POPEJOY SCHOOLTIME SERIES TEACHING GUIDE GRADES 2 - 12

D C EE TM H SR A RA CMariachi Christmas

Dreamcatchers Teaching Guides align with the National Standards and the New Mexico State Standards.

ENGLISH & SPANISH EDITION

Mariachi Christmas WED | DEC 18 | 2019 TEACHING GUIDE DREAMCATCHERS 2

Mariachi is more than just a style of music. It emerged out of a

cultural revolution in Mexico and has come to represent the essence

of Mexican heritage. Mariachi music

is composed of sharply contrasting

sounds; the sweet sounds of

the violins stand out against the

brilliance of the trumpets,

and the deep strum of the

guitarron. Mariachi’s rich and

layered melodies reflect the colorful

soul of Mexico. During the Schooltime

Mariachi Christmas performance, students

are invited to sing along, clap, and have

fun with the artists. However, during

solos, we ask that the audience

wait to join in until the rest of

the performers begin singing

again. We recognize that

not all students celebrate

Christmas. We see the

show as a cultural

performance based on

the traditions of Mexico

during the Christmas season. Our lessons

in this teaching guide reflect the theme

of the show. We encourage discussions

about the diversity of family traditions

from home to home and culture to culture, particularly during this

festive season.

Synopsis‘‘Standards

Addressed By Attending the Performance

NMCAS

TH:Re9.1

CCSSELA-Literacy.CCRA.SL.2

WRSLL (The 5 Cs)Communication 1.2

Cultures 2.1

Connections 3.1, 3.2

Comparisons 4.2

Communities 5.1, 5.2

Curriculum Connections

Performing & Visual Arts/Theatre, Music, Dance; Social

Studies/World Cultures, Cultural Enrichment, History

and Geography; Spanish Language Arts

The truest expression of a people is in its dances and its music. Bodies never lie.”

– AGNES DE MILLE

Performed by Mariachi Azalea

& Ballet Folklórico University of Texas Río Grande Valley

Produced by Noberta Frésquez and Fiestas Unlimited

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Vocabulary Sharing this vocabulary with your students will enhance their experience of the performance. Encourage them to watch for examples of these elements of music and dance during the performance!

bolero—(boh-LEH-ro) moderate dance/popular song type in 4/4 time

corrido—(coh-REE-doh) a ballad that usually includes facts about historical events

ensemble—(ON-sahm-bel) a small musical group of voices and/or instruments

guitarrón—(ghee-tah-ROHN) large, portable acoustic bass instrument and member of the guitar family, with a V-shaped back, short neck, and six strings

machismo—(mah-CHEES-mo) strong, exaggerated pride in being male

mestizo—(mehs-TEE-soh) the mixture of Hispanic, Indian, and African cultural and musical elements in the new world

polka—(POH-kuh) a lively dance originally from Eastern Europe

ranchera—(rahn-CHEH-rah) a popular song type, with texts dealing with emotions such as love, or nostalgia for the land or people

son—(sohn) a lively instrumental/vocal/dance piece, characterized by the alteration of fast and slow rhythms

sone—(SOH-nay) the Spanish word for “sound”

vihuela—(vee-HWAY-la) a small member of the guitar family, with five strings, a V-shaped back, and short neck; it produces a high sound

waltz—a slow or moderate dance originally from Western Europe

Interesting Facts• Mariachi songs speak about machismo, love, betrayal, death, politics, revolutionary heroes, and even animals.

• Mariachi music was first passed down aurally, meaning that the songs were not written down but taught and learned by ear.

• Originally, mariachi singers and musicians most often found employment at haciendas, where they would earn

more than the average laborer. After the revolution, this way of life ended and they began to wander from town to town, singing songs of revolutionary heroes and enemies, and carrying news from one place to another.

• Son was a popular style of music in early Mexico. It is a mixture of folk traditions from Spain, Mexico, and Africa. “La Negra” is a well-known song in this style.

• Dancers in mariachi performances often rhythmically stomp their heels through a series of gliding or shuffling footwork. Dancing pairs also sometimes perform waltzes, polkas, and schottisches on stage.

• Mariachis often help celebrate the greatest moments in people’s lives including birth, to courting and marriage, to funerals.

• Mariachi music has been incorporated into the Roman Catholic Church’s most sacred ritual, Mass. The “Misa Panamericana” is a Mariachi folk mass, sung in Spanish.

• With the advent of radio and television, mariachi popularity continued to grow. Due to the success of jazz and Cuban music, the trumpet was incorporated into mariachi music, sometimes upstaging the violins. The traditional harp was dropped from the ensemble.

• The history of the charro suit can be traced back to the peasants of Salamanca and Andalucía, Spain. Today, mariachis of both sexes wear the traje de charro (traditional Mariachi costume) to perform, though women can choose a skirt made into a similar style to the tight charro pants.

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VocabularioComparta este vocabulario con sus estudiantes para destacar la experiencia del espectáculo. ¡Anímelos a buscar ejemplos de estos elementos de música y baile durante el espectáculo!

bolero – composicion musical española, cantable y bailable de compás ternario con ritmo moderado y movimientos majestuosos

conjunto – un pequeño grupo musical de voces y/o instrumentos

corrido – tipo de balada que usualmente incluye hechos de eventos historicos

guitarrón – un instrumento de bajo que es acústico, grande y portable que es miembro de la familia de guitarras y tiene una parte trasera en forma de V, un cuello corto y seis cuerdas

machismo – arrogancia fuerte y exagerada de los hombres

mestizo – la mezcla de elementos culturales y musicales de hispanos e indios en el nuevo mundo

polka – forma de baile originalmente de Europa Oriental

ranchera – tipo de cancion popular con letras sobre emociones como amor y nostalgia por un lugar o personas

son – una alegre pieza instrumental, vocal o de baile caracterizada por la alteracion de ritmos lentos y rápidos

sonido - sensacion percibida por el oído causada por la vibracion del aire o de otro medio

vihuela - instrumento musical cordofono cuya caja semeja al signo numérico ocho, parecido a la guitarra

vals – tipo de baile lento o moderado originalmente de Europa Occidental

Datos interesantes• Las canciones de mariachi hablan del machismo, amor, traicion, muerte, política, héroes revolucionarios y hasta animales.

• La música de mariachi originalmente fue pasada oralmente, o sea, que las canciones no fueron escritas, sino enseñadas y aprendidas por oído.

• Originalmente los cantantes y músicos de mariachi típicamente encontraron empleo en haciendas donde ganaban

más que el labrador. Después de la revolucion, esta forma de vida se termino y empezaron a deambular de pueblo en pueblo, cantando canciones de héroes y enemigos revolucionarios y llevando noticias de un lugar al otro.

• El son fue un estilo de música popular en el principio de México. Es una mezcla de tradiciones populares de España, México y África. “La negra” es una cancion muy conocida en este estilo.

• Bailarines en espectáculos de mariachis frecuentemente pisan fuertemente sus talones rítmicamente incorporando una serie de pasos deslizados y arrastrados. Las parejas bailando también interpretan valses, polkas y chotis en el escenario.

• A menudo, los mariachis ayudan a la gente a celebrar los momentos más grandes de sus vidas como nacimientos, bautizos, cortejos, matrimonios y

funerales.

• La música de mariachi ha sido incorporada en la Misa, el ritual más sagrado de la Iglesia Catolica Romana. Por ejemplo, la “Misa panamericana” es una liturgia del pueblo con música mariachi cantada en español.

• Con la llegada de la radio y television, la popularidad del mariachi siguio creciendo. Gracias al éxito de la música jazz y cubana, la trompeta fue incorporada a la música mariachi, a veces eclipsando el violín. Se usaba menos el arpa tradicional.

• La historia del traje charro se puede rastrear a los campesinos de Andalucía y Salamanca en España. Hoy en día los mariachis de ambos sexos llevan el traje charro, la ropa tradicional del mariachi, cuando tocan. Las mujeres pueden optar por llevar la falda que se parece en estilo a los pantalones charros.

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The Musical InstrumentsEach instrument in the mariachi ensemble serves a special function. The first violin provides the melody, and a second violin plays harmony. Trumpets add strength to the melody played by the violins. The guitars, vihuela, and guitarron provide the rhythm.

The vihuela is an instrument unique to mariachi music as it was originally created by the Coca Indians of Jalisco. The vihuela has a bowed and swollen V-shaped back and five strings. It looks like a small guitar slightly larger than a ukulele. Players strum a vihuela with a thumb pick producing a crisp,

clear sound that fades quickly.

The unique sound of

the vihuela is the rhythmic

and harmonic foundation of the

distinctive mariachi sound. The guitar is played

in collaboration with the vihuela, and is used to supplement the rhythm.

A guitarrón is another instrument unique to mariachi music and it forms the base foundation for the music and gives mariachi its special sound. The guitarrón looks like a large version of the vihuela and it also originated in Jalisco. It has six strings that are plucked in pairs to create a big, deep sound. The guitarrón is widely considered to be the single most essential instrument in mariachi music.

In mariachi music, the trumpet adds strength to the melody. However, in some instances, cup mutes are used to soften the sound of trumpets. Violins are often used to develop the total sound of mariachi music, and blend with the sound of other instruments. Sometimes, flutes, accordions, French horns, and even organs can be incorporated in a mariachi ensemble.

The Dance Son is a kind of traditional Mexican folk melody that varies by region. The lyrics of the son describe country life, including regional plants, animals, and country people. Each regional son has a distinct style of dance that accompanies it. Often, the dance tells the story of a farmyard courtship.

The dance technique most often associated with the son is the zapateado, a type of footwork that originated in Spain. Performers skillfully drive the heels of their shoes or boots into the dance floor, pounding out swift, syncopated rhythms, which complement the musical instruments.

A well-known zapateado dance is the huapango. In this dance, couples line up in opposite rows. The upper part of the body is held perfectly upright as the feet perform rapid, intricate, shuffling maneuvers. Today, the dance is sometimes performed with a glass of water on the dancers’ heads to show off their muscular control.

Another kind of folk dance is called the jarabe. Jarabes are a medley of different dance steps and tunes, including sones, danzas, jotas, and polkas. The most famous Mexican folk dance is in this category: the Jarabe Tapatío (the Mexican Hat Dance). Although it originated in the city of Guadalajara, in the state of Jalisco, it has become the national dance of Mexico.

vihuela

trumpet

guitarrón

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Los instrumentos musicalesCada instrumento en el conjunto mariachi sirve una funcion especial. El primer violín toca la melodía y el segundo toca la harmonía. Las trompetas añaden una fuerza a la melodía tocada por los violines. Las guitarras, vihuelas y guitarron tocan el ritmo.

La vihuela es un instrumento único a la música mariachi que fue creado originalmente por los indios coca de Jalisco. La vihuela tiene cinco cuerdas y una espalda inclinada e hinchada en forma de una V. Se parece a una guitarrita un poco más grande que un ukulele. Los músicos rasguean la vihuela con la uña de guitarra del pulgar produciendo un

sonido claro y marcado que se desvanece rápidamente.

El sonido único de la vihuela y su

ritmo y harmonía es la fundacion del

sonido distinto del mariachi. Se toca la

guitarra en conjunto con la vihuela para

suplementar el ritmo.

El guitarron es otro instrumento único a la música de mariachi y forma la base de la música y presta el sonido especial a la música de mariachi. El guitarron se parece como una version grande de la vihuela y también tiene su origen en Jalisco. Tiene seis cuerdas que se pueden puntear en pares para crear un sonido grande y profundo. Se considera el guitarron como el único instrumento más importante de la música de mariachi.

En la música de mariachi, la trompeta añade una fuerza a la melodía. Sin embargo, en algunas instancias, se usan sordinas para disminuir el sonido de la trompeta. Se usan violines para desarrollar el sonido total de la música de mariachi y combinarlo con el resto de los instrumentos. A veces se incorporan flautas, acordeones, cornos franceses y hasta el organo al conjunto de mariachi.

El baileEl son es una típica melodía tradicional que tiene variaciones según diferentes regiones de México. Las letras del son describen la vida campesina, como los pueblos, plantas y animales regionales. Cada son regional tiene su estilo de baile distinto que lo acompaña. A menudo, el baile dice la historia del noviazgo campesino.

La técnica del baile asociada frecuentemente con el son es zapateado, un tipo de juego de pies que origino en España. Los interpretes clavan con habilidad sus zapatos o botas a la pista de baile, golpeando ritmos veloces y sincopados que complementan los instrumentos musicales.

Uno de los zapateados mejor conocido es el huapango. En este baile, las parejas forman dos líneas opuestas uno al otro. Mantienen la parte superior del cuerpo perfectamente vertical mientras que los pies interpretan maniobras arrastradas, rápidas e intricadas. Hoy en día, se interpreta el baile a veces con un vaso de agua o una vela encima de la cabeza de los bailarines para demonstrar su control muscular.

Otro tipo de baile folclorico se llama el jarabe. Los jarabes son una combinacion de diferentes canciones y pasos de baile, incluso sones, danzas, jotas y polkas. El baile folclorico más famoso de México en esta categoría es el Jarabe tapatío, el baile del sombrero mexicano. Aunque origino en la Ciudad de Guadalajara, Estado de Jalisco, ha sido adoptado como el baile nacional de todo México.

vihuela

trompeta

guitarrón

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BY IVÁN LENOVY WIKIPEDIA.ORG

Mariachi Vargas de Tecalitlán circa 1950. This troupe is recognized as the oldest and most famous mariachi ensemble. They were founded by Gaspar Vargas in the late 1890s.

History of Mariachi MusicPrior to the arrival of the conquistador Hernán Cortes, Mexican music was an integral part of religious celebrations. Most music was played with rattles, drums, reed and clay flutes, and horns made from conch-shells. As Christianity spread, imported Spanish instruments like the violin, guitar, harp, brass horns, and woodwinds began to make appearances in traditional music. The Indian and mestizo musicians not only learned to play European instruments, but also to build their own, sometimes giving them shapes and tunings of their own invention.

Music and dance were important elements of Spanish theatrical productions, which were enormously popular throughout the Spanish-speaking world during the colonial period. The typical Spanish theatrical orchestra of the 16th, 17th, and 18th centuries was comprised of violins (usually two), a harp and guitars (or guitar variants). It was from this group that several of the most distinctive Mexican regional ensembles developed, including the mariachi.

The word ‘mariachi’ has Native roots. Another theory suggests that the name comes from the type of wood traditionally used to make the village platform on which mariachis would perform. One thing is clear: today the word ‘mariachi’ means one of the most enchanting musical styles in the world.

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BY IVÁN LENOVY WIKIPEDIA.ORG

Una fotografía con el Mariachi Vargas de Tecalitlán cerca del 1950. Esta tropa es reconocida como el conjunto de mariachi más viejo y famoso. Fue fundado por Gaspar Vargas a finales de la década de 1890.

Historia de la música de mariachiAntes de la llegada del conquistador español Hernán Cortés, la música mexicana era una parte integral a las celebraciones religiosas. La mayoría de la música se tocaba con cascabeles, tambores, flautas de barro y juncos, y cornos hecho de conchas. Con la difusion de la cristiandad, los instrumentos que fueron introducidos por los españoles, como el violín, guitarra, arpa y los instrumentos de viento de metal y viento de madera, fueron adoptados en la música tradicional. Los músicos indios y mestizos no solamente aprendieron como tocar instrumentos europeos, sino también como hacer sus propios, a veces modificando la forma y afinacion de sus propios inventos.

La música y danza eran importantes en las producciones españolas teatrales que fueron inmensamente populares a través de todo el mundo hispano durante la época colonial. La orquesta española típica de los siglos 16, 17 y 18 fue compuesta de violines, usualmente dos, un arpa, y unas guitarras o sus variantes. De esto, los conjuntos regionales de música más distintos de México se desarrollaron, incluso el mariachi.

No sé sabe exactamente el origen de la palabra “mariachi” pero quizá tiene raíces en una lengua indígena. Otra teoría es que la palabra viene de un tipo de leña que se usaba tradicionalmente para hacer las plataformas donde los mariachis realizaban sus espectáculos. Sin embargo, una cosa sí es clara: hoy en día la palabra “mariachi” significa un de los estilos de música más encantadores del mundo entero.

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ObjectivesUsing the lyrics and a recording of “Las Mañanitas” as an example, students will write their own rhyming pattern lyrics for a mariachi song specific to the imagery of a person, place or event.

Students will:

• create original lyrics in either English or Spanish inspired by mariachi music;

• create lyrics that reflect a specific occasion;

• follow a rhyme scheme.

Write aMariachi Song Lesson 1

Grades 6 - 12

CSSELA-Literacy.CCRA.R.4ELA-Literacy.CCRA.W.4ELA-Literacy.CCRA.SL.1ELA-Literacy.CCRA.L.3

NMCASMU:Cn10.0

NMSSS (Middle School)

Content Standard I: Benchmark 1-A, 1-D

Content Standard III: Benchmark 3-B

NMSSS (High School)Content Standard I: Benchmark 1-A, 1-D

Content Standard III: Benchmark 3-B

WRSLL (The 5 Cs)

Communication 1.2, 1.3 Cultures 2.1

Connections 3.1 Comparisons 4.1, 4.2

Communities 5.1

• Recording of “Las Mananitas”

• “Las Mananitas” lyric sheet in English and Spanish

• Pen

• Paper

Procedure 1. Review the history of mariachi music. Note that mariachi groups are most often seen playing at

important family celebrations (i.e. weddings, birthdays, or any other public festivities).

2. Distribute “Las Mañanitas” lyric sheet. Ask how many students are familiar with the song. If students

are familiar, ask them to cite occasions on which they have heard the song. Who was singing it? To

whom was it being sung? What was the occasion? If students have no familiarity with the song, explain

that the song is a traditional Mexican song performed for people on their birthdays.

3. Play the song for the students. Have them read along with the lyrics.

4. Explain that the students will be writing their own lyrics for a mariachi song. The song will be for a

special occasion: birthday, anniversary, wedding, funeral, farewell party, etc. Ask students to choose an

occasion for which to write and to think of the type of sentiment s/he wants to convey for the occasion.

5. It might be helpful if students think of a specific person to address in their song. Instruct them to

evoke imagery that would be meaningful, either to themselves or to the person for whom they are

writing.

6. Be sure to note the rhyme scheme of the song. It may be helpful to read the Spanish lyrics out loud

to identify the rhyme scheme used in “Las Mañanitas.” Students don’t have to repeat that exact rhyme

scheme, but should follow some sort of rhyming pattern in their lyrics.

7. When the lyrics to their songs are complete, have the students share them in class.

Extensions/Modifications

Assessment

• If students are fluent enough, have them write the songs in Spanish, or help them to translate their songs into Spanish once they are written.

• Set the songs to music. Identify which mariachi instruments would be featured prominently in the song.

• Younger students can do this assignment together as a group with teacher assistance.

• Students create lyrics that are: 1) specific to an occasion, 2) follow an identifiable rhyme scheme, and

3) make sense to others.

• Quality of participation

Materials

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Grades 6 - 12

CCSSELA-Literacy.CCRA.SL.1ELA-Literacy.CCRA.L.3

NMSSS (Elementary

School)Content Standard I:

Benchmark 1-A

Content Standard III: Benchmark 3-B

NMSSS (Middle School)

Content Standard I: Benchmark 1-A, 1-D

Content Standard III: Benchmark 3-B

WRSLL (The 5 Cs)

Communication 1.2 Cultures 2.1

Connections 3.1, 3.2 Comparisons 4.2 Communities 5.1

Objectives

Procedure 1. Discuss some of the Christmas traditions presented in the show Mariachi Christmas. What holiday

traditions were familiar to students? What holiday traditions were unfamiliar? Tell students that they will

be reading a story that features a New Mexican holiday tradition.

2. Read The Farolitos of Christmas by Rudolfo Anaya.

3. Discuss the story with students. What does the book say is the reason that Abuelo would light

luminarias on Christmas Eve? Why was he unable to do so? What is the difference between a luminaria

and farolito? You may bring up the fact that many people use the term luminaria to describe a farolito. Ask

the class if they believe these words can be used interchangeably.

4. Ask the students about their own Christmas traditions. Do any of their families put out farolitos? Do any

of them travel to see farolitos at select locations here in town or at some of the pueblos? What are their

family traditions for Christmas Eve?

5. Have the class make their own farolitos.

a.) Open the paper bags and put a handful of sand into each one (approx.1 cup).

b.) Place a candle in the bag. Try to center it as much as possible.

c.) Line one or more of the paths to the school with the farolitos. If your school has a winter holiday event, light the farolitos on the evening of that event.

This lesson includes reading The Farolitos of Christmas by Rudolfo Anaya, discussing Christmas traditions in New Mexico, learning the difference between luminarias and farolitos, and instruction on how to make farolitos and use them safely.

Students will:

• learn about the tradition of placing farolitos out on Christmas Eve;

• learn the difference between a luminaria and a farolito;

• assemble their own farolito.

Farolitos for ChristmasLesson 2

Extensions/Modifications

Assessment

• Hold a class fundraiser where you sell assembled farolitos. Have the class collaborate to create a brief

write up of the reasons and traditions behind the farolitos. Include the write up with all orders filled.

• Discuss other holidays or occasions where candles are lit. Why are candles important? What about

the lighting of candles is the same? Are there any differences? Who lights the candles? Why? How do

these actions make you feel?

• Quality of participation

Materials • The Farolitos of Christmas by Rudolfo Anaya

• Paper bags

• Candles

• Sand

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Bonus Explorations What traditions did the students observe in the show? Discuss the Posadas. Have any of the students ever participated in one? If so, what role did they play? What was the experience like? Who did they do it with? Was it different from what they saw on stage? How? What was the same? Watch a video on La Posadas.

Younger students can learn to do the Mexican Hat Dance or Jarabe Tapatio. Divide into groups of two or three students and have each group research one of the following topics. Encourage them to find pictures, quotes, and information that could lead to a discussion of how each individual or group fulfilled a dream to perform traditional mariachi music. Include information on obstacles they faced in making their dreams of singing mariachi music come true. Allow each group to share their findings with the class. (ex. Lucha Reyes, Lola Beltrán, Mariachi Los Coronelas, Mariachi Las Adelitas, Mariachi Michoacano, Mariachi Las Estrellas de Mexico, Linda Ronstadt, Sebastien de la Cruz)

ResourcesBOOKS

Anaya, Rudolfo A., and Edward Gonzales. The Farolitos of Christmas. New York: Hyperion for Children, 1995. Print.

Avalos, Cecilia. A Mariachi I’ll Be! Modern Curriculum Pr; Big Book Edition, 1989. (Ages 4-8). A little girl dreams of becoming a Mariachi player when she grows up.

Nevin, Jeff. Virtuoso Mariachi. University

Press of America, 2002.

Sheehy, Daniel. Mariachi Music in America: Experiencing Music, Expressing Culture. Oxford University

Press, USA, 2005.

WEBSITES

Make Songs Like the Mariachis

Make Paper Sombreros

The Involvement of Women in Mariachi Music

The Official Site of the Famous Mariachi Festival

Samples of Mariachi mp3’s and Lyrics

About the CompaniesThis year we welcome guests from the

University of Texas Rio Grande Valley:

all-female mariachi group Mariachi

Azalea, and UTRGV Ballet Folklorico.

Mariachi Azalea is the third group

under the UTRGV mariachi program,

and tours across the country on a

regular basis with UTRGV’s award-

winning Mariachi Aztlán and Mariachi

Juvenil Aztlán.

The UTRGV Ballet Folklorico is a thirty-

two member student organization that

presents student and public concerts

annually, and travels to present

programs for local, state, national, and

international audiences. The acclaimed

group has received national recognition

through the American College Dance

Association (ACDA).

Questions to Engage & ConnectWhy is Christmas the only holiday celebrated in this show?

What did the show make you think about and how did it make you feel?

How is Christmas in Mexico different or the same as in New Mexico?

What do you think are the benefits of learning about other cultures and customs?

If you do not speak Spanish, what was it like not understanding everything that was said? If Spanish is your first language what was it like for you to not understand what was being said? Discuss.

About the Schooltime SeriesThe Popejoy Schooltime Series brings national and international touring companies and performers to Albuquerque. Each company is selected for youth and family audiences from PreK to 12th grade. Our repertoire reflects the cultural diversity of our global community. The Schooltime Series is curated to include new plays, familiar stories, literary works, biographies, mythologies, folktales, science shows, music, dance, and puppetry. These professional performing artists create entertaining educational experiences designed to encourage literacy, creativity, communication, and imagination..

The Dreamcatchers Teaching GuidesBy their nature, the arts engage young minds in learning through observing, listening, creating, and moving, while offering various ways to acquire information and act on it in a dynamic world. They also offer a natural way to differentiate instruction through multiple modes of representation, expression, and engagement. Additionally, the arts are an authentic context in which students identify and solve problems, reflect, and create meaning. The Dreamcatchers help students embody the lessons and take-action on what they have learned. These guides introduce students to what they will see on stage, provide background information, a basic vocabulary associated with the show, fun facts, vetted resources, and activities providing a connection between the arts and classroom curriculum.

Popejoy HallPopejoy Hall is New Mexico’s premier nonprofit venue for the performing arts and entertainment. Our mission is to provide access to the performing arts for all New Mexicans.

House Policies & EtiquetteThe inside of a theatre where the audience sits is called a “house.” To get along, have fun, and enjoy the show, there are rules to follow. Schooltime is a wonderful opportunity to learn how good behavior in a live theater is different from watching television. For guidelines to practice with your class and chaperones, including safety, special needs, food and drink, backpacks, cell phones, photography, recordings, and more, go to schooltimeseries.com/house-policies.

Dreamcatcher CreditsDreamcatchers are Teaching Guides produced by the Education Department of Popejoy Hall, Albuquerque, New Mexico. Selected Dreamcatchers Teaching Guide materials provided by MexConnect, Puro Mariachi, eHow, and other resources noted within this guide.

The Schooltime Series is a proud member of

P O P E J OY H A L L : U N I V E R S I T Y F O U N D E D ~ C O M M U N I T Y F U N D E D

The Eugene & Marion Castiglia Popejoy

Children’s Schooltime Endowment

The Popejoy Schooltime Education Endowment

Judith Mersereau

The Popejoy Schooltime Series is supported in part

by awards from: