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MIGRATION

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MagnuSTheatre

Collective Creation Project

What if their story was your story?

featuring:

Cornelius Beaver, Kaitlyn Butschler, Kyara Cameron,

Brandon Doner, Lola Halstead, Arley Henry,

Phoebe Kine, Brook Malone, Derek Roy

Director: Danielle Chandler

Stage Manager: Amanda Vinet

Story Contributors: Wesoo Ali, Taha Bahbouh,

Al Ali Alae Fouad, Mohammed Nasaan,

Shiyar Nasaan, Ola Yaghmour, Waleed Shasho

June 4 - 7:30 pm

June 5 - 7:30 pm

June 6 - 10:30 am

STUDY GUIDEContent: Danielle Chandler

Layout: Amanda Vinet

Written and performed by local high school students!

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HOW TO USE THIS GUIDE

Magnus Theatre is committed to presenting top quality, passionate theatre to enrich, inform, empower and educate people of all ages. It is our goal that the performance not only be entertaining but also a valuable educational experience.

This guide is intended to assist with preparing for the performance and following up with your students. It provides comprehensive background information on the play as well as suggested themes, topics for discussion, curriculum-based activities and lesson plans, which will make the content and experience of attending Magnus Theatre more relevant and rewarding for your students.

Using this guide, teachers can encourage students to conduct historical research, utilize critical analysis, think creatively, and apply personal reflection in relation to the play and its themes, which often crosses over into other subjects or areas of the curriculum.

Please use this guide in whatever manner best suits you. All activities and lesson plans may be modified to meet your classroom needs to make it accessible and applicable for your students.

We hope that this study guide provides stimulating and challenging ideas that will provide your students with a greater appreciation of the performance and live theatre.

If you would like further information about the production, Magnus Theatre, the various programs we offer, or to share your thoughts and suggestions, please contact:

Danielle Chandler, Theatre in Education Director

Magnus Theatre10 S. Algoma Street, Thunder Bay, ON P7B 3A7

education@magnus.on.ca

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TABLE OF CONTENTS

HOW TO USE THIS GUIDE 3

THEATRE ETIQUETTE, 4

F.A.Q &MAGNUS INFO

THEATRE IN EDUCATION 5

CREATIVE TEAM 6

WHAT IS COLLECTIVE CREATION 7

DOCUMENTARY AND VERBAITIM 9

THEATRE

WHO IS A REFUGEE 10

HOW THE CANADIAN REFUGEE 11

SYSTEM WORKS

THE HISTORY OF THE SYRIAN 13

REFUGEE CRISIS

THEATRE GLOSSARY 17

ONTARIO CURRICULUM 19

CONNECTIONS

PRE-SHOW ACTIVITIES 20

POST-SHOW ACTIVITIES 21

LESSON PLAN: MAPPING A 24

CRISIS

LESSON PLAN: SUPPORT FOR 26

SYRIAN REFUGEES

RESOURCES 28

Did You

Know?... It is far more difficult to enter Canada as a refugee than as a visitor, because the refugee determination process involves security checks by CSIS and the RCMP, fingerprinting and interviews. It is not likely that a person intending to commit a violent act would expose themselves to such detailed examinations.

Source: http://ccrweb.ca/en/myths-facts

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THEATRE ETIQUETTE Please review with your class prior to arriving at the theatre.

We want your students, and everyone who attends a Magnus Theatre performance to thoroughly enjoy it. In a live theatre environment, the performers and other audience members are affected by the students’ behaviour (both positively and negatively). Our actors, technicians, and staff have worked hard to create an enjoyable and entertaining experience for you and your students. Below are a few items that, if followed, will greatly enhance the experience for all concerned.

WHEN SHOULD WE ARRIVE?• We recommend that you arrive at the theatre at least 30 minutes prior to the performance (doors open approximately one hour before show time.)• School matinees begin promptly at 12 noon – we cannot hold the curtain for latecomers.• Please be in your seat approximately 15 minutes before the performance begins. Latecomers are not guaranteed seating.

WHERE DO WE SIT?• Magnus Theatre has assigned seating and therefore it is important for teachers/chaperones to pick up the tickets before arriving to the theatre, or to arrive early to allow time for distribution of tickets.• Students must sit in their assigned seats. We ask that teachers/ chaperones disperse themselves among the students to provide sufficient supervision.• Ushers and/or Magnus Theatre staff will be happy to assist you, if needed.

WHAT CAN WE BRING WITH US?• Food and drink (including gum, candy and water) are not permitted in the Margaret Westlake Magnus Theatre Auditorium. You may bring purchased beverages into the auditorium, provided they are in an approved plastic container. Ask the bartenderor usher for more information. We have a limited number of concession items for sale in the lounge before the show and during performances. Please note that beverages and food from outside the theatre are not permitted. • Please turn off – do not place on vibrate or silent – all electronic devices before entering the theatre. The lights as well as the sounds are very distracting. • We do not have storage space for backpacks and ask that these items are left at school or on the bus.• Please refrain from applying perfume or aftershave before coming to the theatre as a consideration for those who may have sensitivities to scents.

CAN WE TAKE PICTURES? • Photography, audio or video recording are not allowed during the performance. This is a copyright infringement.

WHAT DO WE DO DURING THE

PERFORMANCE?• We encourage students to let the performers know that they appreciate their work with applause and laughter, when appropriate. • Please do not talk during the performance. It is disruptive to the other patrons and the actors on stage.• Please do not text or use your phone during the performance.• Please do not leave your seat during the performance. If it is absolutely necessary to leave your seat, you will be seated in the back row upon your return and may return to your original seat at intermission. Younger students needing to leave must be accompanied by an adult.• We ask that students refrain from taking notes during the performance as it can be distracting to the actors and audience

members. If note taking is required, please do so before or after the show or during intermission.• Please do not put your feet on the seats.• Please do not go on the stage at any point.

WHAT DO WE DO AFTER THE SHOW?• Applaud! If you particularly enjoyed the performance, it is customary to give a standing ovation at the end as well.• Please stay in your seat until the performance ends and the auditorium lights come on.• If your group is NOT attending the talk back session, please collect your personal belongings and promptly exit the auditorium.• If your group is attending the talk back session, please remain in your seats. A member of the Magnus Theatre staff will invite the actors back to the stage to begin the talk back session. Students should take advantage of this opportunity by asking questions.

MAGNUS THEATRESome information for you and your class.

• Magnus Theatre is a member of P.A.C.T (Professional Association of Canadian Theatres). Magnus Theatre operates under the terms of the Canadian Theatre Agreement, engaging professional artists who are members of the Canadian Actor’s Equity Association.

• Magnus Theatre was founded in 1971 by British director Burton Lancaster in conjunction with a citizens’ committee, and was incorporated June 15, 1972.

• Thom Currie, the new Artistic Director of Magnus Theatre, joined us in August 2016.

• In 1998, Magnus received the Lieutenant Governor’s Award for the Arts from Ontario Arts Council Foundation.

• MAGNUS IN THE PARK opened in September, 2001 after a successful $5.5 million campaign to relocate the theatre from the old location on McLaughlin Street.

• Magnus services reach over 40 000 adults, students and seniors in Thunder Bay and Northern Ontario each year.

• STUDENT TICKETS cost $20 and are available for any show. Simply come to the theatre on the day of the show and present valid student I.D.

• Theatre in Education is a community outreach program initiated at Magnus in 1987.

• Throughout the year, Magnus operate a THEATRE SCHOOL with classes for all ages in the fall, winter and spring. Drama camps run during March Break and the summer.

• The THEATRE FOR YOUNG AUDIENCES SCHOOL TOUR brings entertaining, socially relevant productions to elementary and secondary schools throughout Northern Ontario to communities that may not have the opportunity to experience live theatre otherwise. Booking begins in the fall for performances in the spring.

• Magnus offers WORKSHOPS for students, teachers and community groups in Thunder Bay and across the region. Workshops can be designed to meet specific needs, or can be selected from various topics including introduction to drama, improvisation, anti-bullying and more.

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Magnus Theatre can make learning dynamic,

interactive, enriching and –above all – fun! Whether

you are interested in bringing your school to the

theatre, or prefer having us come to you, there are

a variety of educational and entertaining programs

that will benefit your students.

For more information, please contact

Danielle Chandler at

education@magnus.on.ca

ABOUT THEATRE IN

EDUCATION

• Theatre in Education refers to theatre that is used as a tool for educational purposes, with the goal of changing attitudes and/or behaviours of audience members.

• Using the art form of drama as an educational pedagogy at any grade level, drama can reinforce the rest of the school curriculum, and has been proven to improve overall academic performance.

• It is a multisensory mode of learning, designed to:• Increase awareness of self (mind, body, voice) and others

(collaboration, empathy)• Improve clarity and creativity in communication of verbal and

nonverbal ideas• Deepen understanding of human behaviours, motivation,

diversity, culture and history

• It incorporates elements of actor training to facilitate students’ physical, social, emotional and cognitive development.

• It also employs the elements of theatre (costumes, props, scenery, lighting, music, sound) to enrich the learning experience, reenact stories and mount productions.

• Theatre students are able to take responsibility for their own learning and skill development as they explore the various aspects involved in theatre, such as acting, directing, playwriting, producing, designing, building, painting, leading etc.

• It is a powerful tool for social change as emotional and psychological responses can be more intense as it is a live event, giving audiences an opportunity to connect with performers.

• Theatre can provide a believable, entertaining and interesting way to explore sensitive issues that are not typically discussed in public, such as racism, suicide, bullying and substance abuse. It is particularly effective with young audiences.

• By engaging audiences and capturing their attention, theatre can influence positive behaviour and healthy lifestyles, particularly if it is delivered with a message that audiences can understand. Hence, Theatre in Education performances are typically accompanied by study guides, activities, support material and/or workshops. The more interactive and participatory the event, the more successful it is.

• The arts, including drama, cater to different styles of learning and have positive effects on at-risk youth, and students with learning disabilities.

• Involvement in the arts increases students’ engagement, encourages consistent attendance, and decreases drop-out rates in schools.

• Drama allows students to experiment with personal choices and solutions to real problems in a safe environment where actions and consequences can be examined, discussed and experienced without “real world” dangers.

• Drama makes learning fun and its engaging and interactive nature makes learning more memorable.

• Drama increases language development as students express themselves by using a range of emotions and vocabulary they may not normally use.

• As students realize their potential, they gain confidence which extends to other areas of learning and their lives.

Did You Know?...Refugee claimants all go through a front-end security screening. Through this process, the Canadian Security Intelligence Service (CSIS) checks all refugee claimants on arrival in Canada. Since the screening was put in place in 2001, the number of claimants found to represent any kind of security concern has been statistically insignificant. Source: http://ccrweb.ca/en/myths-facts

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• SCHOOL MATINEES are held Wednesdays at 12 noon during show runs. Tickets are only $12 each, and include a study guide created by an Ontario certified teacher and talk back session with the actors.

• Magnus Theatre holds a COLLECTIVE CREATION PROJECT each year. With the guidance of professional theatre staff at Magnus Theatre, a group of high school students from across the city created a play called INVISIBLES (2017) and BLOCKED (2016). Students were involved in all aspects of the creation of the play. Auditions are typically held in October and the play is on the Mainstage in May.

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SYNOPSIS

MIGRATION PATHS is part documentary theatre, retelling the stories of newly-landed Syrian teenagers in Thunder Bay, and part fiction based on real life accounts. The play follows three characters that must leave their home in search of a safer place, and the dramatic journeys that they embark on to get there.

MIGRATION PATHS challenges audiences to consider: what if their story was your story?

Recommended for grades 6+

CORNELIUS BEAVER

Elder 1/Various

KAITLYN BUTSCHLER

Child 2/Various

KYARA CAMERON

Various

BRANDON DONER

Elder 2/Various

LOLA HALSTEAD

Mother 2/Various

DANIELLE CHANDLER

Director

THOM CURRIE

Artistic Director

AMANDA VINET

Stage Manager

MERVI AGOMBAR

Costume Designer

ISABELLE HART

AARIANNA ROBERTS

Writing Credit

MIGRATION

PATHS

in Education

MagnuSTheatre

Collective Creation Project

What if their story was your story?

ARLEY HENRY

Various

PHOEBE KINE

Child 1/Various

BROOK MALONE

Mother 1/Various

DEREK ROY

Various

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Collective creation refers both to a particular historical practice that defined a crucial stage in the development of Canadian drama in the 1960s and 1970s, and to a collaborative method of playwriting that is still widely practised. In its most common application, collective creation refers to the technique of devising a play as a group, with or without the aid of playwright or dramaturge. Advocates of this process claim that it makes the actor a creative artist, and leads to a perfor-mance style that expresses the authentic experience of the actor-creator.

In one sense, theatre has always been a collective creation, drawing on the collaborative energies of a team of artists who share the vision of the work they create. The movement of collective creation that devel-oped in Europe and North America in the 1960s drew on many theatrical antecedents, but it was propelled by a desire to democratize the creative process, which in the 20th century placed increasing emphasis on the genius of the director as the interpreter of the text.

The Canadian movement of collective creation was influenced by the work of such groups as the Living Theatre and the Open Theatre in New York, and the collaborative techniques of directors such as Peter Brook and Peter Cheeseman in Britain and Roger Planchon in France.

The social impetus behind collective creation in Canada was the generational surge of young artists whose passion for Canadian cultural nationalism in the 1960s led to a demand for plays that probed the experience of Canadian life and history. Most of the Canadian theatres that had emerged since the introduction of public subsidies to the arts in the 1950s had shown little inter-est in Canadian playwriting. Coinciding with the remarkable surge of new playwriting in the 1970s (a hallmark of what is referred to as the “alternative theatre movement”), a number of newly formed companies turned to collective creation as a means of generating plays about local and regional subjects. For them, collective creation implied left-wing populism, a critique of artistic hierarchy and a commitment to local culture. These theatres repudiated the established model of regional theatre as the product of a colonized mentality, and sought to define indigenous culture by returning to historical and local subjects.

There were many such companies in the years between 1968 and 1975, but the landmark event that showed the artistic possibilities of collective creation in English Canada was THEATRE PASSE MURAILLE’s celebrated documentary play, The Farm Show, in 1972. This production became a template for hundreds of similar projects across English-speaking Canada. The process of The Farm Show has become famous because it was the prototype of a style that has come to characterize Canadian theatre in the early 1970s, and because it was the subject of a celebrated film by Michael ONDAATJE, The Clinton Special. In the summer of 1972 director Paul THOMPSON and a group of actors stayed in a borrowed farmhouse near Clinton, Ontario. Out of their conversations with local farmers, the cast improvised a documentary play that combined spoken actuality and exuberant story-telling theatricality. On the surface, the play was

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a series of monologues, songs and sketch-es (as one actor says to the audience, “it just bounces along and then it stops”), but its apparent formlessness concealed an intricate dramatic structure.

In Québec, collective creation was equally important in the development of a distinct acting style and dramatic technique. Following the pioneering work of directors like Jean-Claude GERMAIN and troupes like Le Grand Cirque Ordinaire, hundreds of small “jeune théâtre” companies came and went through the 1960s and 1970s. Most of these practised collective creation, but whereas in English Canada the process tended to favour story-telling and documentary actuality, the Québécois companies often displayed a more flamboyant theatricality that drew upon circus and clowning traditions.

As playwriting developed in Canada to the point where dramatists could make a living from their art, collective creation appeared less necessary. Even so, some of the most important and popular plays of the 1970s were collectively devised, including 25TH STREET THEATRE’s Paper Wheat, Toronto Workshop Production’s Ten Lost Years, and the politically radical collectives of the Mummers Troupe in Newfoundland.

The equation of collective creation with specific genres and populist ideological principles of culture and theatrical organization began to fade through the 1980s. As a process, collective creation remained popular as one set of specific dramaturgical tools that enabled theatres to write a play on a desired topic efficiently and quickly. Some companies, such as Headlines Theatre in Vancouver and Resource Centre for the Arts in St John’s, remain committed to collective creation as a process appropriate to community-based culture.

In the 1990s collective creation was widely supplanted by “collaboration,” in order to move beyond the anti-hierarchical political connotations that were so important in the 1970s. Despite this shift in language, the techniques of collective work are commonly practised, particularly in physical theatre and imagistic groups, feminist companies and grassroots political theatres (such as Edmonton’s labour-oriented Ground Zero Productions). No longer an expression of alternative cultural practice, collective creation is now one of the repertoire of methods utilized by small theatres that, because they either pay very little or rely on volunteer commitment from their casts, can keep a team of actors together long enough to develop a play. That is a luxury which the larger, more institutionalized theatres can rarely afford.

Source from: http://www.thecanadianencyclopedia.ca/en/article/collective-creation/

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Documentary theatre is theatre that uses pre-existing documentary material (such as newspapers, government reports, interviews, journals and correspondences) as source material for stories about real events and people, frequently without altering the text in performance. The genre typically includes or is referred to as verbatim theatre, investigative theatre, theatre of fact and ethnodrama.

Verbatim theatre is a form of documentary theatre which is based on the spoken words of real people. In its strictest form, verbatim theatre-makers use real people’s words exclusively, and take this testimony from recorded interviews. However, the form is more malleable than this, and writers have frequently combined interview material with invented scenes, or used reported and remembered speech rather than recorded testimony. There is an overlap between verbatim theatre and documentary theatre, and other kinds of fact-based drama, such as testimonial theatre (in which an individual works with a writer to tell their own story) and tribunal theatre (edited from court transcripts). In the United Kingdom, the term ‘verbatim’ specifically relates to the use of spoken testimony, whereas ‘documentary’ encompasses other found sources, such as newspaper articles, diaries and letters. However, in North America ‘verbatim’ is rarely used, with ‘documentary’ being the preferred term.

Adapted from: https://en.wikipedia.org/wiki/Documentary_theatre and http://www.dramaonlinelibrary.com/genres/ver-

batim-theatre-iid-2551

“Theatre is like a gym for empathy. It’s where we can go to build up the mus-cles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves. We practice sitting down, paying attention and learning from other people’s actions. We practice caring.”

- Lauren Gunderson

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The notion of who does and doesn’t qualify for refugee status is one many countries grapple with.

The formal, internationally recognized, definition of a refugee is set out in the United Nations Convention Relating to the Status of Refugees, which established the rights of people seeking asylum in a country other than their own and the responsibilities of countries that grant asylum.Approved at a United Nations conference in 1951 and brought into force in 1954, the convention initially sought to codify the rights of refugees in post-war Europe. In 1967, the convention was amended to include a protocol that broadened its geographical purview. There are currently 147 countries, including Canada, that have ratified the convention, the protocol or both.

The definition of a refugee, as laid out in Section 1(A) of the convention, is:

“A person who owing to a well-founded fear of being persecuted for reasons of race, religion, na-

tionality, membership of a particular social group or political opinion is outside the country of his

nationality and is unable or, owing to such fear, is unwilling to avail himself of the protection of

that country; or who, not having a nationality and being outside the country of his former habitual

residence as a result of such events, is unable or, owing to such fear, is unwilling to return to it.”

Refugees are protected at a state level by human rights legislation and national immigration and refugee laws, such as Canada’s Immigration and Refugee Protection Act, and at an international level by the UN convention, the United Nations High Commissioner for Refugees (UNHCR) and, indirectly, through various international covenants and charters guaranteeing human rights.

One of the pillars of the UN convention is the principle of non-refoulement. Taken from the French word refouler, meaning to drive back, it basically means that no refugee should be re-turned to a country where he or she is in danger of persecution.

Source: http://www.cbc.ca/news/world/who-is-a-refugee-1.1191503

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Refugees are people who have fled their countries because of a well-founded fear of persecution. They are not able to return home. They have seen or experienced many horrors.A refugee is different from an immigrant. An immigrant is a person who chooses to settle permanently in another country. Refugees are forced to flee.

Canadian Refugee Protection Programs

The Canadian refugee system has two main parts:• the Refugee and Humanitarian Resettlement Program for people who need protection from outside Canada and• the In-Canada Asylum Program for people making refugee protection claims from within Canada

Refugee and Humanitarian Resettlement Program

Refugees who come to Canada have left their homes; and in many cases, they have had to live in refugee camps for many years. When they arrive in Canada, they have to start their lives over again.

The United Nations Refugee Agency (UNHCR), along with private sponsors, identifies refugees for resettlement. A person cannot apply directly to Canada for resettlement. After they are identi-fied, it takes time to process the cases.

Private sponsors across the country also help resettle refugees to Canada. Some do this on an ongoing basis. They have signed sponsorship agreements with the Government of Canada to help support refugees. These groups are known as Sponsorship Agreement Holders.Sponsorship Agreement Holders can sponsor refugees themselves, or work with others in the community to do so.

Other sponsors, known as Groups of Five and Community Sponsors, are people or groups in the community who have come together to sponsor refugee(s). They do not generally sponsor refu-gees on an ongoing basis.

The Blended Visa Office-Referred (BVOR) Program matches refugees identified by the UNHCR with private sponsors in Canada.

Under our laws, we must carefully screen all resettlement cases. This makes sure that there are no issues related to security, criminality, or health. We work with our security partners to com-plete this work as quickly as possible.

In-Canada Asylum Program

The asylum program works to provide refugee protection to people in Canada who:• have a well-founded fear of persecution or• are at risk of torture, or cruel or unusual punishment in their home countriesNot everyone is eligible to seek asylum. For example, people are not eligible to make a claim if they have:• been convicted of serious criminal offences or• had previous refugee claims denied by Canada.

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social assistance rates in each province and territory help guide the amount of money refugees get for shelter, food and other things.

The Resettlement Assistance Program also provides these services during the first four to six weeks after clients get to Canada:

• welcoming them at the airport or other port of entry• helping to find a temporary place to live• helping to find a permanent place to live• assessing their needs• information and help getting to know Canada, and• referrals to other federal and provincial programs, and to other settlement services.

Private sponsors must provide financial and emotional support to any refugees they sponsor:

• for the length of the sponsorship period, or• until the refugee can support themselves, if this happens during that period

The sponsor’s support includes help with housing, clothing and food. Most sponsorships last for one year, but some refugees may be able to get help from their sponsors for up to three years.

Blended visa office-referred refugees get six months of Resettlement Assistance Program in-come support. Private sponsors give up to six months of financial support and up to a year of social and emotional support.

Integration Services

Refugees often need help to settle. This is true whether they are resettled from overseas or granted protection in Canada. The Government of Canada works with many partners and stake-holders to provide many types settlement services. These services help refugees adjust to life in Canada.

Help For Resettled Refugees

Under the Resettlement Assistance Program, the Government of Canada or Province of Quebec helps government-assisted refugees with essential services and income support once they are in Canada. This helps them to settle. The refugee gets this income support for up to one year or until they can support themselves, whichever comes first. Canada provides Reset-tlement Assistance Program income support to eligible clients who cannot pay for their own basic

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SHelp For All Newcomers, Including Refugees

We also fund a settlement program that helps newcomers settle and adapt to life in Canada. To deliver these services, we work with:

• provinces and territories• service provider organizations, and• other partners and stakeholders.

These services include helping newcomers:

• know their settlement needs and link them to services in their community• better understand life in Canada and make informed decisions (this includes the Canadian Orientation Abroad program, which is provided overseas and gives general information about life in Canada)• get language training in English and French, so they have the skills to live in Canada• search for and find jobs• build community networks with long-time Canadians and established immigrants, and• access support services which help with: o childcare o using transportation o finding translation and interpretation services o finding resources for people with disabilities, and o accessing short-term/crisis counselling if needed.

Access to settlement services continues until individuals become Canadian citizens.

Source: https://www.canada.ca/en/immigration-refugees-citizenship/services/refugees/canada-role.html

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For seven years, conflict has devastated Syria. Now the Syrian refugee crisis is recognized in-ternationally, as the largest refugee crisis of our time. The Syrian civil war has set Syria’s nation-al standard of living back by decades – destroying health care systems, schools and water and sanitation facilities. Hundreds of thousands of people have died, 5.1 million Syrians have fled the country as refu-gees and another 6.3 million Syrians are displaced within the country. Half of those affected are innocent children. These Syrian children have witnessed atrocious forms of violence – and are the most affected by this war.

History of The Syrian Refugee Crisis

2010 — Syria is a modern society built on the cradle of civilization.• Syria’s rich cultural history dates back more than 8,000 years. It is an economically fast-growing lower-middle-income country, according to the World Bank. Agriculture, industry, tourism, and oil are economic mainstays. Healthcare and primary and secondary education are free. (Find out how the war has damaged Syria’s social and economic systems.) President Bashar al Assad had succeeded his father as ruler.

2011 — The Syrian civil war begins.• March: Peaceful protests in southern cities are met with violent crackdowns by Syrian security forces. Hopes of Arab Spring reforms are dashed by armed repression. Opposition groups organize but can’t seem to unite. International sanctions and other attempts to pressure the government to moderate are futile; its actions are met with defiance.

2012 — Syrians flee bombing and repression.• Lebanon becomes a major destination for Syrian refugees. Many still hope they’ll return home soon.• Za’atari refugee camp opens in Jordan near the Syrian border. Though designed as a temporary settlement, it became home to tens of thousands of Syrian refugees who have stayed for years.• August: Syria has committed war crimes, according to the U.N. Human Rights Council.

2013 — Conflict increases as other countries join the fight.

• March: Syrian refugees total 1 million.• April: Chemical attacks are confirmed. President Assad is accused of the attacks.• September: Syrian refugees total 2 million.

2014 — Humanitarian needs increase, but access to people in need becomes more difficult for aid groups.

• April: Azraq camp opens in Jordan; 1 million refugees are now in Lebanon, estimated to be one-quarter of the country’s population. The large number of refugees puts a severe strain on the nation’s social systems.• June: ISIL declares a caliphate in Syria and Iraq’s occupied territory. Syrian refugees number 3 million in countries neighboring Syria; 100,000 people have reached Europe.

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2015 — Europe feels the pressure of Syrian refugees and migrants.• Hungary erects a border wall, then closes their border with Serbia to stop refugees from entering Europe.• The World Food Program cuts rations to refugees in Lebanon and Jordan due to a funding shortfall.• September: The photo of 2-year-old Alan Kurdi (initially reported as Aylan Kurdi) shocks the world. “That could have been me,” Dr. Vinh Chung told CNN’s Carol Costello of Alan Kurdi. “The body of the lifeless toddler, face down, washed up on the beach is really chilling to me — because that could have been me.”• Thousands of refugees arrive daily in Greece; 1 million refugees reach Europe during 2015.

2016 — Syria is devastated by years of war.• February: U.S. and Russian delegates negotiate a temporary cessation of hostilities, sanctioned by the U.N., to send aid to hard-to-reach populations in Syria.• June: Tens of thousands of Syrian refugees are trapped in no-man’s-land when Jordan closes the border after a car bombing; about 55,000 remain there in 2018.• December: Civilians are caught in the crossfire as Syrian government retakes Aleppo from rebels. A ceasefire to free them fails.

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2017 — Syrians seek safety, stability.• March: More than 5 million people have fled conflict in Syria.• April: 58 people are killed in suspected nerve gas attack.• July: A ceasefire is brokered at the G20 meeting for southwest Syria. Clashes are ongoing in Dara, ar Raqqa, Homs, and Hama governorates and Deir Ezzor city. More than 900,000 Syrians have been displaced this year.

2018 — Humanitarian aid is limited as the conflict continues.• Fighting continues, despite international agreements for de-escalation.• Humanitarian access is limited because of insecurity, and 2.9 million people remain in hard-to-reach areas where aid is not supplied on a regular basis.• March 15: Syria enters the eighth year of the Syrian civil war.

Source: https://www.worldvision.org/refugees-news-stories/syrian-refugee-crisis-facts

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Refugees receive limited, if any, social assistance from government authorities. Refugee claim-ants and refugees recognized by the Immigration and Refugee Board receive no special income assistance. They may, depending on provincial regulations, be entitled to social assistance like other residents.

Privately sponsored refugees are not entitled to government assistance (including provincial assistance) during the period of their sponsorship (usually for one year after arrival in Canada). Their income support must be provided by their sponsors – volunteer community groups.

Government assisted refugees have access to financial assistance from the federal government through the Resettlement Assistance Program (RAP). This financial assistance is generally for one year maximum and is received only if they do not have their own financial resources or income. The exact rate depends on the size of the family and is tied to social assistance rates. In Ontario, for example, a single person receives $781 per month. In addition, government- assisted refugees are entitled to a one-time set up allowance, to cover such things as clothes, basic household effects and staples, and telephone installation. For a single person there is a maximum one-time allowance of $905, plus a $564 loan for house rental and telephone line deposits.

Most resettled refugees arrive in Canada with a significant debt burden, since they are expected to repay the Canadian government for their transportation to Canada as well as the cost of their medical examination before coming to Canada. This means refugee families often begin life in Canada with a debt of thousands of dollars. Interest is charged on this loan at a rate set by the Department of Finance each year.

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Dr. Silvia D’Addario and York University students have set the facts straight on government support for refugee

claimants

Source: http://ccrweb.ca/en/myths-facts

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THEATRE GLOSSARY

ACT – to perform or play a role, or a section of a play that is often subdivided into scenes

ACTOR/ACTRESS – a person who performs a role in a play

BACKSTAGE - the areas that surround the stage that the audience cannot see

BLACKOUT - a lighting term in which the stage is in complete darkness

BLOCKING - the pattern actors follow in moving onstage, usually determined by the director

BOX OFFICE - where ticket sales are handled

CAST - to choose the actors to play roles in a play, or the group of actors who perform the roles in a play

CHARACTER - a role played by an actor

CHOREOGRAPHER - an artist who designs dances for the stage

CLIMAX - the turning point or decisive moment in a plot

CONFLICT - struggle between opposing ideas, interests or forces; conflict can be internal (within one character) or external (between two or more characters)

COSTUME - any clothing an actor wears onstage

COSTUME DESIGNER - in accordance to the vision of the director, he/she designs costumes to build, rent, borrow, or buy for a production

CREW - the backstage team responsible for the technical aspects, such as lighting, sound and set/prop movement

CUE - a signal for an actor to begin their next line/speech

CURTAIN CALL - when the actors acknowledge applause and bow at the end of the performance

DIALOGUE - the lines of the play spoken by the actors while in character

DIRECTOR - the person who oversees the entire production; she/he chooses the play, runs rehearsals and develops the artistic vision for the play

DRAMATIC CONFLICT - the conflict in which the main character in a play engages; can be person vs. person, person vs. society, person vs. self, or person vs. nature/fate

EXPOSITION - the beginning of the plot that provides important background information

FOURTH WALL - an imaginary wall between the audience and actors in a play

GREEN ROOM – lounge area for actors when they are not needed onstage

HOUSE - the auditorium or seating of a theatreImprovise - to speak or to act without a script

LIGHTING DESIGNER - the person who develops and plots a lighting concept and design for a production

MONOLOGUE - a story, speech, or scene performed by one actor alone

MOTIVATION - a character’s reason for doing/saying things Musical Theatre - theatre that combines music, songs, spoken dialogue and dance

OBJECTIVE - a character’s goal or intension

OBSTACLE - something that stands between a character and his/her ability to meet an objective

PANTOMIME - to act without words through facial expression and gesture

PLAYWRIGHT - a person who writes plays

PLOT - the sequence of events; the structure of a play

PRODUCER - the person or company who oversees the business details of a theatrical production

PROPERTY/PROP - anything that an actor handles onstage; furniture and other items used to enhance the set

PROTAGONIST - the main character of the play, who the audience identifies with the most

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REHEARSAL - The time during which performers develop their characters and learn lines and blocking

ROLE - A character in a play that is written by the playwright

SCENE - The basic structural element of a play; each scene deals with a significant crisis or confrontation

SCENERY - Onstage decoration to help establish the time and place of a play

SCRIPT - The text of a play

SET - The onstage physical space and its structures in which the actors perform

SET DESIGNER - The person who develops the design and concept of the set

STAGE MANAGER - The director’s technical liaison backstage during rehearsals and performances, responsible for the smooth running of a performance

STRIKE - To remove something from the stage; or to take down the set

TABLEAU - A silent and motionless depiction of a scene; a frozen picture

THEATRE - The imitation/representation of life, performed for other people; or the place that is the setting for dramatic performances

THEME - Underlying meaning of a literary work

TRAGEDY - A play that ends in defeat or death of the main character

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ONTARIO CURRICULUM CONNECTIONS

The following lesson plans and activities are intended to be used as preparation for and/or follow-up of the performance. It is our hope that the materials will provide students with a better understanding and appreciation of the production.Teachers may use and adapt the lesson plans as required to suit their classroom needs. Please note that many lesson plans are cross-disciplinary and are based on the Ontario Curriculum.

This Study Guide fulfills the Ontario Ministry of Education’s Curriculum Expectations in the following categories:

The Arts Curriculum:

A. Creating and Presenting or Creating and Performing or Creating, Presenting and PerformingB. Reflecting, Responding and AnalyzingC. FoundationsD. Exploring Forms and Cultural Contexts

The English Curriculum:

A. Oral CommunicationB. WritingC. Media StudiesD. Reading and Literature Studies

The Social Sciences and Humanities Curriculum:

A. Foundations B. Research and Inquiry SkillsC. Equity, Social Justice and ChangeD. Personal and Social Responsibilities E. Self and Others The Canadian and World Studies Curriculum:

A. History - Communities: Local, National and Global - Historical Inquiry and Skill DevelopmentB. Geography - Geographic Inquiry and Skill Development - Changing Populations

Did You Know?...The international law recognizes that sometimes the only way for a refugee to escape is to break national laws – by using a fake passport or by using a smuggler. The law that protects refugees says that countries should not punish refugees who arrive unlawfully, as long as they present themselves promptly to authorities and give good reasons for their illegal entry. Source: https://www.amnesty.ca/blog/14-facts-about-refugees

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PRE-SHOW ACTIVITIES AND DISCUSSION

It is important for all students to know what to expect when they arrive at the theatre. Preparing students for a live performance through discussions and activities enhances their overall experience and creates a more focused audience. Encouraging students to pay attention to certain aspects of the production and/or posing one or two specific questions to the class further enhances their experience, as they are actively listening and watching. As well, pre-show discussion provides teachers with an understanding of their students’ prior knowledge on the themes/subjects, thus allowing lesson plans to be tailored accordingly.

ATTENDING THE THEATRE

1. Please review the Theatre Etiquette guidelines with your class (page 4). 2. How is live theatre different than a movie? How is the role of the audience different?3. Why attend live theatre? What is the value of attending?4. Discuss the elements that go into producing a live performance: casting, directing, rehearsals, designing (lights, sets, props, costumes), etc. Ask students to guess how many different administrative, managerial, technical, backstage, on-stage, and volunteer positions are required to put on a production (keep in mind the size of the theatre and the scale of the show). What do they think these various positions entail? In small groups, compare your definitions and discuss how each position contributes to the success of the production. After attending the performance, compare their guesses to what they observed at the theatre and/or from the information provided in the show program. 5. `Ask students to pay attention to the following during the performance: a. Staging/blocking: how the actors move on stage, where they move to and from, etc. b.Costumes: colours, styles, what they say about the characters, costume changes, how they work with the set, the props and the lighting, etc. c. Lighting: lighting cues, colours, spotlights, special effects, etc. d.Music/sound effects: songs, background music, sound cues, etc. 6. If your group is attending the Talk-Back session after the performance, brainstorm possible topics as a class and ask each student to prepare one question to ask.

INTRODUCTION TO THE PLAY

1. Read the play’s synopsis on page 5 to students. Based on what they already know about the show, what do they think the play will be about? What do they expect the theme(s) and/or message(s) to be?2. What is collective creation?3. As a class, discuss and define the following terms: refugee, immigrant, immigration. How are these terms similar and how do they differ from one another?4. How do you feel about newcomers to Canada? Can you think of any positives to allowing more people into Canada? How about negatives?5. How many students know newcomers to Thunder Bay?

DURING THE SHOW AND INTERMISSION

1. Have students examine the artwork located in the lounge. How does this artwork reflect the production? Does it help establish the tone for the show? If so, how? If not, why not?2. Read the program. Ask students what, if anything, they would change if they were the designer. What would they add?3. Throughout your visit to the theatre, encourage students to take note of the various people working. Who is responsible for different tasks? How do they work together to produce a show?

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POST-SHOW ACTIVITIES AND DISCUSSION

While watching a live performance, audiences are engaged physically, emotionally and intellectually. After the performance, discussions and activities allow students to ask questions, express their emotions and reactions and further explore the experience. The questions and activities below are listed by topic and can be utilized in many different courses. Please review the entire list and adapt questions and activities to fit your classroom needs.

STUDENT’S REACTIONS

1. What was your overall reaction to the performance? Explain.2. What did you like best about the play? What did you dislike?3. Are you satisfied with the way the story was told? Explain.4. What, if anything, would you have done differently if you were the director of the play? An actor? The set designer? The costume designer? The lighting designer? The playwright?5. Would you recommend this show to your friends and/or family? Why or why not?6. What can you learn from these characters? Did watching the play offer any insight into your own life?

ACTORS & CHARACTERS

1. Make a list of the details of the main characters in the play. How did you learn this information – from dialogue, interaction with other characters, costumes?2. Did the characters change or grow during the play? Identify specific moments of change.3. How does their age, status, gender, religion, ethnicity affect each character?4. How did the actors use their voices and bodies to portray the characters? Were the actors successful or unsuccessful at doing so? Justify your answer using specific examples from the production.5. Create a physical description of one of the characters from the play including weight, height, body type, hair colour, etc. Share and compare descriptions with those of their classmates. 6. Do you think the characters were well cast? Justify your answer.7. An actor’s main job is to pretend to be someone else. For this to be believable for the audience, an actor must know as much as possible about his or her character, from the way they feel about others to their favorite drink. Sometimes this information can be found with research about the history and culture of the time a character lived in, but sometimes the information must be created from what the actor believes about his or her character. Assign each student a character from the play you saw or from a book you’ve all read. Have each student create their character by researching and inventing everything needed to portray someone. When their research is complete, have the students become their character for the class. The student should be able to answer questions from others (as the character) about his or her life and provide solid evidence as to why this was chosen.

DESIGN – COSTUMES, LIGHTING AND SETTING

1. Describe the use of colour, staging, lighting, costumes and/or other elements used within the production and how it worked (or failed to work) with the play content.2. Did each character’s costumes seem appropriate for his/her character (personality, social status, age, occupation, etc.)? Why or why not?3. A realistic setting tries to recreate a specific location. It generally consists of a painted backdrop, flats and furniture or freestanding set pieces. An abstract set, on the other hand, does not depict any specific time or place. Rather, it typically consists of platforms, steps, drapes, panels, ramps and/or other nonspecific elements and is used in productions where location changes frequently and/or quickly. Is this set realistic or abstract? How was the set used during the show?4. Create a sketch or series of sketches depicting an alternate set or costumes for one, or all, of the actors.

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DRAMATIC ARTS

1. Blocking is a theatre term which refers to the precise movement and positioning of actors on a stage to facilitate the performance. In contemporary theatre, the director usually determines blocking during rehearsal, telling actors where they should move for the proper dramatic effect and to ensure sight lines for the audience. Describe the blocking used in the production. Were there any moments when you felt that such movement was particularly effective or ineffective? Describe them.2. A tableau is a theatrical technique that requires participants to freeze their bodies in poses that capture a moment in time. Divide into groups of at least four and ask each group to create a tableau depicting the most memorable part of the play. Encourage them to explore levels (high, low, depth, etc.)3. Name one defining trait of each character in the play. How did the actors portray these characteristics?4. What do you think that a director looks for when casting a play (e.g. physical appearance, captures the essence of the character, etc.)? What would you look for if you were casting MIGRATION PATHS?5. Theatre is an interesting artistic medium because it employs other artistic skills in its creation. Ask the class to think about MIGRATION PATHS What other art forms did they notice? What importance did they have in the play? How might the play have been different if these were not present?6. Discuss dramaturgy with the class. Using MIGRATION PATHS, have students create an outline of the research materials they would need if they were the dramaturg for this production. What research materials would you need to provide the actors and director? What images, photos, video or audio research would be helpful? Assign each student a different research area on which to find information for this play. Together, compile a file of information the class would present to their cast.

ENGLISH & LANGUAGE ARTS

1. Write a review of the play. Consider the purpose of your review – is it to encourage others to see the play or to warn them about some aspect they may not like? Optionally, send the review to Magnus Theatre by emailing education@magnus.on.ca2. What do you think the topic, purpose and intended audience for MIGRATION PATHS is? Why? Think-pair- share with a partner to discuss.3. MIGRATION PATHS was written by local teenagers. Was this apparent when you saw the play? Why or why not?4. Why do you think that the characters in MIGRATION PATHS were left unnamed (e.g. The Mother, The Elder, The Child)? 4. Every play, like every person, has a story to tell. Many plays focus on events the playwright has experienced in his or her own life. Discuss with the class the elements of a good story (e.g. creates an emotional response, the main characters learn or grow, a clear theme is present, the setting is well- chosen… etc.) Ask each student to think of an event they have experience that would make a good story. Have the students write their story making sure to include all of the necessary elements.5. What changes would you make to the MIGRATION PATHS script if you were one of the writers?6. In every play characters have back-stories known only in the playwright’s mind. Instruct the students to choose one character from the play and imagine what their life was like before the time of the play. Have each student imagine that they came across their character’s diary from 5, 10, or 20 years before the time the action takes place. Assign each student to write several passages from their character’s diary revealing events which may have influenced the way this character evolved.7. After seeing the play, discuss what they think will happen in either The Mother’s, The Elder’s or The Child’s futures. Assign the students to write a scene or short story which furthers the plot of the play. 8. Do you think that Canada has a duty to accept refugees? Debate as a class.

SOCIAL SCIENCES AND HUMANITIES

1. Using any of the characters in the play, explain how clothing was selected to suit a character’s personality traits or to project a desired image.2. One common misconception is that immigrants are a drain on our system and add no value to society. Take a look at our community: what examples can you find of immigrants bringing positive change?3. Why are some people who worked as engineers, lawyers, or doctors in other countries driving taxis or cleaning houses or offices in Canada? 4. How might being separated from your family for an extended period of time affect your life?

5. What unique challenges face immigrant communities in Canada?

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6. What stereotypes exist in Canada about other countries?7. What are the main ethnocultural groups in Thunder Bay? What effect do current events in their country or countries of origin have on our community?8. Why are individuals from certain racial, cultural, or national groups frequently asked when they came to Canada? Have you ever been asked that question? How did that make you feel? (For reference, remember that people did not understand Ola’s hijab. What might she have been asked?)9. How can you help a newcomer to feel welcome in our community?

CANADIAN AND WORLD STUDIES

1. Research which countries are accepting the most refugees per capita and plot it on a world map. Where does Canada rank?2. Why do immigrants or refugees settle in a particular location? Why might they choose Thunder Bay?3. Map the busiest Syrian migration routes.4. What support may newcomers need to settle comfortably into a community (e.g., assistance with jobs and housing, language training)?5. What are the costs and benefits, for refugees and for Canada, of admitting refugees?6. What criteria should be considered to determine the number of refugees Canada accepts?7. Which provinces accept the highest number of refugees? What about the highest number of immigrants? Show on a map.8. Research: what process must a refugee undergo to be accepted into Canada? How does it differ from an immigrant’s application process?9. In what ways can a community’s ethnic and cultural composition influence the way it looks and the way it functions?

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LESSON PLAN: REFUGEE STORIES: MAPPING A CRISIS

SUBJECT: English, Social Sciences, Geography

GRADE: 9+

OBJECTIVE:

- Examine one refugee’s story and use it to map his or her experiences.

MATERIALS NEEDED:

• Coloured pencils or markers• KEY TERMS at https://www.choices.edu/wp-content/uploads/2016/09/choices-twtn-refu gee-KeyTerms2017.pdf• MAPPING ONE REFUGEE’S STORY at https://www.choices.edu/wp-content/up loads/2017/08/choices-twtn-refugees-mapping-refugee-journey.pdf• REFUGEE STORIES at https://www.choices.edu/wp-content/uploads/2017/08/choic es-twtn-refugees-refugee-stories.pdf

INTRODUCTION:

Note: Teaching about the global refugee crisis may require special sensitivity. The activity might

be especially intense for students with a personal connection to the issue. Teachers should

help promote careful consideration of the topic and work to make their classrooms a safe place

for all students.

Write the question “What might force you (and your family) to abandon your home and leave your country?” on the board. After students have considered the question individually, ask stu-dents if they’ve heard about the recent refugee crisis in the news. What is a refugee? What are some reasons that refugees leave their homes?

Distribute Key Terms, and review each term with the class. Make sure that students understand the difference between a refugee, an internally displaced person, and a migrant. Review what it means for a person to apply for asylum. You may wish to show the following Choices Video to help introduce the terms:

PROCEDURE:

1. Explain to students that in order to learn more about the current refugee crisis, they will read the account of one refugee and then map his or her journey. Break the class into small groups or pairs. Assign one refugee story per group, and give each student their own copy of Mapping One Refugee’s Journey and Refugee Stories. (You may wish to only give each group a copy of the story that they will map instead of the entire packet of stories. You could also have students view the stories on the UNHCR website, which includes photos and videos of some of the refugees.) Depending on class size, you may choose to use all of the stories listed below in this exercise, or you may prefer to select only a few.are vital parts of a healthy relationship.

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creativity to illustrate aspects of their refugee’s journey that they think are important. This could include drawing a picture, using an image, or adding text to the map. Students may face space constraints on the maps for Shahad and Ahmet and should be encouraged to use their space creatively, drawing “out of bounds” over different parts of the map if they wish.

CONCLUSION:

Ask groups to briefly summarize each refugee story for their classmates. You may also wish to have each group present its map to the class.

What did students learn about each refugee? What were some of the reasons people gave for leaving their countries of origin? After hearing a few answers to these questions, ask students if any of the refugees’ stories had similarities. How did experiences differ? Were students surprised by anything that they read? What challenges did the refugees face during their journeys, and how did they respond? Who or what organizations or governments have they turned to for aid? Is there anything else that the students would like to know about the refugees they read about? About other refugees?

Who do students think should be responsible for helping refugees? What do students think that people, organizations, and governments should do? What role do students think that the United States should play? Did hearing refugees’ stories shape students’ opinions about the refugee crisis? If so, how?

ASSESSMENT AND EVALUATION:

- Participation - Finished maps

EXTENSIONS:

- Have students research the country of origin or the host country from one of the refugee’s stories, directing them to the resources below. Ask students to find information about the coun-try’s government, economy, and social policies and programs.

Note: Be sure to preview the sources to make sure they are appropriate for your classroom.

2. Ask students to follow the instructions on the handouts—they should begin by reading the story. Review any vocabulary that students have identified as challenging. Have students fill out the organizer and then complete the map exercise. Tell students that they will be sharing their stories and maps with the class. The map exercise designates specific tasks, but also asks students to use

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LESSON PLAN: COMMUNITY SUPPORT FOR SYRIAN REFUGEES

SUBJECT: English, Social Sciences

GRADE: 6+

OBJECTIVE:

- Students will be able to analyze how a journalist balances the use of narratives and facts to tell a story that supports Syrian refugees.

MATERIALS NEEDED:

- Paper- Writing utensil - Access to the article at https://www.washingtonpost.com/lifestyle/magazine/while-other- countries-turn-syrian-refugees-away-canadians-are-taking-them-home/2016/05/04/ e912371a-01dd-11e6-9203-7b8670959b88_story.html?noredirect=on&utm_term=. abb76ebcd71a

INTRODUCTION:

1. What would it take for you to leave your home? Brainstorm a list of reasons that you would permanently leave your home, even with just a day’s notice.2. According to the United Nations High Commissioner for Refugees, nearly five million people from Syria have fled their homes and registered as refugees in other countries. On your own, or with a partner, make a list of what you know about why this is happening. 3. If you had to leave Canada, where would you want to go? Why? Make a list of five coun tries you would choose to go. For an extra challenge, try selecting five countries where you don’t speak the language.4. Imagine that you were only able to travel with one suitcase. Make a list of things you would take with you. Then, make a list of things you would need when you arrive.5. Reflect/Discuss: Upon arrival in your new country, how would you get the things that you need? Where would you go for help?

PROCEDURE:

1. Read the following from the introduction to Robin Shulman’s article “While Other Coun tries Turn Syrian Refugees Away, Canadians Are Taking Them Home” and answer the questions attached.

Adapted from: http://www.choices.edu/teaching-news-lesson/refugee-stories-mapping-crisis/

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“The snow looks beautiful to Amir, a clean white sheet over a dirty world. Every footstep makes a fresh imprint. It’s how he feels about all of life in Canada. “I feel reborn,” he has been saying since he landed in Toronto 10 days ago. Of course, there are details to figure out. No one in the family speaks English. They have no jobs. And they know almost no one. But they do have a network of people poised to help. A group of strangers brought them to Canada, using a private sponsorship process that has become a global model and that some refugee advocates in the United States want to replicate. The program places the power of selecting, financing and resettling refugees in the hands of regular citizens, as long as the refu-gees clear Canadian government security, background and health checks.

So as Amir and Raghda navigate this new landscape, they are not alone. Amir was able to access Google Maps because his sponsor Ali Khan had set him up with a new phone and data plan. Sponsor Ashley Hilkewich had taken a day off work to take them to an English assess-ment, and another sponsor had registered the girls in school. For one year, Amir, Raghda and the girls have the support of about 20 Canadian volunteers and 80 donors.”

2. Now read the full article attached and answer the accompanying questions. (To see the photos from the article, review the second resource attached) As you read, continue to take notes responding to the following questions:

• How does Shulman balance facts and narratives? • What were the most impactful moments in the story? How did Shulman set up those moments, and how do you think she decided where to place those moments in the story?• What is the arc of the story? Why do you think the story ends the way it does? CONCLUSION:

With a partner, or as a class, discuss how Shulman structured the piece. Use the following questions to guide your discussion:

- What moments stood out to you from the article? Why?- How do you think Shulman chose how she began and ended the article?- What do you think are the most important facts and narratives from the piece? What were the most important moments?- What questions do you still have after reading the article?

ASSESMENT AND EVALUATION:

- Participation- Notes

EXTENSIONS:

Research to find out if your city offers programs supporting refugees from around the world. What is the structure of those programs? How do they compare to the program described in the article?

Adapted from: http://pulitzercenter.org/builder/lesson/lesson-plan-community-support-syrian-refugees-18043

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REFERENCES AND RESOURCES

COLLECTIVE CREATION

What is Collective Creation?

https://prezi.com/6vojhspsbxno/what-is-collective-creation/

DOCUMENTARY THEATRE

Documentary Theatre

https://prezi.com/qppg24fmivko/documentary-theatre/

Opposed Strategies of Documentary Theatre

http://www.doubledialogues.com/article/in-and-out-of-tune-with-reality-opposed-strategies-of-documentary-theatre/

SYRIAN REFUGEES

Syrian Refugee Crisis: Quick Facts

https://www.mercycorps.org/articles/iraq-jordan-lebanon-syria-turkey/quick-facts-what-you-need-know-about-syria-crisis

Syrian Refugees

http://syrianrefugees.eu/

Syria: What Students Need to Know

https://blog.ed.ted.com/2017/04/13/syria-what-students-need-to-know/

World Refugee Day: Stories

https://www.canada.ca/en/immigration-refugees-citizenship/campaigns/world-refugee-day/sto-ries.html