Mufaro's Beautiful Daughters

21 Pages·2017·1.34 MB·English

MUFARO’S BEAUTIFUL DAUGHTERS

Applause Series Curriculum Guide

March 21, 2017
MUFARO’S BEAUTIFUL
GUIDE CONTENTS
DAUGHTERS
About Des Moines
Performing Arts
Page 3
Dear Teachers,

Going to the Theater and
Thank you for joining us for the Theater Etiquette
Applause Series presentation of Page 4
MUFARO’S BEAUTIFUL
DAUGHTERS, adapted from the Civic Center Field Trip
Caldecott Honor-recipient book Information for Teachers
written and illustrated by John Page 5
Steptoe. Combining authentic African
drumming, powerful choreography Vocabulary
and thrilling original music, the Pages 6
splendor of Zimbabwe and Africa are
brought to life in this folk tale about About the Performance
courage, kindness, and inner Page 7
strength.
About the Artists
We thank you for sharing this very Page 8
special experience with your students
and hope that this study guide helps How the Story Became a Play
you connect the performance to your Page 9
in-classroom curriculum in ways that you find valuable. In the
following pages, you will find contextual information about the A Cinderella Tale
performance and related subjects, as well as a variety of Page 10
discussion questions and assessment activities. Some pages are
appropriate to reproduce for your students; others are designed The People Behind the Production
more specifically with you, their teacher, in mind. As such, we Page 11
hope that you are able to “pick and choose” material and ideas
from the study guide to meet your class’s unique needs. About Zimbabwe
Page 12
See you at the theater,
Pre-Show Exploration
Des Moines Performing Arts Education Team Pages 13-15

Post-Show Discussion and
Assessment
Page 16

Support for Des Moines Performing Arts education programs and the
Explore African Culture
Applause Series is provided by:
Pages 17-19
American Enterprise Group, Arts Midwest, Bradford and Sally Austin, Bravo
Greater Des Moines, Clive Community Foundation, The Coons Foundation, EMC Reproducible Pages
Insurance Companies, EquiTrust Life Insurance Company, Gannett Foundation/
Pages 20
The Des Moines Register, Hy-Vee, Inc., Iowa Department of Cultural Affairs, John

Deere, Judith A. Lindquist Scholarship Fund, Richard and Deborah McConnell,
Nationwide, Polk County, Prairie Meadows, Principal, Union Pacific Foundation, Resources and Sources
U.S. Bank, Wells Fargo & Co., West Bancorporation Foundation, Windsor Page 21
Charitable Foundation, and more than 200 individual donors.
This study guide was compiled and written by Lisa Norris-Lynner; edited by Karoline Myers.
Adapted in part by study guide materials from Dallas Children’s Theater.

Des Moines Performing Arts
Page 2 of 21
Mufaro’s Beautiful Daughters Curriculum Guide
ABOUT DES MOINES PERFORMING ARTS

DID YOU KNOW?
Des Moines Performing Arts is a private, nonprofit organization and is an
important part of central Iowa’s cultural community. It is recognized
nationally for excellence as a performing arts center and is committed to More than 300,000 people visit
engaging the Midwest in world-class entertainment, education, and cultural Des Moines Performing Arts
activities. venues each year.

Des Moines Performing Arts presents professional touring productions, Des Moines Performing Arts
including theater direct from Broadway, world-renowned dance companies, opened in 1979.
family programming, comedy, and concerts.
Des Moines Performing Arts
Education and Community Engagement programs are core to Des Moines has three theater spaces:
Performing Arts' mission as a nonprofit performing arts center.  Civic Center, 2744 seats
 Stoner Theater, 200 seats
Public education programs allow audience members and local artists Temple Theater, 299 seats
to make meaningful and personal connections to the art they experience (located in the Temple for
on our stages. Guest lectures and Q&As with company members allow the Performing Arts)
audiences to explore the inner workings of the performance. In addition,
master classes, workshops, and summer camps taught by visiting No seat is more than 155 feet
performers give local actors, dancers, and musicians the chance to from center stage in the Civic
increase their skills by working directly with those who know what it takes Center.
to succeed on the professional stage.
Cowles Commons, situated just
Through its K-12 School Programs, Des Moines Performing Arts west of the Civic Center, is a
strives to ensure that central Iowa students have affordable access to high community gathering space.
quality arts experiences as part of their education. More than 55,000 stu- Features include the
dents and educators attend curriculum-connected school matinee perfor- Lauridsen Fountain, the
mances through the Applause Series annually. In addition, Des Moines Crusoe Umbrella sculpture by
Performing Arts sends teaching artists into the schools to provide hands- Claes Oldenburg, and the Swirl
on workshops and residencies in special opportunities that engage stu- sculpture by Jim Campbell.
dents directly in the creative process. And, through its partnership with the
John F. Kennedy Center, Des Moines Performing Arts provides teachers As a nonprofit organization,
with in-depth professional development training on how to use the arts in Des Moines Performing Arts
their classrooms to better impact student learning. The Iowa High School depends on donor funding to
Musical Theater Awards is Des Moines Performing Arts’ newest initiative support facilities, programming,
to support the arts in Iowa schools, providing important learning tools and and education programs.
public recognition to celebrate the achievements of students involved in
their high school theater programs. The Applause Series started in
1996. You are joining us for our
21st season of school
performances!
Des Moines Performing Arts
Page 3 of 21
Mufaro’s Beautiful Daughters Curriculum Guide
GOING TO THE THEATER . . .
YOUR ROLE AS AN THEATER ETIQUETTE
AUDIENCE MEMBER
Here is a checklist of general guidelines to follow

when you visit the Des Moines Civic Center:
Attending a live performance is a unique and exciting

opportunity. Unlike the passive experience of
 Leave all food, drinks, and chewing gum at school
watching a movie, audience members play an
or on the bus.
important role in every live performance. As they act,
sing, dance, or play instruments, the performers on  Cameras, recording devices, and personal
stage are very aware of the audience’s mood and listening devices are not permitted in the theater.
level of engagement. Each performance calls for a
different response from audience members.  Turn off and put away all cell phones, pagers, and
Musicians and dancers may desire the other electronic devices before the performance
audience to focus silently on the stage and applaud begins.
only during natural breaks in the performance.
 Do not text during the performance.
Audience members can often take cues from
performers on how to respond to the performance  Respect the theater. Remember to keep your feet
appropriately. For example, performers will often off of the seats and avoid bouncing up and down.
pause or bow for applause at a specific time.
 When the house lights dim, the performance is

about to begin. Please stop talking at this time.
As you experience the performance, consider the
following questions:  Talk before and after the performance
only. Remember, the theater is designed to
 What kind of live performance is this (a play, a amplify sound. Other audience members and the
dance, a concert, etc.)? performers on stage can hear your voice!
 What is the mood of the performance? Is the  Use the restroom before the performance or wait
subject matter serious or lighthearted? until the end. If you must leave the theater during
the show, make sure the first set of doors closes
 What is the mood of the performers? Are they
before you open the second — this will keep
happy and smiling or somber and reserved?
unwanted light from spilling into the theater and
 Are the performers encouraging the audience to causing a distraction.
clap to the music or move to the beat?
 Appropriate responses such as laughing and
 Are there natural breaks in the performance applauding are appreciated. Pay attention to the
where applause seems appropriate? artists on stage — they will let you know what is
appropriate.
A SPECIAL EXPERIENCE
 Open your eyes, ears, mind, and heart to the
Seeing a live performance is a very special entire experience. Enjoy yourself!
experience. Although it is not required, many people
enjoy dressing up when they attend the theater.
GOING TO THE THEATER information is adapted from the Ordway Center for the
Performing Arts study guide materials.
Des Moines Performing Arts
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Mufaro’s Beautiful Daughters Curriculum Guide
CIVIC CENTER FIELD TRIP INFORMATION FOR TEACHERS
Thank you for choosing the Applause Series with Des Moines Performing Arts.
Below are tips for organizing a safe and successful field trip to the Civic Center.
ORGANIZING YOUR FIELD TRIP ARRIVAL TO THE CIVIC CENTER
 Please include all students, teachers, and chaperones  When arriving at the Civic Center, please have an adult
in your ticket request. lead your group for identification and check-in pur-
 After you submit your ticket request, you will receive a poses.
confirmation e-mail within five business days. Your  Each group will be assigned a specific location in the
invoice will be attached to the confirmation e-mail. hall, and ushers will escort groups to their seats upon
 Payment policies and options are located at the top of arrival. Various seating factors including group size,
the invoice. Payment (or a purchase order) for your grade levels, arrival time, and special needs seating
reservation is due four weeks prior to the date of requests may be used to assign a group’s specific
the performance. location in the hall.
 Des Moines Performing Arts reserves the right to  We request that an adult lead the group into the
cancel unpaid reservations after the payment due date. theater and that other adults position themselves
 Tickets are not printed for Applause Series shows. throughout the group. This helps with supervision
purposes and is especially important in the event a
Your invoice will serve as the reservation confirmation
group must be seated in multiple rows.
for your group order.
 Please allow ushers to seat your entire group before
 Schedule buses to arrive in downtown Des Moines at
rearranging individuals’ seat locations or taking stu-
least 30 minutes prior to the start of the performance.
dents to the restroom. This helps ensure that
This will allow time to park, walk to the Civic Center,
everyone has a seat in your designated section, as well
and be seated in the theater.
as allows us to more efficiently seat other arriving
 Performances are approximately 60 minutes unless
groups. This helps us to start the performance on time.
otherwise noted on the website and printed materials.
 As a reminder, children under the age of three are not
 All school groups with reservations to the show will
permitted in the theater for Applause Series
receive an e-mail notification when the study guide is
performances.
posted online. Please note that study guides are only

printed and mailed upon request.
IN THE THEATER

 In case of a medical emergency, please notify the
DIRECTIONS AND PARKING
nearest usher. A medical assistant is on duty for all
 Directions: From I-235, take Exit 8A (Downtown Exits)
Civic Center performances.
and the ramp toward 3rd Street and 2nd Avenue. Turn
 We ask that adults handle any disruptive behavior in
onto 3rd Street and head south.
their groups. If the behavior persists, an usher may
 Police officers are stationed at the corner of 3rd and
request your group to exit the theater.
Locust Streets and will direct buses to parking areas
 Following the performance, please wait for your group
with hooded meters near the Civic Center. Groups
to be dismissed prior to exiting the theater.
traveling in personal vehicles are responsible for
 If an item is lost at the Civic Center, please see an
locating their own parking in ramps or metered (non-
usher or contact us after the performance at
hooded) spots downtown.
515.246.2355.
 Buses will remain parked for the duration of the show.
At the conclusion, bus drivers must be available to
move their bus if necessary, even if their students are
staying at the Civic Center to eat lunch or take a tour. QUESTIONS?
 Buses are not generally permitted to drop off or pick up Please contact the Education department at
students near the Civic Center. If a bus must return to [email protected]
school during the performance, prior arrangements or 515.246.2355.
must be made with Des Moines Performing Arts Thank you!
Education staff.
Des Moines Performing Arts
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Mufaro’s Beautiful Daughters Curriculum Guide
VOCABULARY
Many of the words and names OTHER TERMS millet: a
used in Mufaro’s Beautiful grain
Daughters are of the Shona djembe Nyasha
language spoken in Africa. (JEM-bay): grows in
her
a goblet
shaped garden. It
CHARACTERS & NAMES African is tiny,
round- Millet — grains and flour. Image by
drum, T.K. Naliaka—own work. CC BY-SA

usually Djembe. Image by ZSM—Own shaped 4.0.
Mufaro work, CC BY 3.0.
about 25 and can be white, gray, yellow or
(moo-FAR-oh):
red. Millet can be cooked and
inches tall. It has a body carved
“happy man.”
out of hardwood and a head, eaten. Depending on how you
He is the father
flavor it, it can be eaten for
usually made from goatskin, that
in the story.
is “tuned” by adjusting the ropes breakfast, lunch or, dinner. Dry

that line the bowl of the drum. It is millet can also be ground into flour

and used in baking.
played by hand – never with a

stick. The djembe is played during

the performance. yam: a root

vegetable that

Nyasha grows
Mufaro. kente

(ken-TAY): in her garden.

In American
a brightly
Manyara
colored, grocery stores,
(mahn-YAR-ah):
banded vegetables
“ashamed.”
labeled as
material
Manyara is one
Kente Fashion. Image by JY made from “yams” are
of Mufaro’s midey—Own work, CC BY-SA 4.0. cotton and really sweet
beautiful
potatoes. Yam
daughters. sometimes silk. Kente originated Yams. Image by Yemisi Ogbe
Manyara. in Ghana, but is worn throughout —own work. CC BY-SA 4.0. tubers can be

Africa. It is used in many of the as small as a

potato, but can grow to be more
costumes in the show.

than 4 feet long and weigh up to

150 pounds. They have rough
kora

skin which is difficult to peel, but
(KOR-ah):
Nyasha
a 21- softens after heating. The skins
(nee-AH-sha):
vary in color from dark brown to
stringed
“mercy.”
African light pink. The majority of the veg-
Nyasha is one
harp. It etable is composed of a much
of Mufaro’s
softer substance known as the
has a
bdeaauughtiftuelr s . body KCoCr aB.Y Im 2a.0g.e by Steve Evans. "meat". It can be white, yellow,
carved purple or pink in color.

from a large calabash (a type of

gourd) that is covered in cow-skin. Zimbabwe

It has a long hardwood neck and (zihm-BAHB

-way):
Nyasha with Nyoka. two planes with 11 and 10 strings
running in notches at the sides of literally

an upright mounted bridge. The means
Nyoka (nee-YO-kah): “snake.”
"House of
The name Nyasha gives to the playing style resembles the Great Zimbabwe stone ruins.
fingerpicking blues guitar, but the Stone." The Image by Janice Bell—Own work,
snake in her garden. CC BY-SA 4.0.
sound resembles that of a harp. name

comes from the Great Zimbabwe,
The kora is played during the

performance. which are stone ruins of a large

city built over 900 years ago by

the Shona people.
Des Moines Performing Arts
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Mufaro’s Beautiful Daughters Curriculum Guide
ABOUT THE PERFORMANCE

MUFARO’S BEAUTIFUL During the journey, she is given WHAT YOU WILL
DAUGHTERS is a musical stage three tests of kindness, all of EXPERIENCE
adaptation of John Steptoe’s which she fails. First, she
MUFARO’S BEAUTIFUL
Caldecott Honor children’s book, encounters a starving boy whom
DAUGHTERS celebrates the rich
based on a traditional African she refuses to give any food.
and colorful culture of Africa,
folktale. Next, she encounters an old
using elements of storytelling,
woman who instructs her that she
magic, and traditional dance,
Run Time: Approx. 60 minutes the grove of trees she is
drumming and song.
approaching will laugh at her and

that she must not laugh back.
SYNOPSIS The set, which draws on images
Manyara does not respect the old
from African folk art, asks you to
Mufaro is a happy man who is woman and laughs at the trees.
use your imagination to see the
the father of the two most
African landscape. Sculpted spirit
beautiful daughters in the land. He Not surprisingly, the gentle
poles glide across the stage to
considers them both fair in Nyasha passes the same tests
transform the setting from an open
personality as well, although easily when she passes through
space to a lush forest. The
Manyara is cruel and arrogant. the forest. When Nyasha and her
colorful costumes also use
The younger daughter, Nyasha, is father finally arrive in the city, they
traditional patterns and colors
good, gentle, and kind in all run into Manyara who is hysterical
from African culture. Some of the
things. She works hard and never after seeing a monster snake in
words in the play – including the
tattles on her sister. Nyasha even the King’s chamber. Manyara tries
names of the characters – come
befriends a snake whom she calls to convince Nyasha not to go to
from the Shona language, spoken
Nyoka. She sings to Nyoka while the King, but Nyasha does not
by the people of Zimbabwe.
she tends to her garden, and in listen.

return, he protects her crops.
The music – written for this play –
Upon entering the royal room,
uses traditional African
One day, a messenger arrives. He Nyasha realizes that the snake is
instruments. Listen for the sounds
announces that the great king actually her old friend, Nyoka. He
of the Djembe (drum) and Kora
wants all of the most worthy explains that he is, in fact, the
(harp). The dances combine steps
daughters in the land to come King, as well as the young boy,
from traditional African dance with
before him that he might choose the old woman, and the grove of
modern moves. There is some
his queen and bride. Manyara trees. Nyasha is chosen to marry
stage magic, too, and some
steals away during the night so the King, and Manyara becomes
audience participation – don’t be
that she can beat her sister to the their servant. Mufaro continues to
afraid to join in when the actors
city and become the queen. love and be proud of both his
ask you!
daughters.
Des Moines Performing Arts
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Mufaro’s Beautiful Daughters Curriculum Guide
ABOUT THE ARTISTS

MUFARO’S BEAUTIFUL JOHN STEPTOE, Mr. Steptoe twice received the
Coretta Scott King Award for
DAUGHTERS is produced by AUTHOR
Illustration, for MOTHER
Dallas Children’s Theater and is
John Lewis
CROCODILE (text by Rosa Guy)
based on the Caldecott Honor
Steptoe,
and for MUFARO'S BEAUTIFUL
book by John Steptoe.
creator of
DAUGHTERS.
award-

winning
DALLAS CHILDREN’S While all of Mr. Steptoe's work
picture books
deals with aspects of the African
THEATER for children,
American experience, MUFARO'S
Dallas Children’s Theatre is one was born in
BEAUTIFUL DAUGHTERS was
of the top five family theaters in Brooklyn on
acknowledged by reviewers and
the nation and serves over September
Image courtesy of lib.usm.edu critics as a breakthrough. Based
250,000 young people from 196 14, 1950. He
on an African tale recorded in the
zip codes, 146 cities and 78 began drawing as a child and
19th century, it required Mr.
counties and 32 states each year received his formal art training at
Steptoe for the first time to
through its main stage the High School of Art and Design
research African history and
productions, touring, educational in Manhattan.
culture, awakening his pride in his
programming and outreach
African ancestry.
activities. Since opening in 1984, His work first came to national

this award-winning theater has attention in 1969 when his first
Mr. Steptoe hoped that his books
existed to create challenging, book, STEVIE, appeared in its
would lead children, especially
inspiring and entertaining theater, entirety in LIFE magazine and
African American children, to feel
which communicates vital was hailed "a new kind of book for
pride in their origins and in who
messages to our youth and black children."
they are. "I am not an exception to
promotes an early appreciation for
the rule among my race of
literature and the performing arts. In his twenty-year career, Mr.
people," he said, accepting
Steptoe illustrated sixteen picture
the Boston Globe/Horn
As the only major organization in books, twelve of which he also
Book Award for Illustration. "I am
Dallas focusing on theater for wrote. The American Library
the rule. By that I mean there are
youth and families, DCT produces Association named two of his
a great many others like me
literary classics, original scripts, books Caldecott Honor
where I come from."
folk tales, myths, fantasies and Books: THE STORY OF

contemporary dramas that foster JUMPINMOUSE and MUFARO'S
John Steptoe died on August 28,
multicultural understanding, BEAUTIFUL DAUGHTERS.
1989 at Saint Luke's Hospital in
confront topical issues and
Manhattan, following a long
celebrate the human spirit.
illness. He was 38 years old.
Des Moines Performing Arts
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Mufaro’s Beautiful Daughters Curriculum Guide
HOW THE STORY BECAME A PLAY
MUFARO’S BEAUTIFUL like being treated with respect and Mr. Steptoe decided to set the
DAUGHTERS has a long history, kindness. Generally this underdog story in Zimbabwe because he
starting as a folktale that has character is asked to complete was inspired by the ruins of the
gone through many adaptations. impossible tasks, but through the Great Zimbabwe. He thought the
help of magic, things end up living ancient city, which people still
"happily ever after." know very little about, would be
WHAT ARE the perfect setting as the home of
Folktales are often told to children the king in the story. He also
FOLKTALES?
by their parents to teach them carefully researched the
MUFARO’S BEAUTIFUL
how to behave. These stories landscape, culture, plants, and
DAUGHTERS is an African
have been passed down through animals in Zimbabwe for his
folktale. A folktale is a story
generations and are similar all illustrations.
handed down from one generation
around the world. Though the
to another by word of mouth.
culture may differ somewhat, the For the Dallas Children’s Theatre
Usually the author is unknown
message remains the same. Production, playwright Karen
and there are often many versions
Abbott adapted John Steptoe’s
of the tale. Some tales may have
book. She used Steptoe’s story,
been based on a partial truth that WHAT IS ADAPTATION?
his characters, and much of his
has been lost or hidden over time. MUFARO’S BEAUTIFUL
dialogue (the words characters
There are several types of DAUGHTERS is an African
speak to each other), but she also
folktales: myths, legends, fairy folktale that was first shared by
added additional characters and
tales, and märchens. word of mouth, possibly in more
dialogue of her own to help make
than one language. In the 1890s a
the story come alive on stage.
MUFARO’S BEAUTIFUL Canadian scholar living in Africa
Composer S-Ankh Rasa built on
DAUGHTERS is an example of a named George McCall Theal
her adaptation by putting the
märchen. Its characteristics collected a number of African folk
characters’ feelings into words
include a magical land or fantasy tales and translated them into
and music.
setting and involves an English. His adaptation “The

"underdog" who, with the help of Story of Five Heads” was the
So what you will be seeing is an
magic, obtains a birthright. The story John Steptoe adapted for his
adaptation of an adaptation of an
birthright – something that is owed illustrated book MUFARO’S
adaptation of a traditional African
to the character from the day they BEAUTIFUL DAUGHTERS.
story!
are born – might be an inheritance
of great value, such as land,
wealth, or position (becoming
King or Queen). It might also
include a very simple human right,
Des Moines Performing Arts
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Mufaro’s Beautiful Daughters Curriculum Guide
A CINDERELLA TALE
MUFARO’S BEAUTIFUL CINDERELLA STORIES FILM VERSIONS OF
DAUGHTERS is generally FROM DIFFERENT CINDERELLA
thought of as a “Cinderella
CULTURES  Cinderella (2015)
story”. Common elements of the
 The Cinder Maid Live Action version of Disney
Cinderella Story include:
(reconstructed from various adaptation
 A protagonist, or main
European sources by Joseph  Cinderella (1950)
character, is treated poorly
Jacobs) Disney animated
(usually a girl, but not
 Cinderella; or, The Little  A Cinderella Story (2004)
always)
Glass Slipper modern version with Hillary
 A mean relative, a test of
(France, by Charles Perrault) Duff
character
 Cinderella  Cinderfella (1960)
 Unexpected help
(Germany, by Jacob and Jerry Lewis
(often magical)
Wilhelm Grimm)  Ella Enchanted (2004)
 A reward at the end
 Katie Woodencloak with Anne Hathaway
(“happily ever after”)
(Norway)  Ever After (1998)

 Fair, Brown, and Trembling with Drew Barrymore
What Cinderella stories do you
(Ireland)  The Glass Slipper (1955)
 Rashin-Coatie (Scotland) musical
 Cinderella (Italy)  The Slipper and the Rose
 Conkiajgharuna, the Little (1976)
Rag Girl (Georgia)  Rodgers and Hammerstein's
 Pepelyouga (Serbia) Cinderella
(1957) with Julie Andrews
 The Wonderful Birch (Russia)
(1965) with Lesley Ann
 The Baba Yaga
Warren
(Russia)
(1997) with Brandy Norwood
 The Wicked Stepmother
and Whitney Houston
(Kashmir)
 The Green Knight (Denmark)
 The Story of Tam and Cam
(Vietnam)
DID YOU KNOW?
The earliest known variant of the “Cinderella story” was recorded by
Greek historian Strabo in 1st century BC — more than 2,100 years ago!
Illustration of Cinderella from In it, the Cinderella character was Greek and married the king of Egypt.
Märchenbuch, a book of German fairy
tales 1919. Public domain or CC BY 2.0.
Des Moines Performing Arts
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Mufaro’s Beautiful Daughters Curriculum Guide