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havanahop

about the performance

Havana Hop is a children’s tale of culture and originality. It is written and performed by multidisciplinary artist Paige Hernandez-Funn.

In the story, audiences will meet young Yelia who visits her grandmother in Cuba. Yelia wants to add a salsa flavor to her own hip-hop dance style. Audiences will join her for the journey as she discovers the fun of her multi-cultural heritage and learns about Cuban culture in an engaging and spirited way. Her story teaches us to be creative and unique and to always use our heritage and family values as inspiration.

Hernandez-Funn is critically acclaimed as a performer, director, choreographer and playwright. She has performed on many stages throughout the country. In this interactive performance, which incorporates Spanish and English dialogue and lyrics, the audience gets to dance along in a dynamic participation play. This original work is based loosely on her experience as a performer with African American roots and a Latino soul. Working solo in Havana Hop, she is able to dramatize the

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in the spotlight1. Tell us about your diverse creative background—performer, director, choreographer and playwright. It makes sense for you to have a solo show. How did you get involved on all these different facets of the arts? I always set out to be as well rounded an artist as possible and thankfully my training provided opportunities to try on different hats within the theatre field. I also spent many years as an arts administrator. All of these skills combined were the perfect catalyst to set up my own company and to continue to exercise each skill.

2. You have been recognized and awarded for all of your outstanding work. What do you think is your greatest accomplishment in the arts? Why? This is a tough one. It may sound campy but my greatest accomplishment is the impact that I make on students who see my work or experience one of my workshops or residencies. There’s just something so grounding and rewarding to know that I’m leaving an artistic impression that can last a lifetime.

3. Which educators have influenced you the most? I’ve been fortunate to have a lot of great educators and mentors in my career. For now, I’ll mention two: Scot Reese and Laurie Magovern. Scot is a theatre professor at the University of Maryland College Park. He encouraged me to challenge traditional theatre practices in a way that was productive and meaningful. He championed my drive to identify exactly what makes me unique as an artist. Laurie was the Director of Community Engagement when I worked at Arena Stage in DC. She taught me the importance of details, thoroughness and how to cultivate positive staff morale. She was a genuine leader (not a boss) whose staff naturally embraced equality and humility because of the work environment she created. I work hard to implement those same qualities with my company and all of my collaborators.

4. How did the story of Havana Hop come together? The Wolf Trap Institute originally commissioned Havana Hop in 2008 after President Obama was elected. I wanted a piece that was multicultural and multigenerational that celebrated the first black President. I leaned on my own true story of my Grandmother and her dementia. My grandmother loved music and embraced all facets of her grandchildren’s mixed cultures. As time and politics changed, Havana Hop began to focus on more on identity and confidence.

5. What can your audiences expect to see and hear during the show? How do the songs and dance numbers fit into the story? From the very beginning, the audience is involved. They help the main character Yeila to have confidence even when she’s too nervous to perform. The audience will help Yeila travel through the streets, count numbers to focus, learn Spanish and of course to learn how to salsa…all of this done artfully while integrating music and dance with learning.

6. What is this story’s overall theme? What important connections do you hope young audiences will make? Yeila says in the show, “Find roots, get confidence, be amazing”! That pretty much sums it up. Confidence comes from an appreciation of who you are. You can find it by digging deeper into your family or your surroundings. Confidence develops pride, loyalty and mastery of any skill.

7. What message, or reaction, do you hope young audiences will come away with after watching your show? I hope young audiences will be inspired to discover more about themselves while pursuing a true passion.

differences and similarities in culture and dance across three generations of lively women who are determined to keep their spirit, passion and culture alive.

As a playwright, Paige has been commissioned by the National New Play Network, the Smithsonian’s Discovery Theatre, The Kennedy Center and the Glimmerglass Festival. She recently received an Individual Artist Award from the Maryland State Arts Council, as well as two Helen Hayes nominations for choreography and performance. She has also been named a “classroom hero” by The Huffington Post, a “Citizen Artist Fellow” with the Kennedy Center and a “Rising Leader of Color” by the Theatre Communications Group (TCG).

Havana Hop is her first solo show. It was commissioned by the Wolf Trap Institute in 2008. And since that time, Paige has performed the show throughout the country, and internationally, including performances in Washington, DC, Los Angeles, Dallas, Philadelphia and, most recently, Singapore.

with actress paige hernandez-funn

The PERFORM section and student activities were written by NJPAC Faculty Member, Wincey Terry. Want Wincey or another NJPAC teaching artist to help you bring these activities to life? Book a pre- or post-show workshop in your classroom for any SchoolTime performance. For more information please contact Kyle Conner, 973.353.8055 or kconner@njpac.org.

International singer, Wincey Terry is CEO of Winceyco and Executive Director of NanaBabies Nonprofit. Her innovative arts programs won her Kiss FM’s “Phenomenal Woman” Award. Wincey is an author, producer of music and educational CDs, Arts Chair of the NJ Human Trafficking Coalition and VP of Zonta of Essex.

meet our faculty

inspired ideas in the classroom

Teacher Focus Student Activity NJ Student Learning Standards

Prepare for the performance

Where in the World is Cuba?

Use a globe or smart board map to show students the United States. Explain that the US is a country. Tell the students that there are many countries. Show the students Cuba on the map. Show the students pictures of Cuba and explain Cuba is a country.

Simple Spanish

Ask students the following questions: 1. Have any of you ever heard of Cuba? 2. Has anyone ever visited Cuba? 3. Does anyone know what language the people of Cuba speak? 4. Does anyone here speak or understand Spanish? 5. Who can say “Hello, how are you?”, “Goodbye!” and/or “Thank you,” in Spanish?

Social Studies 6.1.P-3.D.4 Learn about and respect other cultures within the classroom and community

World Languages 7.1.NM.A. Recognize familiar spoken words and phrases contained in culturally authentic materials.

Experience the performance

How to experience the performance.

On the bus ride over, or before the performance begins, tell the students that the people of Cuba have brought great music and dances to the US. Consider playing Cuban music on the way to the performance. Here is a list of songs for consideration:

https://www.allmusic.com/album/15-great-classic-cuban-songs-mw0000013115

Language & Art

A lot of the music that we listen to is very special because it has been shared with us by our friends from Cuba. You will hear some of that special music in today’s show. See if you recognize it. The Cuban people are also great dancers. Let’s look out for dance in this show. Who remembers what language our Cuban friends speak? Let’s listen for any Spanish words.

Visual and Performing Arts 1.4.P.-3.A.7 Begin to demonstrate appropriate audience skills during storytelling and performances

Theatre 1.3.P-3.C.6 Participate in and listen to stories and dramatic performances from a variety of cultures and times.

Reflect, respond and read

What parts resonated with your students?Ask students: 1. Who was the main character? What was her problem? 2. Who did she visit? Where did she live? 3. How did she solve the problem? Who did she create her special dance for? 4. What was the name of the dance? Do you have a favorite dance?

Stage Reflections

Yelia cared very much for her abuela. Abuela needed Yelia’s help. Who in your family or neighborhood could use your help? What could you do to help him/her?

English Language Arts RL.K.-3.2. With prompting and support, retell familiar stories, including key details (e.g., who, what, where, when, why, how).

RL.K.-3.3. With prompting and support, identify characters, settings, and major events in a story

Focus

The Music of Cuba

1. During the school day(s), play popular Cuban songs like“Guantanamera” or “Hasta Siempre Comandante”in the classroom. 2. Read/tell/show (“My name is Me llamo The story of Celia Cruz”) https://g.co/kgs/s2EFZq or Celia Cruz Queen of Salsa” https://g.co/kgs/p7kmV9 3. Tell the students that Celia Cruz was born in the country of Cuba.

Transportation

1. Is Cuba very close or very far way? 2. How did Yelia travel? Did she really go to Cuba or did she use her imagination? 3. What are some other ways we can travel to faraway places? 4. Let’s move around the room and pretend we are traveling to Cuba. (use some of the transportation the students suggested i.e airplane, boat, bus, car)

World Languages 7.1.NM.A.1 Recognize familiar spoken words and phrases contained in culturally authentic materials.

Music 1.3.P.B.5 Participate in and listen to music from a variety of cultures and times.

Theatre 1.3.2-3.C.2 Use voice and movement in solo, paired, and group pantomimes and improvisations

Originate

Build a dance

Just like Yelia, we are going to create our own dance. Have the students make a circle and using the song “”Carnivale” by Celia Cruz, or your favorite Salsa song as a soundtrack, encourage the students to listen and move to the music.

Special Dance Troupe

Remember how we all did a special dance with Yelia? Now we will work together to create our own special dance and perform it together.

The Creative Process 1.1.2. A.2 Use improvisation to discover new movement to fulfill the intent of the choreography.

Performance 1.3. P.A.1 Move the body in a variety of ways, with and without music.

Rehearse

Dance Rehearsal

Tell students that we, just like Yelia, will perform our special dance for an audience. 1. Select approximately 4 students. 2. One at a time, have each of the 4 students create/choreograph 1 dance move to include in our group dance. 3. Using a drum, rhythm sticks, or the steady clapping of the hands, the teacher will keep a steady beat to guide the students on the tempo of the dance. 4. Have the student create one move and repeat that same move 4 times. (Be sure to give the move a name, i.e. shuffle, spin, shimmy, shake, so that you can cue the students by calling out the dance moves!) 5. Each creator will demonstrate their dance move for the class (in the middle of the circle or in the front). The students will repeat it 4 times. 6. Tell the students that the word solo is when you do something alone or you do your own individual performance. Tell them if they hear the word ‘solo,’ they can do any safe movement on stage until you say ‘group.’

Dance Sequence

Tell the students that we will have to use our memories to perform the dance steps in the order that we learned them.

Have the 4 students who created each of the 4 steps stand in front to lead their p ortion of the dance.

Start the song “Carnivale” (or whatever song you had the students rehearsing to) and have the students do each movement 4 times. “

Performance 1.3.P.A.2 Respond to changes in tempo and a variety of musical rhythms through body movement.

1.3.P.A.3 Participate in simple sequences of movements.

Make magic

Performance

Using all the experiences, organize a simple performance. 1. Review the definitions for the words: solo, troupe. 2. Identify the ‘stage’ area. 3. Define/review the rules for safe dancing & anything you’d like to share about personal space. It would be ideal if you would model safe dancing and personal space with the help of 2 or 3 volunteers. 4. You will need the 4 dance leaders/choreographers from the rehearse section.

Stage Show

It’s our turn to create our own dance performance like Yelia did. Using your imagination, let’s pretend that the person you created your special dance for is in the audience. Let’s use this space as our stage. I will play our song and when I count “1, 2, 3, begin!” That will be your cue to start the dance.

Our dance leaders will lead us in the dance move that they created. We will do each move 4 times before moving on to the next dance move. Once the 4th move has been done 4 times, I will call solo! Everyone will begin your solo dance. This means you can dance any way you choose, as long as it’s safe and you dance on your feet.

When I say ‘troupe,’ we will start again from the top or the beginning of the dance.

Performance 1.3. P.A.4 Define and maintain personal space, concentration, and focus during creative movement/dance performances. 1.3.P.A.5 Participate in or observe a variety of dance and movement activities accompanied by music and/or props from different cultures and genres

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NJ Arts Standards

1.1 The Creative Process All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theatre and visual art.

1.2 History of Arts & Culture All students will understand the role, development and influence of the arts throughout history and across cultures.

1.3 Performance All students will synthesize skills, media, methods and technologies that are appropriate to creating, performing and/or presenting works of art in dance, music, theatre and visual art.

1.4 Aesthetic Response & Critique All students will demonstrate and apply an understanding of arts philosophies, judgment and analysis to works of art in dance, music, theatre and visual art.

National Arts Standards1: Generate and conceptualize artistic ideas and work.5: Develop and refine artistic techniques and work for presentation.6: Convey meaning through the presentation of artistic work.7: Perceive and analyze artistic work.8: Interpret intent and meaning in artistic work.11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding.

standardsnew jersey student

learning standards

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NEW JERSEY STUDENT LEARNING STANDARDS

English Language Arts

RL.K.-3.2. With prompting and support, retell familiar stories, including key details (e.g., who, what, where, when, why, how).

RL.K.-3.3. With prompting and support, identify characters, settings, and major events in a story

Social Studies 6.1.P.D.4 Learn about and respect other cultures within the classroom and community.

World Languages: 7.1.NM.A.1 Recognize familiar spoken or written words and phrases contained in culturally authentic materials using electronic information and other sources related to targeted themes.

Visual and Performing Arts: Dance 1.1.2.A.2 Use improvisation to discover new movement to fulfill the intent of the choreography.

1.3 Performance

1.3.P.A.1 Move the body in a variety of ways, with and without music.

1.3.P.A.2 Respond to changes in tempo and a variety of musical rhythms through body movement.

1.3.P.A.3 Participate in simple sequences of movements.

1.3.P.A.4 Define and maintain personal space, concentration, and focus during creative movement/dance performances..

1.3.P.A.5 Participate in or observe a variety of dance and movement activities accompanied by music and/or props from different cultures and genres.

Visual and Performing Arts: Music 1.3.P.B.5 Participate in and listen to music from a variety of cultures and times

Visual and Performing Arts: Theater 1.3.2-3.C.2 Use voice and movement in solo, paired, and group pantomimes and improvisations.

1.3.P-3.C.6 Participate in and listen to stories and dramatic performances from a variety of cultures and times.

1.4.P.A.7 Begin to demonstrate appropriate audience skills during storytelling and performances

FIND THE STANDARDS For more detailed information on the standards, visit these websites:

NJ ENGLISH LANGUAGE ARTS www.state.nj.us/education/cccs/2016/ela/

NJ SOCIAL STUDIES STANDARDS www.state.nj.us/education/cccs/2014/ss/

NJ WORLD LANGUAGE STANDARDS ww.state.nj.us/education/aps/cccs/wl/

NJ ARTS STANDARDS www.state.nj.us/education/cccs/2009/1.pdf

NATIONAL ARTS STANDARDS www.nationalartsstandards.org

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culturalconnections

The Caribbean island country of Cuba has a long, rich history of creating unique and globally influential music. During the time it was ruled by the Soviet Union, the Cuban people had very little access to outside cultural influences. But because of its close proximity to the United States—and Florida, in particular—American culture slowly began to have an effect. America is the birthplace of rap and hip hop, so it played a major role in the music style becoming popular in Cuba.

Like rock music, rap was not promoted or encouraged by the Cuban government. And while it was never formally forbidden, very few people were able to hear it. That is, until radio stations out of Miami could finally be heard. It is believed that rap in Cuba began in the 1980s, mostly as break-dancing, a popular hip-hop dance style at the time. But rap truly started to emerge precisely during the “gangsta” rap period in the 1990s, after the fall of the Soviet Union.

American hip hop artists continue to be the most important innovators of the style, and are very influential to raperos, or Cuban rappers. These artists greatly admired the success of U.S. rappers, so the raperos began to model themselves after them. Gradually, however, this began to change as raperos started to express their own reality, and make use of traditional Cuban culture, in their lyrics and songs.

Early cultural records of hip hop in Cuba are not easily accessible for those who didn’t experience it in the moment. Even though it mirrored the rap that came out of New York, Cubans had their own set of battles to fight. But it wasn’t until the rhymes of Puerto Rican rapper Vico C reached the island that everything clicked for the raperos. Finally, here was rap created in their language—Spanish.

Many Cuban rappers use their music as an opportunity to speak out against problems within the country, or even global issues including war, racism, and pollution. They refer to the subjects of their raps as “temas sociales,” or social themes. By involving these shared political themes, they try to make their music constructive and influential to their listeners.

Despite its growing popularity and importance, rap remained “underground” in Cuba for a while. There were no concerts held in public venues. Instead, raperos used house parties to establish their own hip hop scene. These small gatherings were referred to as bonches, and were for the true hip-hop fans who were into the less accessible rap that was taking hold in Cuba.

Rap was growing exponentially on the tiny island. By the mid-1990s, the music scene became one of the most promising for locals to meet tourists and try to make money. In 1995, a group of rappers formed the first “Havana Hip Hop Festival.” It consisted of 50 of the best groups from each of the fifteen

Cuban provinces and a dozen foreign groups. The huge festival had a major effect as it reached the youth of Cuba and many other countries. Even the government took notice and finally recognized it as an official art form.

Then, in 2002, the government formed the Agencia Cubana de Rap (Cuban Rap Agency) with its own record label, magazine, and weekly radio and TV shows. The CRA was a double-edged sword, however—while it encouraged and endorsed various rappers and created their albums, it enforced limits as to how the artists could express themselves.

Today, American hip hop continues to be a heavy influence. When artists do something here, by the time it reaches Cuba, it quickly becomes very popular there. With our fast internet and smart phones, it’s hard to imagine not being able to search for a song or stream the latest album when it drops. But Cuba is not able to enjoy these same luxuries. Internet access on the island is growing. But even without it, the people still find a way. For example, they created a file-sharing network which allows young people to hear the latest music as quickly as a few days, which is a major improvement for the developing country.

Bonches Small house parties where raperos performed

Break-dancing Hip-Hop dance style popularized in the 1980s

Choreography The sequence of steps and movements in dance

Cuba A republic in the Caribbean, South of Florida: largest island in the West Indies.

Cue Anything said or done, on or off stage, that is followed by a specific line or action

Culture The customary beliefs, social forms, and material traits of a racial, religious or social group

Dance To move one’s feet or body, or both, rhythmically in a pattern of steps, especially to the accompaniment of music

Generation A group of people born and living during the same time

Havana A seaport in and the capital of Cuba, on the North West coast

Hip Hop A style of popular music, featuring rap with an electronic backing

Imagination Forming mental or concepts of what is not actually present to the senses

Maraca Rattle filled with seeds or pebbles and used as a rhythm instrument

Multidisciplinary Combining several professional specializations in an approach to an art form

Music An art of sound in time that expresses ideas and emotions insignificant forms through the elements of rhythm, melody, harmony and color

vocabularyProvince A territory or region

Raperos Cuban rappers

Rehearse To practice (musical composition, play, speech, etc.) in private prior to a public presentation

Salsa A lively, vigorous type of contemporary Latin American popular music, blending predominantly Cuban rhythms with elements of jazz, rock and soul music

Solo Any performance by one person

Stage The platform on which the actors perform in a theater

Temas sociales Social and political themes used in stories and songs; a belief system usually concerning a social or natural problem

Theater A building, part of a building, or outdoor area for housing dramatic presentations, stage entertainments, or motion-picture shows

Top The part of anything that is first or foremost; beginning

Transportation Means of carrying people or goods from one place to another or of being carried from one place to another

Troupe A company, band, or group of singers, actors, or other performers, especially one that travels about

resourcesBooks

Baker, Geoffrey. Buena Vista in the Club: Rap, Reggaetón, and Revolution in Havana, Duke University Press, Apr 14, 2011

Brown, Monica. My Name is Celia/Me llamo Celia: The Life of Celia Cruz/la vida de Celia Cruz, Cooper Square Publishing Llc; Bilingual edition, October 30, 2004 

Chambers, Veronica. Celia Cruz Queen of Salsa, Puffin Books; Reprint edition, July 19, 2007

Fernandes, Sujatha. Close to the Edge: In Search of the Global Hip Hop Generation, Verso, September 12, 2011

Perry, Marc D. Negro Soy Yo: Hip Hop and Raced Citizenship in Neoliberal Cuba, Duke University Press Books, December 30, 2015

Videos

Cuba: Hip Hop video.nationalgeographic.com/video/cuba_hiphop

Desde El Principio (From the Beginning): www.youtube.com/watch?v=HOG_SwRL18s

Orishas – “Represent Cuba” www.youtube.com/watch?v=50kxtUSGMgg

Websites:

www.paigehernandez.com/havanahop/

www.wolftrap.org/education.aspx

www.lahabana.com/content/hip-hop-in-cuba-creating-a-revolution/

www.allmusic.com/album/15-great-classic-cuban-songs-mw0000013115

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(partial lsiting)

John R. Strangfeld, Chair, NJPAC Board of Directors

John Schreiber, President & CEO

Alison Scott-Williams, Vice President, Arts Education

Jennifer Tsukayama, Assistant Vice President, Arts Education Operations

Betsy True, Senior Director, Artistic Faculty & Curriculum Development

Cathleen Plazas, Senior Director, Curriculum and Program Evaluation

Mark Gross, Director, Jazz Instruction

Jamie M. Mayer, Director, Curriculum & Professional Development

Rosa Hyde, Senior Manager, SchoolTime & Assemblies

Timothy Maynes, Senior Manager, Business Operations

Victoria Revesz, Senior Manager, School and Community Programs

Roneasha Bell, Manager, On-site and Community Programs

Kyle Conner, Manager, Sales & Partnerships

Ashley Miskoff, Manager, Professional Development

Danielle Vauters, Manager, School and Summer Programs

Raven Oppong-Boateng, Coordinator, Program Registration and Operations

Daniel Silverstein, Coordinator, On-site and Community Programs

Kristine Mathieson, Coordinator, School and Summer Programs

Patricia Sweeting, Coordinator, Performances & Engagement

Tara Baker, Administrative Assistant/Office Manager, Arts Education

Denise Jackson, Administrative Assistant to the VP and AVP, Arts Education

teacher resource guides

The Writer’s Circle, LLC: Judith Lindbergh, Michelle Cameron, Scott Caffrey, Chris Knapp; Doris Ann Pezzolla, Graphic Designer

Lia DiStefano, Graphic Design liadidadesign.comthe arts in your schoolIn-School Residencies: Drama + Social Studies. Dance + Math. It all adds up in NJPAC’s In-School Residencies in which professional teaching artists partner with educators to bring the arts into the classroom. Each 7- to 10-week program culminates in a student performance or an interactive family workshop. All programs address state and national standards. NJPAC is the regional provider in New Jersey for international arts programs like the Wolf Trap Institute’s Early Learning Through the Arts Program and Dancing Classrooms Global.

Assemblies: NJPAC presents engaging school assembly programs that are presented by professional artists that invite students into the enchanting world of live performance. NJPAC’s assembly series promotes cultural awareness and invigorates learning by presenting works that are connected to your’s school’s curriculum.

study the arts at njpacSaturday Programs: NJPAC’s Saturday programs are geared towards students at every level—from those who dream of starring on Broadway to those who are still learning their scales. Students work with professional artists to build technique and develop their own creative style in film, contemporary modern dance, hip hop, jazz, musical theater and symphonic band.

Summer Programs: Want to begin to explore the arts? Or immerse yourself in the study of one genre? Then join us at NJPAC next summer in one of seven programs that spark the creativity in every child through the study of music, dance and theater.

njpac staff

NJPAC Arts Education programs are made possible through the generosity of our endowment donors: The Arts Education Endowment Fund in honor of Raymond C. Chambers, The Joan and Allen Bildner Family Fund, Albert and Katherine Merck, and The Sagner Family Foundation

Generous annual support for NJPAC Arts Education Programs is provided by: NJ Advance Media/The Star-Ledger, McCrane Foundation, Inc., care of Margrit McCrane, John and Suzanne Willian/Goldman Sachs Gives, MCJ Amelior Foundation, Amy Liss, Jennifer A. Chalsty, Johnson & Johnson Family of Companies, Panasonic Corporation of America, and Atlantic, Tomorrow’s Office, Stewart and Judy Colton

For more information or to schedule an appointment, please call our education sales team at 973.353.7058 or email artseducation@njpac.org. Visit www.njpac.org/education

Generous support for Schooltime provided, in part, by