/ww2time.htm>

http://teacher.scholastic.com/frank

http://www.annefrank.eril.net/contents.htm

http://www.uen.org/annefrank

ROSALIE RANDAZZO

Century of Immigration <www.loc.gov/exhibits/haventohome/haven-century.html>

Industrial Revolution <http://members.aol.com/TeacherNet/Industrial.html#CLA>

www.pickens.k12.sc.us/pmsteachers/jordanrg/Child%20Labor/webquest.htm>

www.readwritethink.org/lesson_images/lesson289/web-child-labor.html>

GEORGE WASHINGTON CARVER

Biography - About.com <http://inventors.about.com/library/weekly/aa041897.htm>

Biography - Ideafinder <http://www.ideafinder.com/history/inventors/carver.htm>

The Legacy of George Washington Carver <http://www.lib.iastate.edu/spcl/gwc/bio.html>

Carver National Monument <http://www.nps.gov/archive/gwca/expanded/gwc.htm>

Crop Rotation <http://www.ag.ndsu.edu/pubs/plantsci/crops/eb48-1.htm>

The Reconstruction Era <http://www.americaslibrary.gov/cgi-bin/page.cgi/jb/recon>


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EDUCATIONAL OUTREACHat Syracuse Stage

yracuse Stage is committed to providing students with rich theatre experiences that connect to and reveal what it is to be human. Research shows that children who participate in or are exposed to the arts show higher aca-demic achievement, stronger self-esteem, and improved ability to plan and work towards a future goal.

Many students in our community have their first taste of live theatre through Syracuse Stage’s outreach programs. Last season more than 35,000 students from across New York State attended or participated in the Bank of America Chil-dren’s Tour, Carrier Backstory, Lockheed Martin Project Blueprint, artsEMERGING, the Chase Young Playwrights Festival, and our Student Matinee Program.

We gratefully acknowledge the many corporations, foundations, and government agencies whose donations support our commitment to in-depth arts education for our community. The listing below respresents support towards last season’s 2007-2008 programming.

S

Bank of America - Bank of America Children’s TourBristol-Myers Squibb Company - artsEMERGINGCarrier Corporation - Carrier BackstoryChase - Chase Young Playwrights FestivalExcellus BlueCross BlueShield - Bank of America Children’s TourGrandma Brown Foundation - Student Matinee ProgramKARE Foundation - Carrier BackstoryLockheed Martin Employees Federated Fund - Carrier Backstory, Bank of America Children’s TourLockheed Martin MS2 - Lockheed Martin Project BlueprintNational Grid - Student Matinee ProgramNYS Assembly, through the office of William Magnarelli - artsEMERGINGOnondaga County District Attorney’s Office - artsEMERGINGPrice Chopper’s Golub Foundation - Student Matinee ProgramSyracuse Police Department - artsEMERGINGSyracuse University Division of Student Affairs - Student Matinee ProgramSyracuse University GEAR-UP - Carrier BackstoryTarget - Student Matinee ProgramTime Warner Cable - Carrier BackstoryUS Department of Justice - artsEMERGINGWegmans - Bank of America Children’s Tour

Teachers from the Syracuse City School District receiving professional development from teaching

artist Reenah Golden.

1,500 students from the Syracuse City School District attended matinee performances of

The Bomb-itty of Errors.

Actor Rob North signing autographs after a performance of

The Mischief Makers.

NOTES

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(315) 443-1150 (315) 442-7755 50

August Wilson’sMa Rainey’s Black BottomDirected by Timothy BondSeptember 9 – October 4

The award-winning music-filled play that captured the attention of the the-atre world and launched August Wilson’s remarkable career.

Tales from the Salt CityConceived and Directed by Ping ChongOctober 14 - November 2World Premiere

Life stories of real Syracuse residents carry us around the globe and bring us home with a more complete under-standing of how we’re all connected.

Putting it TogetherA Musical ReviewConcept by Stephen Sondheim & Julia McKenzieBook, Music & Lyrics by Stephen SondheimDirected & Choreographed byRajendra Ramoon MaharajJanuary 27 - February 15

At a Manhattan cocktail party, a cast of five uses Sondheim’s exquisite songs to examine the ups and downs of two relationships.

UpBy Bridget Carpenter Directed by Penny MetropulosFebruary 25 – March 15East Coast Premiere

A soaring new play about family and following your dreams . . . even if it takes 42 balloons tied to a lawn chair.

The Diary of Anne FrankBy Frances Goodrich and Albert HackettNewly adapted by Wendy KesselmanDirected by Timothy BondMarch 31 – May 3

A 13-year-old girl finds hope in the in face evil and teaches us all an unforget-table lesson in courage. A new adapta-tion of an American classic.

CrownsBy Regina TaylorAdapted from the book by Michael Cunningham and Craig MarberryDirected and choreographed by Patdro HarrisMay 13 – June 7

A troubled young woman journeys to her ancestral home and finds healing in the warm embrace of family, church, gospel music and tradition

Music and Mischief for the Holidays

GodspellThe Excellus BlueCross BlueShield Family Holiday Series; A collaboration between Syracuse Stage and SU Drama

Conceived and Originally Directed by John-Michael TebelakMusic and New Lyrics by Stephen SchwartzDirected by Rajendra Ramoon MaharajChoreographed by Anthony SalatinoNovember 25 – December 28

Filled with popular hit songs and based on the Gospel of St. Matthew, this ener-getic musical is a celebration of world-wide community.

The Santaland DiariesBy David SedarisAdapted for the stage by Joe MantelloDirected by Wendy KnoxDecember 2 – January 4

Meet Crumpet, a 33-year-old starving artist turn cranky (but cute) Macy’s elf, in humorist David Sedaris’ witty gem of a lump of coal. For mature elves only.

All plays and players subject to change.

08/09

SeASon SponSorS:

www.SyracuseStage.org Box office: 315.443.3275 Group Sales:

come dream with uS

Project Blueprint:The Backstory

Documents

Transcript of Project Blueprint:The Backstory