Tara Arts SITA’S STORY Arts' Sita's...Tara Arts SITA’S STORY Education Resource Pack Tara Arts,...

It’s Diwali - time for...

Tara Arts

SITA’S STORY

Education Resource Pack for Key Stage 2

Tara Arts SITA’S STORY Education Resource Pack

Tara Arts, 356 Garratt Lane London SW18 4ES Tel: +44 (0)20 8333 4457 Fax: +44 (0)20 8870 9540 www.tara-arts.com

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Contents Introduction 3

About Tara Arts 4

Diwali Teacher’s notes 5

Synopsis of the Play 6

Follow Up Activities

Drama: Hanuman’s Footsteps 7

Drama: Imaginary Objects 8

Drama: Building Bridges 9

Drama: Story-telling circle 10

Writing Ideas 11

Art: Ceremonial Elephant, Drawing and Creating 12

Art: Elephant from a milk bottle 13

Art: Monkey Masks 14

Art: King Ravana, Drawing and Creating 15

Art: Make a Wedding Garland 16

Feedback form 17

SITA’S STORY

http://www.tara-arts.com/


Tara Arts, 356 Garratt Lane London SW18 4ESTel: +44 (0)20 8333 4457 Fax: +44 (0)20 8870 9540 www.tara-arts.com

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Tara Arts’ captivating 50-minute show about India’s greatest festival, for Years 3 to 6

How did Sita become Queen to King Rama? Why did the demon-king Ravana steal Sita? How did Rama win her back?

Two performers draw children into the adventures of Sita’s Story, featuringHanuman the wondrous monkey king, and of course the terrifying ten-headed demon Ravana.

The production supports Key Stage 2 teaching in Religious Education & English: Speak and Listening - in addition to helping pupils’ creativity across the curriculum.

This Education Resource Pack provides additional materials to explore Diwali,including ideas for Art, Drama, English and RE.

Sita’s Story is based on India’s great epic of The Ramayana. Tara Arts theatre performance introduces children to one of the world’s greatest stories. The tour is accompanied by copies of The Diwali Story retold by Jatinder Verma, illustrated by Nilesh Mistry, published by Barefoot Books.

This pack was created for Tara Arts by Helen Cadbury www.theatrestudy.com and Anne Hutchison www.annehutchisonart.com

With thanks to:

Ravana: from Tara Arts’ exhibition of TheRamayana at the British Library

for information about license to copy or distribute this material click on:http://creativecommons.org/licenses/by-nc-sa/2.0/uk/


http://store.barefootbooks.com/uk/the-story-of-divaali-2.html

http://store.barefootbooks.com/uk/the-story-of-divaali-2.html

http://www.theatrestudy.com/

http://www.annehutchisonart.com/

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/



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ABOUT TARA ARTS

Tara Arts produces global theatre for local audiences. Positioned between East and West, Tara Arts has pioneered cross-cultural theatre for over 3 decades.

What does Tara Arts do? The company tours vibrant adaptations of European and Asian classics and new work, brings the great stories of the world to children in junior schools and develops emerging artists and new audiences. We have produced work at the National Theatre, Trafalgar Square, the British Library and across Britain, Europe, and Asia.

Why? On July 4th 1976, Gurdip Singh Chaggar, a 17-year old Sikh boy living in Southall, fell victim to a racist murder. Out of the protests surrounding his death, an Asian public presence emerged in Britain, with a variety of Asian Youth Movements springing up in all the major British cities... and TARA.

When? Tara Arts was founded in 1977, by young Asians. It was the first Asian-led theatre company to be formed in the UK. It has been creating theatre and touring for over thirty years.

“Tara Arts continues to inspire an alluring vision of modern Britain."

Hanif Kureishi, CBE

“Tara’s work is a terrific synthesis of east and west.” Sir Richard Eyre

“Tara have stretched British cultural life

and helped to make those of us with different origins visible to ourselves and

others.” Naseem Khan, OBE




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DIWALI: Teachers Notes a brief introduction to Diwali

What does Diwali celebrate? The Hindu festival of Diwali celebrates the victory of good over evil. It is a festival of light, driving out darkness. In different parts of India, there are different traditions about the origins and significance of Diwali. In SITA’S STORY, we explore how Sita met Rama, why the ten-headed demon Ravana abducted her, and how she was re-united with Rama. The story is based on the Indian epic poem, The Ramayana. Around most of India, the festival honours Lakshmi, the goddess of wealth. In Nepal Diwali commemorates the victory of Lord Krishna over the demon king Narakaasura and in Bengal, it is associated with the goddess Kali. What all the different versions have in common is that Diwali celebrates light over darkness and knowledge over ignorance.

What happens in Hindu homes? The word Diwali in Sanskrit means a row of lamps. The traditional lamps are oil- filled clay lamps called divas, which are lit to drive out evil and to remind us of the lamps that welcomed Sita and Rama home. Candles and electric lights are also used and in India the lights are kept burning all night long. Houses are cleaned and special paintings called rangoli are made on the threshold of the home to welcome the goddess Lakshmi. Fireworks light up the sky. Gifts and sweets are given and there are special prayers and blessings.

What links can be made to other faiths or traditions? Every major world faith has a festival of light. Compare the lights at Christmas and discuss why early Christians chose

to celebrate Christmas at the darkest time of year in Europe. In the Jewish faith Hannukah is a festival of light. Cards are sent at Diwali, as they are at Christmas and at the Muslim festival of Eid. Fireworks are part of Chinese New Year and the November 5th

commemoration of the foiling of the gunpowder plot is another occasion for light. Why not plan a Diwali celebration with your class? Candles and lamps can make a wonderful focus for circle time, quiet time or creative writing. There are lots of ideas in this pack for you to follow up after the play and we have discovered some fantastic Further Resources online: (TARA and its partners are not responsible for the content of external websites, which are suggested in good faith) http://www.activityvillage.co.uk/rangoli.htm - images and activities using Rangoli designs http://www.firstschoolyears.com - good resources and ideas http://www.reonline.org.uk - a portal to a wide range of RE resources

(cc) http://flickr.com/photos/dhondusaxena


http://www.activityvillage.co.uk/rangoli.htm

http://www.firstschoolyears.com/

http://www.reonline.org.uk/

http://flickr.com/photos/dhondusaxena



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SITA’S STORY Synopsis

In our play the story of Sita is told by her two maid-servants, Sally and Samina. The synopsis is useful for the teacher to know what to expect, but should not be used with the children until after the play, otherwise it might spoil the story for them.

Si ta ’s fa ther ar ranges a contest to find a suitable husband for his daughter. Many suitors come from far and wide to win the test but al l fai l. Then Ravana, the ten-headed demon King of Lanka, arrives and tries his luck. With a bit of effort, he passes the test but Sita refuses to marry him. He leaves, threatening Sita that one day she will have to look on him forever. When Rama arrives, he passes the test easily and Sita agrees to marry him – and light fills their world.

Rama’s step-mother, Queen Kaikai, wants her own son to be the next king, so she tricks her husband, Rama’s father, into promising that Rama should be sent into the forest and not become King. Sita decides to go with Rama and they leave together, crossing the River Ganges. And darkness falls all over the kingdom.

Sita and Rama live peacefully in the forest but over on the Island of Lanka, Ravana, the ten- headed demon, is still seething that Rama stole Sita from him. He sends one of his demons, disguised as a deer, to lure Rama away from Sita. When the deer appears in the forest, Sita insists Rama catch it for her. To keep her safe while he chases after the deer, Rama paints a magic circle round her, making her promise not to step outside it.

When Rama has gone, a poor old beggar man comes along. He is hungry and Sita takes pity on him and invites him to eat with her. As he steps into the circle, a wall of fire springs up. If he comes into the circle he will burn, if he stays outside he will starve. Sita takes pity on him and steps outside the circle - and the old man grabs her wrist. He is, of course, Ravana in disguise. Sita desperately calls for help, but Rama cannot hear her and Ravana carries her off in his chariot.

Jatayu, King of the Eagles, challenges Ravana but the demon fights him and cuts off his wings. The wounded Jatayu falls to earth. Ravana, with Sita in his clutches, flies off to Lanka. Meanwhile in the forest, Rama is s t i l l chas ing the deer when he hears someone calling Sita’s name and finds the broken body of Jatayu, who tells him what Ravana has done.

When Rama sits down to think about how he will get Sita back, he hears a sound - it is Hanuman, the monkey king. Hanuman agrees to help and flies to Lanka, carrying the wedding garland that Sita gave Rama, so that she will know he is not a trick too. Hanuman proves himself further by showing Sita that he has a picture of Rama in his heart. He promises to return with his army of monkeys.

By building a bridge, the one million monkeys reach Lanka. Hanuman and the monkeys fight the demons and Rama faces Ravana. Every time he shoots an arrow to cut off one of the demon’s ten heads, another one takes its place. Hanuman whispers to Rama where to aim his arrow. This time it hits Ravana in the belly button and Ravana falls down dead.

Sita and Rama are reunited. Hanuman carries them home, where the lamps are lit to welcome them back… and Diwali is born.




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Follow Up

Drama Activities

Hanuman’s Footsteps

Purpose: to get the children working together; to use movement safely; to physicalise characters; to create suspense; to create an active and fun warm-up to further drama activities.

Hanuman has a million monkeys in his tail, but they are always trying to creep up on him to become top monkey. (This game is a monkey version of grandmother’s footsteps.)

1. One child is Hanuman and faces the wall while the other children start at the

other end of the hall/playground.

2. The monkey children have to creep up, monkey style, but when Hanuman turns, they have to stand as still as statues. Obviously they have to be very quiet monkeys!

3. If Hanuman thinks they are just rocks he will not see them, but if one of them

moves, he will know it is a monkey and he will send it back to the beginning.

4. If a monkey manages to reach Hanuman and tap him on the shoulder, they become the new King of the Monkeys.

5. If the children run too fast, try slow motion monkeys, with more control to the

movement.

6. You could make the mask on page 14 and swap the Hanuman mask over when someone ‘wins’. The mask will make turning and spotting naughty monkeys just a bit more of a challenge.

7. If your group is large enough, half could watch and then swap over. Hanuman’s

Footsteps is a very good spectator sport! Discuss with the children how it creates suspense and drama when we watch someone creep up on someone else. Think about how this might work in a different kind of story, such as a ghost story.




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Follow Up Drama Activities

Imaginary Objects

Purpose: the group learn to work together; to accept an idea; to mime an imaginary object; to improve their eye contact. They are doing all the things an actor has to do on stage. The actors in TARA’s performance use this game in rehearsals.

1. The Visible and Invisible Ball

You Will Need: a soft ball or bean bag; the hall.

1. All the players stand in a circle. Using a soft ball or a bean bag they throw and catch the ball across the circle. The person throwing says their own name (e.g. Sam) and the name of the person they are throwing to (Sam to Alisha). Then Alisha throws it, saying her name and the person she is throwing to.

2. Once everyone has had the ball at least once, ask them to try it without speaking,

they must use eye contact to check the person is ready. The ball should stay active, not be held for more than a moment. (Try it at the beginning of the year when you have new class, you’ll learn the names far quicker this way!)

3. If they find this pretty easy, add a second ball that goes at the same time, see if

you can get up to 3 going!

4. Now, remove the real balls and ask the group to imagine an invisible ball that they throw and catch, as it crosses the circle it changes. For example, it begins as a tennis ball, now it is a netball, now a tiny superball, now a huge, heavy watermelon. The throwers and catchers must adapt how they handle the invisible ball to show its weight and size.

2. The Scarf is… You Will Need: A scarf, preferably of a chiffon or silky material that has some movement to it. In TARA’s performance the long scarf, known as a chunni, worn by many Indian women, is used in several different ways.

1. All the players sit or stand in a circle. The scarf is in the middle. The teacher will

need to model the first example. One by one, players come into the centre and pick up the scarf and say “The scarf is…” eg: a river, and create the shape and sound of the river with the scarf. Each time the scarf is something different.

2. Let the players choose when to come in; they will sense taking turns. It is more

intimidating to less confident children if they have to wait for their turn to come round the circle. If they are unsure, they could go up in pairs and create something together.




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Follow Up Drama Activity

Building Bridges 1

Purpose: to encourage team work; problem solving; co-operation; working safely. In TARA’s show the actors build an imaginary bridge with some of the children in the audience.

You will need: chairs; the hall.

NB: This requires a health and safety discussion with the children first. Read through all the instructions before beginning and make sure they agree to the following ground rule: only one child can stand on one chair at a time. The version with chairs is appropriate for year 5 or 6 but for younger children an easier variation is to use large squares of fabric (you could put in an appeal for old pillow cases) to create stepping stones over the water.

1. Hanuman has to get his monkey army over the water to Lanka. In teams of five, with six chairs, how can the group cross from one side of the hall to the other?

2. If a group does something that isn’t safe, or anyone’s foot touches the water they

have to stop and go back to the beginning and try again.

3. The winning team should work out that they have to co-operate by passing the empty chair along the line, moving along carefully and then picking up the empty chair again.

Making Activity Building Bridges 2

Purpose: as above, but a classroom based version You will need: lots of newspapers, paper clips; sellotape; plasticine monkeys.

1. In order to get Hanuman and his monkey army across to Lanka, each group

needs to build a bridge between two tables approximately a metre and a half apart with only the materials provided.

2. Some members of the class could make the monkey army out of plasticine while

the other groups are making the bridge, or the monkey army could be prepared in a previous session. It would be a tall order to build a million, but to test each bridge it should be able to carry at least 3 monkeys.

3. Try this as a staff development exercise, but for adults it has to be done without

talking!




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Follow Up Drama Activities

Story-telling Circle

Purpose: to embed the learning about the story of Rama and Sita; to enable all the children to be involved in role play; to embed learning about story structure.

You will need: the synopsis from page 6; chalk; the hall; something to make a sound, like a rain-stick, maracas or bells.

1. Put the children into groups of two or three.

2. Ask them to create a frozen picture of the moment in the play that has stayed in

their mind.

3. Each little group might have more than one if each child has a different favourite moment.

4. Arrange the groups in a circle.

5. Using the rainstick (or similar) make a magic ‘freeze’ sound over each group in

turn.

6. The rest of the class watches until it is their turn.

7. Ask the class if they can arrange the frozen moments in the order in which they happen. Are there any gaps? Discuss these.

8. The children then sit in a circle and the teacher makes a circle of chalk, like

Rama’s magic circle, on the floor. Anyone inside the circle is performing, anyone outside is audience. Discuss how a performer needs to behave and how an audience needs to behave.

9. The teacher starts to read the story of Sita and Rama (from the synopsis). At

each new moment in the story, the appropriate number of volunteers need to get up and form a frozen picture in the centre of the circle.

10. When the magic story sound is made, the picture comes to life, when it sounds

again, the picture freezes.

11. Then that picture dissolves, the teacher reads on and a new picture takes its place.

12. The teacher will need to give some encouragement to reluctant children, you

may choose to go round the circle in turn, but often it works very well to take volunteers but make it clear nobody can go up twice until everyone has had at least one turn. Continue until the whole story is complete.




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Follow Up Activities Writing Ideas

1. Y5/Y6. Ask the children to write the story of Sita. It will be much easier if they have already explored it in the Story Circle Activity. This could form a longer project to include pictures and IT research.

2. Letters from the forest.

Imagine you are Sita or Rama when you are living in the forest. You miss your friends. You write a letter describing the forest to them. It is very different from the city so you need to describe it very well. Remember to use the five senses: What smells are there? What textures can you feel there? What can you see? What can you hear? And when you stick out your tongue, what does the air taste like (or the fruit you can pick…) This activity could be differentiated depending on the age group, the senses could be written down or included in a writing frame.

3. Writing about the play.

Can you write an advert for the play? How would you describe it to someone who has never seen it? Use the picture below as a reminder. (Although this is a different actor, it will help stimulate thinking.)


© www.annehutchisonart.com12

Sangita the elephant is being dressed for Sita’s wedding.

Ceremonial Elephant - draw, finish and colour

But they have left her half-finished, and it is getting late. Please help to finish the ceremonial preparations. Draw more rangoli patterns on her front legs and colour them in, like the ones on the back leg. Put some fringes and tassels on her blanket and hat, along with some of the decorations, jewels and patterns above.

Finish decorating the carriage on top of her back, so she is fit for Sita to ride through the streets at Diwali. That’s much better, now she can hold her head up.


Ceremonial Indian Elephant - follow making instructions below

Humble plastic milk carton....

.........to regal elephant in an hour or so.....

Cut the carton in half round the circumference.

Trim and adjust the base to balance.

Draw with spirit based pen and cut out front legs.

Trim trunk to size, a bit shorter so she doesn’t trip over it!

OR....paint first with acrylic based paints.

Draw and cut out tail and back legs.

Ready to decorate with sequins, ribbons, tissue paper, anything sparkly & colourful.

Draw and cut out the sides.

EITHER decorate straight onto the con-tainer, sticking on sequins, ribbons etc onto the bare carton.......

Decorate different shaped containers as well , ready to go on parade for Rama and Sita’s return to the palace at Diwali.

©www.annehutchisonart.com


Monkey Maskscopy and cut out -here’s how.....

Enlarge monkey masks x4 using photocopier, onto card.

Each monkey face is made from a few simple shapes. Use your photocopy to make templates for children to draw around.

Draw round shapes on different coloured card or sugar paper, so that each feature will stand out.

Stick all shapes onto one bigger backing sheet and then cut out the whole mask.

Make holes just above the ears. Use elastic to go around children’s heads.

What a monkey army you will create! Hanuman, the Monkey King

Some of his foot soldiers - why not try creating some of your own?




Ravana had ten heads. Our portrait here is unfinished.

King Ravana, the Ten Headed Demon - draw, colour and finish

Please give him seven more heads and eight more pairs of arms.

You can design a different helmet for each head and make all individual.

When you have drawn his extra arms, please put a staff or tool in each hand so that he can make himself really use-ful. Copy the ones from above, or invent some of your own.

In lots of images, Ravana has blue skin, but you can make it any colour if you wish. Happy drawing!


Wedding Garland follow the making instructions below

Make these to fit your children for a play, or to decorate the whole classroom for Divali. Long or short, they are simple and decorative. Orange and red are popular colours for a wedding garland.

Twist the end around the form a little stalk.

You can buy tissue in ready cut circles, but if there isn’t time to get some, just cut some circles about 10cm across - it won’t take long. Rough edges add to the floral effect.

The stalk should be quite tight and about half a centimetre long.

Pinch them in half like this, rather than folding.

Florist’s wire can be bought from most florists very cheaply. It comes in about 20cm lengths and is plastic coated. It is not too sharp, so pretty safe for classroom use.

This is a bit fiddly, but good fine motor practice for little fingers! The wire is pulled tightly around the stalk - make sure it is secure.

The next flower can go a little further down the wire. When you run out of wire, just wind another piece around to join them up.

Keep adding more and more, till you get your wedding garland the right size. If you are working with younger children, you can do the wiring. But if they are a little older, this wire is very easy to use.



Tara Arts: SITA’S STORY Education Resource Pack

Education Resource Pack

FEEDBACK FORM If you have found this pack useful, please take a moment to give us your feedback.

What year group are your pupils in?

Which pages did you use with your pupils after the Tara’s performance?

Which resources will you use in future schemes of work?

Was the level of this pack appropriate for your pupils? (If no, explain how we could have made it better).

Is there any other information you would have liked, in order to enhance your students’ experience of the Tara Arts performance?

Any other comments?

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Tara Arts SITA’S STORY Arts' Sita's...Tara Arts SITA’S STORY Education Resource Pack Tara Arts,...

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