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IN THE HEIGHTS

A tool for using the theater across the curriculum to meetNational Standards for Education

• Production Overview • Lesson Guides • Student Activities • At-Home Projects • Reproducibles

Copyright 2007, Camp Broadway, LLCAll rights reserved

This publication is based on In The Heights with music and lyrics by Lin-Manuel Miranda, book by Quiara Alegria Hudes, conceived by Lin-Manuel Miranda and directed by Thomas Kail. The content of the In The Heights edition of StageNOTES: A Field Guide for Teachers is fully protected under the copyright laws of the United states of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public readings, and mechanical or electronic reproduction, including but not limited to, CD-ROM, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages are strictly prohibited.

Printed in the United States of AmericaFirst Digital Edition: November 2007

For more information on StageNOTES and other theatre arts related programs, contact:

Camp Broadway, LLC336 West 37th Street, Suite 460New York, New York 10018Telephone: (212) 575-2929Facsimile: (212) 575-3125Email: [email protected]

Table of

Contents

3

Using the Field Guide and Lessons................................................................................................4Author’s Note............................................................................................................................................5Synopsis and Character Breakdown...............................................................................................6

Overture to HISTORY............................................................................................................................7 HistoryDiscussionLesson....................................................................................................15 HistoryWritingLesson...........................................................................................................16 HistoryExperientialLesson..................................................................................................17 HistoryToGoLesson.............................................................................................................18

Overture to LANGUAGE ARTS.........................................................................................................19 LanguageArtsDiscussionLesson.....................................................................................25 LanguageArtsWritingLesson...........................................................................................27 LanguageArtsExperientialLesson..................................................................................28 LanguageArtsToGoLesson..............................................................................................29

Overture to LIFE SKILLS.....................................................................................................................30 LifeSkillsDiscussionLesson................................................................................................34 LifeSkillsWritingLesson......................................................................................................35 Life Skills Experiential Lesson............................................................................................36 Life SkillsTo Go Lesson........................................................................................................37

Overture to BEHAVIORIAL STUDIES..............................................................................................38 BehaviorialStudiesDiscussionLesson............................................................................44 BehaviorialStudiesWritingLesson..................................................................................45 BehaviorialStudiesExperientialLesson.........................................................................46 Behaviorial StudiesTo Go Lesson....................................................................................47

Overture to THE ARTS.........................................................................................................................48 TheArtsDiscussionLesson.................................................................................................52 The ArtsWriting Lesson.......................................................................................................53 The Arts Experiential Lesson..............................................................................................54 The ArtsTo Go Lesson..........................................................................................................55

In The Heights Resources....................................................................................................................56

Camp Broadway is pleased to bring you the In The Heights edition of StageNOTES®,the22ndinourseries.WeareproudtobeaffiliatedwiththisexcitingandinnovativenewmusicalcelebratingtherichanddiverseLatincommunity.ThisguidehasbeendevelopedasateachingtooltoassisteducatorsintheclassroomwhoareintroducingthestoryinconjunctionwiththeBroadwayproduction.

ByusingStageNOTES®,youwillunderstandhowIn The HeightsexploresLatinimmigration(History),expandsourvocabulary (Language Arts),illuminatesthehumancondition(Behavioral Studies),aidsinourownself-exploration(Life Skills)andencouragescreativethinkingandexpression(The Arts).

TheCampBroadwaycreativeteam,consistingoftheatereducators,scholars,researchersandtheaterprofessionals,hasdevelopedaseriesoflessonplansthat,althoughinspiredbyandbasedonthemusicalIn The Heights,canalsoaccompanyclassstudy.Toassistyouinpreparingyourpresentationofeachlesson,wehaveincluded:anobjective;anexcerptfromthescriptofIn The Heights;adiscussiontopic;awritingassignment;andaninteractiveclassactivity.Thereproduciblelessons(handouts)accompanyeachlessonunit,whichcontains:anessayquestion;acreativeexercise;andan“afterhoursactivity”thatencouragesstudentstointeractwithfamily,friends,orthecommunityatlarge.

ThecurriculumcategoriesofferedintheIn The HeightsstudyguidehavebeeninformedbythebasicstandardsofeducationdetailedinContentKnowledge:ACompendiumofStandardsandBenchmarksforK-12Education,2ndEdition,writtenbyJohnS.KendallandRobertJ.Marzano(1997).ThisdefinitivecompilationwaspublishedbyMid-ContinentRegionalEducationLaboratory,Inc.(McREL)andtheAssociationforSupervisionandCurricularDevelopment(ASCD)afterasystematiccollection,reviewandanalysisofnoteworthynationalandstatecurriculardocumentsinallsubjects.

TheIn The Heightsstudyguideisforyou,theeducator,inresponsetoyourneedforastandards-compliantcurriculum.WetrulyhopethisstudyguidewillhelpyouincorporatethethemesandcontentofIn The Heightsintoyourclassroomlessons.

PhilipKatzProducingDirector

Using the

Field guide and Lessons

4

Author’s

NoteThisismyumpteenthdraftoftheintroductiontothisstudyguide.I’mhavingtroublewritingit,probablybecauseIcannotbelievethatitactuallyexists.

In The Heightsbeganasascribbleinthemarginsofmyastronomynotebookduringmysophomoreyearofcollege.Asourprofessordronedonaboutthesizeoftheuniverseandthemassofobjectsinspace,Idoodledthosethreewords,In The Heights,overandoveragain,spinningmythoughtsintoauniverseofmyown.Perhapsthat’swhyit’ssodifficultformetowritetheintroductiontoastudyguide:In The HeightswasconceivedwhenIshouldhavebeenstudying.

IwasbornandraisedinNewYorkCity.MyparentswerebothborninPuertoRico.Andeverysummer,mysisterandIweresentbacktomydad’shometownofVegaAlta,PuertoRico,togetspoiledbymygrandparentsandlearnSpanishtheoldfashionedway,sinkorswim.Evenattheageoffive,mySpanishaccentwasbadenoughforthekidsinVegaAltatocallme“Gringo”and“Americano,”andexcludemefromstickballgames.SoIstayedclosetotheAbuelosandAbuelasofPuertoRico,mygrandparentsandtheirfriends,whodidn’tmindhavingalittleAmericankidscribblingontheirfrontporch,whocouldunderstandmySpanishthroughitstorturedconjugationsandverb-tenseagreements.Iwouldspendhoursonthoseporches,imaginingwhatmylifewouldbelikeifIhadbeenbornhere.Wouldtheyletmeplaystickball?WouldIbemorePuertoRican?

WhenIstartedgoingtoHunterCollegeElementarySchool,ontheUpperEastSideofManhattan,IquicklybecameawareofhowPuertoRicanIwas.Mostofmyschoolfriendswerewhite,Jewish,andlivedontheUpperWestandEastsidesofManhattan.WhenItoldthemIlivedonDyckman-200thstreet,theyhowledwithlaughterandsaid,“IsthatintheBronx?”AndyetIknew,eventhen,thatmyneighborhoodwasspecial.WhilemycontemporarieslivedwithintheirrigidManhattangrid,IspenthoursroamingthewildsofInwoodHillPark.IindulgedmedievalfantasiesaroundtheCloisters,imaginingitasmyownprivatecastle.Imarveledthatmygrandparentscouldvisitandmakethemselvesunderstood,becauseeveryonespokeSpanish.TheyplayedsalsaandmerengueatmylocalMcDonald’s.WeplayeddominoesonthecurbandspentournickelsonNow&LatersandQuarterWatersfromthelocalbodega.IntheabsenceofPuertoRico,thispan-Latinneighborhood,whereeveryonewasfromeverywhere,becamemyhome.

Andnowyouholdthisremarkablestudyguideinyourhands.Thisstudyguide,whichshinesalightonthehistoryofourneighborhood.ItilluminatestheLatinoleadersIneverlearnedaboutinschool.Itdiscussestheuniversalthemesofhomeandcommunity,andfiguringoutwhoyouareinaworldwherethatisn’talwayssoeasy.IamveryproudofwhatthegoodpeopleatCampBroadwayhaveputtogether,andhopeyouuseitwellinyourclassroomstoenrichthelivesofyourstudents.

Andkeepaneyeoutforthatkidinthebackofyourclassroom,scribblinginthemargins.Heorsheisdreamingofworldswehaven’tyetimagined,scribblingtowardaplacewehaven’tyetseen.Engagethosekids,getthemoutofthemargins,andthere’snotellingwheretheymayleadyou.

Siempre,Lin-ManuelMiranda

5

Synopsis and Character

breakdown

Usnavi De La Vega24 year old owner of De La Vega’s Bodega, his parents emigrated from the Dominican Republic and have since passed away. He lives with Abuela Claudia (Grandmother Claudia), who isn’t actually his grandmother but they are as close as family. Usnavi is in love with Vanessa and remains the eyes and ears of his Washington Heights neighborhood.

Nina Rosario19 year old Nina has just finished her freshman year at Stanford University. She is the daughter of Kevin and Camilia Rosario. Nina

is the only member of her family and friends who made it to college. She is best friends with Vanessa and a beacon of hope and inspiration to all who know her; she represents the opportunity outside of “the Heights.”

Kevin RosarioIn his forties and owner of Rosario Car and Limousine, Kevin is a husband to Camila and father to Nina. While Kevin was born and raised in Arecibo, Puerto Rico, he immigrated to New York City with Camila. Kevin immediately started working to provide a better life for his newly-arrived family. He is stubborn, hot tempered at times and can be quick to act without thoughts of repercussions.

Camilla RosarioAlso in her forties, she is the co-owner of Rosario Car and Limousine with her husband Kevin. Also from Arecibo, Puerto Rico, she fell in love with Kevin at 19 and immigrated with him to New York City. She is cool-headed yet keeps a subtle but strong leash on Kevin.

Her daughter Nina has just returned for the summer from her first year at Stanford.

BennyNow a 24 year old cab driver for Rosario Car and Limousine, he once was a street punk and hoodlum, often finding himselfin trouble. Kevin saw promise in Benny and helped shape him into a responsible, hard-working young man. Benny has enormous respect for Kevin and sees him as a father figure. Eventually falling in love with Nina, Benny sees a future for them by becoming a businessman. He and Usnavi are best friends.

VanessaA 19 year old shampoo girl at Daniela’s Salon, Vanessa is strong, intelligent and grew up with Benny and Usnavi. Though Usnavi

would like to be something more than Vanessa’s “friend”, he has never made any attempt. Vanessa dreams of leaving to create her own life away from her alcoholic mother.

In The Heights is an award-winning musical about life in Washington Heights, a tight-knit community where the coffee from the corner bodega is light and sweet, the windows are always open, and the breeze carries the rhythm of three generations of music.

During its acclaimed Off-Broadway run, In The Heights

Sonny15 years old and Usnavi’s cousin, Sonny is spending the summer working for Usnavi at the bodega. He usually hangs out on the street with his friend Graffiti Pete but avoids trouble. He is an extremely intelligent young man who strives to emulate Usnavi. Passionate to solve the social and economic problems of the city, he is someone that needs guidance or risks ending up a street punk.

Abuela ClaudiaIn her late 60’s, she raised Usnavi after his parents passed away and continues to live with him. She emigrated from Cuba when she

was very young. Of all the characters, Abuela Claudia has been in “The Heights” the longest. She struggled to learn English, struggled to find work and in turn has helped others who have followed in her path. She is clearly the matriarch of the neighborhood.

DanielaIn her thirties, she is the owner of Daniela’s Salon. Savvy to say the least, she is quick witted, brassy and outspoken. While she retains a motherly relationship with Vanessa, she remains the gossip queen of the neighborhood. No-nonsense, she has built a successful business but is being forced out the neighborhood because of the rent hikes.

CarlaIn her mid-twenties, she is a hairdresser at Daniela’s salon. Born and raised in Queens, she is a pure, sweet, innocent and loving

young woman who is devoted to her family and friends though she is easily taken advantage of because of her naivety. She and Daniela are best friends.

Graffiti PeteAn 18-year old graffiti artist and the nemesis of Usnavi, he is always hanging out on the streets, dancing to his boom box music, spraying any surface he can. Usnavi is unhappy that Sonny and Graffiti Pete are friends because Graffiti Pete epitomizes everything that Usnavi hopes that Sonny will not grow up to be.

Piragua GuyIn his mid-thirties, he walks the hot and humid streets of Washington Heights selling piraguas (flavored ice shavings) to earn a living.

He represents a rhythm of the islands in the big city.

quickly became an audience phenomenon and a critical success. It’s easy to see why: with an amazing cast, a gripping story and incredible dancing, In The Heights is an authentic and exhilarating journey into one of Manhattan’s most vibrant communities. And with its universal themes of family, community and self discovery, In The Heights can be enjoyed by people of all ages and backgrounds.

Broadway audiences will soon find out what it takes to make a living, what it costs to have a dream and what it means to be home. . .In The Heights.

6

Overture to

historyImmigration:The Key to the City

In The Heightsissetinthe

vibrantupperManhattan

neighborhoodofWashington

Heights;aneighborhood

characterizedbyits

predominantlyHispanic

populationandalivelymixof

culturaltraditionsastheytake

shapeinthecontextoflifein

NewYorkCity.

MorethananyothercityinAmerica,ManhattanandNewYork’sotherfour

boroughsaredefinedbyavariedimmigrantpopulation.Infact,thirty-six

percentofthecity’spopulationisforeignborn.Thesights,soundsand

smellsthatdrawvisitorsfromallovertheworldemanatefromdistinct

neighborhoodcommunitiescreatedbyotherswhocameinwavesfrom

aroundtheworldandsettledhere.

OntheLowerEastSide,bestknownas

thehomeofNewYork’sJewishghetto,

youcanstillvisitKatz’sdelicatessen.

UptownintheInwoodsection,you’ll

stillfindseveraloftheoldIrishpubsas

wellasthe“DyckmanFarmhouseMuseum,”alittleknownrepositoryof

ManhattanhistorydedicatedtotheoriginalDutchsettlersofthearea.

Thoughthese“oldimmigrant”neighborhoodsretainsomeoftheiroriginal

characterandculture,muchhasbeen

subvertedovertimebyassimilation,

newimmigrantgroupsmovingin

andeconomicchangeinwhichsmall

neighborhoodbusinessesgiveway

tocorporateentitieswhentherents

becometoohigh.

1. Understanding and analyzing chronological relationships and patterns:

nAnalyze influence of specific beliefs on these times. How would events be different in the absence of these beliefs?

nAnalyze the effects specfic decisions had on history. How would things have been different in the absence of these specific decisions?

2. Understanding the historical perspective:

nUnderstand that the consequences of human intentions are influenced by the means of carrying them out.

nUnderstand how the past affects our private lives and society in general.

nPerceive past events with historical empathy

nEvaluate credibility and authenticity of historical sources.

nEvaluate the validity and credibility of different historical interpretations

Summary of Standard for Historical Understanding

7

WashingtonHeightsspans35blocksatthenorthernendofManhattanandwasoriginallysettledby“oldimmigrant”

populations,primarilyofEuropeandescent.AlargeJewishcommunitywithrootsinanearlierimmigrantinflux

stillinhabitstheHudsonHeightsarea.ThedominantpopulationintheneighborhoodtodayisHispanic,

comprisedlargelyofDominicans,butalsoofotherSpanishspeakingpopulationsincludingPuerto

RicansandCubans.TheethnicatmospheretheycreatehereisstillverymuchalivewiththesoundsofMerengue,SalsaandconversationsinrapidSpanishmixedwithEnglish;thearomas

ofempanadasandsweetplantains;andthecolorfulstorefrontsofsmallfamily-run

businessesthatlinethestreets.

Today,theneighborhoodisclearly“home”toits

Hispaniccommunitybutthiswasn’talwaysthe

case.Once,thesepeoplewerestrangersinastrange

place.Sowhatweretheforcesthatdrovethemfrom

theirhomesandfamilyandallthatwasfamiliarto

facethedangersandhardshipsofajourneytoan

unknowncountry?Ittakespowerfulmotivationto

drivepeoplefromtheirancestralhomelandsandthe

historyofemigrationisthehistoryofpeopledriven

touprootthemselvesbyoppressionofonesortor

another:economic,politicalorreligious.Beginning

inthe1600’swavesofEuropeanssetoutforthe

Americancontinentforalloftheseandother

reasons.TheDutchwerethefirsttocometoNew

York,expandingtheircommercialempire.Theywere

soonfollowedbytheEnglishwhosought

politicalandreligiousfreedomandtheIrishand

Scottishdrivenfromhomebythepotatofamine.Later

theJewsofEasternEuropecameseekingrefuge

fromthepogroms.Intheearly20thcentury,southern

8

Puerto Rican Day Parade - 1966

Early Puerto Rican immigrants

Europeanslefttheircountriesandcamehere

seekingjobsandopportunity.AfterWWII,itseemed

thewholeworldwasonourdoorstep,hopingto

escapethepost-

wareconomic

hardshipsathome

andtosharein

theburgeoning

economic

opportunitieshere,

thegatewaytothe

landofopportunity

andasylum.

Itwasinthis

mid-centurywave

thatLatinopopulationsbegantoarriveinlarge

numbers.Sincethattimethese“newimmigrants”

haveincreasinglybecomeasignificantpartofthe

texturedand

colorfulfabricof

NewYorkCity.

Technically,most

PuertoRicans

migratedrather

thanimmigrated

totheUS.The

JonesAct,passed

in1917,conferred

UScitizenship

onPuertoRicans

andrevisedtheirformofgovernmenttoclosely

emulatethatofaUSstate.Previously,whileunder

theoppressionofSpanishrule,relativelyfewPuerto

RicanswereabletoimmigratetotheUSasthe

passagebysteamshipwasprohibitivelyexpensive.

Itwasn’tuntilthemid-twentiethcentury“Great

Migration”thattheybegantoarriveandsettlein

NewYorkCityinlargenumbers,particularlyinEast

Harlem,whichlater

becameknownas

SpanishHarlemorEl

Barrio.Driveninitially

bytheeconomic

hardshipoftheGreat

Depression,whichwas

evenworseonthe

islandthanhereonthe

“mainland,”andlaterby

thepostWorldWarII

searchforopportunity

knownas“thegreat

wave,”theywerenowaidedbytheadventofthe

moreaffordableairtravel.Thisinfluxcontinued

untilthe1970’swhenareverse-migrationoccurred

inwhichmanyPuerto

Ricansreturnedto

theislandtobuy

homesandinvest

inlocalbusinesses

there.Intheinterim,

thepresenceof

thissignificantnew

populationinNew

YorkCityhadresulted

inthefirstwidespread

recognitionofaLatino

communityinthe

politicalandculturallandscapeofthecity.Thefirst

PuertoRicanDayparadewasheldin1958.Today,

thereareroughly1millionPuertoRicanslivingin

NewYorkCity.

9

Fidel Castro

Mariel Boatlift

Rafael Trujillo

ThoughUStroops

occupiedCubaaspart

oftheaftermathofthe

Spanish-AmericanWar,

Cubansdidnotbegin

immigratingtotheUS

insignificantnumbers

until1959whenFidel

Castroassumedpower.

Thelargestpartofthe

expatriatemassesthatleftCuba,settledinMiami,

FloridabutmanymadetheirwaytoNewYorkCity.

AsCastro’srevolutiontookholdandhisideologies

andalliancesmovedfurtherandfurtherinthe

directionofcommunism,hisnewgovernmentseized

privateproperty,nationalizedcompaniesandsent

manymoreCubans,manyofwhomweremiddle

class,fromthe

islandinexile.

In1980,

unrestdueto

asuddenly

declining

economy

prompted

Castrotoannouncethatanyonewhowishedto

leavecoulddoso.Theresultcametobeknownas

theMarielBoatlift,achaotic,impromptuexodusin

which125,000peoplelefttheislandduringasix

monthperiod.Since1994,emigrationtotheUShas

beenregulatedbymutualUS-Cubaagreement.Over

1millionCubanshaveemigratedfromtheisland

since1959.Whilemanymorehavemadeitsafely

toourshores,itisestimatedthat30-40,000may

havediedintheattempt.MostCubanresidentsof

NewYorkCitycanbefoundintheareajustsouthof

WashingtonHeights.

In1961,DominicandictatorRafaelTrujillowas

assassinatedresultinginalooseningofemigration

policy.Fearingpoliticalbacklashathomeandseeing

opportunityinAmerica,large

numbersofDominicans

begantoimmigrateto

theUSfromtheirnative

SantoDomingo.Another

surgecameafewyears

laterfacilitatedbytheUS

Militaryoccupationof

theDominicanRepublic

beginningin1965andbolsteredbyfavorable

employmentconditionshereintheStates.During

the1960’sroughly93,000Dominicansimmigrated

totheUScomparedwithlessthan10,000inthe

1950’s.

Timeline of Hispanic Immigration to New York City

1898 – The Treaty of Paris ends the Spanish-American War and assigns ownership of Puerto Rico to the US.

1917 – Puerto Ricans are granted US citizenship through the passage of the Jones Act.

1945 – The “great wave” of Puerto Ricans (and other populations) begins as immigrants seek economic opportunity after WWII.

1958 – 1st Puerto Rican Day Parade

1959 – Castro assumes power; Cubans flee to the US in large numbers.

1961 – Dominicans begin to arrive after the assassination of dictator Trujillo.

1965 – Second wave of Dominicans arrive with occupation of US troops.

1968 - President Lyndon Johnson designates a week in September as Hispanic-American week.

1974 - The United States Congress passed the Equal Educational Opportunity Act to create equality in public schools by making bilingual education available to Hispanic youth.

1980 – Mariel Boatlift brings over 100,000 Cubans from the island to the US.

1998 – Puerto Rican week established by Mayor Guiliani.

10

Today,theDominicanRepublicsendsthefourth

largestLatinoimmigrantpopulationtotheUS

(afterMexico,PuertoRicoandCuba)withhalfofall

DominicanimmigrantssettlinginNewYorkCity,

formingthecity’slargestimmigrantgroup.In

fact,WashingtonHeightsishometothelargest

concentrationofDominicansoutsideofthe

DominicanRepublicandisaffectionatelyknownin

thecommunityasQuisqueyaHeights.Quisqueyais

acolloquialterm,which,amongotherthings,refers

totheDominicanRepublic.

Everyimmigrantgroupbringsitsculturealongwith

it.ManyhavearrivedontheshoresoftheUSwith

nothingmorethantheshirtsontheirbacksbut

insidethemselvestheyhavealwayscarriedwith

themtherichnessoftheirtraditions.Thelanguage,

themusic,thefood,theart,thebeliefsandthepride

intheirnativecountriesareresponsibleforthemany

vibrantandvariedneighborhoodsaround

thecity,insomecasesneglected

neighborhoodsthathave

foundnewlife.

Butthatnewlifecanbeacomplexone.Insome

waystheimmigrant’sjourneyreallybeginsafter

hearrives.Thatjourneyisfindingawayofgoing

forward,negotiatingthetensionbetweentheneed

toassimilateandtheequallypowerfulneedto

preserveculturalidentity.

Nowhereisthismoreinevidencethanin

WashingtonHeightswhereDominicanflags

flyalongsidethestarsandstripesandwhere

amixofSpanishandEnglishisspokenon

everystreetcorner.The

entrepreneurial

spiritofAmericaisreflectedinthe

ubiquitoussmallbusinessesthatlinethe

streetslabeledwithSpanishnames.

Thisintersectionofculturesisbothacelebration

andasourceofconflictwithwhichevery

immigrantcommunitymustcontendandwith

whicheveryindividualwithinthatcommunity

mustcometoterms.Itisariteofpassage.Thisis

thecelebrationandtheconflictatthecoreofIn

the Heights.

11

Hispanic Voices of ChangeInIn the HeightsNinahasreturnedtotheneighborhoodfromherfirstyearatStanfordUniversity.

She’sdevotedtoherfamilyandcommunityandfeelsdeeplyconflicted.Ultimately,itbecomes

clearthatherfuturemustbeginwithembracingtheeducationalopportunityshe’sbeengiven.

Then,perhaps,shecanbecomeanagentofchangeforherpeople.

Arrivinginthelargestnumbersbeginningin1945withseveralmajor

surgescominginthe1960’s,theHispanicpopulationintheUShad

rapidlygrowntosignificantnumbersbytheeraofthecivilrights

movement.Discriminationmademanifestinlowerwages,poor

educationandotherissuesaffectingopportunityandqualityof

lifeinspiredLatinostoaddtheirvoicestothecallforchange.

Importantfiguresinthecivilrightsmovementemergedfrom

theirranksandsincethattime,Hispanicshavehadanincreasingly

influentialvoiceinAmericanpoliticsandpolicy.

Dr. Antonia PantojaEducator, Social Worker, Civil Rights Leader and Feminist

BorninSanJuan,PuertoRicoin1922,Dr.AntoniaPantojawasapioneerintheadvancementofUSPuertoRicancausesandconditions.Thankstothesupportofwealthyneighbors,shewasabletoattendtheUniversityofPuertoRicowheresheobtainedateachingcertificate.In1944,withWorldWarIIstillinfullswing,PantojacametoNewYorkand,likesomanyatthetime,foundajobworkinginafactoryasawelder.

ShelaterwonascholarshiptoHunterCollegewheresheobtainedaBAandby1954shehadearnedherMaster’sfromColumbiaUniversity.

In1957shefoundedthePuertoRicanForum,dedicatedtothefosteringofeconomicself-sufficiency.Wellaware,fromherownexperience,ofthedifferenceopportunityandeducationcanmake,PantojafoundedAspira (“toaspire”inSpanish)in1961.Aspira,anon-profitorganizationservicingLatino

youthinNewYorkCityandcommittedtopromotingcommunity,educationandapositiveself-image,wastobecomeperhapshermostsignificantandlastingcontribution.OvertheyearsAspirahasofferedcareercounselingtoover50,000Latinostudents.Graduatesoftheprograminclude:FernandoFerrer(formerBronxPresidentandNYCMayoralcandidate),AnthonyRomero(Exec.Dir.OftheAmericanCivilLibertiesUnion),JimmySmits(successfulPuertoRicanactor)andNinfaSegarra(formerPresidentoftheBoardofEducationofNewYork).

ThefocusofPantoja’slaterworkshiftedtoplacemoreemphasisoneducationreform.Shewasresponsibleformajorstridesintheinstitutionofbi-lingualeducationintendedtoassistnativeSpanish-speakingstudentsintransitioningthroughthelanguagebarrier.

12

Joan BaezSinger-Songwriter

Knownasthe“QueenofFolkMusic.”BaezwasbornonStatenIslandthedaughterofaMexican-Americanphysicist.Aniconofthe1960scivil-rightsmovement,shewasoneoftheleadingvoicesofsocialconsciousnessandthecivilandhumanrightsstruggleofthe1960sand1970s.Infact,herpoliticalactivismeventuallyeclipsedher

musicalsuccesses.Herrenditionof“WeShallOvercome”sungatconcertsandprotestsdefinedtheera.

Today,Hispanicleadersareprominentingovernment,socialorganizations,businessandthearts.

Ida CastroLawyer and Public Official

IdaCastrowasbornin1953inNewYorkCityofPuertoRicandescent.Inspiredbythebigotryandandracismshewitnessedasafirst-graderintheBronx,Castrohasmadeitthefocusofhercareertodowhatshecantodefendtherightsofthedisenfranchised.

ShespentmuchofherchildhoodinPuertoRicoandreceivedherBAdegreefromtheUniversityofPuertoRico.ShelaterattendedRutgersUniversityinNewJersey,wheresheearnedbothanM.A.inlaborstudiesandaJ.D.In1976shejoinedthefacultyofRutgersLaborEducationCenterattheInstituteforManagementandLaborRelations.Amonghermanycareer“firsts”wasbecomingthefirstHispanicwomantobetenuredasanassociateprofessoratthe

Institute.

Castroalsoservedinvariouspositionsasanemploymentandlaborlawattorney.Thenin1989sheaidedDavidDinkinsinwinninghisbidforMayorasthefirstHispanicwomantoserveasdeputycampaignmanagerofasuccessfulmayoralcampaigninNewYorkCity.

Beginningin1994,CastrojoinedtheU.S.DepartmentofLaborbecomingtheActingDirectoroftheWomen’sBureauin1996.Uponenteringtheoffice,Castroreaffirmedhercommitmenttopromotingtherightsofwage-earningwomen,focusingincreasedattentiononolderandveryyoungwomenandwomenofcolor.Hermostsignificant“first”camein1998,whenPresidentBillClintonappointedhertoChairtheU.S.EqualEmploymentOpportunityCommission.ShewasthefirstLatinatoholdthatoffice.TheEEOCwascreatedbyCongressin1964asaresultofTitleVIIoftheCivilRightsAct.TheCommission’sprimaryroleistopromoteandenforceequalemploymentopportunitiesregardlessofrace,color,age,sex,religiousfaith,nationalorigin,ordisability.Duringherthreeyearsastheagency’sleader,Castrowasresponsibleformanyimprovementsaffectingtheoverallqualityofservicetothepublic.Beginningin2002,shebecameSeniorAdvisorandDirectoroftheDemocraticNationalCommittee’sWomen’sVoteCenter.

The Legacy

13

Francisco J. NuñezComposer, Conducter, and Founder of the Young People’s Chorus of New York City

BorninNewYorkCityofDominicandescent,Nuñezisacomposer,conductor,andvisionary.Hisinnovativeideashavemadehimaleadingfigureinmusiceducation.TheYoungPeople’sChorusofNewYorkCity,whichhefounded,hasbeenenormouslysuccessful,reachingchildrenfromalloverthecity.

Forhisexemplaryworkwithchildren,Mr.Nuñezhasbeenpresentedwithnumerousawards,suchastheChildChampionawardfromChildmagazine,aLibertyAwardfromtheNewYorkPost,andaLuminaryAwardfromCasitaMaria.Hewasnamedoneofthe100MostInfluentialHispanicsof2005byHispanicBusinessmagazine.

Anthony RomeroExecutive DirectorAmerican Civil Liberties Union

RomerohasdevotedhiscareertotheadvancementandprotectionofcivilrightsandlibertiesandwasgiventheidealopportunitytoshowthiscommitmentwhenheassumedleadershipoftheACLU.Thiscameatanauspicioustime:inSeptemberof2001,aweekbeforetheterroristattacks.Sincethen,throughitsnationalSafeandFreecampaign,theorganizationhasmadeitaprioritytofightforpoliciesandpracticesthatmaintaincivillibertieswithoutcompromisingtheheightenedsecuritywenowlivewith.Onthissubject,Romerohasco-authored:InDefenseofOurAmerica:TheFightforCivilLibertiesintheAgeofTerror,justpublishedin2007.

Inadditiontohisstrongleadershipduringdifficulttimes,Mr.RomerohasledthemostsuccessfulmembershipdriveintheACLU’s85-yearhistory,with75,000newmembersduringhistenure.Thisunprecedentedgrowthhasallowedfortheexpansionoflitigationandlobbyingaswellasnewprogramsthataddressracialjustice,religiousfreedom,privacy,reproductivefreedomandlesbianandgayrights.

BorninNewYorkCitytoparentswhocameherefromPuertoRico,hewasthefirstinhisfamilytograduatefromHighSchool.HewentontoobtaindegreesfromStanfordUniversityLawSchoolandPrinceton’sWoodrowWilsonSchoolofPublicPolicyandInternationalAffairs.Later,RomerowasawardedanhonoraryDoctoratefromtheCityUniversityofNewYorkSchoolofLawandwasnamedoneofTimeMagazine’s25MostInfluentialHispanicsinAmerica.

14

Discussion Objective

Researchanddiscusstheethnicoriginsoffamiliesandthehardshipsofimmigration.

Teaching Tips

Wesay,“IamanAmerican.”Whatdoesthatmeantoyou?Howwouldyoudefinetheterm?Dopeoplefromcountrieshistoricallyconsideredpartof“TheAmericas”fityourprofile?Why?Whynot?

From the ScriptAct 1, Scene 1

Usnavi,amaincharacter,ownsabodegastartedbyhisparents.HeusesaraprefraintolamenthislongingfortheDominicanRepublicandthehardshipsanduncertaintyoflivingonthefringesofsocietyinanewcountry.

USNAVII AM USNAVI & YOU PROB’LY NEVER HEARD MY NAMEREPORTS OF MY FAME ARE GREATLY EXAGGERATEDEXACERBATED BY THE FACT THAT MY SYNTAX IS HIGHLY COMPLICATED CUZ I EMIGRATED FROM THE SINGLE GREATEST LITTLE PLACE IN THE CARIBBEAN DOMINICAN REPUBLICI LOVE IT JESUS I’M JEALOUS OF ITBUT BEYOND THAT, EVER SINCE MY FOLKS PASSED ON,I HAVEN’T GONE BACKI GOTTA GET ON THAT...

THAT WAS ABUELA, SHE’S NOT REALLY MY “ABUELA,”BUT SHE PRACTICALLY RAISED ME, THIS CORNER IS HER ESCUELA!YOU’RE PROB’LY THINKIN, “I’M UP THE CREEKI NEVER BEEN NORTH OF NINETY SIXTH STREET”WELL YOU MUST TAKE THE A TRAINEVEN FARTHER THAN HARLEM TO NORTHERN MANHATTAN AND MAINTAIN

GET OFF AT 181st, AND TAKE THE ESCALATORI HOPE YOU’RE WRITING THIS DOWN, I’M GONNA TEST YA LATERI’M GETTING TESTED TIMES ARE TOUGH ON THIS BODEGA,TWO MONTHS AGO SOMEBODY’S BOUGHT ORTEGA’SOUR NEIGHBORS STARTED PACKIN UP AND PICKIN UPAND EVER SINCE THE RENTS WENT UPIT’S GOTTEN MAD EXPENSIVEBUT WE LIVE WITH JUST ENOUGH

ExerciseSetasideavisitationday.Havestudentsinviteguestsfromthecommunitywhoareimmigrantstoclass.Invitethemtotelltheirstoriesandsharetheirexperiences.Encouragestudentstoaskquestions.Whatmadethemdecidetocomehere?Didtheyalreadyhavefamilyhere?Didtheycomealone,orwithothers?Whatanecdotesorstoriescantheyshare?Whathardshipsdidtheyendure?Ifrecentimmigrantscannotbefound,familymembersorfriendsofpastimmigrantswhoarefamiliarwiththeirstoriescanbeinvited.

Weoftenhearpeoplesaythat“Americaisthebestcountryintheworld.”Inthescript,UsnavitalksaboutreturningtotheDominicanRepublic.Didanyofthevisitorseverconsiderreturningtotheircountries?Why?Isitsurprisingthatanimmigrantmightlongforhisorheroldcountry?Whymightthatbe?Gotothewebsite: www.thelostys.com/immigrants_who_returned_home.html.Discussthearticleanditsimplications.

HISTORYDiscussion Exercise

15

YEAH I’M A STREETLIGHT,CHOKING ON THE HEATTHE WORLD SPINS AROUNDWHILE I’M FROZEN IN MY SEATTHE PEOPLE THAT I KNOW ALL KEEP ON ROLLING DOWN THE STREETBUT EVERY DAY IS DIFFERENTSO I’M SWITCHIN UP THE BEATCUZ MY PARENTS CAME WITH NOTHINGAND THEY GOT A LITTLE MOREAND SURE, WE’RE POOR, BUT YO,AT LEAST I GOT THE STOREAND IT’S ALL ABOUT THE LEGACYTHEY LEFT WITH ME, IT’S DESTINYAND ONE DAY I’LL BE ON A BEACH

WITH SONNY WRITING CHECKS TO ME


Recognizeanddocumentthecontributionsofimmigrantstotheculture.

Teaching Tips

Whatjobsdoimmigrantsperformthatareconsideredmenial?Isanyjob,ifitservesthepublicinterest,menial?Someeducatedimmigrantstakelow-payingjobs.WhatdoyouthinkaboutanEgyptianlawyerwhodrivesalimousine?ALatvianviolinistwhosellslifeinsurance?


Abuela(Grandmother)orClaudiareminiscesaboutwhenshefirstcametoAmerica.Achorusofcharacters--twogenerationsremovedfromClaudia’sbutobviouslyfamiliarwithherstory--fillsinthedetails.

ABUELA CLAUDIAFRESH OFF THE BOAT IN AMERICAFREEZING IN EARLY DECEMBERA CROWDED CITY IN NINETEEN FORTY THREE!LEARNING THE ROPES IN AMERICAIN ESPANOL, I REMEMBERDANCING WITH MAYOR LAGUARDIAALL OF SOCIETY WELCOMING MAMI AND ME!HA!

ENSEMBLEYOU BETTER CLEAN THIS MESS!

ABUELA CLAUDIAPACIENCIA Y FE . . .

ENSEMBLEYOU BETTER LEARN INGLES!

ABUELA CLAUDIAPACIENCIA Y FE . . .

ENSEMBLEYOU BETTER NOT BE LATE . . .YOU BETTER PULL YOUR WEIGHT . . .ARE YOU BETTER OFF THAN YOU WERE WITH THE BIRDS OF LA VIBORA?

ENSEMBLEPACIENCIA Y FE . . .

ExercisesUsinganonlineSpanish/Englishdictionary,translatetheexpressionPacienciayFe(PatienceandFaith).Thinkaboutatimewhenyoucouldhaveappliedtheexpressiontoyourownlife.Writeashortessaytosharewiththeclass.

ReadHunger of Memory: The Education of Richard Rodriquez.Howdoeshisstory,writtenbythechildofMexicanimmigrants,differfromthoseofthechildren,say,ofMexicanmigrantworkers.

Pretendyou’veimmigratedtoMexico.CollectsamplesofjobapplicationsinSpanish(manycompaniesnowhavetheseavailable).Workingingroups,onceagainusingaSpanish/Englishdictionary,trytofillitout.Prepareabasicresumeofskills,inSpanish.

HISTORYWriting Exercise

16

ABUELA CLAUDIASHARING DOUBLE BEDS, TRYING TO CATCH A BREAK, STRUGGLING WITH ENGLISHLISTENING TO FRIENDS, FINALLY GOT A JOB WORKING AS A MAIDSO WE CLEANED SOME HOMES, POLISHING WITH PRIDE, SCRUBBING THE WHOLE OF THE UPPER EAST SIDETHE DAYS INTO WEEKS, THE WEEKS INTO YEARS, AND HERE I STAYED.

ENSEMBLEPACIENCIA Y FE . . .

ABUELA CLAUDIAAND AS I SAY THESE WORDSMY HEART’S ABOUT TO BREAK

AND AY MAMA, WHAT DO YOU DO WHEN YOUR DREAMS COME TRUE?I’VE SPENT MY LIFE INHERITING DREAMS FROM YOU.

Experiential Objective

Sensitizestudentstotheisolationfeltbyimmigrantsfromtherestofsociety.

Teaching Tips

Definetheterm,“MeltingPot.”DoesitaccuratelydescribeAmericanculture?Explain.Howdoyoufeelaboutbi-lingualeducationinschools?Earlyimmigrantsdidnothavethisadvantage.Neitherdosomestudentstoday.Whatmustthatbelike?Howdoyouthinkitaffectstheirassimilationintotheculture?


TheCityexperiencesablackout.PeopleofthebarriobantogetherasagroupunitedintheirLatinAmericanethnicity.Acarnivalatmosphereensues.

SONNY & PIRAGUA GUYCARNAVAL!

DANIELADEL BARRIO...

WE DON’T NEED ELECTRICIDAD!GET OFF YOUR BUTT, AVANZA!SACA LA MARACA, BRING YOUR TAMBOURINECOME AND JOIN THE PARRANDA!...

ENSEMBLECARNAVAL!

BARRIO!

CARLAOOH, ME ME ME, DANI I HAVE A QUESTION.I DON’T KNOW WHAT YOU’RE CANTANDO.

DANIELAJUST MAKE IT UP AS YOU GOWE ARE IMPROVISANDOLAI LE LO LAI LO LE LO LAIYOU CAN SING ANYTHINGCARLA WHATEVER POPS INTO YOUR HEADJUST SO LONG AS YOU SING

CARLAMY MOM IS DOMINICAN-CUBAN, MY DAD IS FROM CHILE AND P. R., WHICH MEANS:I’M CHILE-DOMINI-CURICAN, BUT I ALWAYS SAY I’M FROM QUEENS!

ExercisesHaveaSpanishteacherteachpartofanEnglishlessoninSpanish,usinganoccasionalEnglishphraseasexplanation.Quizthemonthelessonandseehowtheydo.

During9/11peoplebandedtogether.Onepoignantimageshowsaman,obviouslyRastafarian,beinghelpedthroughthesmokebyanotherinabusinesssuit.Intheexcerptcharactersseeksolaceineachother.Theirattempttocreateacarnivalatmosphereseemsstrained.ThereisasenseofisolationfromtherestoftheCity.

Immigrantstendtostaywithintheirowncommunities.Why?Forprivatereflection,makealistofpeopleinyourimmediatesocialgroup.Listthingsyouhaveincommonandthingsyoudonot.Makethesamelistforpeopleoutsideofyourgroup.Wouldyoubefriendsomeoneonthesecondlist,oraretheybetteroffwith“theirownkind?”Whatdoyoumeanbythat?

HISTORYExperiential

17

To Go Objective

AppreciateimmigrationasadrivingforceinAmericanculturefrombothanhistoricalandpracticalperspective.

Teaching Tips

Althoughtheplayfocuseson“TheHeights,”anditslargelyHispanicpopulation,manyissuescommontothatpopulationhavebeensharedbyallgroupsimmigratingtoAmerica.Besuretoreinforcethisconceptwithstudents,who,viewingtoday’sheadlines,tendtoassociateproblemswithonlyHispanics.

To Gohistory

ExerciseInthesection,“Immigration,TheKeytotheCity,”thetextreads:Every immigrant group brings its culture along with it. Many have arrived on the shores of the US with nothing more than the shirts on their backs but inside themselves they have always carried with them the richness of their traditions. The language, the music, the food, the art, the beliefs and the pride in their native countries are responsible for the many vibrant and varied neighborhoods around the city, in some cases neglected neighborhoods that have found new life.

AmajorcontributionbyimmigrantstoAmericanculturehasbeenthroughfood.FromtheChinesetotheItalians,tothePolesandMexicans,Americanspalatesnowenjoythewidestvarietyofdelicaciesimaginable.We’vecomealongwayfromtheboiledbeefoftheoriginalsettlers!Makealistoffoodsyouenjoywhichoriginatedinothercountries.Combinethelistsandcomeupwithaninternationalmenu.Setasideadayandaskvolunteerstocookthedishesforsamplingbytheclass.

Gotoimmigration.about.com;clickonlinksto“famousimmigrants”frombusiness,politicsandthearts.Howmanyofthesepeoplehaveyouheardof?Howmanymorecanyouthinkofthatarenotonthelists.Pickyourfavoritecategoryandfindoutallyoucanaboutoneofthenotables.

Notes

18

ForthemanyHispaniccommunitiesinNewYorkCity,culturalidentityresides,

morethananywhereelse,intheirlanguage.Itisacruciallinktothepast,and

moreimportantly,ameansofpreservingtheircultureforfuturegenerations.

Historically,EuropeanimmigrantshavebeeneagertoadoptEnglishastheir

primarylanguageinanefforttoquicklyassimilate,toessentiallyshifttheir

culturalidentity.NativeSpanish-speakerslivinginAmerica,ontheotherhand,

holdonsteadfastlytotheirnativetongue.ThoughtheylearnEnglishasthey

must,tosurviveandtothrive,thenewlanguageisnevermistakenforthe

dominantoneintheirlives.TheirchildrenlearnEnglishinschoolandwillspeak

acombinationofthetwolanguagesamongtheirpeersontheplayground.

Evenso,theywillspeakandbespokentoalmostexclusivelyinSpanishathome

andelsewhereinthatcommunity.

InWashingtonHeights,asinmostHispanicneighborhoods,thatcommunityis

comprisedofseveraldifferentSpanish-speakingpopulations.Itis,infact,the

commonlanguageandthedesiretohearandspeakitthatbringsHispanics

ofvariousculturestogetherinoneneighborhood.Withinthatcommon

framework,however,therearemanydialecticalvariationsdependingonthe

speaker’scountryoforigin.MexicanSpanishisdifferentfromDominican

WritingnDemonstrates competence in the general skills and strategies of the writing processnPrewriting, drafting and revising, editing and publishingnDemonstrates competence in the stylistic and rhetorical aspects of writingnUses grammatical and mechanical conventions in written compositionsnGathers and uses information for research purposes

Summary of Standard for Language Arts

ReadingnDemonstrates competence in the general skills and strategies of the reading processnDemonstrates competence in the general skills and strategies for reading a variety of literary textsnDemonstrates competence in the general skills and strategies for reading a variety of informational textsListening and SpeakingnDemonstrates competence in speaking and listening as tools for learning

Language,powerfullyandimmediately,definesculturalidentity.ImaginewalkingdownastreetinNewYork,acitywhere170languagesarespoken.Basedonappearance,youmightnotevenconsiderthatthepeoplewalkinginfrontofyouorbesideyouarefromanywherebutNewYork;butwhenaredtrafficlightbringsyoucloseenoughtohearasnippetoftheirconversation,thelanguagetheyarespeakingmaytellyouthattheyhavecomefromsomewherefaraway.

The Art and Soul ofCreating Language

Overture to

language Arts

19

SpanishwhichisdifferentfromColombianSpanish,etc.Naturally,thevariousaccentslenddifferentsoundsto

thespokenlanguagejustasAmericanEnglishsoundsdifferentfromBritishEnglish.Therearealsodifferences

inthemeaningsassociatedwithcertainwords.

The Word Is. . .

GuaGua

Puerto Rico = bus

Mexico = the sound a dog makes

Soforexample,itwouldhelptoknowifsomeonewasfromColombiaorSpainwhenorderinglunch.Andyou

mightnotwanttotellsomeonefromMexicothattheycancatchtheguaguaonthecorner.Then,ofcourse,

thereareanynumberofinadvertentlyprofanefauxpasthatcanproveembarrassingorevendangerous

dependingonthecircumstances.Tofurthercomplicatematters,differentgroupsusedifferentwordsfor

Englishequivalents.

China / oPuerto Rico = orange Colombia = child

Therearegrammaticaldifferences,too.Forexample,peoplefromtheCaribbeanusemoresubjectpronouns

thanthosefromMexicoorSouthAmerica.Overall,however,thesedifferencesdon’tsignificantlyhinder

communication.

AninterestingstudyoftrendsinSpanishdialectsamongNewYork’smajorHispanicgroups(PuertoRicans,

Dominicans,CubansandColombians)soughttodiscovertowhatextentsomeofthedialecticalvariation

willleveloutasoneusagetakesprecedentoveranother.Theanswerturnsouttobecomplexandtakesinto

accountseveralfactorsincludingcomparativesizeofthepopulations,frequencyofindividualwordusageand

socio-economicstatus.Thestigmatizationofcertaingroupsandtheprideofotherscanoverrulelinguistic

factors.Nevertheless,itseemsclearthatovertime,wordpreferenceswillbattleitoutandsome“leveling”will

occur,movingtowardthecreationofauniqueNewYorkSpanishdialect.

Dominican = aretes

Earrings

Puerto Rico = pantallas

Cuban = maquina

Car

Colombian = berlina

Dominican = Carro

Colombian = anden

Sidewalk

Cuban = aCera

20

boCadilloColombia = tree Spain = sandwich

Language purists sometimes associate linguistic “correctness” with old or original forms. While it’s important to be aware of current “accepted” forms in

order to use good grammar, the fact is that languages are not static. They evolve and change continuously as cultures come into contact with each other and cross-pollinate ideas and the vocabularies that express them.

Justasanewstrainofthelanguagearisesfromtheinter-minglingofSpanishdialects,whereverSpanishandEnglish-speakingcommunitiesco-existorbordereachotheranexchangeoflanguagecomponentsalsooccurs.

ThepoweroftheEnglishlanguageisdueinlargeparttoarichvocabularyderivedfrommanylanguages.Inaddition

totheLatinrootssharedbybothlanguages,manySpanishwordshavetransferredintocommonEnglishusageintheiroriginalform.SomeofthosewordshavecomefromtheCaribbeanculturesthroughtradeassociations.OtherscamebywayoftheMexicanandSpanishpresenceinwhatisnowtheSouthwesternUS.And

English/Spanish Interplay:Necessity is the Mother of Invention

manyarenamesoffooddishesnotpreviouslyintheEnglishculinaryvocabulary.

Morerecentlyhowever,thereversetrendisdominatingthelinguisticlandscapeintheformofSpanglish,acolorful,informalhybridthatappearstobespreadingatapace

tomatchthefastestgrowingethnicgroupinNewYorkCity.

PuertoRicanlinquistSalvadoTioiscreditedwithcoiningtheterm“Spanglish”inthe1940’s.Thereisstillnosingle,specificformulabywhichwordscombinetoformnewexpressionsbutlinguistshaveidentifiedseveralwaysinwhichitoccurs,thoughitisalwaysfluidandspontaneous,

The large words on these pages are a sample of Spanish words that are now part of our everyday English vocabulary. Others are: armadillo, machismo, albino, flotilla, barracuda, armada and burro.

Other common English vocabulary words adapted from Spanish

English Word

AlcoveCanyonChaps

KeyMustangTornado

Spanish Word

AlcobaCanon

ChaparrerasCayo

MestengoTronada

Some words adapt in meaning when they transfer into English

English/Spanish Word

BonanzaCanastaMacho

Sombrero

Original Spanish Word

calm seas/fair weatherbasketmale

any kind of hat

21

TheinterestingquestionaboutthegrowinguseofSpanglishamongHispanicsis:doesthisrepresentacorruptionordegradationoftheirnativetongueorisitawayofholdingontotheirlanguageandculturalidentitywhichmightotherwisebelostaltogetherthroughassimilation?Eitherway,somebelievethatSpanglishwilleventuallyhavealastingimpactonSpanishthroughouttheSpanish-speakingtheworld.Wemayevenbewitnessingthecreationofanewandseparatelanguage.

In In the Heights, Kevin, the owner of the local Taxi and Limo company uses Code Switching or Word Substitution.

Borrowing and phonetically adapting an English word (to make it sound more Spanish) is another example of Spanglish, as when Daniela offers Vanessa an advance on her paycheck:

“All drivers, atencion! Bajen las ventanas, apaguen el aire. I got three cars overheated already.”

“It’s an estretch but I can do it.”

Phonetic Translation,directlyadaptingawordtosomethinginventedbasedonthesoundofthe

Englishword,isanothermethod.Forexampleusingquaraforquarterorpantijosforpanty hose.

Thisoftenoccurswheninventedwordsareneededtoidentifycompletelynewideasorexperiences.

Direct Translation,ofanEnglishphraseorexpressionforexample:“Te llamo para atras.” (“I’ll call

you back.”)

Spanglish Dictionary

Spanglish

aplicationbiper

cuitearinsulacion

liberiamarqueta

rentartroca

yonque

English

applicationbeeperto quit

insulationlibrarymarketto renttruck

junk yard

Spanish Translation

solicitudlocalizador

cesar, renunciaraislamientobibliotecamercadoalquilarcamion

sitio de chatarra

22

ThephenomenonofRapandHipHopmusiccouldbedescribedasthecreationofbothalanguageandan

artform.BornintheBronxsectionofNewYorkCityinthemid-1970’s,what

wasthencalledDiscoRapwastheinventionoftheDJ’softhetimewho

beganisolatingthepercussionbreaksofsongs

duringwhichanemcee(MC)wouldtalkto

thedancers,infusingtheatmospherewith

excitement.TheDJ’sbegantomixexcerpts

ofmusictrackswithrhythmicscratching

soundsandoverthisstrong,driving

backgroundbeat,theMCor“rapper”added

extemporaneousrhymingspokenlines.These

arethebasiccomponentsofHipHopmusic

today.Addbreakdancingandgraffitiartand

youhavetheculturalcocktailknownasthe

HipHopmovement.

The Created Language of the DisenfranchisedRap and Hip hop

The narrator and central character of In the Heights, Usnavi, uses Rap to introduce himself, his world and the language of the show.

With this introduction, we’ve already learned a lot about the world we’re entering. Above all, we know that an intentional self-consciousness about language will be part of the journey. In a perfect marriage of form and content, the story about what happens on a Washington Heights street corner will be told in the forceful, poetic and sometimes brutal language of the street: Rap.

IAMUSNAVIANDYOUPROB’LYNEVERHEARDMYNAMEREPORTSOFMYFAMEAREGREATLYEXAGGERATEDEXACERBATEDBYTHEFACTTHATMYSYNTAXISHIGHLYCOMPLICATEDCUZIEMIGRATEDFROMTHESINGLEGREATESTLITTLEPLACEINTHECARIBBEAN

23

Bytheearly‘80’sthemovementhadafirm

toeholdinthepopularmusiclandscape.As

anaccessibleoutletforartisticexpression,

thevoiceofinnercityyouthwasbeingheard.

Creatively,however,theformseemedto

haverunitscourseduetothelimitationsand

similaritiesbetweensongsofthediscoand

funkbackgroundbeats.Butnewtechnology

ofthetimeallowedformoresophisticated

musicalaccompanimenttodevelopincluding

morecomplexlayeringofbeatsandsampling.

Atthesametime,Raplyricsbecamemuch

morecomplexintheiruseofmetaphorand

inclusionofsocialmessages.Thiswatershed

pointintheevolutionofthemusicwastheendof

“OldSchool”andthebeginningofthe“NewSchool”

musicthatgainedhugemainstreamsuccessinthe

80’’s.

Usingthevocabularyandthesyntaxofthestreet

combinedwithrhymeandrhythm,RapandHip

Hopareelevatedtouniqueformsofmusical

poetrythatgivevoicetothepreviouslyvoiceless

anddisenfranchised.Andwhilethemusichas

beencriticizedfortheuseofprofaneandviolent

language,atthesametimeitcanaccommodate

profoundemotion.Somehow,itisthecontrastofhis

vulnerabilityexpressedthroughthistoughsounding

streetRapthatmakesBenny’sdeclarationoflove

neartheendoftheshowsodevastatinglyromantic.

FORREALTHOUGHITHINKIMAYBESORTOFLOVEYOUFORREALTHOUGHMYSOCIOECONOMICSTATUSISREALLOWBUTI’LLDOWHATIMUSTFORYOURTRUSTTHISAIN’TLUSTTHISISMUCHMUCHMORE!ANDI’MATYOURDOOR!

ThroughoutthelifespanofRapandHipHopto

date,therehavebeenthosewhohaveclaimedthat

thismusicalphenomenonisapassingfad.Butat

30yearsandgoingstrong,HipHophassecuredits

placeinpopularmusichistory.

24


Recognizeattitudesthatpsychologicallydifferentiatethevalues,needsandaspirationsofgroupsoutsideofyourown.

Teaching Tips

Peoplewantdifferentthingsfromlife.Givesomeexamples.Doyourthinkyourlifegoalsaresuperiortothoseofothers?Why?Wouldyoubefriendapersonwhoseaspirationsare“lower”thanyourown,ordoyoudiscountthatinselectingfriends?Ifyouwouldnot,saywhyandprovidereasons.Ifyouwould,assesswhatimpactthoseassociationsmighthaveonyourownfuture—ontheirfuture.


UsnavisuggestsBennybuyalotteryticketandadiscussionensueswithseveralcharactersabouthowtheywouldspendthemoneyiftheywonit.Bennyfirstsayshe’dspenditoneducationthatwouldmakehimrichthensayshe’dthrowabigblockpartyfortheneighborhoodsoeveryonecould“breathe”abitandforgettheircaresandfinancialwoes.Othercharactershavetheirownideas,includingSonnywho’dimprovethingsinthebarrioandVanessawho’duseitashervehicleout.

USNAVITake Five Lotto. Hold up, we sold a winner yesterday?

BENNYSomebody won?

SONNYYo, I want a cut of your cut!...

BENNYWhat’s the payout? Don’t tell me no five hundred dollars.

“96,000”...

GRAFFITI PETETHAT’S A LOT OF SPRAY CANS…

BENNYYO.IF I WON THE LOTTO TOMORROWWELL I KNOW I WOULDN’T BOTHER GOIN ON NOSPENDIN SPREEI’D PICK A BUSINESS SCHOOL AND PAY THE ENTRANCE FEE!THEN MAYBE IF YOU’RE LUCKY, YOU’LL STAY FRIENDS WITH ME!I’LL BE A BUSINESSMAN, RICHER THAN NINA’S DADDY!DONALD TRUMP AND I ON THE LINKS AND HE’S MY CADDY!MY MONEY’S MAKIN MONEY, I’M GOIN FROM PO’ TO MO’ DOUGH!I WANT THE BRASS RING, LIKE FRODO!... FOR REAL, THOUGH, IMAGINE HOW IT WOULD FEEL GOIN REAL SLOWDOWN THE HIGHWAY OF LIFE WITH NO REGRETSAND NO BREAKIN YOUR NECK FOR RESPECT OR A PAYCHECKFOR REAL THOUGH, I’LL TAKE A BREAK FROM THE WHEEL AND WE’LL THROWTHE BIGGEST BLOCK PARTY, EVERYBODY HERE...

CARLA

CHECK ONE TWO THREEWHAT WOULD YOU DO WITH NINETY SIX G’S—

DANIELAWHO ME?

CARLAI MEAN IF IT’S JUST BETWEEN YOU AND ME—

language artsDiscussion Exercise

25

CARLAI MEAN IF IT’S JUST BETWEEN YOU AND ME—

DANIELAESA PREGUNTA ES TRICKY!

CARLAI KNOW

DANIELAWITH NINETY SIX G’SI’D START MY LIFE WITH A BRAND NEW LEASEATLANTIC CITY WITH A MALIBU BREEZE...

USNAVIIT’S SILLY WHEN WE GET INTO THESE CRAZY HYPOTHETICALSYOU REALLY WANT SOME BREAD THEN GO AHEAD CREATE A SET OF GOALSAND CROSS THEM OFF THE LIST AS YOU PURSUE EM, AND WITH THOSE NINETY SIX I KNOW PRECISELY WHAT I’M DOIN... WHAT’M I DOIN? WHAT’M I DOIN?IT TAKES MOST OF THAT CASH JUST TO SAVE MY ASS FROM FINANCIAL RUINSONNY CAN KEEP THE COFFEE BREWIN, AND I’LL SPEND A FEW ON YOU CUZ THE ONLY ROOM WITH A VIEW’S A ROOM WITH YOU IN IT.AND I COULD GIVE ABUELA CLAUDIA THE REST OF ITJUST FLY ME DOWN TO PUERTA PLATA, I’LL MAKE THE BEST OF ITYOU REALLY LOVE THIS BUSINESS?...

SONNYYo! WITH NINETY SIX THOUSAND, I’D FINALLY FIX HOUSIN,GIVE THE BARRIO COMPUTERS AND WIRELESS WEB BROWSIN,YOUR KIDS ARE LIVIN WITHOUT A GOOD EDUMACATION,CHANGE THE STATION, TEACH EM ABOUT GENTRIFICATION.THE RENT IS ESCALATIN’...

VANESSAIF I WIN THE LOTTERY, YOU’LL NEVER SEE ME AGAIN...I’LL BE DOWNTOWN, GET A NICE STUDIO, GET OUT OF THE BARRIO

ExerciseAllofthesecharactersaredecentpeopleyetsomearemorealtruisticthanothers.PresentthesameoptiontotheclassthatUsnavipresentstoBennyandtheothercharacters.Use$1millionasaroundfigure.Haveeachstudentmakeachronologicallistbasedontheirownparticularpriorities.Thenaskthemtoputthemselvesintheplaceofanotherpersonwhomayhavemoreorlessmoneythantheyhave.Havethemredotheirlistsanddiscusschangeswiththeclass.

Analyzingeachcharacter’sparticularsituationandpersonality,havestudentsexplainwhytheythinkeachhaschosenhowtospendthemoney.BennyandSonnybothsuggestdegreesofaltruismintheiranswers;askhowmanystudentswouldusetheirmoneytoimprovethelivesofpeoplelessfortunate.WhydotheythinkSonnywouldputallhismoneyintoimprovinghisneighborhoodasopposedtoBennywhowoulduseittofirstmakeabetterlifeforhimself,andthengiveabitbacktothecommunity—enoughtomakethem“happy”foralittlewhile,despitetheeverydaygrindoftheirexistence?IsBenny’sgoaltobecomeanother“DonaldTrump”realistic?Why?Whynot?

Benny’sadvicetosetgoalsandpursuethemseemssage.Studentsshouldmakealistoftheirowngoals:calculatecosts;assesswhatportionoftheir$1milliontheywouldneedtoachievethemwiththehelpofaparentoradult.Iftheyranoutofmoney,whichoneswouldgetdroppedfromthelist.

WhothinksVanessaisjustifiedinherdecisiontotakethemoneyandrun?Why?

Discussion Exercise(cont’d)language artsDiscussion Objective

Recognizeattitudesthatpsychologicallydifferentiatethevalues,needsandaspirationsofgroupsoutsideofyourown.

Teaching Tips

Peoplewantdifferentthingsfromlife.Givesomeexamples.Doyourthinkyourlifegoalsaresuperiortothoseofothers?Why?Wouldyoubefriendapersonwhoseaspirationsare“lower”thanyourown,ordoyoudiscountthatinselectingfriends?Ifyouwouldnot,saywhyandprovidereasons.Ifyouwould,assesswhatimpactthoseassociationsmighthaveonyourownfuture—ontheirfuture.

Notes

26

Writing Objective

Interpretingthemotivesofmaincharactersandwritingshortscenesinbriefnaturaldialogueexpressingtheemotionsofeach.

Teaching Tips

MostteensandtheirfamiliesdisagreeonoccasionandNina’ssituationwillnotbeforeigntothem.Many,withstrongmalefigureswillsenseKevin’sdictatorialyetwell-meaningcharacter.Well-meaningaside,decisionsmademightnotalwayscoincidewiththeinterestsofthepersonorpeopleinvolved?Wheredoeslegitimateauthorityendandanindividual’spersonalrighttochooseapathbegin.Isthereroomforconsensusthatmightbeineveryone’sbestinterest?


Overdinner,Kevinsayshe’ssellingtheirbusinesssoNinacangobacktoStanford.Camilaquestionshisdominanceoverfamilydecisions.Ninainsistsshewillnotreturntoschool,andsheandherchildhoodfriend,Benny,bothleaveinanger.

KEVINI sold Rosario’s. You’re going back to Stanford.

CAMILAKevin, this had better be a joke.

KEVINUptown Investment takes over in two weeks.

CAMILAUptown? Ay dios mio, they offered us nothing!

KEVINIt was enough, mi vida.

NINAWait. Dad, I’m finding a job. I have an appointment to visit CUNY on Monday!

KEVINWhat, so you end up just another girl stuck in el barrio?

VANESSAWhy you gotta look at me when you say that?

BENNYHold up, did I just lose my job?

CAMILANo, you didn’t. (To KEVIN.) I do the payroll, the banking, your chaotic paperwork. We worked twenty years to build this company. I worked!

KEVINFor what, Cami? Twenty years for what?

NINAWhat about your employees?

BENNYYou can’t just kick us to the curb.

USNAVIYour drivers are half my customers.

KEVINI’m not a welfare office! Family comes first, above everything.

Writing Exerciselanguage arts

ExerciseTheencounterleavesthesituationunresolvedandsendsNinaandBennyfleeingintotheNewYorknight.ConcernforherwelfarebringsCamilaandKevintogetherincommonconcern,butitisobviousthatmanyobstaclesexisttothefamily’sunity.There’sastrongsenseofchangeintheair,forthemandthecommunityatlarge.

Havestudentsconjectureashowtheirownfamilymighthandlethissituation.HowdotheyseeKevinandCamilaasparents?Shouldallofthecharactershavebehavedmorematurely?Inwhatway?

Usingcharactersintheplay,studentsrewritetheabovescenewiththeirownoriginaldialogue.Tellthemtheirwordscanchangetheoutcome,iftheywish.

27

BENNYThe day you hired me you said I was family.

KEVINThat’s business. This is my daughter.

CAMILAYou are all my family, and you have my word: we are not selling Rosario’s.

KEVINI’m making the damn deal!

CAMILAThis is our business.

KEVINIt was in my name!

CAMILADinner’s over.

(She exits.)

NINAMom!

VANESSAExcuse me. I’m not good enough to sit with the bourgeoisie. (VANESSA exits.)

CLAUDIACon permiso. (USNAVI and CLAUDIA exit.)

NINA(To BENNY.) Benny, I had no idea, I swear—

KEVINNina, stay away from him!

BENNYGood luck at college. (He exits.)

(NINA and KEVIN are alone.)

NINAYou know I will never touch that money.

KEVINSo help me god, you are flying back to California. (She exits.) Nina!


Recognizehowothersoftenmakeitpossibletoachieveagoalormakeadreamcometrue.

Teaching Tips

Suggesttostudentshowparentssacrificetosendtheirchildrentocollege.Discusstherealitiesofcost,andwhattheymighthavehadforthemselvesinstead.Aresuchsacrificesappreciatedorexpected?Why?Whatisthevalueoffriendshipintimesofneed?Thinkamomentabouthowthingsusedtobewhentheywereyounger.Isitbetterorworsenow?Inwhatway?Dotheysometimeslongforanothertime,whentheywereyounger,likeUsnaviandhisAbuela.Doyouthinkthey’recrazyforgivinguplifeinAmericaandreturningtotheDominicanRepublic?Askhowmanystudentshaveevermoved,andiftheymisstheoldplace.


TheblackoutisoverandUsnavichecksonAbuela.Sheissittinginherapartmentwithabagonherlap,fullofmoney.ShetellshimsheisgivinghimathirdandathirdtoSonny.

USNAVIABUELA.ARE YOU OK?

CLAUDIA/USNAVI PACIENCIA Y FE! PACIENCIA Y FE!

USNAVILET ME SEE IT AGAIN!

CLAUDIAWE KEPT IT SAFE.

CLAUDIAUSNAVI, PLEASE PROMISE ME YOU’LL GUARD THIS WITH YOUR LIFE.

USNAVIABUELA, I’VE NEVER SEEN—

CLAUDIAA THIRD FOR YOU.

USNAVIUH HUH UH HUH. UH HUH UH HUH.

CLAUDIAA THIRD FOR ME!

Experientiallanguage arts

USNAVINO PARE SIGUE SIGUE!

CLAUDIATHE REST FOR SONNY—AND WITH OUR SHARE OF THE MONEYAND WITH OUR SHARE OF THE MONEY—

DREAM OF THE SEASIDE AIR!SEE ME BESIDE YOU THERE!THINK OF THE HUNDREDS OF STORIES WE WILL SHARE!YOU AND I...

CLAUDIA AY, WE’LL FIND YOUR ISLAND—

USNAVIAY MY ISLAND SKY

CLAUDIAAY, FIND YOUR ISLAND—

USNAVIAND WHATEVER WE DO IT’S—

BOTHYOU AND I!

ExercisesUsnavichoosestostayin“TheHeights”andrunhisparentsstore.NinadecidestogobacktoStanford.BennysayshewilltrytovisitherinCaliforniabutisstayingandplanningtostarthisownbusiness.Thingsintheneighborhoodarechangingasarethelivesofthecharacters,allofwhomareinsomewaymovingoninlife.

Havestudentsdiscusshowtheyfeltgoingfromkindergartentofirstgrade,andfromgradetogradesincethey’vebeeninschool.Wasittraumatic?Isitstill?Whydotheythinkpeopleresistchange?WhydidittakethenearbreakupofhismarriageandlossofhisdaughterforKevintorealizehismachismowasruininghisfamily.WhydidittakesolongforUsnavitoreturntotheislandofhisbirth;forVanessatoseekabetterjobandmovetoabetterarea;forSonnyandthegirlsatthesalontogetonwiththeirlivesasnewAmericans?

Foraweek,havestudentssitinadifferentseateachdaywhentheycometoclass.Askthemhowitfeels.Askthemtositatdifferentlunchtables.Inadiary,havethemrecordtheirfeelingsandanydifficultiesthatmightresultfromthechanges.Relatethefeelingstowhatimmigrantsmightexperience.HavethemlisthowmanythingsmightbeverydifferentherethanonaCaribbeanIsland.Whatbenefitsdidtheresidentsofthebarriohaveinlivinghereasopposedtolivingonanisland?WhydoyousupposeitmghtbedifficultforthesepeopletoadjusttolifeinalargebustlingCitylikeNewYork?

28

To Go Objective

Appreciateplaywritingasanartencouragingthecreativeuseoflanguageandforms.

Teaching Tips

DiscusswhypeopleinareaslikeWashingtonHeightshaveadoptedtheirownwayofspeakingfromaculturalstandpoint.Turnthediscussionintoonefocusingonimmigrantpopulations.Explorereasonswhyethnicminoritiestendtoholdontotheirlanguageandspeakitwithintheirowncirclesandcommunitiessimplybecause“it’scomfortable.”Askstudentstothinkofsituationsthey’vebeeninrecentlywheretheydonotfeelcomfortableandtrytoanalyzewhytheyfeltthatway.

To Golanguage arts

ExerciseVariedvoicesamongethnicgroupshasbecomenotonlyanacceptedformofcommunicationbutacolorfuladditiontothevernacular.Itsuseintheartformsofmusic,playwritingandliteratureisbynowwellestablished.MixingandmatchingsoundsandalmostmusicaldeliverypepperedwithSpanishhasbecomethevoiceofthebarrio.Anartistexpressingthosecharactersmustmimicthesoundsindigenoustothevoice.Lestweforget,theillustriousThomasHardywasheavilycriticizedfortheheavyDorchesterbrogueofhischaracters.CarolynChuteshottothetopoftheliterarychartswithherfeudingbackwoodsMaine-speakcharactersinThe Beans of Egypt Maine.Inshort,it’sallnothingnew.HavestudentsresearchtenSpanishwords,thentellthemtowriteashortstory,twoorthreeparagraphsinthevoiceofaresidentofWashingtonHeights.

Notes

29

Thinking and ReasoningnUnderstandsandappliesthebasicprinciplesofpresentinganarguementnUnderstandsandappliesbasicprin-ciplesoflogicandreasoningnEffectivelyusesmentalprocessesthatarebasedinidentifyingsimi-laritiesanddifferences(compares,contrasts,classifies)nUnderstandsandappliesbasicprinciplesofhypothesistestingandscientificinquirynAppliesbasictrouble-shootingandproblem-solvingtechniquesnAppliesdecision-makingtechniques

Summary of Standard for Life Skills

Working With OthersnContributestotheoveralleffortofagroupnUsesconflict-resolutiontechniquesnWorkswellwithdiverseindividualsandindiversesituationsnDisplayseffectiveinterpersonalcommunicationskillsnDemonstratesleadershipskills

Self-RegulationnSetsandmanagesgoalsnPerformsself-appraisalnConsidersrisksnDemonstratesperseverancenMaintainsahealthyself-conceptnRestrainsimpulsivity

Overture to

Life Skills

Life WorknMakeseffectiveuseofbasictoolsnUsesvariousinformationsources,includingthoseofatechnicalnature,toaccomplishspecifictasksnManagesmoneyeffectivelynPursuesspecificjobsnMakesgeneralpreparationforenteringtheworkforcenMakeseffectiveuseofbasiclifeskillsnDisplaysreliabilityandabasicworkethicnOperateseffectivelywithinorganizations

Paciencia y Fe

In the Heights opens on the eve of the Fourth of July also known as Independence Day. On this day Americans celebrate with fireworks and barbeques the fact that we are no longer under British rule, but are instead, as a nation, and therefore as individuals, in control of our own destiny.

WhatdoesthisIndependencemeantothosewhohaverecentlyarrivedonour

shores?Itis,infact,thereasontheyhavecome.InAmerica,theyarefreeof

politicalandreligiouspersecution,freeofeconomicoppression,freetopursue

theAmericandream.Formany,thismeansowningyourownbusiness.After

all,untilrelativelyrecently,small,family-ownedbusinesseswerethebackbone

oftheAmericaneconomyandwereesteemedbythecommunitiestheyserved

andbythenationasawholeasiconsofAmericansuccess.Today,many

smallbusinessesaregivingwaytobigbusinessesandthecharacterofour

neighborhoods,ourtownsandperhapsourdreamsischanging.

Likethecornerdrugstoreinasmalltown,Usnavi’sBodegaisboththeheart

andnervecenterofthecommunity.It’swherepeoplecometosocialize,to

gatherinformationandsmallnecessitiesandtofindcomfortintimesofcrisis.

Yet,itisastruggletomakeagoofthissmallbusinesslefttohimbyhisparents

whocamefromtheDominicanRepublicwithadreamofAmericansuccess.

Hewatchesasothersmallbusinessesaredrivenoutoftheneighborhoodor

areforcedbyrisingrentstoclosealtogether.

Thechallengeofmovingbeyondthisstruggle,ofrealizingthedreamof

successinAmericaseemstoodauntingattimesandUsnavidreamsinstead

ofalifeofleisurebackintheDominicanRepublic.So, In the Heightsgives

usanother,perhapsmorecommon,versiontodayoftheAmericandream:

winningthelottery;instanteconomicfreedom.Butwiththewinningticketin

hisgraspandtheislandlifeathisfingertips,Usnavidecidesinsteadtostayand

buildhisbusiness.

30

YOUAIN’TGOTNOSKILLS!

Howwillhedoit?“Youain’tgotnoskills!”hisfriendBennychideshimwith

goodhumor,evenasUsnavirecitestoateehowBennylikeshiscoffeeand

whichpaperhe’llbebuying.Duringthecourseoftheshow,hedemonstrates

that,infact,hehasalltheskillsneededtobeasuccessfulbusinessman.He

knowshiscustomersandcaresaboutthem;he’sresourcefulincriseslarge

andsmallandiswillingtoworkhardandtryoutnewideas.Mostimportantly,

hehassomethinggiventohimbyhisabuelathat’sevenmorevaluablethan

thewinningticket-therecipehewillneedinordertosucceedinbuildinghis

business.Thereareonlytwoingredients:PacienciayFe(patienceandfaith).

ANDIFNOTME,WHOKEEPSOURLEGACIES?WHO’SGONNAKEEPTHECOFFEESWEETWITHSECRETRECIPES…..THISCORNERISMYDESTINY.

StageNotesspokewithaWashingtonHeightsbodegaownerwhocamefromtheDominicanRepublicasateenagerafterhisfatherdied.HisfamilyhasownedandmanagedrestaurantsinNewYorkformanyyearsandheworkedinthatbusinessgaininghisearlytraining.Now,he’stryinganewbusinessventureofhisown.LikeUsnavi,hefindsitdiscouragingattimesbuthealsoappreciatestherewards.

Hisstoryfollows...

31

SN: You went to boarding school in the Dominican Republic?

Roberto:Yes.ThenwhenIcamehere,IwastoldthatIneededtwomoreyearsofschool–tostudyEnglish.SoIfinishedhighschoolhereandthenIwenttoCommunityCollegeforabouttwoyears.Ididn’tgraduatethough.Istartedgettingtoknowaboutmoney,but,Iwantedtohelpmymom.MymomwasstrugglingandIwas19yearsold.Iwasconsideredamaninmycountry.Ineededtoworkandthentherewastheneighborhoodandmyfriends...So,Idroppedout.ButI’mplanningongoingback.

SN: In the neighborhood at the time, did you find it hard to resist the temptation to get involved in things you shouldn’t; things that would bring in a lot of money fast?

Roberto:Yestherewasalotoftemptation,becauseyou’dseeguys…andgirls…andyoudidn’twanttobeleftout.

SN: So, how did you get started in business?

Roberto:Myfamilyusedtoownalotofrestaurants.Theyownedrestaurantsalltheirlives.(Severalontheupperwestside)andonewayuptownonDyckmanStreetthatwasmyuncle’s.Hegotkilledthere.Hegotshot.Hewasprettywellknownpoliticallybecausehewasinvolvedineverything;hewasagoodbusinessmanandhisfamilyalwayshadbusinesses.Hewastherockofthefamily.Heknewpeopleandeverybodyknewhim.

SN: Did you learn from your uncle?

Roberto:ThefirstdaythatIcameheretheytookmefromtheairporttohisrestaurant.Thefirstthingthathesaidtomewas“Youwanttoknowwhyyoucametothiscountry?Startopeningboxes.”Heputmetoworkrightaway,assoonasIgothere!Hesaid,“Soyou’llknowwhyyoucamehere:nottohavefun;youcameheretowork.”Andhegavemeaboutseventy-dollars.Thatwasalotofmoneyin1982buthehadputmetoworkfirst.Hewassaying,“Nowthatyoudidthework.It’shere.You’regoingtogetmoneybutyou’vegottowork.”

SN: How long have you owned your business?

Roberto:Lessthanayear.It’snew.AfriendofminewantedtomoveonsoI’mtakingoverhisbusiness.Thisisapersonwho’sknownmeeversinceIcamehereandhegavemeagooddeal.He’shadthestoreforthirtyyears.

SN: Have you ever managed a store before?

Roberto:No.IworkedwithhimforamonthsohecouldteachmeandnowI’mlearningasIgo.

SN: How’s business?

Roberto:You’vegottoputinalotofeffortbutIhavealotofregularcustomers.There’sabigco-opacrossthestreetandI’minthemiddleoftheblocksoI’vegotagoodlocation,butit’salotofhardwork.There’salwayssomethingmissing.Assoonasyoucomebackfrombuyingsomething,there’ssomethingelsetoreplace.

SN: Do you have help?

Roberto:Withastore,youhavetorunitwithyourfamilyorsomeoneyoureallytrustbecausethingsdon’trunaswellwithoutyouthere.

SN: What are the things a young person needs to consider in order to succeed if they want to work toward starting a business?

Roberto:You’vegottosetagoal.Workhardforit.Locationisimportantbutsoisheart.You’vegottoputyourheartintoit.Inthebeginningyou’renotgoingtogainmuch,butyou’llgetrecognitionandifyou’regoodit’sgoingtoworkout.Sometimesthingsdon’tgoaswellasyouplannedbutyou’vegottakeepon.Ifyoustartsomething,justtryanddoittotheend.

32

SN: Is it satisfying?

Roberto:Yes.Therespectthatyougetfromthecommunityisworthit.

SN: You’ve said that it’s hard work and a struggle. What do you do to help the business succeed?

Roberto:Withagrocerystorethemainthingisthatyoucan’tbemissinganything.Ilearnedthatfrommyauntwhoownedtherestaurants.Shetoldmetoneversaythatyoudon’thavesomething.Ifyoudon’thavesomething,tellthecustomersitwilljusttakeacoupleofminutesandgobuyitatthestoreorwhatever.Becauseifyoudon’thaveit,thatpersonmaynevercomeback.It’sbasicallythesamethingwiththestore.You’vegottohaveeverything.Andnowthattheneighborhoodisgettingsodiverse,theywillcometoyouforallkindsofthings.Itellmycustomers“Ifyoudon’tseesomethinghere,letmeknowandnexttimeyoucome,I’lltrytohaveit.”AlsoItrytogetfamiliarwiththeneighborhoodandeveryonearoundthere.Befriendlysopeoplefeelcomfortable.Iftheydon’tfeelcomfortableinmystore,they’regoingtogotoanotherone.

SN: With big businesses pushing out smaller ones all over the city how are you managing?

Roberto:It’sbeenalittlebiteasierformebecausemyrentdidnotgoupwentItookoverthebusiness.Peopleinmyneighborhoodpayalotmore.OnBroadway,therentcanbe$10,000.I’vebeenlucky.Also,theneighborhoodischangingsomuchthatyouhavetobeopentoothercultures.

SN: The bodega on my corner is my lifeline. It’s the place I know I can go and get something I need anytime of day or night.

Roberto:IhavecustomerslikeyouthatlivearoundmyneighborhoodsoIjustgivethemthephonenumberandwhenevertheyneedanythingtheycancallmefromhomeandI’lltrytogetit.Iftheycan’tgetoutoftheirhouse,Itrytogetittothem.Itrytomakeitaseasyaspossibleforthemtousemystore.

SN: That sounds like small-town America. That’s got to feel good.

Roberto:Yes.Exactly.Intheend–youseetheresults

SN: You’ve said that eventually you want to get back to your roots in the restaurant business – by owning your own. What have you learned from owning and running this bodega that you would take with you into your next venture?

Roberto:Befriendlywiththepeople.You’vegottogaintheloveandthetrustofthepeople.Sothey’llloveyouandyourplace.

SN: If someone offered you a lot of money right now, if you won the lottery, would you stay and make a go of a business here or would you go back to the Dominican Republic where you’d be a very rich man?

Roberto:No.ThisiswhereIam.Thisishomenow.Thisishome.

33


Showhowgoodlifeskillsempowerpeopleinchallengingsituations.

Teaching Tips

Howwelldoyoumanageconflict?Whenwasthelasttimeyouhadtodoit?Howwelldidyoudo?Maybeyou’reanaturalatit.Maybeyoufindituncomfortable.Whyisitanimportantskillthesedays?

ExercisesPresentahypothetical:Afamilymovesintoyourneighborhoodfromanothercountry.Theircustomsaredifferent.Atendencytogatherinlargegroupsonweekendsandplayloudmusicannoystheneighbors.Oneneighborthreatensthenewcomers.Usingroleplaywithstudentsplayingvariousroles,allowdifferentstudentstoplaymediator.Theclassvotesonwhowasthebestmediator.Why?

Someconflictsareinterpersonal.Internalconflictcanbeeverybitascomplicatedasthoseinvolvingothers.Dividestudentsintogroups.Onestudentsharesapersonalconflictwiththeothers,whothensuggestsolutions.Theconflictedstudentchoosesthebestresolutionandsharesitwiththeclass,alongwiththeprocesswhichledhimorhertochooseitovertheothers.

Pretendyouhavenotreadtheplayscript.Discusshowyouwouldresolvetheissuesconfrontedintheaboveexcerptbytheplay’scharacters.

Life skillsDiscussion

34


WhenthedispatchercallsoutatRosario’sBennyshowshiscompetencebytakingoverandfillingin.

KEVINThe dispatcher called out.

BENNYHey, boss, I’ll cover the radio.

KEVINYou don’t speak Spanish.

BENNYFive years with these drivers?

KEVINYou’re not Latino.

CAMILAHow much English did you speak when you started here? Benny is honorary Latino.

KEVIN hands BENNY the radio.)

BENNYAhem, there’s a new voice riding the heat wave today—

KEVINJust get them from point A to point B.

BENNYI got your back.

“Benny’s Dispatch.”

CHECK ONE TWO THREE. CHECK ONE TWO THREE.THIS IS BENNY ON THE DISPATCH. YO.ATENCION, YO, ATTENTION,IT’S BENNY, AND I’D LIKE TO MENTIONI’M ON THE MICROPHONE THIS MORNIN’HONK YA HORN IF YOU WANT IT.

OKAY, WE GOT TRAFFIC ON THE WEST SIDEGET OFF AT 79th, AND TAKE THE LEFT SIDEOF RIVERSIDE DRIVE, AND YA MIGHT SLIDEWEST END’S YA BEST FRIEND IF YOU CATCH THE LIGHTSAND DON’T TAKE THE DEEGANMANNY RAMIREZ IS IN TOWN THIS WEEKENDSORRY DOMINICANS, TAKE ROUTE EIGHTY SEVEN, YOU AIN’T GETTING BACK IN AGAIN . .

Writing Objective

Listeningtoandunderstandingothers,andexpressingthatunderstanding.

Teaching Tips

Whatdoes“selfabsorbed”mean?Howdoesthinkingonlyofoneselfaffectrelationshipswithothers?withtheworldatlarge?Doyouthinkpeoplecanlearntolisten?Whatthingskeeppeoplefromwantingtolisten?


It’sthemorningaftertheblackout.Vanessacomesintothestorelookingforcoffee.SheintimatestoUsnavithatshe’sangrybecauseshehadtowalkhomealonefromtheclubandbecausehedidn’tcallher.UsnaviexplainsthathehadtocheckonAbuelawhoiselderlyandnotinthebestofhealth.

USNAVI (To Vanessa)I still got a gas range, can I make you some coffee?

VANESSAYou got actual stuff to deal with.

USNAVIListen, about last night, Sonny was calling, Abuela was alone…

VANESSAMy phone didn’t ring once all night. No one wanted to know if I was okay.

USNAVII meant to call.

VANESSASorry about your bodega. (Exits.)

GRAFFITI PETEEnters.) Yo, Sonny, come check out my new wall! I painted it by candlelight!

SONNYShh, the man’s having female troubles.

ExercisesReadanewspaperarticle.Listeningwithouttakingnotes,studentswritesummariesofthearticle.Havethemreadtheirsummaries,whilefellowstudentscritiqueitformissinginformation.Askhowmissingdetailsmightaffecttheirunderstandingofthesubject.

Thinkofadisagreementyou’vehadwithparents,afriendorsomeoneelse.Brieflydescribingthenatureofthedisagreement,writeadialoguebetweenyourselfandtheothetperson.Havefellowstudentsreadthedialoguesaloud.Class“listeners”pickoutlineswhereoneortheotherdoesnotappeartobelistening.

GenderExercise:Writethestatementontheboard:Dowomenormenthinkmoreaboutthemselvesthanothers?Employingrolereversal,haveafemalestudenttakeUsnavi’spartandamalestudentVanessa’s.Studentstakenotesonhoweachreacts.Aretheirreactionsdifferentfromthecharactersintheplay?Howso?

Life skillsWriting

35


Developcriticalthinkingskillsrelevanttodecision-making.

Teaching Tips

Peopleoftenholdviewsthathavelittlebasisinfact.Areyouoneofthem?Howaptareyoutoadopttheviewsofothersbecauseyoulikethem,orbecausetheyareyourfriends,orhaveauthority?Isthisagoodorbadthing?

Life skillsExperiential


Vanessaisonthephoneatworkwiththeelectriccompanyregardingapastduebill.Therealityofherdysfunctionalfamilylifeisrevealed,andshesingsaboutherhopesforthefuture.

VANESSASorry, it’s Con Edison. I gave my mom half my check to pay the bills…

DANIELAY que pasó, she drank it away? Vanessa, when are you going to get out of that toxic environment?...

VANESSATHE ELEVATED TRAIN BY MY WINDOW DOESN’T FAZE ME ANYMORETHE RATTLING SCREAMS DON’T DISRUPT MY DREAMSIT’S A LULLABY, IN ITS WAYTHE ELEVATED TRAIN DRIVES EVERYONE INSANE BUT I DON’T MIND, OH NO IF I BRING BACK BOYS, THEY CAN’T TOLERATE THE NOISETHAT’S OKAY, CUZ I NEVER LET THEM STAYAND ONE DAY, I’M HOPPIN THAT ELEVATED TRAIN AND I’M RIDING AWAY!IT WON’T BE LONG NOW!

THE BOYS AROUND THE WAY HOLLER AT ME WHEN I’M WALKING DOWN THE STREETTHEIR MACHISMO PRIDE DOESN’T BREAK MY STRIDE—IT’S A COMPLIMENT, SO THEY SAYTHE BOYS AROUND THE WAY HOLLER AT ME EVERY DAY BUT I DON’T MIND, OH NO THE NEIGHBORHOOD SALON IS THE PLACE I’M WORKING FOR THE MOMENTAS I CUT THEIR HAIR, LADIES TALK AND SHARE—EVERY DAY, WHO’S DOING WHO AND WHYTHE NEIGHBORHOOD SALON DOESN’T PAY ME WHAT I WANNA BE MAKING BUT I DON’T MINDAS I SWEEP THE CURB I CAN HEAR THOSE TURBOENGINES BLAZING A TRAIL THROUGH THE SKYI LOOK UP AND THINK ABOUT THE YEARS GONE BYBUT ONE DAY—I’M WALKIN TO JFK AND I’M GONNA FLY!IT WON’T BE LONG NOW!ANY DAY

ExercisesTheAmericanDream.Isitacliché?Areimmigrantsandsonsanddaughtersofimmigrantsshackledbyadifferentsetofrulesforgettingahead?DothesesamerestrictionsapplytoallAmericans?Stateyouropinionandgivereasonsforyourstatement.

Thinkofonespecificlifegoalyoumightliketoattain.Saywhyyouarelikelytoachieveit,ornotachieveit.Usingeducation,finances,andsocialstatusascriterion,howmightyouropportunitiesdifferfromthosein“TheHeights?”HowdoyouthinkEnglishasasecondlanguageeffectsthedevelopmentofnecessaryskills.

Thinkofoneclasssubjectthatgaveyoutrouble.Didyougiveuponit,orsticktoit?Whatlifeskillsdidyouemploytogetthrough,ormighthaveemployedifyougaveup?Whatroledidmotivation,selfesteemandpositivethinkingplay?Discussthisasmetaphorforthestrugglesofthebarrio.

36

To Go Objective

Assessyourlifeskillsandhowyoucancultivatebetterones.

Teaching Tips

Not“goodwithpeople?”Awordtothewisesaysyou’dbettergetgoodatitifyouwanttosucceedinlife.Doesthatmeanasuddenmorphintoa“peopleperson?”No.Butyoucangetbetteratit.Apersonmaynotbenaturallyarticulatebuttheycanlearntocommunicatebetter.Howwillingareyoutoidentifyyourskillweaknessesandworkonthem?

Life skillsTo Go

ExercisesThepeopleofTheHeightswouldnotallowthemselvestobedefeatedbytheircircumstances,suggestingthatadversitysomehowstrengthensratherthanweakensresolve—alifeskillinandofitself.

Howisyourdetermination?Onyourbrowser,searchfor“UNICEFlifeskilllist.”GototheUNICEFlist:Whichlifeskillsarelifeskills?Thereyouwillfindanextensivecompilationofattributesinternationallyconsideredskillsimportanttoanindividual’ssuccessfuldevelopment.Whichonesapplytoresidentsoftheheights?

Makeachartoftheskillsandhangitinyourroom.Highlightskillsinwhichyouareweak.Foronemonth,attheendofeachday,putacheckmarknexttoaskillyouhaveworkedon.Yourgoalshouldbeasclosetothirtychecksaspossiblebytheendofthemonth.Makeanewchartthenextmonthandrepeatthecheckmarks.Attheendofsixmonthscountthecheckmarkstoseewhichskillsyouhaveworkedonmost,andwhichstillneedattention.Haveyouimprovedinanyareas?

37


NinahasdecidedtoreturntoStanfordandfinishhereducation.Kevin,despiteprevioustendenciestowardbeingdictatorial,seemstohavelearnedathingortoandiswillingtochange.

NINA ...I want to go back to Stanford and finish what I started.

KEVINCamila?

CAMILAYes?

KEVINI’m asking for your support on this.

CAMILASo then ask.

KEVINSeñora Rosario, are we ready to sell the business?

CAMILAI’ll never be ready. But I know it’s the right time.

KEVINOkay. Then I’ll be a mechanic again if that’s what it takes.

NINAHow can I pay you back?

KEVINWhen I was nine I took some pieces of wood and made a box. I took a rag from the kitchen and an old coffee can. I walked to the plaza in Arecibo, and shined shoes for a nickel. At the end of the day there was thirty five cents in the can. Did I spend it on candy? Did I buy toys?

CAMILAYou bought shoe polish.

KEVINI always had a mind for investments. Nina Rosario, Bachelor of Arts. When that day comes, we’ll call it even.

NINAI love you, Dad.

nUnderstands that group and cultural influences contribute to human development, identity, and behaviornUnderstands various meanings of social group, general implications of group membership, and different ways that groups functionnUnderstands that interactions among learning, inheritance and physical development affect human behaviornUnderstands conflict, cooperation, and interdependence among individuals, groups and institutions

Summary of Standard for Behaviorial Studies

Overture to

Behavioral studies

Assimilation or Acculturation?

What’s in theMelting Pot Anyway?

The past looms large in In the Heights. Every character has a heightened awareness of where they came

from and the journey, theirs or their family’s, that brought them to the present. All are driven by that past

to take charge of the future.

AccordingtoastudyconductedbyTheWashingtonPost,theHenryJ.KaiserFoundationandHarvard

University,almost9outof10Hispanicsbelievethattheymustmaintaintheirownculture.Thesamestudy

showedthatalmost9outof10feelitisessentialforthemtoassimilateintoAmericansociety.Isthisa

conundrumorjustamatteroffindingabalance?

Withoutadoubt,thereisampleevidenceofassimilationinsecond,third,fourthandfifthgeneration

Hispanics.Witheachsuccessivegeneration,thereisahigherincidenceofinter-marriage,Englishfluencyand

homeownership–asureindicationofpermanentattachment.Atthesametime,thereisamongHispanics,

perhapsmorethananyotherimmigrantgroup,adesiretoholdontoculturaltraditions.

Doesassimilationmeanobliterationofculturalidentity?What’sinsidethe“meltingpot”ofAmericatoday?

Doesitlookandtasteofonehomogenoussubstance?Orisitaconcoctionmorelikeasteworevenasalad

withdistincttastesandcolorswhichcomplimenteachother?DoesEPluribusUnumstilltranslateinto

“fromthemany,one,”oris“indiversity,unity”amoreaptinterpretationtoday?It’squitepossiblethatthe

rapidlygrowingHispanicpopulationintheUS,withitsstrongattachmenttoawidevarietyofculturalroots,is

redefiningthe“meltingpot.”

Who is Hispanic?Theterm“Hispanic”wascreatedbytheUSCensusBureauasameansof

categorizingalargegroupofpeoplelivingintheUSwhohavecomefromany

oneof20differentcountriesoftheSpanishspeakingworld.Itdoesnotrefer

toaraceornationalityandHispanicsareself-designatedassuch.Whilethe

Spanishlanguagetheyshareistheprimaryunifierofthisdiversegroup,other

sharedSpanishinfluencessuchastheCatholicreligioncanalsobeimportant

commonculturalground.WhenyouaskaLatinotoidentifycultural/behavioral

characteristicsthatdistinguishHispanics,theywillusuallyanswer,“Itdepends…”

onupbringing,countryoforigin,ethnicityetc.Nevertheless,mostpeopleagree

thatfirstgenerationHispanics:

38

-shareamorerelaxedrelationshiptotimethanAmericanstypicallydo.Whereaswesaythatourclock“runs,”Hispanicsbelievethat“elrelojande,”(theclock“walks”).

-shareadesiretoassociatethemselveswithgroups.Moreandmorereadily,theywillidentifythemselveswiththeoverallgroupcalled“Hispanic,”alargeandpoliticallypowerfuldemographic.Atthesametime,theyareeagertoproclaimtheircountryoforiginaswhenPuertoRicansproudlyflytheirflag.

-shareasenseofprideintheirappearance.

-sharethelastinginfluenceofCatholicism.ThechurchisamoreimportantfocalpointinthefamilyandsociallifeofthecommunityonadailybasisthanitisformostAmericans.

-shareamorespiritualnatureandmaymorereadilybelieveinthesupernatural.

-sharetraditional/conservativesocialvalues,especiallyregardinggenderroles.Mostconsiderfinancialmatterstobetheman’sdomainwhilewomenareresponsibleforthehome.

-shareacustomofstandingincloserproximitytoaconversationalpartnerthanmostAmericanswhotendtokeepmoredistancebetweenthemselvesandothers.Latinpeoplealsotendtobemoreanimatedinconversation,usinghandgesturesandmorevolume.

-shareaverystrongcommitmentandsenseofresponsibilitytofamilybothimmediateandextended.Socialactivitycentersonthefamilywithchildrenbeingparticularlyhonoredandprotected.Often,eachchildwillhavetwosetsofgodparents.TheQuinceaneraisanimportantcomingofagecelebrationfor15yearoldgirls.

-shareanostalgiaandsometimesalongingfortheircountryoforigin.Thisismademanifestinthe“homeawayfromhome”communitiestheycreatewithinbigcitieswheretheycanbeimmersedintheirlanguage,food,musicandsocialcustoms.

-shareagreatloveofthefiestaincludingthemusicanddancethatalsoinfuseeverydaylife.Thepopular“blockparty”isaperfectwaytocelebratecommunity.

39

Thisisalotofsharingforadiversegroupofpeoplerepresentedbymanyracesandracialmixtures,coming

fromlocalesasdisparateastheCaribbeanislands,CentralandSouthAmerica.Notsurprisingly,thereare

alsodistinctdifferencesbetweentheculturesofindividualnationalities:foods,holidays,musicandcustoms

derivedfromthegeographyandtheuniqueandcomplexhistoriesofeach.Thosecultures,astheytransferto

HispaniccommunitiesintheUS,areinturninfluencedbythereasonsbehindtheimmigration.

BecauseofitslocationintheCaribbean,the

islandcountryofCubahasbeenacrossroadsof

Amerindian,European,Africanandcontinental

NorthAmericancultures.Cubanmusic,forexample,

developedfromSpanishandWestAfricanroots.

The“cabildos”orsocialclubsoftheAfricanslaves

wereimportantinthisdevelopment.Santeria,

aCaribbeanreligionwhichcombinestraditional

NigerianbeliefswithsomefeaturesofCatholismand

whichprominentlyfeaturedtheuseofpercussion,

wasalsoasignificantinfluence.Themostfamous

genresofCubanmusicaretheMamboandthe

Rumba.ThisAfro-Cubanmusichasinturn

influencedthatofothercountries

includingSalsa,TangoandJazz.

CubancuisinecombinesSpanish,

Caribbean,Africanandtoa

lesserdegreeChineseinfluences.

AlthoughCubancookingonthe

islandhassufferedfromtheshortages

andrationingoftheCastro/communist

era,therichvarietyandsophistication

ofthetraditionalcuisineliveson

throughthosewhocametothe

USinexile.Itincludesrice

andblackbeansasstaple

ingredientsbutalsoham,

roastpork,chicken,

beef,plaintains,

calabaza

(Caribbeanpumpkin)andtropicaltuberssuchas

malangasandboniato.Somefavoritedishesare

sweetfrittersandvegetableandmeatstews.

Statistically,CubanslivingintheUSarethemost

educatedandhighestpaidamongallHispanic

groups.Thisisgenerallyattributedtothefactthat

thegreatpercentageofCubanstoimmigrateto

thiscountrydidsoaspoliticalexiles;educated

professionalswholeftinordertoescapethe

40

radicalchangeintheirstandardoflivingthatthe

communistgovernmentdemanded.

LikeCuba,theDominican

Republic’smusicalgenres

alsohaveEuropean

andAfricanroots.But

thepopularsoundthat

emergedfromtheD.R.

iscalledMerengue,a

livelydancemusicplayed

in2/2and2/4time.

Instrumentationis

usuallyatambora

(double-headed

drum),amelodeon

(anaccordion-like

instrument)andaguira

(anativeinstrumentmadefromahollowedout

gourd).Bachata,aderivationofBoleroandtheother

majormusicalstyleassociatedwiththeDominican

Republic,ismoremelancholy.Playedwithamplified

guitar,bassandrhythmguitars,theguiraandbongo,

thesongsgenerallytellofheartache.

Dominicancuisineisinfluencedbytheindigenous

TainocultureaswellasSpanishandAfrican

influencesandincludeswhiterice,habichuelas

(beans),yuca,plaintains,mangu,beef,chicken,pork

orfishandsancochodegallina,akindofstewmade

withchickenandothernativeingredients.Likemost

otherLatincountries,lunchisthemainmealofthe

dayandtypicallyconsistsofameatdishservedwith

beansandrice.Themostpopularversionofthisis

called“LaBandera,”andismadewithbroiledchicken.

Sofrito,asautéedmixtureoflocalherbsandspicesis

oftenusedasseasoning.

IncontrasttotheCubans,Dominicansareamongthe

lowestwageearnersintheUS,mostofthemhaving

comehereseekingbettereconomicopportunity

thantheirhomecountrycouldprovide.Research

hasshown,however,thatoriginallymostDominicans

emigratingtotheUScamewithbettereducations

thanthosewhostayedbehindontheisland.More

recently,thistrendhaschangedaseconomic

conditionshaveworsenedintheD.R.Nevertheless,

statisticsshowthatahigherpercentageof2nd

generationDominicanshavecollegeeducations

thando2ndgenerationPuertoRicansorMexicans.

PuertoRicanculturehasmuchincommonwith

thatofotherCaribbeancountriesinparticularthe

DominicanRepublic.Themusicandfoodarealso

influencedbythetraditionsoftheindigenousTraina

tribesaswellastheEuropeanSpanishandAfrican

culturesviatheimportedslaves.Yetsomehow,on

thisisland,thoseinfluencesconvergedtocreate

uniqueformsofcuisineandmusic.

Severaladaptationsofthesix-stringclassicalSpanish

guitar,theguiraoftheTainatribesandavarietyof

percussioninstrumentsofAfricanderivationare

commonlyusedinPuertoRicanmusic.Bomba

YPlenaare

PuertoRico’s

mostpopular

formsofdance

music.Though

theyareoften

referredto

together,they

areactuallytwo

distinctmusical

genres.

Plena Drum

Tambora

Guira

41

BombacomesfrompurelyAfricanroots,introduced

toPuertoRicoby

theslaveswhowere

broughtthereto

workonthesugar

plantations.This

highlyrhythmicmusic

canbeakindofduel

ordialoguewiththedancer.Plenaistheproductof

severalofPuertoRico’sculturalinfluencesincluding

oralstorytelling.Singersanddancersofplena

recountandsometimessatirizecurrentevents.

Salsa,themostfamousmusicassociatedwith

PuertoRico,actuallydevelopedinthePuertoRican

communityinNewYorkCity.Thenamemeans

“sauce”anditisanamalgamof

stylessignificantlyinfluenced

byCubanandAfro-Caribbean

music.Italsoprovidesthe

spiceforanydancepartywith

large,elaboratepercussion

instrumentation.

Thecuisine,likeit’sCaribbeancousins,isalsospicy

andexotic.PuertoRicanmealsoftenbeginwithhot

appetizerssuchasbacalaitos(crunchycodfritters),

empanadillas(smallfriedmeatpies)orsoupssuchas

blackbean,chickenwithriceandsopondepescado

(fishsoup).Themosttraditionalmaindishisasopo,

akindofgumbousuallymadefromafoundationof

seafoodorchickenalongwithsausages(chorizo),

peppers,tomatoes,pork,spicesandcilantro;and

therearecountlessvariations.PuertoRicanscan

alsobeadventurous.Theyenjoybreadedcalf’s

brains(sesosempanados)andstuffedbeeftongue

(lenguarellena).

WhilethesethreeCaribbeanpeoplessharemanyof

thesameracialrootsandculturalinfluences,each

nationalityhasdistincttraditions.Thesecultures

havethenbeenmoldedbythecircumstancesof

migration.

PuertoRico’sstatusasacommonwealthoftheUS

andthatofitsinhabitantsasUScitizens,impacts

theirexperienceintravelingandlivinghere.They

arenotimmigrantsandenjoycertainprivilegesof

citizenshipthatCubansandDominicansdon’tshare

uponarrival.Butdoesthismaketheirsaneasier

journey?Insomewaysitcomplicatesthematterof

culturalidentity–particularlywhentheyhavebeen

metwithdiscriminationaspeopleofcolor.This

confusionandfrustrationfoundanoutletforsome

intheformationofTheNuyoricanPoet’sCaféinNew

Yorkduringthebeatera.Usingtheoral,storytelling

traditionsofPuertoRico,theycreatedanewartform

hereintheUSandthatNewYorkCityinstitutionis

stillgoingstrong.ThatfrustrationamongPuerto

Ricansalsofoundoutletsinghettogangsaswellas

inthevoicesofthepoliticalleadersthatemerged

fromtheirranksduringtheCivilRightsMovement.

Today,PuertoRicans,theonlyUScitizensamong

Hispanic“immigrants,”stillstrugglewithpovertyand

racism.Yettheycontinuetopassonastrongsenseof

prideintheirnationality.

Bomba

Empanadillas

The Nuyorican Poet’s Café

42

Cubanscamemostlyaspoliticalrefugees.Thiscountrytendstowelcomethosewhocomehereunderthose

conditions.ManyweremiddleclassbusinesspeopleinCubaandtheyliveinsimilarcircumstanceshereinthis

country,thevastmajorityinMiami,FloridabutmanyinHispaniccommunitiesinNewYork.Whilethosewho

remembermayyearnforthepre-communistCubaoftheirchildhoods,manyhavenoreasontolookback.

Dominicanshavecomeforthemostpartwithoutbenefitofsocialstatus,educationorcitizenship.They

havecomedrivenbyeconomichardshipandtheyfindlifehereastruggle,too.Inaddition,thisgrouphasa

particularnostalgiaforhomeand,infact,manyliveatransnationallife,maintainingfamily,socialandeven

businesstiestotheDominicanRepublic.Moreimportantly,theynegotiateadividedemotionalattachmentto

theplacestheycall“home.”

HispanicslivingintheUShavealayeredculturalidentity.TheyareproudAmericans,proudtobepartofthe

groupcalledLatinosorHispanicsandproudoftheircountryandcultureoforigin.Howdotheyliveinthe

potwithout“melting?”Perhapsbybuyingtheirchildrenapiraguawhentheypickthemupfromschool,and

lettingthemtellabouttheirdayinsomemixtureofSpanishandEnglishonthewayhome.Perhapsthey

remindthechildrentokisstheirgrandmotherbeforedoingtheirhomeworkasthesmellofdinner(arrozcon

pollo)andthesoundsofsalsafromtheradiofilltheair.Perhapstheytellan“island”bedtimestorythekids

haveheard100timesbutstillbegforandjustbeforethelightsgoesout…theyputouttheirSkechersandGap

t-shirtsforschoolthenextday.

43


Showhowcooperationcontributestotheoverallgoodof,andattimes,tothesurvivalofthegroup.

Teaching Tips

Americanspridethemselvesontheirindividuality.Howdoyouthinkthishelpsusorhurtsusasanation?Does“everymanforhimself”alwaysproducethebestresult?


THE POWER GOES OUT IN WASHINGTON HEIGHTS.

PIRAGUA GUYOYE QUE PASO?

USNAVIBLACKOUT, BLACKOUT!

PIRAGUA GUYVINO EL APAGON AY DIOS!

ENSEMBLEOH, NO!...

USNAVIBLACKOUT, BLACKOUT!

ENSEMBLEOH, NO!VINO EL APAGON AY DIOS!

BENNYHOLD UP, WAIT, HOLD UP, WAIT!...

USNAVIYO! I! CAN’T SEE! QUIT SHOVIN IT’S AN OVENAND WE GOTTA BACK OUTTHIS IS A BLACK OUT!CHILL, FOR REAL, OR WE’RE GONNA GET KILLED!...

KEVINCALLING ALL TAXIS!

KEV/USNAVIEVERYONE RELAX PLEASE.

SONNYWHAT’S GOING ON? WHAT’S GOING ON?SUDDENLY I FIND THE ELECTRICITY IS GONE...

ExercisesNewYorkCitysurvivedtheattacksofSeptember11withagraceanddeterminationadmiredbytherestofthecountry.Storiesemergedofpeoplehelpingotherswhomightnototherwisehavethoughtofbanningtogetherincommoncause.

Askstudentswhytheythinkimmigrantstendtoliveinthesameneighborhoods,likeWashingtonHeights.Askthemtodefinecommunityandthinkofthenumbersofcommunitiestowhichtheymightbelong—family,friends,locales(towns,cities)othergroups.Inwhatwaysdothesecommunitiessupporttheirmembers?

Suggesttheclassasasub-communityoftheschool.Havethe“community”thinkofacommongoaltheywishtoachievethatwillbenefitthelargercommunity(theschool).Afteradiscussionofindividualskills,etc.,variousresponsibilitiesforachievingthegoalaredelegatedtoindividualmembers.After(if )thegoalisachieved,theclass,asacommunity,discusseswhatproblemsarose,why,andtowhatdegreethegroupfunctionedasacommunity.

BEHAVIORAL STUDIESDiscussion

44

KEVINCALLING ALL TAXIS!

KEV/USNAVIEVERYONE RELAX PLEASE...

BENNYNINA WHERE’D YOU GO...

KEVINPLEASE FIND NINA! FIND CAMILA!IF YOU SEE MY FAMILY BRING THEM HOME!

SONNYWE ARE POWERLESSWE ARE POWERLESS...

GRAFFITI PETEYO! YO! THEY THROWIN BOTTLES IN THE STREET!PEOPLE LOOTIN AND SHOOTIN.SONNY, THEY WANNA SEE A ROBBERYWE GOTTA KEEP MOVIN!

SONNYNAW, MAN, I CAN’T LEAVE, WE GOTTA GUARD THE STORE!

GRAFFITI PETETHEY GONNA BOMBARD THE STORE UNTIL YOU AIN’T GOT A STORE NO MORE!

SONNYI GOT A BASEBALL BAT ON A RACK IN THE BACK.

GRAFFITI PETEI GOT A COUPLE ROMAN CANDLES, WE CAN DISTRACT THE VANDALS!

SONNYHEY YO I SEE SOME THUGS COMIN, MAN, WE GONNA GET JACKED UP!

Writing Objective

Explorenuancesinbehaviorgenerallyviewedascommonplaceamonggroups.

Teaching Tips

Thestudyofculturalbehaviorisinteresting.Butcanitbeappliedtoorigidly?AreLatinmenalwaysdominant,oristhisanobservationdependentuponsituation?Whatroledoesculturalevolutionplayinchangingcustoms?

ExercisesThefoundationsofprejudiceoftenarisefromgeneralizationsconcerninggroups.HispanicsareCatholicissomewhattrue,butnotcompletely.Otherreligions,includingEvangelicalmovements,havemadetheirmark.In“TheHeights,”thereisnomentionofreligiouspractice.Also,CatholicisminLatinAmericaandCaribbeancomesliberallypepperedwithtraditional,Pre-Columbianrites.TheMexicanDayoftheDeadisagoodexampleofthosemeldingtraditions.

Anabundanceofwebsitesdescribethisevent.Havestudentsresearchtheholidayoranotherandwriteapaperonit.Compareandcontrasttheholiday’straditionalrootswithCatholicaspects.

PresentabrieflectureonGuatemalanhumanrightsactivistandNobelPrizerecipient,RigobertaMenchu.Whilespeaking,havestudentslistwaysinwhichMenchu’slifecountersassumptionsabouttheroleofwomeninLatinAmerican.

BEHAVIORAL STUDIESWriting

Act 2, Scene 11

CamilaremindsKevinthatthey’reequalpartnersinmarriage.

CAMILAOf course you didn’t. (To KEVIN.) I do the payroll, the banking, your chaotic papers. We worked twenty years to build this company. I worked!

KEVINFor what, Cami? Twenty years for what?

NINAWhat about your employees?...

KEVINI’m not a welfare office! Family comes first, above everything.

BENNYThe day you hired me you said I was family...


Onegenerationtoanother,NinareminiscesaboutAbuelaandherinfluenceonhereducation.

NINAIF IT HAPPENED ON THIS BLOCK, ABUELA WAS THERE.EVERY AFTERNOON I CAME SHE’D MAKE SURE I DID MY HOMEWORKSHE COULD BARELY WRITE HER NAME,BUT EVEN SO . . .SHE WOULD STARE AT THE PAPER AND TELL ME,

NINA/USNAVI“BUENO, LET’S REVIEW

NINAWHY DON’T YOU TELL ME EVERYTHING YOU KNOW...

WHAT DO I KNOW?...

NINAIN THIS FOLDER THERE’S A PICTUREOF MY HIGH SCHOOL GRADUATIONWITH THE PROGRAM, MINT CONDITIONAND A STAR BESIDE MY NAME.AS I LEFT FOR CALIFORNIA.SHE SAVED EVERYTHING WE GAVE HER,EVERY LITTLE SCRAP OF PAPER.AND OUR LIVES ARE IN THESE BOXESWHILE THE WOMAN WHO HELD US IS GONEBUT WE MOVE ON, WE GROW, SO…HOLD TIGHT, ABUELA, IF YOU’RE UP THEREI’LL MAKE YOU PROUD OF EVERYTHING I KNOW! THANK YOU, FOR EVERYTHING I KNOW.

45

CAMILAYou are all my family, and you have my word: we are not selling Rosario’s.

KEVINI’m making the damn deal.

CAMILAThis is our business!

KEVINIt was in my name!

CAMILADinner’s over.


“Putyourselfinanother’sshoes”andseehowyoulikethem.

Teaching Tips

Doyoublameotherswhenthingsgowrong?Behonest.Whenwasthelasttimeyouridiculedsomeoneforsomethingtheydidorsaid?Haveyougottenintothehabitofmocking,eveninjest?


KevinisdespondentaboutNina’sdecisionnottoreturntoschool.Astheheadofthefamily,heseeshimselfas inutil(useless),becausehecannotaffordthetuition.Hecompareshimselftohisfather,afarmer,whominhisfrustrationhemocksas“useless”aswell.

KEVINTHIS ISN’T HAPPENING.INUTIL. USELESS.JUST LIKE MY FATHER WAS BEFORE ME.INÚTIL. USELESS.AND EVERY DAY.HE CUT THE CANE.HE CAME HOME LATE AND PRAYED FOR RAIN. PRAYED FOR RAIN.

AND ON THE DAYSWHEN NOTHING CAMEMY FATHER’S FACE WAS LINED WITH SHAME.HE’D SIT ME DOWN BESIDE HIM AND HE’D SAY,“MY FATHER WAS A FARMER.HIS FATHER WAS A FARMER,AND YOU WILL BE A FARMER.”BUT I TOLD HIM, “PAPI, I’M SORRY, I’M GOING FARTHER.I’M GETTING ON A PLANE.AND I AM GONNA CHANGE THE WORLD SOMEDAY.”AND HE SLAPPED MY FACE.HE STOOD THERE, STARING AT ME, USELESS.TODAY MY DAUGHTER’S HOME AND I AM USELESS.

ExercisesAsestablishedmembersofAmericansociety,weforgetthatonce,ourstories,too,begansomewhereelse.Neverthelessourjudgmentsonnewcomerscanbeharsh.

Kevinjudgeshisfatherharshly,butdoeshereallymeanit?Isheblaminghim,orishesimplyfrustratedwithhimselffornotsucceeding?Whenwasthelasttimeyouwerefrustratedwithyourself?Didyoublamesomeoneelse--yourfamily,perhaps?Pretendyoucouldnotaffordtosendyourchildtocollege.Howwouldyoufeel?DidKevinhaveoptionsotherthansellinghisbusiness?Howmightyoudealwiththesamesituation?Whatadvantages,ifany,doyouthinkyoumighthaveoverKevin?Asanimmigrant,mightheviewborrowingmoremoneythanhealreadyhasasanegativeoption?Why?

Findoutfromanadultwhatitmeanstoborrowmoney;topayitback.Putwhatyou’velearnedintocontextintermsoftheimmigrantcommunityofWashingtonHeights.

BEHAVIORAL STUDIESExperiential

AND AS A BABY SHE AMAZED ME WITH THE THINGS SHE LEARNED EACH DAY.SHE USED TO STAY ON THE FIRE ESCAPEWHILE ALL THE OTHER KIDS WOULD PLAY.AND I WOULD STAND BESIDE HER AND I’D SAY:

“I’M PROUD TO BE YOUR FATHER,CUZ YOU WORK SO MUCH HARDERAND YOU ARE SO MUCH SMARTERTHAN I WAS AT YOUR AGE.”AND I ALWAYS KNEW THAT SHE WOULD FLY AWAY.THAT SHE WAS GONNA CHANGE THE WORLD SOMEDAY.

I WILL NOT BE THE REASON THAT MY FAMILY CAN’T SUCCEEDI WILL DO WHAT IT TAKES, THEY’LL HAVE EVERYTHING THEY NEEDOR ALL MY WORK, ALL MY LIFEEVERYTHING WE’VE SACRIFICED WILL HAVE BEEN USELESS.

46

To Go Objective

ExaminehiphopanditsinfluenceonAmericanculture.

Teaching Tips

Whatdoyouthinkofthehiphoplifestyle?Howmuchdoyoureallyknowaboutit?Isitapositiveornegativeinfluenceonmainstreamculture?Neither?


InthissceneSonnynotonlymakesahiphopdeclarationaboutwhathewoulddowithmoneyifhewereluckyenoughtowinit,buthealsoprovidessomeinterestinginsightintothemanandhisvalues.

ExercisesTheauthorincorporatesagooddealofhiphoplanguageintheplay.Tosome,thewordssuggestotherculturalbehaviors:(lotsofjewelry),boomboxes,baggyclothes,perhapseven“gangster”behavior.

Master P Building Youth Centers

Hip-HopmogulPercy“MasterP”Millercontinueshischaritableefforts,revealingthathewillbebuildingandexpandingP.MillerYouthCentersinimpoverishedcitiesintheUnitedStates…

North Carolina Professor Teaches History & Social Relevance of Hip-Hop

WelcometoEnglish209:TheHistory,LiteraryConnectionsandSocialRelevanceofHip-Hop,anunconventionalEnglishcoursetaughtbyStatesvillenativeBryonTurmanatN.C.A&T...

Botharticlesarefromthewebsite:hiphoplinguistics.com.Bothareexamplesofhiphop’sinfluenceonmainstreamculture.Writeyourownnewsarticleonahiphoptopicofyourchoice.Uselanguageyouarecomfortablewith;usehiphopstyleifyoudare.

BEHAVIORAL STUDIESTo Go

SONNYYo! WITH NINETY SIX THOUSAND, I’D FINALLY FIX HOUSIN,GIVE THE BARRIO COMPUTERS AND WIRELESS WEB BROWSIN,YOUR KIDS ARE LIVIN WITHOUT A GOOD EDUMACATION,CHANGE THE STATION, TEACH EM ABOUT GENTRIFICATION.THE RENT IS ESCALATIN’

GRAFFITI PETEWHAT?

SONNYTHE RICH ARE PENETRATIN’

GRAFFITI PETEWHAT?

47

Act 1, Scene 12

UsnavicharmsYolandawithaverseinhiphopmachismo.

USNAVIBARTENDER!LET ME GET AN AMARETTO SOUR FOR THIS GHETTO FLOWERHOW ARE YOU SO PRETTY?YOU COMPLETE MEYOU HAD ME AT HELLO, YOU KNOW YOU NEED METRULY, MADLY, DEEPLY, LET’S GET FREAKY.OH I GET IT YOU’RE THE STRONG AND SILENT TYPEWELL, I’M THE CARIBBEAN ISLAND TYPE AND I CAN DRIVE YOU WILD ALL NIGHTBUT I DIGRESSSAY SOMETHING SO I DON’T STRESS

YOLANDANO HABLO INGLES.

USNAVIYES!

SONNYWE PAY OUR CORPORATIONS WHEN WE SHOULD BE DEMONSTRATIN’...

SONNYWHAT ABOUT IMMIGRATION?...

SONNYPOLITICIANS BE HATIN’...

SONNYRACISM IN THIS NATION’S GONE FROM LATENT TO BLATANT!...

SONNYI’LL CASH MY TICKET AND PICKET, INVEST IN PROTEST,NEVER LOSE MY FOCUS TILL THE CITY TAKES NOTICEAND YOU KNOW THIS MAN! I’LL NEVER SLEEPBECAUSE THE GHETTO HAS A MILLION PROMISES FOR ME TO KEEP!

Art ConnectionsnUnderstandsconnectionsamongthevariousartformsandotherdisciplines

Summary of Standard for The Arts

MusicnSings,aloneandwithothers,avariedrepertoireofmusicnPerformsoninstruments,aloneandwithothers,avariedrepertoireofmusicnImprovisesmelodies,variations,andaccompanimentsnComposesandarrangesmusicwithinspecifiedguidelinesnReadsandnotatesmusicnKnowsandappliesappropriatecriteriatomusicandmusicperformancesnUnderstandstherelationshipbetweenmusichistoryandculture

TheaternDemonstratescompetenceinwritingscriptsnUsesactingskillsnDesignsandproducesinformalandformalproductionsnDirectsscenesandproductionsnUnderstandshowinformalandformaltheater,film,television,andelectronicmediaproductionscreateandcommunicatemeaningnUnderstandsthecontextinwhichtheater,film,television,andelectronicmediaareperfomedtodayaswellasinthepast

Visual ArtsnUnderstandsandappliesmedia,techniquesandprocessesrelatedtothevisualartsnKnowshowtousethestructures(e.g.,sensoryqualities,organizationalprinciples,expressivefeatures)andfunctionsofartnKnowsarangeofsubjectmatter,symbols,andpotentialideasinthevisualartsnUnderstandsthevisualartsinrelationtohistoryandculturesnUnderstandsthecharacteristicsandmeritsofone’sownartworkandtheartworkofothers

Makingthe Scene

“Yo, I finally get Michelangelo’s style. Tagging by candelight, detailing by the moon’s glow.”

Throughoutmostoftheshow,UsnaviconsidersGraffitiPeteabumandamenace.

Butintheend,itisthisartist’sworkthatspeakstoUsnavi,offeringhimhopeand

pointingthewaytothefuture.Thisiswhatartcando.Whethertheformismusic,

dance,paintingordrama,artreachesusinunique,profoundandsometimes

unexpectedways.

Thescenicdesignerofamusicalisanartistwhosedisciplinecombinessome

knowledgeofalltheseartformstocreateasettinginwhichastorycancome

tolifeonthestage.Thedesigner’svisionhastobeabletoaccommodatethe

choreographyandthedirection.Itmustreflectthestyleandmoodofthemusic

andthewriting.Itwillneedtobeexecutedusingartisticandtechnicalskillsfrom

thefieldoffinearts.Aboveall,ithastobeacreative,physicalrepresentationofthe

innerlifeofthedrama.

Anna Louizos is the scenic designer of In the Heights.HerdesignfortheshowwasnominatedforbothLucille

LortelandDramaDeskAwardsinitsoff-Broadway

incarnation.Anna’sotherBroadwaycreditsinclude

Avenue Q, High Fidelity,forwhichshereceiveda

Tonynomination,CurtainswhichreceivedaDrama

Desknomination,Golda’sBalconyandSteel

Magnolias.Meanwhileherworkcanbeseenin

theverysuccessfulAltar Boyz,stillenjoyinga

longoff-Broadwayrun.It’sbeenalongroad

tobecomingoneofahandfulofwomenscenic

designersworkingonBroadway.Shehaspaidherdues

andtalkedtousaboutthatandaboutthejoysandchallengesof

workingonIn the Heights.

Overture to

The Arts

- Graffiti Pete

48

StageNOTES: How did you first get involved with the production?

AnnaLouizos:TwoofthethreeproducersIworkedwithbefore.TheywereinvolvedwithAvenueQ.AndoneoftheproducerswasinvolvedwithWhiteChristmaswhichwedid.SoIhadarelationshipwiththeproducers.Ididn’tknowthecomposerorthedirectorbutIwasinvitedtoseeaworkshopoftheshowupattheO’NeillCenterandIfellinlovewithit.IwasveryexcitedaboutitandIsaidtotheproducerthatIwouldreallylovetobeinvolvedwiththeshowbecauseitresonateswithme;becauseit’saboutimmigrants.Myfamilycomesfromanimmigrantbackground.Mygrandmotherwasanimmigrant.Myfatherwasanimmigrant…andthestrugglesthatthesepeoplegothroughareuniversal.It’sauniquelyAmericanexperienceinthattheycomeherewithdreamsandhopesofabetterlifeandtheyultimatelyformacommunity,acommonbondbecausetheyallhaveasimilardesiretocomehere.TheyalsowanttheirchildrentohaveabetterlifeandIfeellikeI’mtheby-productofthat.

SN: Your family were immigrants from Greece and this helped you in finding your way inside the play. You must have also done a lot of research.

AL:Yes,absolutely.Wetookalotofphotographsoftheneighborhood.I’velivedinNewYorkfor30years

andIlovealotofthecity.Ilikeexploring.It’sveryeasyformetofindawayintothispiece.Istruggledasayoungpersoncominghere.I’malwayslookingaroundandI’mveryobservantaboutwhatmakesthecityuniqueandIlovethearchitectureofthecity.Soformeitwasjustfindingawayofcapturingthefeelingoftheneighborhood---intransition.IlivedintheEastVillagefromthelate‘70’suntilnowsoI’veseenithappen.I’veseenwhatthetransformationlookslikewhenit’shappening.It’sjustinme.IfeellikeIknowthedetails,thelittlesignpoststhattellyouwhat’schanging.AndIjusttrytocapturethatonstage.Andthat’swhatwedowiththemodel.Bybuildingthemodelwecanactuallyseewhat’seffectiveincapturingtheessenceoftheneighborhood.

SN: So several of the aspects of the world of this play are familiar to you through your own experiences living in New York City.

AL:Ialsotrytoobservewhatitisaboutaneighborhoodthatdistinguishesit.Therearecertainthings,whenyouliveinthecity,thatyouseeeverydaythatbecomejustpartofthefabricoftheneighborhood.Untilyouhavetoputitonstagewhensuddenlyyourealizethatthosethingsareveryimportantbecausetheytellyouwhatmakesthisneighborhooddistinctive.

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SN: What were the things about Washington Heights that jumped out at you as defining elements?

AL:Thebusinesses.Theawningstellyoualotaboutthekindsofbusinessesthatarethere.Therearelotsofhairsalonsandcarservices.Andthosefactorintothestorytellingoftheshow.AndifyougotoWashingtonHeights,youseethattherearelotsofthosekindsbusinesses…anddelis,thecornerbodegas.Theethnicmakeupoftheneighborhoodistelegraphedalotinthesignagethat’sthere.

SN: What are the qualities and skills that are required to be a successful scenic designer?

AL:Beingabletocapturetheessenceofanenvironmentisimportantsoyouhavetobeveryobservant.Andhavingasmuchmaterialasyoucan,backgroundmaterialandvisualmaterialtobeabletosupportyourchoices.ButalsoIthinkyouhavearesponsibilitytoknowhowtoexecutethedesigninawaythatprovidesenoughinformationforthesettogetbuiltthewayyouwantit.Ithinkthebetterunderstandingyouhaveofhowthingsareputtogether,themorecontrolyouhaveovertheresult.Soit’sacombinationofboth.Andalsoknowingwhattheactorsneedisimportant,knowingwhatthechoreographerneedsspatiallyandwherethedirectorseespeoplelocatedinthespace.Sometimeswefeedoffofeachotherwhenwefirststarttalkingaboutit.

SN: How did this process work with In theHeights?

AL:IspentalotoftimetalkingwiththeDirectorandtheChoreographerinthiscasebecausethere’salotofdancingintheshow.We’dtrytofigureoutwhereUsnavi’sbodegawasgoingtobeonthestage;wholivesupstairsfromthebodega…tryingtocreateabackgroundforthesepeople’slives.Where’sabuela’sstoop?Isshenextdoortothebodega?Isshenextdoortothecarservice?Thehairsalon?Howimportantisthehairsalon?Howmanysceneshappeninthere?Sowehadtodeduceandprioritizewherewewanttheseplacestobelocated.AndthenIhavetofigureoutamapofwhereallthisstuffcanbeonstage.WhenweplayedOff-Broadwaywehadaveryshallowtheatrespacewithonelayerofbuildingsandsomeperspectiveflatsbehindthat.Thenwehadthishugeimageofthebridgewhichisverymuchanimportantfactorintheshowbecauseitlocatestheneighborhood.It’salsosymbolic.It’sthebridge;thebridgetotherestofthecountry.

SN: What impact does the move uptown to Broadway have on the design?

AL:It’sinteresting.Itpresentsuswithacoupleofadvantagesandsomedisadvantages.Intheoldtheatrespacewehaditwasextremelywidebutveryshallow,sowedecidedtospreadthesetfromwalltowallandcreateanenvironmentoftheneighborhood.Therewasnomasking.Soifyouweresittinginthetheatre,youcouldseeallthebuildings.Buttherewasnotenoughdepthsowehadonesidewalkacrossthebackthentherewasthewallandthebridge.Inthiscase,withourmovetoBroadway,weactuallyhavelesswidth,sowehavetosqueezeeverythinginwithintheprosceniumnow.Butbecausewehavemoredepth,wecancreatemorelayers.Nowthechallengeistocreateenoughlayersthatyoucanactuallyseethrough.Sowe’replayingwithseeingthearchitectureinamoreskeletalway;soyou’llstillbeabletoseepeopleengagedinvariousactivities.Soyoumighthaveascenetakingplacedownstagebutyou’llseesomeonedoingsomebusinessupstage…foldinglaundryoronthephone.We’vealsoaddedheighttothebacksoyougetthesensethattherearelevelsinWashingtonHeights,thatmakethatneighborhooddifferentfromtherestofManhattansinceyou’rehighonthisrockyterrainupthere,andthatthestreetsarenotallonthesamelevel.

SN: Scenic design is really a combination of art and craft. What kind of education and training do you have?

AL:Ihaveanundergraduatedegreeintheatrebutnotindesign.Istudiedacting.ButIwasalwaysinterestedinwhattookplacebackstage.IhadmultipleinterestssoofcourseIchosesomethingotherthanactingbecauseit’sjusttoohardanyway–notthatdesigniseasy!ButIalwayswantedto

50

participateinabiggerwaysoItooksomecoursesandlearnedtodraftandbuildmodels.Iassistedforfiveyears,alotofdesigners,andthenwentbacktoschoolandgotaMastersindesignatNYC-atTisch.ThencontinuedtoworkasanassistantforseveralyearsafterthatandoccasionallywouldgettodolittleOff-Broadwayshows.IjoinedtheunionrightafterIgraduatedsothatallowedmetoworkatahigherpayscaleandworkontelevisionshowsandmovies.AndthenonelittleOff-BroadwayshowbecameverysuccessfulandthatwasAvenueQ.Itwasalonghaulbutitwasworthit.AllthoseyearsofworkingforotherpeopleonahugerangeofprojectsfromlittleOff-Broadwayplayswhereyoufindyourownsceneryandpullyourownpropsoffthestreettobigmulti-milliondollarmusicalsandtelevisionandmovies–allthoseexperiencescontribute.

SN: And the technical training and skills that you’ve gained are an important part of that too?

AL:Absolutely.Ithinkit’sessential.Youdon’thavetobeanengineer.That’sthejobofthescenicshops.Theyfigureouthowtomakethisstuffstandup.Butit’simportant,notonlyforyourowncontroloverthepiecebutalso,becauseyoudependonsomanyotherpeopletoexecutethisstuff,it’simportantthattheyhavefaithinyou,inyourabilitytoenvision

something.Also,Ithinktheyrespectyouwhenyouknowwhatyou’retalkingabout.AndIthinkyouhavemoresupport.Thesepeopleareworkingforyouandfortheproducerandthere’salotofmoneyatstake.

SN: Have you ever been in the position of having to defend your design?

AL:InsomecasesI’vehadtoargueinfavorofsomethingthatcostmoremoney.Usually,whathappensistheproducerwillsay:“Wehaveabudgetofsomuchmoney…”So,inthecaseof In the Heights,oneofthethingsthatwassaidtomewas,“WhenwemovetoBroadway,westilldon’twantmovingscenery.Wedon’twanttohaveautomationintheshow.”Thatwasoneofthedictates,becauseitcostsmoremoney.Wheneveryouhaveautomationinashowyouhavemechanics,winches,machinerythatneedstobemaintainedandrentalfeesbecausethemachineryisrented.WhenIfirstreadtheplayIthought“Oh,thissethastomove,”andIwasworriedthatthiswasgoingtobeaproblem.Butwe’vekindofstrippedittoamoreabstracted,barebonesversionoftheneighborhood.Itgivesustheflexibilitytoinvitetheaudiencetousetheirimagination.

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In The Heights Finished Set ModelNovember 27, 2007


Theappreciationofvariousartforms.

Teaching Tips

Whatisyouropinionofgraffiti?Thinkofsomecommentsyouhavemade,andsomeyou’veheard.Aretheypositiveornegative?Withwhomdoyouassociatetheartofgraffiti?

From the ScriptThecityisinblackout.GraffitiPeteoffershelpinprotectingUsnavi’sstorefromlooters.Atsunrisehetriestogetthegrouptolookatthearthe’sdonebycandlelightduringtheblackout.OnlylaterdotheresidentsoftheHeightsrecognizehistalentwhen,commissionedbySonny,hepaintsaportraitofthelateAbuelaonUsnavi’sstorefront.

GRAFFITI PETETHEY GONNA BOMBARD THE STORE UNTIL YOU AIN’T GOT A STORE NO MORE!

SONNYI GOT A BASEBALL BAT ON A RACK IN THE BACK.

GRAFFITI PETEI GOT A COUPLE ROMAN CANDLES, WE CAN DISTRACT THE VANDALS!

SONNYHEY YO I SEE SOME THUGS COMIN, MAN, WE GONNA GET JACKED UP!

GRAFFITI PETEGIMME A LIGHT, I’LL BE RIGHT BACK. BACK UP—

ExercisesWhydoyouthinkUsnavihassuchanegativeopinionofPete’swork?Orisitthework?

Publicartprojectsareacceptedasvalidartformsthroughouttheworld.WorkbysuchartistsasChristohavegainedwideacceptanceandgarneredpraisefromtheartcommunityandpublicatlarge.

HavestudentsresearchChristo’swork.Prepareslidesontheprojectsandshowthemtotheclass,allowingstudentstocomment.Dothesamewithslidesofgraffiti.Allowstudentcomments.Afterwards,havestudentsdiscusswhytheydidordidnotlikethevariousprojects.Havethemexplain.DotheythinkChristo’sandGraffitiPete’sarethesameordifferent?Explain.

the artsDiscussion

Act 1, Scene 12

GRAFFITI PETEYo, Sonny, come check out my new wall! I painted it by candlelight!...

USNAVIYou got a new canvas. Tag up the whole store, have a blast.

Act 2, Scene 2Atdaybreak...

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Writing Objective

Theimportanceofartandcreativitytoaperson’sdevelopment.

Teaching Tips

Whatconstitutesart?Doeseveryonehaveacreativeside?DoyouthinkAmericanssacrificetheirartisticsidestomakingmoney?Howdamagingmightthisbetoaperson’spersonality?tothecultureatlarge?

GRAFFITI PETEWhat it do? Great sunlight this morning.

SONNYYo cuz! We fixed the grate!

USNAVI(To SONNY.) What did I tell you about this punk?

SONNYYou have to commission an artist while his rate is still good.

GRAFFITI PETEThe first work in my new series.

(GRAFFITI PETE rolls down the gate. There is a huge graffiti mural of ABUELA CLAUDIA that says PACIENCIA Y FE.

GRAFFITI PETEHe hates it.

SONNYShh. He’s forming an artistic opinion.

USNAVIYOU DID THIS LAST NIGHT?

GRAFFITI PETEYEAH.

USNAVITHERE GOES MY FLIGHT.

ExercisesClearly,noteveryonecanbeaPicasso,BeethovenorShakespeare.Buthowimportantistechnicalproficiencytotheactofcreating?AMexicanmancomeshomefromworkandintheeveningsitsbeforehismodesthome,paintingaclaypot.Whydoyouthinkhedoesthis?Isitart?Canyouimaginetheadultsinyourlifedoingthis?Why?Whynot?

WhatistheemotionalimpactofPete’smuralonUsnaviwhenheseesAbuela’sfaceonhisstoregate?Thinkaboutitthenwriteanessayexpressinghowyoumightfeelinhisposition.IncludepersonalinsightsintohowyouthinkPetefeelsandtheartisticsatisfactionhe’sreceivedfromdoingthework.Inyourconclusionexplainwhyyouthinkthisparticularworkofartdidit’sjobwhenitcametotouchingthosewhocreatedit,aswellasthosewhoviewedit.Isn’tthisthetruepurposeofart?Stateyouropinion.

the artsWriting

53


SonnyhiresGraffitiPetetopaintamuralofAbueloonUsnavi’sstoresecuritygate.ThemuralhassuchapowerfuleffectonUsnavithathedecidestostayintheHeights.GraffitiPete,theartist,hashadhisfirstcommissionedworkandwillbefromthatdayforwardviewedintheneighborhoodasatrueartist.


Exploretheroleofenvironmentinthecreationofart.

Teaching Tips

Ifartreflectslife,doyouthinksomeonelivinginLatinAmericamightcreateartdifferentfromaHispanicpersonlivinghere?Why?Whynot?Whatkindofartdoyouprefer?Why?

The ArtsExperiential


ThefinalsceneofthefirstactresonateswithPeteandtheensemblesinginginwondertothefireworkslightingupthenightsky.Pete,theartist,undoubtedlydrawsfromhisenvironmentforinspiration.

ENSEMBLELOOK AT THE FIREWORKS…LIGHT UP THE NIGHT SKY…LOOK AT THE FIREWORKS…LIGHT UP THE NIGHT SKY…

GRAFFITI PETE/VANESSA/CARLALIGHT UP THE NIGHT SKY . .

ExercisesGoodartorbad?Who’stojudge?ForyearsHispanicartistswerestudiedminimallyinuniversityprograms.OnlyafewwhostudiedinEuropeweretakenseriously.Valuejudgmentsontechniquewererigid--somesay,prejudicial.ABrazilianartistonceinsistedadagenciesherewouldnotconsiderherwork“becauseit’stoocolorful.”

Visitanartgallery,attendanartshow,orresearchvarioussitesonline.Pickingatleastfivepaintingsbyartistsfromdifferentcountries,takenotesonthevariationsyouperceiveincolor,tone,techniqueandsubjectmatter.Isthereanobvioussourceofinspiration?Whichworksdidyouprefer?Why?

Notes

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To Go Objective

RecognizecontributionsofHispanicAmericanartiststoAmericanculture.

Teaching Tips

HowmanyHispanicAmericanartists,otherthanpopularmusicartists,doyouknowof?Whyisthat?

To Gothe arts

ExerciseWhenAnna in the Tropicswonthe2003PulitzerPrizefordrama,NiloCruz,itsauthor,wasreportedtohavesaid,“Miami,CubaandalltheLatinosgotaPulitzerPrizetoday!”

Makealistofprize-winningHispanicAmericanauthors.Pickoneandprepareathree-pageessayontheirlifeandaccomplishments.Payparticularattentiontotheirchildhoods.Weretheychildrenofprivilege?ordidtheyarisefromhumblebeginnings,likethepeoplein“TheHeights.”Shareyouressaywiththeclass.Writealettertothepersonagecommendingthemontheirwork.

SeveralmajorsportsfigureswereeitherbornorgrewupinWashingtonHeights.Whoarethey?

Notes


AbuelatellsNinashehasgreatexpectationswhenitcomestoherfuture.

ABUELA CLAUDIAPlease, you knew the ABC’s when you were six months old.

USNAVIYou registered half this block to vote!

ABUELA CLAUDIAThe future Mayor of Nuevayork!

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Resources

WEBSITES

TheofficialwebsiteforIn The Heightswww.intheheightsthemusical.com

Officialwebsite,USgovernment-operatedhttp://www.washington-heights.us/

DominicanImmigrationtotheUnitedStateshttp://www.migrationinformation.org/USfocus/display.cfm?id=259

PuertoRicanImmigrationhttp://memory.loc.gov/learn/features/immig/cuban3.html

BOOKS FOR REFERENCE

Renner,James.WashingtonHeights,Inwood,MarbleHill(NY):Images of America.NewYork:ArcadiaPublishing,2007.

Daniels,Roger.Coming to America (SecondEdition): A History of Immigration and Ethnicity in American Life,2007

Chasteen,JohnCharles.Born in Blood And Fire: A Concise History of Latin America,SecondEdition

Foner,Nancy.In a New Land: A Comparative View of Immigration.NewYork:NYUPress,2005.

Eleveld,Mark.The Spoken Word Revolution Redux.Illinois:SourcebooksMediaFusion,2007.

VonZiegesar,Cecily.Slam.NewYork:AlloyBooks,2000

Falcon,Haslip-VieraandFelixV.MatosRodriguez.BoricuasinGotham:Puerto Ricans in the Making of New York City.NewJersey:MarkusWienerPublishers,2004.

ACampBroadway,LLCPublication

EditorPhilip Katz

ArtDirectorMichael Naylor

Writers:Jennifer Wollerman

Sue Maccia

SpecialThanksAdam Aguirre

ForIn The Heights:Producers:The Producing OfficeKevin McCollum, Jeffrey Seller,Jill Furman

SpecialThanksScott Moore, Lin-Manuel Miranda, Javier Muñoz

JenniferWollermanisafreelancewriter,produceranddramaturg.ShehasworkedwiththeatreorganizationsasdiverseasDragone,RadioCityEntertainment,AlexanderH.Cohen,SecondStageandLaMama,andhashadnumerousdramaturgicalandwritingassignmentsalongthewayincluding,mostrecently,anarticleonthefallBroadwayseasonforFrontier’sin-flightmagazine,Wild Blue Yonder.WithC2Creative,amarketingservicescompanyshehasproducedforawidevarietyofclientsincludingRHIEntertainmentandQubo,achildren’stelevisionnetwork.JenniferholdsanMFAfromColumbiaUniversityinDramaturgy/TheatreCriticism.

SueMacciaworkedasaseniorcopywriterinthecollegetextbookdivisionofMacmillanPublishing,Inc.NewYork.ShehasalsoworkedforseveralNewYorkeducationaldevelopmentcompaniesandtaughtcreativewritingataspecializedprogramhostedbyEastStroudsburgUniversity.AsajournalistshecoveredbothhardnewsstoriesandwrotefeaturearticlesformajornewspapersincludingtheNewarkStarLedger.Ms.MacciawaschiefcopywriterforFilmsfortheHumanitiesandSciencesofPrinceton,amajorsupplierofeducationalfilmstothehighschoolanduniversitymarkets.AtthispositionshealsohandledSpanishlanguagefilmacquisitions.ShehasworkedfortheNewJerseyCouncilfortheHumanitiesasapublicrelationswriter

in the heights - storage.googleapis.com€¦ · in her thirties, she is the owner of daniela’s...

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