FLYNN CENTER PRESENTS

Companhia

Urbana de Dança

We appreciate and value your feedback.

Click here to evaluate our study guides.

Click here for Teacher Feedback Forms for the performance.

Click here for Student Feedback Forms for the performance.

Click here for Parent Forms to help parents engage with their children around the show.

Welcome to the 2015-2016 Student Matinee Season!

Today’s scholars and researchers say creativity is the top skill our kids will need when they

enter the work force of the future, so we salute YOU for valuing the educational and

inspirational power of live performance. By using this study guide you are taking an even

greater step toward implementing the arts as a vital and inspiring educational tool.

We hope you find this guide useful. If you have any suggestions for content or format of

this guide, please contact sms@flynncenter.org.

Enjoy the show!

This guide was written & compiled by the Education

Department at the Flynn Center for the Performing Arts with

inspiration from Companhia Urbana de Danca website, the

Hopkins Center Study Guide and www.umass.edu.

Permission is granted for teachers, parents, and students who

are coming to Flynn shows to copy & distribute this guide for

educational purposes only.

The Flynn Center recognizes that field trip resources for schools are extremely limited, thus matinee prices for

schools are significantly lower than prices for public performances. As a non-profit organization, the Flynn is

deeply grateful to the foundations, corporations, and individuals whose generous financial support keeps

matinees affordable for schools.

A special thank you to John Bossange for sponsoring this matinee performance.

Thank you to the Flynn Matinee 2015-2016 underwriters: Andrea’s Legacy Fund, Champlain Investment

Partners, LLC, Bari and Peter Dreissigacker, William Randolph Hearst Foundation, Forrest and Frances Lattner

Foundation, Surdna Foundation, Tracy and Richard Tarrant, TD Charitable Foundation, Vermont Concert Artists

Fund of the Vermont Community Foundation, Vermont Community Foundation, New England Foundation for

the Arts, National Endowment for the Arts, and the Flynn Jazz Endowment.

Additional support from the Bruce J. Anderson Foundation, Green Mountain Fund, Walter Cerf Community

Fund, the Vermont Arts Council, the Susan Quinn Memorial Fund, and the Ronald McDonald House Charities.

The Background of Companhia

Director/Choreographer: Sonia Destri Lie

The Company

The Production and the History

The Production

Brazil’s History and Culture

Your Visit

The Flynn Center

Etiquette for Live Performance

Why is Etiquette Important?

Common Core Standards

The Common Core broadens the definition of a “text,” viewing performance as a form of text, so your students are experiencing and interacting with a text when they attend a Flynn show.

Seeing live performance provides rich opportunities to write reflections, narratives, arguments, and more. By writing responses and/or using the Flynn Study Guides, all performances

can be linked to Common Core:

CC ELA: W 1-10

You can use this performance and study guide to address the following Common Core Standards (additional standards listed by specific activities):

CC ELA: RL7, SL1-4, RH1 & 7, WHST 7-9 C3 Hist: D2.His.4-5 & 14, D2.Civ.2&6, D2.Geo.5-6 & 10

Activities to Deepen Understanding

Step by Step Guide to Getting Dance

Questions to Explore

Post-Show Collage and Writing Activity

Creatively Telling Your Story

Movement Memories

Bare Bones Response

Concepts of Culture and Tradition

Perception vs. Reality

Bring Dance and Movement to Life

Words Come Alive Arts Integration Activities

Movement Phrases, Creating Dances, Unison and

Canon, Challenging Variations

The Creative Culture of Brazil

Music

Hip Hop

Samba

Capoeira

The Director/Choreographer: Sonia Destri Lie

Sonia Destri Lie is the artistic director and choreographer of Companhia Urbana de Dança. Receiving her degrees

in both psychology and ballet gave Sonia a unique perspective on human expression and human form. Destri

travelled throughout Brazil and Europe after completing her studies, working in dance, theatre, film, and

musicals. During this time, she discovered hip-hop and b-boying dance. She defined her refreshing interpretation

of these styles by infusing them with the rich cultural influences of Brazil and the favelas from within. Her works

creatively embrace elements of hip-hop, b-boying, contemporary dance, and also Brazilian social dances. Destri’s

choreography has been cited as a significant

contribution to the field of dance. She generates an

entirely new genre that coincidentally returns a

greater appreciation for existing dance styles and

the significance of sociocultural influences. Media

reviews of her performances are nothing short of

spectacular. She received the Best Script Award by

the Ford Foundation, the Staging Award 2011 by

the State of Rio de Janeiro for the show Eu Danço,

the FADA Award by the City Hall of Rio de Janeiro

(2012, 2013 and 2014), and the Best Choreography

Award by Conseil International de la Danse

(CID_Unesco).

The Company: Companhia Urbana de Dança

When Companhia Urbana de Dança made its US debut at

New York City Center in 2010, the eyes of even the most

‘‘been-there-saw-that’’ critics opened wide with amazement.

Destri’s boldly original mix of contemporary Brazilian dance

and hip-hop infused both forms with new rigor, meditative

one moment, explosive the next. Locating the true heart of

hip-hop, Destri strips it of its easy tricks, bringing it back to its

original emotional depth, expressive range, and poetic

integrity. Founded in Brazil in 2004/2005 by dancer Tiago

Sousa and choreographer and artistic director Sonia Destri

Lie, Companhia Urbana de Dança is an ensemble of street

performers working to foster the human experience through dance. Destri’s experience traveling through Europe for work

in theater and film exposed her to hip-hop and b-boy techniques. Highly influenced by Brazilian street forms, she began to

integrate these techniques into her already established contemporary movement sensibility. Pulling from the favelas of Rio

de Janeiro where many of her company members grew up, Companhia Urbana de Dança aims to transcend cultural

boundaries, while showcasing eclectic skill sets. The work of Companhia Urbana de Dança brings its dancers’ identities,

testimonials, and attitudes to the stage, and it does that with a “carioca”, Afro-Brazilian accent, which is nevertheless

universal. The group is firmly positioned in the most contemporary urban dance scene in Brazil and internationally. It

highlights the talents of young black, and poor Brazilians in the modern world, from an affirming and pluralist stance.

The Production

The performance you’ll see at the Flynn is a dance piece the combines hip-hop and modern dance forms. Through

these dance languages, the piece explores each individual dancer’s roots and histories, while also delving into

the deep and complex history and culture of Rio de Janeiro’s street experience. Dance is rarely literal or narrative,

it is more an abstract means of expression. You don't have to look for a clear story line, but can simply take from

it impressions and reflections of universal human experience. The dances you will see have a celebratory feel, and

at different moments will feel reminiscent of parties and even childhood games. The performance will feel casual

at points as the performers interact with each other on stage, and create an environment that feels playful and

collaborative, building on each other, while making sure each dancer gets to express who they are as an artist, a

human, and part of a collective ensemble.

Brazil: the History and Culture

Brazil boasts a diverse population of indigenous peoples, Portuguese, Afro-Brazilians, and European and Asian

immigrants. The cultures and heritages of these different groups characterize the spirit and liveliness of Brazil

today.

It is estimated that 200 indigenous societies exist in Brazil. In the days of colonization, many indigenous people

were forced to work in plantations and mines. They also guided many of the colonists into the interior parts of

Brazil. Today indigenous populations have a tremendous impact on Brazilian culture and often come together with

Afro-Brazilians and other Brazilians for celebrations.

In 1500, Portuguese explorer Pedro Alvares Cabral and his fleet of 13 ships and 1,200 crewmen set sail from

Lisbon in hopes of arriving in India but landed on the coast of Brazil instead. Upon returning to Portugal, Cabral

informed King João III of his findings; in 1531 the king sent the first colonists to Brazil. These colonists, including

sailors, nobles, affluent and provincial people, soon discovered the land and climate were ideal for growing sugar

cane, which was the main export until the 18th century when gold was discovered.

In the days of colonization, millions of Africans were brought to Brazil as

enslaved people; they were forced to work on sugar plantations and in mines

alongside indigenous people. While slavery in Brazil ended in 1888, African

culture and heritage has since influenced almost every aspect of Brazil–from

cuisine, to music, dance and art. Today, African culture is most prominent in

the region known as Bahia, located in northeast Brazil.

Rio de Janeiro is the second-largest city in Brazil and is known for its beaches,

its rich cultural heritage and football (soccer), as well as for the drugs and

crime in the city’s favelas. Favela is usually translated as “slum,” and refers

to heavily populated, informally organized urban areas with high levels of

poverty and lacking public services. Recently, the 2014 FIFA World Cup and

the 2016 Summer Olympics have increased international scrutiny of crime

and violence in these neighborhoods.

Music

Music and dance are key elements of Brazilian culture as

seen in Carnaval and other traditions and holidays. The

music and dance of Brazil is as diverse and varied as its

inhabitants. As colonists, immigrants and enslaved people

came to Brazil, they brought with them their rhythms,

sounds, instruments and movements. The indigenous

people, many living deep within the Brazilian forests, have

a variety of instruments including rattles, drums, whistles,

flutes and horns. When the Portuguese arrived they

brought many European instruments like the flute,

clarinet, guitar, violin, accordion, cello, tambourine, piano

and a four-stringed guitar; vocal music such as ballads,

romantic songs, church music, children’s songs and

lullabies; and European notation, scores and harmonies.

African musical influence is also very strong in Brazil as

many enslaved people kept their musical heritage alive

while working in the plantations.

Hip Hop

The Brazilian

hip hop scene

is considered to

be the second

biggest in the

world, after the United States. In the late 1970s, Brazilian

Bailes Black, or Black Parties, featured American funk and

soul music, and tens of thousands of Afro-Brazilians

attended these dance parties as an expression of their

identity. The scene evolved in the 1980s and local MCs,

break dancers and rappers began performing and

incorporating elements of other Brazilian musical

traditions. Brazilian hip hop is heavily associated with

racial and economic issues in the country, incorporating

politics, poverty, discrimination and other social and

political issues.

Samba

Samba is the best known style of music from Brazil, with a

dance of the same name that arose in the favelas of Rio de

Janeiro. Former enslaved people came from the Brazilian

state of Bahia in the late 1800s to live in the favelas, and

brought with them the traditional samba de roda or dance

circle. Samba is closely associated with the celebration of

Carnaval, during which an escola de samba (samba school)

made up of hundreds or thousands of dancers and

musicians participate in the annual festival. These schools

are actually more like clubs that teach samba as a folk art

handed down from generation to generation. Today,

samba is Brazil’s national dance, and a fusion of its many

influential cultures: indigenous peoples, Portuguese

colonists and Africans.

Capoeira

Capoeira is a martial art form that combines acrobatic and

dance elements which are categorized as attack or

avoidance movements. Two people “play” capoeira by

battling each other through a series of kicks, flips, jumps,

turns and sweeps while surrounded by a circle of

spectators and musicians. Usually the opponents do not

actually make physical contact with each other, as the

focus is not on destroying your opponent. Instead, they

prefer to show the movement without completing it to

enforce their superiority in the match. It is as much about

cleverness and wit as it is physical ability. Capoeira

traveled with the Atlantic slave trade to Brazil, where

legend holds that it was used by the Africans to fight

slavery and oppression in their new home. Enslaved

people were not permitted to train or to fight, nor were

they allowed to practice any elements of their culture.

Therefore, many elements had to be disguised so as to fool

slave owners. It is believed that they disguised their

training and fighting movements with dance movements

as a way to secretly practice their

martial art, transmit their culture

and lift their spirits. After the

abolition of slavery in Brazil,

capoeira was widely practiced

as a martial art, and its

movements slowly modified

into a form of dance. Now it

is recognized as a common

dance form and a national

sport. Both employ the same

graceful, quick movements,

simulating the blows and parries of

“the fight”

in time with

the rhythms

of music.

Interested? Join the

weekly Wed. night

capoeira class at the

Flynn, taught by

Brazilian dancer Fabio

Fua Nascimento!

Info online

at flynnarts.org!

A Step by Step Guide to “Getting” Dance

(also, things to explore while watching) (adapted from the Performing Arts Society of Acadiana)

Watch the patterns created by the dancers on stage

What groupings do you see?

Which dancers seem to be working together or in

opposition?

How many dancers do you see in the movement?

Are the dancers all moving or are some using stillness?

Do the dancers form any shapes with their bodies?

Do the dancers seem to be imitating any moves or

actions from everyday life?

Listen to the Music

Is the music fast or slow?

Is the rhythm even, or choppy? Does it change?

If you close your eyes and just listen to the music,

what do you picture? What images do you see?

Check out the costumes, set, lights

What structures or fabrics are on stage with the

dancers? Do they make the stage look like another

place?

How do the lights change in the different pieces?

What colors do you see in the lights? Do you see any

patterns in the lights or shadows?

How do the costumes contribute to the performance?

Do the colors, shapes, or textures the dancers wear

tell you anything?

Questions to Explore, Post-Performance

What kind of emotions did you have when you were

watching the show? What kind of emotions did you

see being expressed by the performers?

What kind of movements did you see? Fast or slow?

High or low? Smooth or jumpy?

How did the performers hold their bodies during the

dances? How was their positioning different or similar

to other dance you have seen?

What did the music feel like? What effect did it have

on you as an audience member? How did the rhythms

affect you?

Did you see any elements of storytelling or narrative in

this performance? If yes, in what way?

Were there any moments in the performance that

made you think of a different art form or a different

kind of expression (performance-based, visual art,

literature, etc.)? What was it and why?

Post-Show Collage Activity

Invite students to look through old magazines and newspapers to find images and

words that reflect their thoughts and feelings as they were watching the Companhia

dancers perform. Have students cut out the images and words and create a collage

which represents the experience, the ideas that came up for them during the

performance, and the impressions they were left with. Discuss the collages as a class.

Encourage students to tell each other what they see in others’ collages as well as

allowing students to discuss their own collages.

Post-Show Writing Activity

After seeing the performance, invite students to discuss what they saw and record their impressions creatively. Students

can write a short poem about the dances they watched, the ways that their understanding of dance may have changed,

elements of the dances that surprised them, and ways that the dancers challenged their ideas about movement.

Creatively Telling Your Story

Explore the idea of the “creative narrator.” Ask students to come up with a small anecdote from their lives that they are

willing to share. Ask them to tell this story (orally, in writing, or using another medium...dance, visual art, etc.) with just

the concrete facts, just reporting the events. Then have them retell the story adding emotions, drama, rich description,

memories, feelings. Which story was more compelling? Which story felt like a more authentic telling and gave the

audience a better sense of the event?

Movement Memories

Invite each student to choose one particular movement

from the show that stands out in their memory. Remind

them of the different types of moves they saw and ask for

volunteers to demonstrate the movements as best they

remember them. As each volunteer performs a

movement, invite everyone to create their own

interpretation of that same movement and perform these

pieces simultaneously. (Hint: use the lights in your room to

cue the start and end of the “performances.”) Ask the

students what made these movements memorable.

Bare Bones Response

Invite students to make a list of the feelings evoked in

them during the show or images inspired by the

performance. From their lists, ask them to select one

feeling or image and write a cinquain (5 line) poem, either

as a group or individually, reflecting on how the

performance expressed the culture. Here is the format:

NOUN

2 ADJECTIVES

3 GERUNDS (-ing words)

SIMILE

NOUN (synonym for the word in line one)

Concepts of Culture and Tradition

Different cultures have different traditions of food,

clothing, language, and arts. The arts of each culture are

often offered as ways to celebrate and share our different

cultures.

Activity: Give students a chance to reflect on the idea of

culture and tradition through a series of quick writing

exercises. For each of the following prompts give students

five minutes to respond in writing.

What are some of the cultural traditions you

celebrate?

What other cultural celebrations or traditions are you

familiar with?

What can you learn about people by experiencing the

art that they create and perform?

How do these different art forms help people to

express their emotions and/or tell their stories.

Perception vs. Reality

In this performance, dancers are trying to break down

stereotypes some might hold about their culture. As a

class, define stereotypes, and discuss the stereotypes that

might exist within your community (school, neighborhood

to state, even country). what are the stereotypes of your

community? Brainstorm examples of stereotypes people

may hold about individuals who live in a certain

geographic region. If they feel comfortable, students can

share whether they’ve ever felt the impacts of stereotypes

or assumptions made about them because of where

they’re from. What are some of the negative impacts

stereotypes can have? Are there any positive

implications? How is our self-perception impacted by

stereotypes others may put on us? How do they impact

our perception of the world beyond our own experience?

As a class, come up with examples of people who

challenge stereotypes, and the impact they have on

changing broader perceptions.

Extension: Have students choose one of these examples of

someone who goes against the stereotypes (or they can

choose one not discussed) and share this person’s story in

a creative way (poem, illustration, short story, monologue,

movement piece, etc.). Share these representations and

reflect on the impact of challenging assumptions, our own

and the ones people make about us.

WORDS COME ALIVE: Arts Integration Activities Providing the opportunity to actively explore the world of the show helps students become more engaged and

connected audience members, thinking about artists’ choices and approaching the performance with enhanced

curiosity. For more information about our arts integration activities, click here, call 652-4548, or email Lauren @

schoolprograms@flynncenter.org.

Movement Phrases

Learning goals: Determine importance; synthesize; think

abstractly.

Performing goals: Combine locomotor and non-locomotor

movements with structural form.

Ask students to choose a story or process to illustrate

through movement. (Perhaps “going to a party” or

“meeting someone new.”) As students to identify a specific

beginning, middle, and end of their story/process, and

create a movement to express each part. Select a

movement expressing the beginning from one of the

students and lead the whole group to repeat it. Repeat the

process for the middle and end, connecting the three

sections so they flow from one to another. Tell the

students that they have just created a movement phrase!

To extend this, ask each student to generate shapes

representing three moments related to their own

personal journey. After they each choose their shapes,

instruct them to link the shapes together so that one flows

smoothly to the next. Tell the students to change from one

shape to another as you clap to signify transition. Divide

the class into small groups, asking each student to show

his/her own movement phrase, all at the same time, to

the other groups.

Creating Dances

Learning goals: Express a complete idea; synthesize.

Performing goals: Adjust and reproduce movement

sequences of locomotor and non-locomotor movements

with consistency.

Once movement phrases have been created, have

students combine their individual phrases into one

collective movement phrase, and have them choose a

starting and ending position for their performance. Have

them decide where in the space the dancers should be at

the beginning and end of their performance and have

them create ways to get there. Share the resulting dances

with the other students.

Perform the phrases with the dancers in different

spatial relationships – e.g. close together, in small

groups, or spread apart – and decide which is most

effective. In each case, decide on a way to enter and

exit the space.

Divide the class into fours and ask each student in the

group to show the others a 4-count movement phrase

that represents a certain moment or emotion from

their personal journey. Then instruct them to teach

each other their phrases and to create a way to link

them together to make one 16-count movement

phrase. Once every group knows their 16-count

movement phrases, create a sequence and perform

one at a time while the others do simple supportive

moves as they wait their turns. Perform the movement

phrases together, but with each dancer starting at a

different point in the phrase.

Use two contrasting pieces of music to accompany the

dance and see how they change its feel. Adjust the

choreography to fit both selections.

REFLECT:

How effectively do you feel your phrases and dances told a

story? Could your story be interpreted in many ways or

just one? How did it feel to tell a story without using

words, and only using your bodies?

Unison & Canon

An ensemble is a group of players, musicians or dancers,

working together to create a single effect. Dancers often

have to work very hard on performing in unison (meaning

they do the same moves at the same exact time). Look for

moments of unison in the Companhia performance and

use this activity to give students an opportunity to focus

on the precision of movement in large and small groups.

Start by asking students to stand in a circle. Ask for a

volunteer to make a fluid movement that is simple enough

for everyone to copy. Break down the movement, until

everyone is clear on exactly what it is. Point out exactly

what the feet, legs, knees, elbows, hands, and head are

doing. Have students make the movement all at the same

time (in unison) on your count: “3, 2, 1, Go!” and challenge

them to end together, too.

Now try doing the same movement in canon pattern. The

canon is similar to the “wave” at sporting events or a

“round” in music—dancers do the same move but they

start it at different points in time (think “Row Row Row

Your Boat” with movement instead of words). Decide

which student will start the canon and what direction to

go around the circle. When students are waiting for their

turn or just finished, ask them to have still bodies. Once

the group’s canon is fluid, see if the students can vary the

speed, fast and slow.

Ask students: What did you have to do to move in unison

with the rest of the group? How did your focus shift when

working on the movement canon? How does the speed

change the movement? Which speed do you like better

and why?

Challenging Variations

Break students into groups of 5 or 6. It is best to have the

same number of students in each group, if possible. Each

group stands in a circle facing one another. Challenge the

entire room to perform the movement from the previous

exercise in unison with all the other groups even though

they can’t all see each other. Suggest that students use

their peripheral vision to keep as many of the others in

their line of sight. Even though each student can’t see

every other student, every student is being seen by

SOMEONE, so the whole group should be able to stay

together. Count them in: 3, 2, 1, GO!

Once the goal of being in unison is accomplished, ask: How

is your group staying in unison? How do you know that

another group is going at the same time if you can’t see

them? How do you think Companhia performers achieve

unison?

Now challenge the students further by asking them to

perform the movement in unison without a cue to start.

They have to “feel” the start as a room. Then add in the

canon element. Decide who will start the movement in

each group (if there is a group with an extra student, ask

two from that group to go at the same time, so all groups

end together).

For the final challenge, turn all this movement into a

dance. First have all the groups perform together in

unison, then “wave” in a canon and then again in unison.

You’ve created a dance from one simple movement! You

can even try putting this to music and seeing how the

music changes the overall piece. Try more than one type of

music and see how they compare.

Ask students: What did you learn about unison and

canon? During the show, encourage students to notice how

Companhia performers work together.

The Flynn Center

The Flynn has been at the center of Vermont's cultural

landscape for over 80 years—from its earliest days as a

vaudeville house through five decades as a movie theater to its

present life as the region's leading performance center and

arts education organization. Today, the Flynn Center for the

Performing Arts is recognized internationally for its significant

artistic, educational, and community outreach activities;

superb technical capacity; beautiful historic setting; and world-

class presentations. At the Flynn, we celebrate a rich legacy of

connecting our community with the arts. The Flynn is

recognized for its stellar artistic programming in theater, dance, and music; and for educational programs

that reach far into the community to advance teaching and learning. For more about the Flynn, click here.

DISCUSS BEING A

MINDFUL AUDIENCE

MEMBER:

How is going to see a live

theatre performance

different from seeing a

movie, going to a

concert, or watching TV?

In small groups, come up

with a list of positive

audience behaviors, and

behaviors that would be

disruptive to performers

and other audience

members. Come

together and create a

master list.

Etiquette for Live Performances

The Essentials

Listen, experience, imagine, discover, learn!

Give your energy and attention to the performers.

At the end of the show, clap for the performers’ time and energy.

Eating, drinking, and chewing gum are not okay.

Talk only before and after the performance.

Turn off wireless devices. No photos, videos, texting, or listening to music.

Why is Etiquette Important?

A good live performance is a powerful communication

between audience and performer. The more the audience

gives to the performer, the more the performer can give

back to the audience. The performer hears the audience

laughing, senses its sympathy, and delights in the

enthusiasm of its applause. Furthermore, each audience

member affects those sitting near him or her, in addition to

the performers onstage. Technological devices (cameras,

phones, etc.) have become so prevalent in our daily lives,

but using these devices is distracting to the performers

onstage and other audience members trying to watch the

show. Even the light from checking the time, or the buzz of a phone on vibrate can pull

the people around you out of the experience. Cell phone frequencies can even interfere

with the microphones in the production, and taking photos can be unsafe for performers.

Additionally, an artist has the right to decide what photos and videos go out into the

world. Phones keep you from being present and fully engaged with the show. Thank you

for turning devices completely off!

We can’t wait to see you at the theater!

Teachers, a few reminders:

Fill out the Seating and Travel Survey, so we can best accommodate your group’s needs in regards to dismissal,

bussing, students with different needs, etc.

Share your experience with us! Use the feedback links, or share your students’ artwork, writing, responses. We

love to hear how experiences at the Flynn impact our audiences.

Explore other student matinees at the Flynn this season. We’ve still got seats in some shows and we’d love to help

you or other teachers at your school enliven learning with an engaging arts experience!

We have some new initiatives to deepen student connection and experience!

Pre or Post-Show Video Chats:

Help students build enthusiasm or process their experience with a free, 5-10 minute

video chat before or after the show! We can set up Skype/Facetime/Google

Hangouts with your class to answer questions about the content, art form, and

experience. Contact Kat, kredniss@flynncenter.org to set up your chat!

Autism and Sensory-Friendly Accommodations:

The Flynn Center has been working diligently to break down barriers for audience

members with disabilities, with a particular focus on those with sensory-sensitivities.

Social stories, break spaces, sensory friendly materials, and more are available for all

student matinees. Feel free to let us know ahead of time if any of these would be

useful, or ask an usher at the show!

Make your field trip the most meaningful learning experience it can be with a preparatory

Companion Workshop in your classroom!

An engaging Flynn Teaching Artist can come to your school to deepen students’ understanding of both content and form with

an interactive workshop, enriching kids’ matinee experiences. Funding support is often available. To learn more, check out this

link. To book a workshop, click here. Questions? Contact Lauren: schoolprograms@flynncenter.org or (802)652-4508

Hello from

the Flynn!