Curriculum Guide - LMU College of Communication and Fine ...
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Curriculum Guide
2 MUSIC Magazine | May 2011
EDITORS: CONTENTS
Dr. Daphnie Sicre is an
4 12
assistant professor of
ABOUT THE AUTHOR THEMES
Theatre Ar ts at Loyola
M ar ymount Universit y, Learn about Quiara Alegria Hudes and Lin- A list and desscription of the most
Manuel Miranda, the ingenious artists who imporant themes found in In The Heights.
where she teaches direc t- created the musical.
ing, Latinx theatre
and theatre for S ocial 14
Change. She also direc ted 6 LESSON PLANS
I n the Heights for the SUMMARY &
This chapter inculdes several lessons that
depar tment. CHARAC TERS teachers can use to explore the themes of
A complete summary of the play as well as the play.
Emily Stapleton and a breakdown of every character.
G ar ret Camiller i
are both ac tors, wr iters,
16
and teachers based in Los
8 GLOSSARY
HISTORY & ORIGNS A complete list of the imporatnt terms and
Angeles. They are Graduate
The history of the play as well as Spainish translations in the play.
Assistants in LMU’s
information needed to learn about the
Per for mance Pedagogy production origns.
Program.
10
MUSIC
In The Heights is unlike any other musical,
and understanding the music is central to
understanding its meaning.
- Produc tion Dates -
Februar y 20-23 & 27-29 @
8pm, STRUB
I n The Height s Study Guide
Catalog, 2020, Loyola
M aramount Universit y.
MUSIC Magazine | May 2011 3
18
CONTROVERSIAL
CONVERSATIONS
Perfect for classroom disscussions, In the Heights offers
plenty of wonderful questions to ask.
20
LESSONS ON IMMIGRATION
Additional lesson plans and references.
22
LESSONS ON LATINX IDENTIT Y
Additional informatoion.
*PHOTOGR APHS FROM ORGINAL PRODUC TION*
4 MUSIC Magazine | May 2011
Water By the Spoonful ,
w inner o f the Pu l itze r
Pr ize fo r Dram a; In the
Heights , w inner o f t h e To ny
Award fo r B es t M u s i c a l a n d
Pu l itzer f inal is t; and Elliot ,
A Soldier ’s Fugue , an o t h e r
Pu l itzer f inal is t. Her m o s t
recent m u s ic al, M iss You Like
Hell, appeared O f f -Bro a d way
at N ew Yo r k ’s Pu bl ic Th e ate r.
Hu des al s o w ro te th e s c re e n-
pl ay adaptatio n fo r In the
THE
Heights w hic h rel ea s e s i n
m ov ie theater s S u m m e r
2 02 0.
Or iginal l y trained as a co m-
AU T H O R
po s er, Hu des w r ites at t h e
inter s ec tio n o f m u s i c a n d
dram a. S he has co l l a b o rate d
w ith renow ned m u si c i a n s
inc l u ding N el s o n G on z a l e z ,
M ic hel Cam il o, Lin-M a n ue l
Q u i a ra Ale gr í a H u d es’ p l ays M iranda, E r in M c K eow n , a n d
The C l evel and Orc he s t ra .
Water By The Spoonful, A Soldier ’s
Hu des recentl y fo u n d e d
Fugue, The Happiest Song Plays Last, In E m anc ipated Sto r ies, a co l-
l ec tio n o f w r iting an d a r t
The Heights, Daphne’s Dive, M iss You w here inm ates’ vo ice s
m atter. I t s eek s to p ut a p e r-
Like Hell, Barrio Grrrl!, Yemaya’s Belly s o nal f ace o n m as s i n c a r-
ceratio n by hav ing i n m ate s
s hare o ne pag e o f th e i r
l ife s to r y w ith the wo r l d
Q u i a ra Alegr ía H u des v ia the webs ite: ins t a gra m .
co m /em anc ipated_ s to r i e s _
is a wr iter, st ro ng w ife and m o ther pro j ec t. On this web s i te, t h e
o f t wo, b ar r io fe m inis t and native inm ates are abl e to te l l t h e
o f West Ph illy, U. S . A . Hail ed fo r her wo r l d w ho they are, a l l ow-
wo r k ’s ex ub erance, intel l ec tu al r ig o r, ing peo pl e to read a b o ut t h e
an d r ich imagin atio n, her pl ays hu m anit y o f fo l k s tra p p e d i n
an d musicals h ave been per fo r m ed an u nj u s t s ys tem .
aro un d t h e wo r l d. They inc l u de
http: //w w w. q u iara. co m
MUSIC Magazine | May 2011 5
Lin- M a nu e l Heights al s o to o k ho m e Dram atis ts G u il d and wa s
M iranda a 2009 Gram my Award appo inted by M ayo r Bi l l d e
fo r it s O r iginal B ro adway B l as io to N ew Yo r k Cit y ’s
i s a n awa rd-wi nnin g co m- Cast Alb u m and was rec - Theater S u bdis tr ic t Coun c i l
p o s e r, ly r i c i s t, an d ac to r. He o gn ized as a Final is t fo r in 20 15 . He received h i s B.A .
wro te the book an d lyr ics t h e 200 9 Pu l itzer Pr ize in f ro m Wes l eyan Univers i t y i n
fo r Hamilton ( an d also o r igi- Drama. I n 20 16 , M iranda 2 00 2. He l ives in NYC w i t h
nate d the ti tle ro le), ear n in g wo n t h e Ol iv ier Award fo r his w ife, s o ns and do g.
a re cord- bre ak i n g 16 To ny O ut st anding Ac hievem ent
N o mi nati ons a nd win n in g 11 in M usic fo r the Or iginal https : //w w w. l inm anu e l.co m
To ny Awa rds, i ncludin g t wo Lo n do n pro du c tio n o f I n the
p er s onally for M iran da fo r Height s.
B o o k and S core o f a M usical.
I n a d d i ti on, Hamilton was M iran da is a rec ipient o f the
awa rd e d the 201 6 Pulit zer 2015 M ac Ar thu r Fo u ndatio n
Pr i ze i n D rama . Award, the N atio nal Ar ts
Club M e dal o f Ho no r and the
M i randa’s I n the Heights ASC AP Fo u ndatio n’s R ic hard
re ce ive d four 2008 To ny R o dgers N ew Ho r izo ns
Awa rd s wi th M i ran da receiv- Award. He has received s tar s
i n g a Tony Awa rd fo r B est o n b o t h the Pu er to R ico Wal k
S co re, a s we ll a s a n o m- o f Fame and the Ho l l y wo o d
i n at ion for B e s t Leadin g Walk o f Fam e. He s er ves as
Ac to r i n a M u s i cal. I n the a Co un cil M em ber o f The
“You are perfectly
cast in your life.
I can’t imagine
anyone but you in
THE
the role. Go play.”
- Lin-Manuel Miranda
CO M P O S E R
Notable Wor ks
In the Heights (2005), Bring It On: The Musical (2011) 21 Chump
Street , Hamilton (2015)
I n the Heights ce nte r s o n a va r i e t y o f ch a ra c te rs l i v i ng
in th e n eighb or hood of Wa s h i n g to n H e i g hts, o n th e
no r th er n ti p of M a nhat t a n .
At th e center of t he show p arent s, who have sp e nt
i s Usn avi, a b od ega owner t heir life savings on b u i l d-
w h o l o oks af ter t he b ar- ing a b et ter life for t h e i r
r i o’s a ging Ab uela nex t d aughter. Ult im ately,
do o r, p ines for t he gor- Usnavi and t he resid e nt s
geo u s gir l wor k ing in t he of t he c lose -k nit nei g h-
n ei gh bor ing b eaut y salon b or hood get a d ose o f
a n d dreams of winning what it means to b e h o me.
th e l o t ter y and esc ap ing This revolut ionar y mu s i c a l
to th e shores of his nat ive com b ines Lat in r hyth ms
D o mi n ic an R ep ub lic. and d ance wit h hip - h o p
M ea nwhile, N ina, a c hild- lyr ic s to tell a c ap t ivat i n g
h o o d f r iend of Usnavi ’s, stor y ab out what it me a n s
h a s ret ur ned to t he neigh- to c hase your d reams a s
bo r h o od from her fir st you c ling to your roo t s.
yea r at college wit h sur-
pr i si n g news for her
CHARAC TERS *Lin-Manuel Miranda surprises ‘In the Heights’ crowd at the Kennedy Center
USNAVI D E LA VEGA, own er o f D e La Ve g a S ON NY, Us nav i ’s co u s in
B o de ga
AB UE LA C LAUDIA, rais ed Us nav i, tho ug h n o t
N I N A R O SAR IO, a f resh man at St an fo rd his bl o o d grandm o ther
Uni ve r s i t y
DA N IE LA, ow ner o f Daniel a’s s al o n
KE V IN R OSARIO, N in a’s f at h er, own er of
R o sa r i o Car S e r vice C ARLA, wo r k s at the s al o n
C AM ILA R OSARI O, N in a’s mo t h er, co - ow ner G R AFFIT I P E T E, an ar tis t
o f R os ar i o’s
P IR AG ÜE R O (P IR AG UA G UY ), s c rapes p i ra-
BE NNY, e mployee o f R o sar io’s g u as f ro m his bl o c k o f ice
VA NESSA, wor ks at t h e salo n E N S E M B LE, Var io u s Peo pl e
8 MUSIC Magazine | May 2011
H I S TO R Y
AND
ORIGINS
OF
PRODUCTIONS
Lin-M an u e l M ira nda w ro te t he fir s t dra f t o f I n the Heights a s a s o pho -
more u n d e rgra d u ate st u dent at Wes l eya n U n iver s it y in 1999. I n Apr i l
2000 , t h e music a l wa s sel ec ted by S eco n d Sta ge (a s tudent-l ed th eatre
comp any at the sc ho o l ) to b e fe atured a s a n 80-m in ute o n e -a c t pro -
duc t i o n . En co u ra g ed by his c l a s s m ates a s wel l a s th eatre direc -
tor a n d We s l eya n a l u m n Tho m as K a il, M ira n da co ntin ued h is devel-
opme nt of I n the Heights a f ter gra duatio n , br in gin g in bo o k w r iter
Q ui ara Ale gr í a Hu d es in 2 0 0 4 a n d pres entin g a n ew ver s io n at th e
Natio n al M u sic Theater Co nfere n ce in 2005, th en m a k in g it a l l th e way
to the B road way sta g e by 2 0 0 8. S in ce th en , th e s h ow h a s ga r n ered
a gre at d e al o f a cco l a d es a nd s ucces s, a n d it h a s even been a da pted
i nto a mov i e, set to o pen in the ater s Jun e 26, 2020. Wh il e th e fil m wi ll
mir ror t h e B ro a dway o r igina l in ter m s o f m us ic a l n um ber s a n d pro d uc -
tion valu e, t here is ta l k t hat the n ew s c reen pl ay h a s been updated to
ad dress cu r rent p o l itic a l issu e s a ffec tin g th e Latin x co m m un it y.
Premiere July 23, 2005: Eugene O ’Neill Theater Center, Water ford, Connec ticut. Produc tions - 2007
O ff-Broadway, 2008 Broadway, 2009 US Tour, 2011 M anila, 2011 Non-Equit y Tour, 2013 Panama Cit y,
2014 S ão Paulo, 2014 O ff-West End, 2014 Tok yo, 2015 M elbour ne, 2015 West End, 2015 Vancouver,
2015 S eoul, 2016 Lima, 2016 Lohne, 2017 Washington, D.C. 2018 N yborg, 2018 Sydney, 2020 Film.
Awards
2 0 0 7 O r igi na l O ff- Bro adway Pro duc t io n Dram a D es k Award - O u ts tanding E ns em bl e
Pe r fo r m a nce Dra m a D esk Award - O ut st an d ing C ho reo graphy (Andy B l ank enbu ehl er ) C l a re n ce
D e r we nt Awa rd - M ost Pro misin g M ale Per fo r m er (Lin-M anu el M iranda)
2 0 0 8 O r igi na l Broadway Pro duc t io n To ny Award - B es t M u s ic al To ny Award - B es t Or igina l
S co re ( L i n- M a nue l M iran da) To ny Award - B es t C ho reo graphy (Andy B l ank enbu ehl er ) To ny
Awa rd - B e s t O rc he st rat io n s (Alex Lacamo ire and B il l S her m an) G ram my Award - B es t M us i c a l
Sh ow Albu m
2 0 1 6 O r igi na l We s t-En d Pro duc t io n Lauren ce Ol iv ier Award - B es t Ac to r in a S u ppo r ting R o l e
in a M u s i c a l ( Dav i d B edella) Lauren ce Olivi er Award - B es t Theatre C ho reo grapher (Drew
M c O ni e) L aure nce Olivier Award - O ut st an d ing Ac hievem ent in M u s ic (Lin-M anu el M irand a )
Wh at sO nSta ge Awa rd - B est Supp o r t in g Ac to r in a M u s ic al (Dav id B edel l a)
MUSIC “Here’s the thing that I’ve obser ved about Lin M iranda. He deeply loves musical theater and Broadway, and ha s since he was a child, and he deeply loves hip -hop and pop music as a whole, and has since he was a child. H is abilit y to wor k in both of those for ms is inseparable from the fac t that he loves both for ms — he’s not being a tour ist when he visits one or the other, but he’s deeply embedded in both of them.” — Osk ar Eustis, Ar tistic Direc tor of the Public Theater
MUSIC Magazine | May 2011 11 “ I w ro te th e s h ow I wa nte d to be i n . I gre w u p w i th h i p - h o p, a n d I wa nte d i t to s o u n d l i k e my n e i g h b o r h o o d.” — L i n - M a n u a l M i ra nda Per fo r m ed in t wo ac ts w ith i t s pr inc ipl e c harac ter s expres s i n g them s el ves thro u g h s o ng a n d dance, I n the Heights fo l l ows t h e traditio nal fo r m u l a o f a c l a s s i c Am er ic an B ro adway m u s ica l. B ut Lin-M anu el M iranda co ntex t ua l- izes this fo r m u l a w ithin Lat i n x c u l tu re, integrating bil ing ua l l y r ic s and f u s ing var io u s s t yl e s o f m u s ic inc l u ding hip ho p, ra p, s al s a, R& B, f u nk , dance beat, wal tz, bo l ero, po p bal l ad, re g- g aeto n, m ereng u e, and bac h at a . I nf l u enced by his Pu er to R i c a n ro o ts, his u pbr inging in I nwo o d NYC (adj acent to Was hing to n Heig hts w here the pl ay take s pl ace), and his s im u l taneous l ove o f 90 ’s hip -ho p and B ro adway tu nes, M iranda m erg es his c l a s s i c and co ntem po rar y s ens ibil i t i e s w hil e cel ebrating the Latin x co m- m u nit y and pro m o ting po si t i ve repres entatio n o f Latinx c h a ra c - ter s — a repres entatio n th at h a s prev io u s l y been l ac k ing o n t h e B ro adway s tag e.
12 MUSIC Magazine | May 2011
THEMES
O P P O R T U NI T Y . The oppor tunit y that many seek when immigrating to the United States
could per haps be considered synonymous with the “Amer ican Dream.” This age - old aspiration sug-
gests that with hard wor k and sacr ifice, anyone can achieve the economic success they desire; or
at the ver y least, they may create a better future for their children. The promise of such oppor tu-
nit y is especially present for the R osar ios in I n the Heights as Kevin and Camila make the ultimate
sacr ifice, selling their car ser vice in order to pay for their daughter ’s Stanford education.
RESILIENCE. R esilience is
defined as the capacit y to adapt
to stressful or tragic events,
recover ing ably from misfor tune
or change. The charac ters residing
in Washington Heights show
remar k able for titude, drawing
on each other for strength while
navigating some of life’s most
difficult challenges. From the
threat of losing one’s business, to
the struggle to afford educational
oppor tunities, to the sor row of
saying goodbye to a loved one,
the adversities reflec ted in I n
the Heights are met with both
vigor and courage, depic ting a
communit y resolved to transcend
even the greatest of hardships.MUSIC Magazine | May 2011 13
G E N T R I F I C AT I O N . T he ter m gentr ification is used to
descr ibe the rebuilding of an ur ban neighbor hood that results
in an influx of more affluent residents and businesses. The
process is controversial as it tends to displace cur rent residents
who of ten can no longer afford to pay r ising housing costs or
maintain their small businesses. I n the Heights highlights the
devastating effec ts of gentr ification as we witness several of
its charac ters and businesses — including Usnavi ’s bodega,
Daniela’s salon, and the R osar ios’ dispatch — struggle to sur vive.
CO M M U N I T Y / LO V E . The word “communit y ” holds
a number of meanings. I t can refer to a group of people
with a common charac ter istic living together within a larger
societ y, it can encompass a body of persons possessing
the same social or economic interests, or it may simply
indicate the shared her itage of a collec tive group. For the
charac ters in I n the Heights , communit y goes beyond any of
the above definitions to reflec t a neighbor hood of residents
who suppor t one another, who lif t each other up, and who
come together in the most painful of times to offer love and
healing.
I M M I G R AT I O N . N ew Yor k Cit y ’s Washington Heights has histor ically been home to a
diverse population of immigrants seek ing oppor tunit y — and in some cases, refuge — in the
United States. The neighbor hood exper ienced a significant inflow of Latinx residents in the
mid-1960’s, par ticular ly those fleeing the D ominican R epublic dur ing a time of political tur moil.
R ooted in this histor y, I n the Heights celebrates the Latinx residents of Washington Heights,
paying tr ibute to their vibrant culture and communit y.14 MUSIC Magazine | May 2011
Lesson #1
Celebrating Co m m u nit y.
Th is ac t iv it y c an be u s ed Lesson #2
over t h e co u r s e o f t wo c l as s
p er io ds. D u r ing the f ir s t R ef l ec ting o n Oppo r tu n i t y.
class, div ide s tu dents into E ither in c l as s o r as a h o m e -
F O R YO U R C L A S S gro up s o f 4 o r 5 and as k
t h em to ref l ec t o n the wo rd
“co mmunit y.” Af ter they have
agreed o n a def initio n, as k
wo r k as s ignm ent, ins t r uc t
yo u r s tu dents to w r ite a
ref l ec tio n abo u t edu ca-
tio nal o ppo r tu nit y. Ask
each gro u p to s end u p a rep - them to co ns ider the s a c r i-
resent ative to w r ite their f ices that N ina R o s ar io a n d
def in it io n o n the bo ard. A her parents m ade in I n the
LESSON IDEAS
b r ief dis c u s s io n c an be hel d Heights in o rder fo r he r to
co mp ar ing the var io u s def i- attend Stanfo rd Unive r s i t y.
n it io n s and f u r ther expand- What were thes e par ti c u-
in g t h e s tu dents’ ideas o f l ar s ac r if ices ? And how d i f-
co mmunit y. N ex t, give s tu- f ic u l t was it to m ak e t h e m ?
dent s a few m inu tes to indi- Was N ina’s attendance at
vidually w r ite dow n al l o f Stanfo rd wo r th s u c h sa c r i-
t h e co m m u nities o f w hic h f ices ? Why o r w hy no t ? As k
t h ey are a par t. When they yo u r s tu dents to al s o re f l e c t
are f in ished, as k them to o n their ow n edu c atio n a l
p eruse the l is t and pic k o ne o ppo r tu nities. Wo u l d t h e y o r
co mmunit y to w hic h they their parents have to m a k e
feel mo s t c l o s el y co nnec ted. s im il ar s ac r if ices in o rd e r
Fo r t h e fo l l ow ing c l as s, as k fo r them to attend co l l e g e ?
st udents to br ing in s o m e - Wo u l d it be wo r th it? I f yo ur
t h in g (a n o bj ec t, a pic tu re, s tu dents are in co l l eg e, t h e y
a po em, a s o ng, etc. ) that in m ay ref l ec t o n any s acr i-
so me way repres ents their f ices that they o r thei r f a m-
co mmunit y. Stu dents s ho u l d il ies have al ready had ( o r
p resent w hat they have no t had) to m ak e. As k t h e m
b ro ught and br ief l y dis c u s s to ref l ec t o n how thei r e d u-
t h eir connec tio n to it as wel l c atio nal o ppo r tu nities a re
as to t h eir co m m u nit y. As a (o r have been) either s i m i l a r
f in al disc u s s io n, as k s tu dents to o r dif ferent f ro m th o s e
to ref le c t o n the co m m u nit y avail abl e to N ina. Once t h e
depic ted in I n the Heights . as s ignm ent been co m p l e te d,
Wh at do eac h o f the c harac - al l ow any w il l ing s tu d e nt s to
ters b r ing to their co m m u- s hare their ref l ec tio ns w i t h
n it y, and w hat do they g ain the c l as s.
f ro m it ?MUSIC Magazine | May 2011 15
Lesson #4
Les son #3 eac h gro u p to s hare t h e i r
U n derst anding tho u g hts w ith the c l a s s.
E xa mi ni ng R e s i lien ce. Ask G ent r if i c atio n. B egin this
yo u r s tu d e nts to def in e t h e ac t ivit y by w r iting the fo l-
wo rd “re s i li e nce.” Wh ile t h ere lowin g pro m pt o n the bo ard:
m ay be s e ve ral inter pre - Wh en yo u hear the wo rd
t at i o ns, tr y to d ecide as a “gent r ific atio n,” w hat co m es
c l a ss on one d e f in it io n t h at to min d? D o es it have a po s-
fi t s be s t. Wr i te th at def in i- it ive o r neg ative co nno ta-
t i o n c le a r ly on t h e bo ard, t io n ? Expl ain. G ive the s tu-
a nd i ns tr uc t the st udent s to dent s a few m inu tes to w r ite
o p e n a note boo k o r jo ur n al. down t heir ans wer s, and
G i ve the m a fe w min utes to t h en ask any w il l ing s tu-
wr i te d own a s many quali- dent s to s hare. I t is l ik el y
t i es the y c a n thin k o f t h at t h at so me s tu dents w il l
wo u l d he lp a perso n to n o t h ave a f u l l u nder s tand-
re m ai n re s i li e nt in a t ime in g o f the m eaning o f g en-
o f d iffi c ult y. Wh en t h ey are t r if icat io n, s o ins tr u c t o ne
fi n i s he d, as k them to t h in k st udent to l o o k u p the def-
o f a ti me whe n t h ey ex h ib - in it io n and read it al o u d. I f
i ted one of the se qualit ies. any o f yo u r s tu dents have
H ow d i d thi s q ualit y h elp ex p er ience w ith g entr if ic a-
t he m to s tay s tro n g dur in g t io n , ask them to c ite exam-
a t i me of s tr u gg le? Allow p les fo r the c l as s. Then
t he m a fe w more min utes to sh ow t he s ho r t f il m titl ed
jo t down the i r t h o ught s, an d G ent r if i c atio n E xpl ained
t he n i ns tr uc t th em to f in d a wh ich can be acces s ed at
p a r t ne r wi th who m t h ey can ht t p s: // w w w. yo u tu be. co m /
s ha re the i r s tor ies. Give each watch ?v= V 0 zAv l m zDFc.
p a i r rou ghly te n min utes Wh ile view ing, have the s tu-
to b oth s hare an d resp o n d dent s w r ite dow n any co r re -
( fi ve m i nute s per st udent ). lat io n s they no tice bet ween
Whe n the y have f in ish ed, t h e ef fe c ts o f g entr if ic a-
a s k i f a ny of the p airs wo uld t io n disc u s s ed in the f il m
li k e to s hare their sto r ies an d eve nts that o cc u r in I n
o r t h oughts wi th t h e ent ire the Heights . Af ter v iew ing,
c l a ss. Fi nally, a s k t h e class if divide stu dents into s m al l
t he re are any s pecif ic ch ar- gro up s to dis c u s s how the
a c ter s from I n the Heights ch arac ter s in the pl ay are
who d e mons trated t h e qual- impac te d by g entr if ic a-
i t i e s the y have discussed, t io n . ( Yo u m ay refer to the
he l p i ng the m to remain resil- t h eme s ec tio n o n pag e 13
i ent i n a di ffi c u l t t ime. o f t h is cu r r ic u l u m g u ide fo r
a few exam pl es. ) Final l y,
ask o n e repres entative f ro m16 MUSIC Magazine | May 2011
G LO S S A R Y
While th e I n The Heights ch a ra c te rs s p e a k m o s tl y i n
E nglish , the S p a ni sh sl a n g a n d p h ra s e s a re ju s t a s
impor tant to t he p l ay a s th e s e tti n g i ts e l f. B e l ow a re
so me tran sl at i ons t hat m ay h e l p yo u u n d e rs atn d th e
c harac ter s b e t te r i f you d o n o t s pe a k Spa i n s h .
Pirag u a — a f rozen t re at
m ade o f s haved ice a n d
covered w ith f r u it fl avo re d
syrup
O ye, pirag ü ero, co m o e s t a s ?
— Hey, pirag u a g u y, h ow a re
yo u ?
N o, q u e pas ó ? — N o, w h at
happened?
Co n l ec he — w ith m i l k
Pac ienc ia y fe — pat i e n ce
and f aith
Abu el a — grandm ot h e r
E s c u el a — s c ho o l
The G eorge Washington Br idge is a double - decked suspension
br idge spanning the Hudson R iver, connec ting the Washington N o m e dig a! — N o k i d d i n g !
Heights neighbor hood of M anhattan in New Yor k Cit y with the (N o tel l m e! )
borough of For t Lee in New Jersey. The b r idge was ceremoni-
ally dedicated on O c tober 24, 1931 N o pares, s ig u e, s ig ue — D o
no t s to p, g o o n, g o o nMUSIC Magazine | May 2011 17
“No Pares,
Sigue, Sigue!”
B o d ega - a s ma l l gro cer y Eso n o im po r ta — it do es n’t Ay bendito ! — Oh, g o s h ! (O h ,
s to re, e s pe c i a lly in mat ter g o o dnes s ! )
a Sp ani s h- s pe a k in g
ne i ghbor hood. Co may — gir l f r iend Ay dio s m io ! — Oh my g o d !
Ba r r i o — i s a Sp an ish wo rd Ch ach a — gir l M u c hac ha — gir l
m e a n i ng a q u ar ter o r
ne i ghbour hood. Co ñ o — dam n Q u é s é yo ? — What do I
k now ?
S a nd wi c hi to — lit t le Q ué pasó ? — Wh at
s a nd wi c h h app ened? E s a preg u nta es — Th at
q u es tio n is
Si g u e a nda ndo el camin o Ent re, mij a! — Co m e in, gir l
p o r toda s u v i d a — Co nt in ue f r ien d! Q u e c al o r — the heat
wa lk i ng the way (p at h ) o f
yo u r li fe M ira qu ién es ! — Lo o k w ho To m a — here
it is!
Te a doro — I love yo u
Ch ulet a s — po r k c ho ps
Te q u i e ro — I want yo u
Po brecita — po o r gir l
N o m e pre oc upo po r ella —
I’m not wor r i e d ab o ut h er Lin da — prett y wo m an
M u ñe c a — doll Vieja — o l d wo m an
M i jo — my s on Sucia — dir t y gir l
Pero — bu t Cabro n a — bas tard (bitc h)18 MUSIC Magazine | May 2011
CONTROVERSIAL
3
CASTING TOPICS
Gre at p l ays a re n o t w i th o u t co ntrove rs i e s.
Th e se t hre e top i c s ca n b e gre at d i s cu s s i o n
st a r te r s for c l a s s ro o m s o r re h e a rs a l s.CASTING ISSUE #1 CASTING ISSUE #2 CASTING ISSUE #3
Chicago’s Porchlight Music Theatre cast In 2008, a production of In The Heights In 2017, an Australian production of
Jack DeCesare, a white actor of Italian was done with a cast of all Japanese In The Heights was cancelled due to
descent, to play Usnavi. The Chicago actors. Surprising critics, the play was whitewashing concerns.
Latinx community was very upset. received well.
QUESTION #1 QUESTION #2 QUESTION #3
In a play that tackles race, ethnicity While not an example of whitewashing, What is the difference between the
and immigration, what do you think is this rendition dos not live true to In Japanese production and the Austra-
the right way to solve this controversy? The Heights’ original community. Can lian? Why did the Japanese production
a cast of only Japanese actors convey get great reviews while the Australian
the themes Quiara Alegría Hudes and was cancelled?
Lin-Manuel Miranda intended?20 MUSIC Magazine | May 2011
TEACHING ABOUT
I M M I G R AT I O N
Vi s i t t h e l i n k b e l ow fo r m o re l e sso n p l an s o n
i mmi grat i o n .
https://w w w-tc.pbs.org/independentlens/newamer icans/pdfs/
“Imagine how it
would feel going
real slow down the
highway of life with
no regrets and not
breaking your neck
for respect or a
paycheck.”MUSIC Magazine | May 2011 21
t h at mis u nder s tanding s c an o f ten l ead to a neg ative vi e w o f
UN DERSTAN D I N G immigra nts w is hing to enter (o r per haps al ready res id i n g ) i n
I M M IGR ATI O N o ur co u ntr y. N ex t, ins tr u c t yo u r s tu dents to tak e o u t a p i e ce
o f pap er and tear it into f ive s ec tio ns. E xpl ain that yo u w i l l
Fo r t hi s a c ti v i t y, p lease refer read f ive s tatem ents abo u t im m igratio n in the United St ate s
to Te a c hi ng Toleran ce’s Ten t h at are either f ac t o r my th. The s tu dents w il l g u es s a s to
M y t h s About I mmigrat io n wh et h e r o r no t the s tatem ents are tr u e, w r iting “f ac t ” o r
a r t i c le whi c h c an be “myt h” fo r eac h o n a s c rap o f paper. Co l l ec t the s c rap s a f te r
a cce s s e d at https: //w w w. to l- each st atem ent, and tal l y them u p, rel ay ing to s tu dent s h ow
e ra nce.org/ ma g azin e/sp r in g- many bel ieve the s tatem ent is a f ac t and how m any b e l i e ve
2 0 1 1/ te n- my ths-ab o ut-immi- it is a my th. Then, reveal the co r rec t ans wer by readin g to
grat i on. B e fore yo u begin , yo ur st u dents the co r res po nding s ec tio n f ro m Ten M y t h s
m a k e s u re that yo ur st u- Abo ut I m m igratio n. The f ive s tatem ents are as fo l l ows :
d e nt s have a c lear un der-
s t a ndi ng of how t h e to pic 1. M o st im m igrants are here il l eg al l y (M y th);
o f i m m i grati on is present
i n I n the Heights . Yo u may 2. I mmi grants tak e g o o d j o bs f ro m U. S . c itizens (M y th ) ;
re fer to the the me sec t io n
o n p age 13 of this cur r icu- 3. As an im m igrant, it is dif f ic u l t and ver y expens ive to
lu m gu i d e, a nd yo u may even enter Th e United States l eg al l y (Fac t);
have you r s tudent s co n duc t
t he i r own re s e a rch into t h e 4. U n doc u m ented im m igrants do no t pay any o f the s a m e
hi stor y of L ati nx immigrant s t axes t h at United States c itizens pay (M y th);
re si di ng i n N e w Yo r k Cit y ’s
Wa shi ngton H e ight s. * Af ter 5. R ef ug ees u nderg o m o re r ig o ro u s s c reening s than a ny
a d i sc u s s i on of such rele - o t h er in div idu al s the g over nm ent al l ows in the Unite d
va nt i nfor m ati on, ex plain to St ates ( Fac t).
yo u r s tu d e nts th at immigra-
*https://scalar.usc.edu/works/latino-metropolis-a-brief-
t i o n i s a controversial to p ic
urban-cultural-history-of-us-latinos---1/washington-
i n t h e Uni te d St ates, an d
heights-1
M o re l e s s o n pl a n s o n i mmi grati o n!
htt p s : / / w w w- tc.pbs.o rg/i n depen de nt lens/newamer ic ans/p d fs/t na8_m osaic. pdf
htt p s : / / w w w- tc.pbs.o rg/i n depen de nt lens/newamer ic ans/p d fs/t na11_lat inos.p df22 MUSIC Magazine | May 2011
TEACHING ABOUT
L AT I N X I D E N T I T Y
Illustrations by Terry Blas
Latinx /Latino /Latina
“Lat inx ” is a g ender-neu tral ter m u s ed in l ieu o f “Lat i n o” o r
“Lat ina” to refer to a per s o n o f Latin des cent.
Usin g the ter m “ Latinx ” to refer to al l peo pl e o f Lat i n
Amer ic an des cent has beco m e m o re co m m o n as m e m b e r s i n
t h e LGBTQ co m m u nit y and its advo c ates have em bra ce d t h e
label. The g endered s tr u c tu re o f the S panis h l ang ua g e h a s
made “Latinx ” bo th an inc l u s ive and co ntrover s ial te r m .
Pro n o u nced “ l u h-T E E -nek s, M er r iam -Webs ter dic tio n a r y
added the wo rd in 20 18 to des c r ibe tho s e o f Latin Am e r i c a n
desce nt w ho do n’t want to be identif ied by g ender, o r w h o
do n’t identif y as being m al e o r fem al e.The wo rd was c re ate d as a gen der- n e u t ra l a l te r nati ve to “Lat in o s,” n o t onl y to b e tte r i nc lu d e t h o se wh o are ge n d e r fl ui d, but a ls o to p ush b ack on t he i nhe re ntly m asculin e ter m u s e d to d es c r i be a ll gen ders in t h e Sp a n i s h la ngua ge. Eve n t ho ugh “Lati nos” tech n i- cal l y refe rs to a ll ge nders o f Lat in Ame r i c a n d e s ce nt, i t ’s st ill a mascu- li ne wo rd i n Spani s h. Fo r ex a m ple, a grou p o f females would b e c alle d “L ati n as” an d a group o f ma le s would b e called “L ati no s.” H owe ve r, a gro up o f males and fem a le s of L ati n Amer ican de s cent would re ve r t to t h e mascu- li ne “ L at i n os.” https : // w w w.us atod ay. co m/sto r y/ n e ws / nat i on/ 2019/ 06/29/lat in a- latino - lat i nx- hi s pani c -wh at- do -t h ey- me an/ 1 5 96501001/
You can also read
