ArtPower! at UC San Diego
STUDY GUIDE
2009–201
0M
Umalali: The Garifuna Women’s Collective
u lt
i -A r
ts Season
ARTPOWER! AT UC SAN DIEGO
ArtPower! at UC San Diego engages
diverse audiences through vibrant,
challenging, multi-disciplinary
performances by emerging and
renowned international artists.
Through extensive partnerships,
ArtPower! provides exciting
opportunities for research and
creation of new work, igniting powerful
dialogue between artists, students,
scholars and the community.
POWER LINE MAGAZINE
Power Line is a publication of ArtPower!
at UC San Diego. Creative Director:
Amy Thomas. Text: Martin Wollesen,
Kristine Breese, Micah Jones, Brian
Schaefer, Amy Thomas, Rebecca Webb.
UNIVERSITY EVENTS OFFICE
Martin Wollesen
UEO Director/ ArtPower! Artistic Director
Elizabeth Bradshaw
The Loft Curator
Kristine Breese
Director of Development
Brenon Christofer
Box Office Coordinator
Kristen Fernandez
UEO Business Manager
Alex Kushner
Campus Events Manager
Nelson Llorin
ASCE Production Manager
Nicole Matteson
The Loft Manager
Adam Neill
UEO Production Manager
Brian Schaefer
ArtPower! Program and Audience
Development Manager
Amy Thomas
Director of Marketing and
Communications
Anthony Tran
AS/UEO Event Coordinator
Rebecca Webb
ArtPower! Film Curator
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Beverly Ward
Box Office Manager
.
STUDY GUIDE
3. Welcome to ArtPower! at UC San Diego
4. Introduction
5. The History of the Garifuna
8. The Garifuna People Today
9. About the Collective
10. Activities and Discussion
11. Your Role as an Audience Member
Portions of this study guide including My Review, Your Role as an Audience Member,
and the Audience Member Check list were reprinted with permission from The Ordway
Center for the Performing Arts, Minnesota, USA.
WELCOME
2009–201
0M
Arts Season
WELCOME
iu lt
to ARTPOWER! at UC SAN DIEGO
WELCOME TO ARTPOWER! AT UC SAN DIEGO
ArtPower! brings internationally renowned artists from around the country and around the world
to San Diego to perform and connect with students and audience members. ArtPower! presents
performances in chamber music, world music, contemporary dance, film, and more.
ArtPower! is part of a vibrant performing and visual art environment on the UC San Diego campus.
The university offers many opportunities to study and pursue professional careers in Theater,
Dance, Music, Visual Art, and Art History, among others. Thousands of students at the University
pursue their passion in the arts and go on to a variety of careers.
In addition, academic departments produce their own productions in theater, dance, and film,
where students have the opportunity to participate on many levels, from performing to set design,
directing, and lighting. There are also many opportunities for students to create their own work.
Learn more about ArtPower! at UC San Diego by visiting our website at www.artpower.ucsd.edu.
To discover the many ways to pursue the arts in college, visit the UC San Diego Department of Arts
and Humanities website: http://dah.ucsd.edu.
Martin Wollesen
Artistic Director
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INTRODUCTION
OVERVIEW
The Garifuna People of Central America have a
fascinating history that until recently was not
widely known outside of that region. But the power
of music and the determination of a few individuals
finally gave the Garifuna a voice to let the world
know their story.
ArtPower! is proud to present Umalali: The Garifuna
Women’s Collective as part of the 2009-10 season
theme on Women’s Voices which explores the
unique contributions women make in the arts and
the creative power of their visions and voices.
This Study Guide offers a look into the history and
culture of the Garifuna people, provides context
about the development of this collective and this
performance, and offers activities to prepare for
the Student Matinee and engage with the themes
that the artists address in their work.
KEY WORDS AND PEOPLE
Andy Palacio: A Belizean Punta musician and
government official. He was also a leading activist
for the Garinagu and their culture.
Arawak and Caribe: Native populations of the
islands of the Caribbean and the West Indies.
Buyei: A spiritual healer.
Diaspora: The dispersal of an ethnic group outside
its traditional homeland.
Mabuiga: “Welcome!” In Garifuna.
Marginalized: To relegate to an unimportant or
powerless position within a society or group.
Paranda: A rhythm and genre of Garifuna music.
Garifuna: An ethnic group in Central America with
mixed African and native Caribbean heritage.
Punta: A form of traditional Garifuna dance and
music. The music has also been modernized to a
popular form called Punta Rock.
Garinagu: Plural form of “Garfiuna.”
Umalali: “Voice” in the Garifuna language.
Globalization: Describes an ongoing process by
which regional economies, societies, and cultures
have become integrated through a globe-spanning
network of communication and commerce.
UNESCO: The United Nations Educational,
Scientific, and Cultural Organization.
Idi Biangi: “Good Day” in Garifuna.
Indigenous: Any ethnic group of people who
inhabit a geographic region with which they have
the earliest known historical connection.
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Ivan Duran: Founder of Stonetree Records, the
recording label that produced Andy Palacio and
Umalali: The Garifuna Women’s Collective.
Uragu: “Tales” in the Garifuna language.
Urbanization: The process by which large numbers
of people become permanently concentrated in
relatively small areas, forming cities.
Pronunciation Notes: In Garifuna most letters are sounded
as in Spanish, except for “H” which is pronounced similar to
the English “H”.
HISTORY OF
THE GARIFUNA
OVERVIEW
Between 1635 and 1670, two slave ships coming
from West Africa sank off the island of St. Vincent in
the Caribbean. Those who were rescued from the
shipwreck found themselves on a tropical island
populated by a hostile indigenous population
known as the Caribs. The Caribs attempted
to enslave the newcomers, but they resisted,
retreating into the western mountains of the island
and began a new society.
Conflict with the Caribs was constant and
occasionally brutal, but eventually, the two peoples
were able to cohabitate peacefully on the island
and eventually mixed. The offspring of the former
slaves and the indigenous Caribe eventually
became the Garifuna. During the last decade of the 17th century, the
island of Saint Vincent changed drastically. The
new society grew quite rapidly, giving birth to the
Golden Age of Garifuna history where legendary
personalities emerged for the Garinagu, for
example, commanders who fought with bravery
against European hostilities. Nostalgia for these
times still lives in many Garifuna songs and rituals.
When the British seized control of St. Vincent
from the French and the Caribs at the end of the
18th century, the Garifuna were deported to the
uninhabited island of Roatan off the north coast
of Honduras. Many died at sea, but the remainder
once again started a new society among the
regional colonial masters who were the Spanish at
that time.
The Garifuna spread out along the Honduran coast,
eventually surrounding the Caribbean coastlines of
Honduras, Nicaragua, Guatemala and Belize. There
they mixed with the indigenous inhabitants, always
keeping their ethnic and cultural identity intact.
But they remained marginalized, independent and
rebellious in their little communities. In the early 1900s, many of the Garifuna were
working in the banana exporting industry, which
had quickly developed along the Central American
coast. However, by 1940, plagues demolished
the crop, shutting down many of the companies
and leaving the Garifuna largely unemployed.
The Garifuna then got involved in the seafaring
business where they immigrated to other parts
of Central and North America, creating a small
diaspora in the Western Hemisphere.
The Garifuna population is estimated to be
between 300,000- 600,000 people. Exact numbers
are difficult to determine because often times
Garifuna people do not indicate their ethnicity in
official government surveys.
5
“The role that the women play in
the culture is quite significant.
They’re responsible for transmitting
the language, they’re the ones
that teach the language to the
kids. In Garifuna culture they are
responsible for composing the
songs. A massive amount of the
traditional repertoire is composed
by women.”
—Ivan Duran, Umalali Producer
FAMILY AND COMMUNITY
For more than two centuries, the mother was the
focus of the home in Garifuna society. She raised
the children and tended the farm while men went
away to hunt or fish. As the economy changed, men
had to accept jobs that took them away from the
village, such as working in the banana producing
industry—and sometimes out of the country in
order to make money to send home. This placed
women as heads of the households. The songs of
the Garifuna Women’s Collective reflect their role
as the keeper of the language, tradition, and the
stories of their people’s past.
“The role that the women play in the culture is quite
significant. They’re responsible for transmitting
the language, they’re the ones that teach the
language to the kids. In Garifuna culture they are
responsible for composing the songs. A massive
amount of the traditional repertoire is composed
by women.”—Ivan Duran, Umalali Producer (see Key
Words & People)
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LANGUAGE
Given their location, Garifuna speak primarily
Spanish, but most also speak the Garifuna language.
Garifuna is a language spoken in Honduras, Belize,
Guatemala, and Nicaragua. It is primarily derived
from Arawek and Carib with English, French and
Spanish to a lesser degree.
One interesting feature of the Garifuna language is
that there are certain words which only men speak
and different words that only the women speak.
This is not the case for the language as a whole,
but just for certain words. The words that are only
spoken by men generally are derived from the Carib
language while the terms used by women have their
origins in the Arawak language.
MUSIC AND DANCE
Music and dance are central and vibrant aspects of
the Garifuna communities. Traditional instruments
including drums, maracas, guitars and turtle shells
are used for religious and secular occasions.
“I think that the role Garifuna music has played in the country is really
incredible. To consider they have been a minority for many years, even
discriminated against and marginalized and yet they have contributed
this enormous wealth to the country’s culture and this wasn’t very well
appreciated for many, many years.”
—Ivan Duran, Umalali Producer
Garifuna music is instrumental and percussionbased. Garifuna songs tell stories ranging from
the loneliness of being far from loved ones to the
commemoration of social and historical events.
Garifuna music is quite different from the rest of
the music in Central America. The most famous
form of Garifuna music is called Punta. Still
played using traditional instruments, punta has
been mixed with electrical instruments and new
technology since the 1970s and a modern form
of those traditional rhythms has emerged as a
popular musical style around the world, now known
as punta rock. Andy Palacio (see “Key Words &
People) is described as the “King of Punta Rock.”
Garifuna dances include the Punta dance, the most
popular dance in Garifuna culture. It is performed
around holidays and at parties and other social
events. The Punta dance is performed by couples
that try to outdo each other with their moves. The
Hunguhungu is a popular circle dance and the Dugu
is a ritual dance for a death in the family that allows
the Garifuna to pay their respects to loved ones.
“I think that the role Garifuna music has played
in the country is really incredible. To consider
they have been a minority for many years, even
discriminated against and marginalized and yet
they have contributed this enormous wealth to
the country’s culture and this wasn’t very well
appreciated for many, many years.”—Ivan Duran,
Umalali producer (See “Key Words & People”)
HEALTH
Garifuna are subject to poor sanitary conditions
throughout most of the region in which they
live. The lack of clinical establishments, basic
infrastructure projects, illness prevention
programs, and nutrition programs greatly affect
Garifunas. Approximately 78% of the children
under 12 years of age suffer from malnutrition, and
3 out of 10 will die before they are 2 years old.
RELIGION
Garifunas still maintain their own religious
system that is a mixture of African and indigenous
Caribbean traditions to which they have
incorporated Catholic elements.
Belief in and respect for the ancestors is at the very
core of Garifuna faith. The religious system thus
implies certain responsibilities and obligations
between the living and deceased.. A spiritual leader,
a Buyei (see Key Words & People) leads the contact
of a family with the deceased. Garifuna spiritualism
is creatively expressed through music, dancing and
other art forms.
EDUCATION
72% of the population is illiterate or semi-illiterate.
Not enough schools are accessible in nearby areas;
and villages that have schools only have teachers
to provide them with enough education to reach
a 3rd or 6th grade level. Only 10% of the Garifunas
who finish elementary school continue with their
studies, another percentage immigrates to the
United States, and the rest just integrate into
community life.
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THE GARIFUNA PEOPLE
TODAY
OVERVIEW
Today Garifuna live in many different places. In the
United States there are communities that continue
to practice the rituals of Garifuna culture. There
are still many communities in the Caribbean who
maintain Garifuna traditions and there is even a
revival of Garifuna culture in St. Vincent today.
The Garifuna communities in Central America
continue to exist somewhat separated from
the mainstream societies in Belize, Honduras,
Nicaragua, and Guatemala. The Garifuna primarily
continue to earn their livelihood through fishing
and farming.
Inhabitants of coastal villages along beautiful
stretches of the beach, many Garifuna communities
have recently struggled to maintain their rights on
the land from private and government developers
who are trying to turn the prime real estate into
tourist-friendly resorts and residences.
The Garifuna fusion of Caribbean fishing and
farming traditions with a mixture of South
American and African music, dance and spirituality
led UNESCO (see “Key Words & People) in 2001 to
declare the Garifuna culture a Masterpiece of the
Oral and Intangible Heritage of Humanity.
UNESCO EXCERPT
Excerpts from the Proclamation of Masterpieces
of the Oral and Intangible Heritage of Humanity
May 18, 2001
The Garifuna Language, Dance and Music
Belize (supported by Honduras and Nicaragua)
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Threats: Garifuna as a mother tongue is only taught
in one Belizean village. Virtually no documentation
of the language exists. The survival of the Garifuna
culture is threatened by the lack of economic
prospects, urbanization, discriminatory land
measures, and the school system’s failure to
acknowledge the language and culture. Migration,
discrimination, and lack of government and
financial support are other factors.
Action plan: The Language Policy Statement of
the Garifuna, adopted in 1977, seeks to secure
recognition of the language and culture by the
governments of Belize, Honduras, Nicaragua, and
Guatemala. Policies are aimed at documenting and
developing the language. The plan seeks to address
concerns of the Garifuna through activities relating
to land, education, language and culture, health
care, and other social issues and support for
community and economic development.
ABOUT
THE COLLECTIVE
ABOUT THE PERFORMANCE
Umalali: The Garifuna Women’s Project is a
performance overflowing with stories that recall
the history and traditions of the Garifuna people
as well as describe their community today, their
hopes for the future, and their challenges and
triumphs of daily life.
The Garifuna people have been struggling to retain
their unique language, music, and traditions in the
face of globalization. Blending rich vocal textures
with echoes of rock, blues, funk, African, Latin and
Caribbean music, Umalali is an entrancing journey
into the heart and soul of Garifuna women whose
strength, hard work, and perseverance provide the
bedrock of their community.
Some of the stories told through this music
include the difficulties of a mother trying to get a
job to support her two sons and a young woman
struggling to overcome nasty gossip. Other stories
told throughout the album include Yunduya Weyu
(Track 3) , composed by one of the collective’s
women after the difficult birth of one of her
four children. In Nibari (Track 1), the collective
sings about a teenage girl being scolded by her
grandmother for running off for months at a time
to be with friends. Merua (Track 2) is a traditional
work song, often sung while patching a roof or
pulling a canoe. Hattie (Track 5) describes a terrible
hurricane that swept away homes and livelihoods.
Tguchili Elia (Track 8) is the letter written to a
traveling husband who has been away a long time.
Through these and other songs of the collective,
the joy, pain, and dreams of the Garifuna people—
and particularly the women—come alive.
THE MAKING OF “UMALALI”
Umalali (which means “voice” in the Garifuna
language) began in 1997, when a young Belizean
musician and producer named Ivan Duran
began traveling to Garifuna villages in search of
exceptional female voices. The founder of the
Belize-based label Stonetree Records, Duran
had noticed that while men were usually in the
spotlight, it was the women that were the true
caretakers of Garifuna songs, and were often
responsible for new compositions that dealt with
issues of day-to-day life.
Says Duran, “The project was always about the
stories, about the lives of these women, about
capturing the essence of their voices and putting
them in a modern context.”
In 2002, after five years of research and preparation,
Duran set up a recording studio in a small, thatchroofed hut that rests on stilts just steps from the
Caribbean Sea in the village of Hopkins, Belize.
The songs, many of which are composed by the
women who sang them, include moving ballads,
upbeat anthems of celebration and religious
chants. It wasn’t always easy getting the women he
wanted into the studio because they were so busy
with their daily chores and jobs. But the women
knew they were part of something exceptional, a
project that would link them to their Garifuna
brethren in other areas and one that would present
their voices to the outside world.
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ACTIVITIES AND DISCUSSION
1. PRE-PERFORMANCE: DISCUSSION
Art & Identity
The music of the Garifuna Collective has communicated the unique
culture of the Garifuna people to the world and has changed the way the
Garifuna are treated in Central America.
“All of a sudden, children feel they’re proud Garifunas, they feel they are
valued differently. They haven’t had a chance to have many heroes and the
Garifuna Collective, they are their heroes and they have taken their story
to the world. The world has embraced them, and the effect back home is
just incredible. They are very proud of what has been accomplished.”—Ivan
Duran, Umalali Producer (see “Key Words & People)
a. How do people in your community use music, dance, and visual
arts to communicate, comment on, and preserve their relationships
and histories?
b. How is music, or other art forms, part of the way you relate to
your family, your heritage, and your friends?
c. What is special about your community or family history? What do
you want to preserve about it? What can you do to make sure those
special things are passed down to your children?
2. PRE-PERFORMANCE: ACTIVITY
Music as Storyteller
Lesson Overview:
In this lesson, students learn about the ability of music to convey
elements of storytelling, such as plot, tone, and characterization.
Students participate in an interactive listening activity, responding
to musical clips from Umalali: The Garifuna Women’s Collective while
following along with an English translation of the lyrics.
Instructional Objectives:
Students will:
a. Listen to the soundtrack, and describe the various musical
influences that can be identified.
b. Appreciate the role of music in telling a wide range of stories.
c. Understand the many different moods and feelings that a song
can convey.
d. Understand that while many of these questions have no wrong or
right answer, they must be answered in a clear and concise manner.
e. Appreciate the process of transferring the listening experience to
a written format.
Instructional Plan:
a. Warm Up (15 min.)
As a class, brainstorm a list of contemporary songs that tell stories.
These can include popular songs on the radio, songs from shows,
musicals, and movies, or cultural and religious songs from a
student’s background.
b. Introductory Activity and Guided Instruction (15 min.)
As a class, discuss how music can affect the listener’s emotions.
Address both the use of the musical elements within an
instrumental composition, as well as the function of lyrics in a vocal
piece. You may wish to play excerpts from the album that focus on
10 very different stories – songs of love (Take Me Away, Track 4) and
songs of pain (Hills of Telgucigulpa, Track 6).
c. Independent Activities
Before teaching this portion of the lesson, ask students to bring
in an example of music that tells a story and provide a one-page
paper about the story it tells and addresses some of the following
questions: What is the context of the story? Why is the music an
effective way to tell this story? How does it change the way the story
is told and heard?
d. Closure (30 min.)
As a class, listen to several tracks off the Umalali album. Have
students share their responses to the listening activity and to the
independent activity of bringing in their own music. What did they
learn about how music tells relevant stories to their lives? What do
the Umalali songs tell them about the Garifuna’s history, culture,
and society today?
3.PRE-PERFORMANCE: DISCUSSION
Umalali Lyrics
Track 1: Nabari—My Grandchild
Let me have a word with you, my grandchild
Let me have a word with you, my child
Leave behind those street-walking girlfriends of yours
That is not glory, that is not luck
Good luck for you is obeying my words
What has happened to you, my grandchild
What has happened to you, my child, causing you to stray
What has happened to you, my grandchild
What has happened to you, my child, to cause you to leave
Track 2: Merua
Going into Merua [repeated]
Track 3: Yunduya Weyu—The Sun Has Set
The sun has set on me, my friends
The sun has set on me, my people
Stricken by pain here at home
The sun has set on me, my friends
The sun has set on me, my people
Stricken by pain here at home
I have been hospitalized
I have entered the house of illness
Thank God for my sister in law, Sylvia and my poor sister
For three days and three nights, I lie here in pain
I like here in pain with the family standing by, mother
Why did you do that, my dear Goyito?
Why did you do that to your mother?
Why did you do that, my dear Goytio?
Why did you do that, dear, to your darling mother?
Track 4: Barubana Yagian—Take Me Away
Don’t you know that I love you?
Don’t you know that I want you?
Take me away from here, my brother. Give me some luck
Take me away from here. Give me some life
Don’t listen to what they will say about me
What I say to you, dear, is the truth
They will talk about our stars in the streets, my dear
I surrender my heart to you completely
Track 5: Hattie
Syl, you have cried out. Oh what a dreadful storm
You have cried out, my child
Earth has been answered. Let us repent for we are all going to perish
Syl, you have cried out.
You have cried out, my child
At daybreak, sadness covered the land
We just stood around
Where are our homes? Hattie has washed them away
We just stood around
We just gazed around
We just stood around
Where are our homes? Hattie has washed them away
Track 6: Luwuburi Sigala—Hills of Tegucigalpa
I have walked all over the hills of Tegucigalpa after my misfortune
I have cried and looked all around but I can’t find my people
I set out to search for my people
Dear Patron Saint f my country, please protect me at least until
daybreak, then I will leave
Track 7: Anaha Ya—Here I Am
Here I am on this island
All I can do is look around. I am so disappointed
It is all over the newspapers on the streets
Rumors that I am selling my daughter
Come to me, my child, I have appointed you
Come to me. You will be the one to console me
Track 8: Tuguchili Elia—Elia’s Father
Here is my letter for you to take to Elia’s father
All the way to Rigo. He will hear about me
When will I see my daughter’s father? I won’t see
Feliz any more Rigo is a long way from me
Track 9: Fuleisei—Favours
If I were a talker, I would have a lot to say, my friends
I do not expect rewards for the favors I have done
God, in whom I trust, help me bear what they say about me
I do not expect rewards for the favours I have done
I only depend on one thing and that is work
No one will make me hang my head here
Nobody will last forever here on Earth
Track 10: Uruwei—The Government
The Government is here, hiring out of love they say
I will get a job
I will get a job for I am poor
Where shall I take you, Nicho
Where shall I take you, my dear
Where shall I take you? You had better go home
Where shall I take you, Isabel
Where shall I take you, my dear
Where shall I take you? You had better go home
Where shall I take you, my son
Where shall I take you, my dear
Where shall I take you? You had better go home
Track 11: Afayahadina—I Have Traveled
I have traveled, dear sister
You see, I have traveled
I will remain right here in Duguyugu with my suitcase and the money
I have earned
You see, I will remain right here in Duguyugu
Here is my legacy left for me by Baba
You see, here is my legacy
Track 12: Lirun Biganute—Sad News
Oh what sad news of you I receive at noon today
Oh what sad news of you I receive at noon today from the town of
Benque
What did you do to the Spanish man?
What wrong did you do to the Spanish man?
The Spanish woman has made you forget about me, my boy
What will become of me now that you’re gone?
What will become of me on this earth now that you’re gone?
What will become of me? What will become of me on this earth now
that you’re gone?
How shall I break the news to your brothers?
What shall I say to your siblings when they arrive?
4. POST-PERFORMANCE: DISCUSSION
My Review
You are a reporter for your newspaper! Write and illustrate a review
article to inform others about the performance you just saw. Name your
article, illustrate a moment on stage, and write about the performance.
a. I saw:
b. I heard:
c. The performance made me feel:
d. The performance reminded me of:
e. My favorite part of the performance was:
f. I wish I had seen more:
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YOUR ROLE AS
AUDIENCE MEMBER
RESOURCES
http://www.cariblanguage.org/garifuna.html
Women and the Ancestors: Black Carib Kinship and Ritual, Virginia Kerns
Belizean Garifuna, Carel Roessingh
El Esperitu de mi Mama/Spirit of My Mother, Francisca Crisanto, Johana Martinez (DVD)
National Garifuna Council of Belize website: http://www.ngcbelize.org/
http://www.stanford.edu/group/arts/honduras/discovery_eng/index.html
PROPER ETIQUETTE IN THE THEATER
Audience members play a special and important role in
the performance. The performers are very aware of the
audience while they perform and each performance calls
for different audience responses.
Lively bands, musicians, and dancers may desire audience
members to clap and move to the beat. Other performers
require silent focus on the stage and will want an audience
to applaud only when they have completed a portion of
their performance. As you enjoy the show, think about
being a part of the performance.
—What are the differences between attending a
live performance and going to a movie or watching
television?
—What are some different types of live performances?
Name a few as a class.
—What kind of responses might an audience give in
each circumstance?
—What are the different cues that a performer will
give you so that you know how to respond? For
example, might they bow or pause for applause?
Also, remember that a theater is designed to magnify
sound and even the smallest whispers or paper rustling
can be heard throughout the auditorium. When you come
to an ArtPower! performance, you are part of a community
of audience members and you all work together to create
your theater experience.
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AUDIENCE MEMBER CHECKLIST FOR REVIEW AT SCHOOL
—Leave your food, drinks, and chewing gum at school.
—Remember to turn off all cell phones and pagers
before the performance begins.
—When the house lights dim, the performance is
about to begin. Please turn your attention toward the
stage.
—Cameras and other recording devices are not
allowed in the theater.
—Talk before and after the performance only.
Remember that not only can those around you hear
you, the performers can too.
—Appropriate responses such as laughing and
applauding are appreciated. Pay attention to the
artists on stage; they will let you know what is
appropriate.
—Open your eyes, ears, mind, and heart to the entire
experience!
—At the end of the performance, show the artists you
appreciated their performance. Applaud loudly!
—After the performance you will be dismissed when
your school is called from the stage. Remember
to check around your seat for everything that you
brought into the theater.