Luz-Maria Lopez

Mayan Creation Stories

Alexandria Museum of Art

educatOr’s Guide

December 7, 2012- February 23, 2013

About the guide This guide is intended for use in conjunction with a museum visit and to integrate art into your classroom lessons. We also would like to introduce you to Visual Thinking Strategies or VTS, a literacy and art viewing program that utilizes art to help improve both critical thinking and verbal skills. VTS aligns very well with the Common Core ELA Standards by encouraging students to back up verbal and written ideas with evidence from a work of art. It also encourages self-confidence and clarity in speech and enhances reading and writing skills. When planning a field trip to the museum, use the guide to prepare yourself, rather than your students for the visit, and then share the resources with the students after the visit to continue learning from the museum experience back in the classroom.

Acknowledgements Information and photos about Luz-Maria Lopez are courtesy of the artist. Information regarding Maya culture and mathematics is adapted from both the University of Pennsylvania Museum’s Educator’s Guide and from the Foundation for the Advancement of Mesoamerican Studies, Inc. (FAMSI) Maya Numbers & the Maya Calendar: A Non-Technical Introduction to MAYA GLYPHS – Book 2 by Mark Pitts. Information regarding the Modern Maya is from The Modern Maya and Recent History by Richard M. Leventhal, Carlos Chan Espinosa, and Cristina Coc Information regarding VTS was adapted from material provided by Visual Understanding in Education, a nonprofit organization whose mission is to promote the use of VTS, and increase understanding of aesthetic development. Please visit www.vtshome.org This Educator’s Guide was made possible by the Community Impact Award from the Central Louisiana Community Foundation.

The Alexandria Museum of Art is supported by a grant from the National Endowment for the Arts, the Louisiana

State Arts Council, and the Louisiana Division of the Arts, Office of Cultural Development, Department of

Culture, Recreation and Tourism.

Featured Artist: Luz-Maria Lopez

Luz-Maria Lopez was born in Honduras, and came to the United States to study, in

1995. She received her Bachelor of Arts degree, Magna Cum Laude, from

Southeastern Louisiana University in Hammond. After her graduation, she was

commissioned by Southeastern Louisiana University to produce a series of panels

depicting the creation myths of the Native Peoples of the Americas. Since then she

has worked in a variety of locations, from Australia to Mississippi to record and

preserve the art of native cultures. Her work is collected and exhibited nationally.

About the Work: “My WOrk is Like WiNdOWs tO My Past.”

Lopez’s first exposure to art was the icons on her family’s altar, as a child. Combined with the stories her

grandmother told her growing up, these images were a powerful influence on her artwork. Her grandmother’s

impact on her work was immense. “My maternal grandmother was a great storyteller…In my child’s mind, I

imagined beautiful things and felt the wonder of them. I honor my grandmother by painting strong, beautiful

women like she was, and I continue to put stars in my work in her honor…”

Many of the stories her grandmother told her were the indigenous folktales and myths of her country and the

Maya people. These stories and the influence of her Latin culture can be seen in her work, which she

describes as “a blend of cultural symbols, metaphors, allegories and legends; stories of creations which are

filled with symbolism.”

She often paints in acrylics but many of her pieces are made of mixed media, including diverse materials like

charcoal, gold leaf, graphite, watercolor, color pencil and ink.

She describes her whimsical process of art making, “When I start a painting, I draw a bold line or doodle onto

the canvas, get a cup of coffee and look at what I drew for a long time. Gradually I begin to see something in

my mind which becomes the starting point of the

work, and I go from there...to wherever the painting

takes me.”

With the help of two authors, Elizabeth Moore and

Alice Couvillion, Luz-Maria Lopez created a book,

illustrated with her artwork. How the Gods Created

the Finger People, tells the Mayan creation myth.

The book is written in English and Spanish.

Visual Thinking Strategies

Visual Thinking Strategies, or VTS, is a research based literacy program that uses art to improve critical thinking and language skills. Through discussions about the art self-esteem and participation are encouraged, even among struggling students. VTS directly correlates to the ELA Standards of the Common Core Curriculum. VTS operates on a child’s natural ability to make sense of what they see, a skill we all begin using at birth. The method is a discovery process facilitated by the teacher using three, simple but carefully researched questions that provoke thoughtful responses and encourage lively, engaging conversation. The process has students focus, reflect and question, which builds their critical thinking skills.

VTS Tours at AMoA

Students touring any of our exhibitions will participate in group discussion where they will be asked to carefully observe artworks and explain “what is going on” in a particular piece of art. As we prompt them to support their explanations with evidence, we engage their reasoning and logic skills. Students can also participate in writing and sketch response activities, per the teacher’s request. Museum docents trained in VTS facilitate gallery discussions. Longitudinal field studies, employing control and experimental groups in multiple sites around the world, have been conducted on VTS since 1991. The studies prove that VTS builds critical thinking skills that transfer to other settings and subjects. Measurable academic growth is produced by the program in students of varying socioeconomic and academic backgrounds, including students who perform poorly on standardized tests or possess limited English skills. To schedule a tour at The Alexandria Museum of Art contact Anne Reid at (318)-443-3458 or email her at anne@themuseum.org. When you schedule your tour keep in mind that this year we have a generous grant from the Central Louisiana Community Foundation that will allow us to pay for your transportation through the end of December of 2012.

Using VTS in Your Classroom

Studies have shown that students who participate in at least ten sessions of VTS over the course of one school year will show measurable academic growth. Conducting a VTS session in the classroom is easy and engaging. The Alexandria Museum of Art is holding a training for classroom teachers on the process on February 2, 2013. You can earn CLUs for this course. To learn more and register for the training, please call Cindy Blair at (318) 473-6413 or email her at cindy@themuseum.org.

Before Your Visit

•Discuss the featured artist with your class and the type of work that will be on display.

•Encourage students to look carefully at the artwork they are shown. This will be a good time to practice their

observational skills.

•Explain to students that they will be taking part in a discussion about the artwork and they will need to raise

their hand as they would in the classroom. Let them know there are no wrong answers and we are very

interested in their thoughts and opinions.

•Explain to students that they must not touch the artwork. It may seem harmless to just touch a piece of art

once, but even when they are clean our hands contain oils that over time can damage artwork. Even gases

from our breath can be harmful over time.

•At times they may want to come very close to see details but generally, it is good to stand at least two feet

from the work as it gives one a better overall view of the work.

•Above all have fun!

Vocabulary Art vocabulary can be found on artlex.com Other vocabulary found at http://www.merriam-webster.com/

Maya- a member of a group of Indian peoples of the Yucatán Peninsula and neighboring areas

Indigenous- produced, growing, living, or occurring naturally in a particular region

Example: The Caddo tribe is indigenous to Louisiana.

Latin- of, relating to, or characteristic of the countries or peoples of Latin America

Symbols- something that stands for something else

Example- In her paintings, Luz-Maria Lopez paints stars as a symbol for her grandmother.

Fables- a short fictitious story; especially: one intended to teach a lesson and in which animals speak and act

like human beings

Myth- a story often describing the adventures of superhuman beings that attempts to describe the origin of a

people's customs or beliefs or to explain mysterious events (as the changing of the seasons)

Legends- a story coming down from the past whose truth is popularly accepted but cannot be checked

Folktale- a story made up and handed down by the common people from one generation to the next

Mixed Media- A technique involving the use of two or more artistic media, such

as ink and pastel or painting and collage, that are combined in a single composition.

Acrylics- Synthetic paints, with pigments dispersed in a synthetic vehicle made from polymerized acrylic acid

esters. First used by artists in the late 1940s, their use has come to rival that of oil paints because of their

versatility.

Watercolor- 1: a paint whose liquid part is water 2: a picture painted with watercolor

Charcoal- Compressed burned wood used for drawing.

Mural- A large design or picture, most commonly created on a wall

The Maya: Who were they? Who are they?

Did You Know?

The word Mayan is commonly misused as an adjective to describe this group of people and their culture. The word Mayan should only be used when describing the language, as in “Mayan hieroglyphs” or “Mayan language.” Otherwise, the appropriate descriptor is Maya. For example, the “Maya calendar” or “Maya culture” would be appropriate. Also, the Maya people are actually referred to as “the Maya” rather than “the Mayan.”

Where were the Maya?

The Ancient Maya civilization existed in what today is Mexico, Guatemala, Honduras, Belize and El Salvador. Their cities thrived for about two thousand years after 2000 BCE, and they ruled this area until the Spanish Conquest of the New World.

Where are the Maya, now?

Though we often think of the Maya as an ancient people, they still exist today in their ancestral homelands. Due to economic and political issues, many of the Maya have relocated to various parts of the United States. Currently, the Maya make up the majority of the population of Guatemala. Like many indigenous cultures they continue to struggle to maintain their cultural identity.

Contributions of the Maya

The Maya have a culture rich in, not only myth, folklore and art, but also math, astronomy and architecture. The Maya built elaborate pyramids, temples, palaces and ball courts. These were built around plazas, in which tall stelae (stone monuments) were built. They had brilliant astronomers and mathematicians and invented the number 0. Their hieroglyphic language was often combined with elaborate images created by artists. It was only recently deciphered and is one of the most complex systems of writing in the world.

The Popol Vuh

The Popol Vuh (poh-pul voo), also known as “The Book of the Community” or Sacred Book of the Quiché Maya People, is the Maya creation myth. In this tale, the gods create three versions of humanity, from clay, wood and gold, and destroy them due to their weaknesses before finally creating humans.

The work of Luz-Maria Lopez is an artistic recreation of segments of the Maya creation myth.

Recommended Resources

The FAMSI Maya Numbers & the Maya Calendar the Maya Calendar: A Non-Technical Introduction to MAYA GLYPHS – Book 2 by Mark Pitts. http://www.famsi.org/research/pitts/MayaGlyphsBook2Sect1.pdf

The University of Pennsylvania’s, Educator’s Guide, The Lords of Time http://penn.museum/documents/education/mayaeducatorsguide.pdf

The Modern Maya and Recent History by Richard M. Leventhal, Carlos Chan Espinosa, and Cristina Coc http://penn.museum/documents/publications/expedition/PDFs/54-1/The-Modern-Maya-and-Recent-History.pdf

Breaking the Maya Code, a documentary by David Lebrun, 2008 (available on Netflix®)

Maya and Pre-Columbian Art, a PowerPoint by Anne Reid, available on the museum website http://themuseum.org/Education/teacherresources.aspx

The Art of Luz-Maria Lopez, a PowerPoint by Cindy Blair available on the museum website http://themuseum.org/Education/teacherresources.aspx

Writing Activity: Myth Making

The following activities can be conducted with your class after touring the exhibition of Luz-Maria Lopez’s work, Mayan Creation Myths or independent of a museum tour. Materials: How the Gods Created the Finger People or other myths and the Myth Element Chart The Learner Will (TLW): Discuss and analyze a myth. They will develop an understanding of why myths were created and break the myth down into basic elements. They will then use these elements to turn a question about an occurrence or phenomenon in to a myth.

1. Discuss: What is a myth? Why did people create myths?

Myths were created by ancient people to explain events they did not understand. These events included the change of the seasons, the rising of the sun. Many ancient civilizations had creation myths to explain how they were created. 2. Engage and Inspire: Have your students read How the Gods Created the Finger People by Elizabeth

Moore, Alice Couvillion and Luz-Maria Lopez. (This book can be purchased at the Alexandria Museum of Art from December 7 through February 23.) Speak briefly with them about the Maya, using information from this guide.

3. Discuss other myths they may have read from other ancient civilizations. For example, have any of them read Greek or Native American myths? What do these stories have in common?

4. Discuss, after reading How the Gods Created the Finger People: Why did the Maya create this

myth? Use details from the story to explain your answer.

5. Discuss the elements of a myth. (See below).

6. Discuss the myth elements present in How the Gods Created the Finger People.

7. Ask: Think of events or occurrences you did not understand as a very small child. What were your “why” questions about these events. Some examples are: Why are there so many stars? Why does it rain?

8. Activity: Have students choose one of their “why” questions. Using the Common Myth Elements create

a myth to answer the question.

Common Myth Elements:

Gods and goddesses- these characters in myths are commonly superhuman, but experience human

emotions. They have power over nature and people.

Phenomenon- an extraordinary occurrence

Conflict- in a story, conflict is the struggle that grows out of opposing forces between character and events.

Conflict helps to create suspense in a story.

Resolution- the outcome of a story

Metamorphosis- to change form, shape, structure, or substance; a complete change of appearance or

condition

Myth Element Chart for How the Gods Created the Finger People

Gods and Goddesses gold god, god of water, god of fire, good-hearted god

Phenomenon or occurrence explained (Write in the form of a question).

How were people created?

conflict The gods, wanting someone to love them, create the first humans from their fingers, after unsuccessfully trying to create humans from clay, wood and gold, but the finger people run about and refuse to be caught and tested.

resolution The finger people find the gold god, who is cold and appears to be dead. They treat him with love and kindness and bring him to life. Because they were kind to the gold man, the gold god decides not to punish them for refusing to be caught. It is decided the finger people will work in service to the gold people.

metamorphosis The gods cut their fingers off and as they hit the earth they turn into people.

Lesson Inspired by Kennedy Center ArtsEdge Lesson: Elements of Myth Find this lesson at http://artsedge.kennedy-center.org/educators/lessons/grade-6-8/Elements_of_Myth.aspx#Instruction

Name_____________________ Date______________

Myth Element Chart for ___________________ (story title)

Gods and Goddesses What superhuman characters will be in your story? Why are they necessary for your myth?

Phenomenon or occurrence explained (Write in the form of a question).

Conflict

Resolution

Metamorphosis

Visual Arts Lesson Extension: Mixed-Media Myth Murals

This lesson can be used with myths your students create in the Myth Making lesson or using other myths.

The Learner Will (TLW): learn and use mixed-media techniques to create a mural depicting a myth they created during the Myth Making lesson or another myth or story they might already know. They will discuss symbolism and use symbols in their mural.

Materials: large paper, pencils, Dry Media: (any of the following) colored pencils, markers, oil or chalk pastels, charcoal, Wet Media: (any of the following) watercolor, acrylic, tempera paints Optional: collage materials (bits of colored paper, button, string or anything colorful that can be glued to the work), glue

Why the Alligator is Fierce (Project Example) Before he was the king of the swamp, the alligator was a yellow, toothless, peace-loving creature, but he was bullied horribly by the raccoon and the opossum. They threw cuckle burrs at him and called him names. The Lady of the Swamp decided to help the alligator. She gave him a rough skin and sharp teeth. He was never bullied again.

Elements and Principles of Art: Form, Line, Shape, Color, Texture, Space, Harmony

Techniques/Skills- Storytelling, Drawing, Painting, Collaging Lesson Development Inspiration: Look at the work of Luz-Maria Lopez with your class. (A PowerPoint of her work is available for your lesson in the Teacher Resources section of the museum’s website; http://themuseum.org/Education/teacherresources.aspx the presentation contains descriptions of the work by Luz-Maria Lopez). Discussion: “Luz-Maria Lopez uses her paintings to tell different Maya folktales and myths that her grandmother told her as a little girl. She paints stars in the paintings to symbolize her grandmother. Why might she use stars as a symbol for her grandmother? Think about the fact that these artworks depict myths that explain things the Maya people did not understand. What other symbols can might we find in these paintings? What other myths do you think might be depicted?” Be sure to push the students to use details from the paintings to support their thoughts and ideas. Discussion about the process in which the work is made: “The materials and techniques an artist uses are often referred to as media. When an artist creates a painting, what types of materials or media can they use? (Paintings are often made using one type of material: acrylic paint, oil paint, watercolor paint as well as other types of materials). Some of Luz-Maria Lopez’s paintings are referred to as mixed-media. What do you think mixed-media means? How could we make a mixed-media painting? Why do you think an artist would make art using more than one kind of material? What role do you think experimenting might play when using different materials together in one painting?”

Demo: Explain to the students that they will be creating a mixed-media mural of their myth. Explain that a mural is a large painting usually painted on a wall of a building, but for this mural they will be painting on large pieces of paper. Speak to the students about visualizing a scene in their myth. Have them choose a scene with the most action and that best describes the story. Show them how to layer the art materials. Wet on dry materials or dry on wet materials. Dry materials like markers, pencils, and oil pastels are usually better for smaller spaces, and wet materials like paint are usually better for larger areas, because you can cover the area more quickly. Oil pastels should be layered on top of wet materials prior to drying while Sharpie markers can be used under watercolors or thin layers of paint, as they will show through. Emphasize that they should not be afraid to experiment. (As an added lesson element, kids could keep a journal of what happens as they experiment with the materials.) As you demonstrate, encourage them to fill the page with their drawing. Keep the drawing simple. Create animals and other creatures, using simple shapes. For example, circles or ovals can be heads and bodies. Noses can be a simple L for a person or circles for animals. Eyes can be a dot with a curve over the top. Keep it simple and everyone will have more fun! Procedure: 1. Have students create sketches of their characters or the scene they will depict.

2. Have students draw their scene in pencil on the large paper.

3. Students will first consider which materials to use first, wet or dry media.

4. Allow time for the paint to dry.

5. Have students consider what they might add to their paintings. They can use their dry materials to

draw over the paint. They can add collage materials such as paper scraps, yarn or beads.

6. Have the students complete a My Myth Mural Story Sheet

Lesson Timeline: This lesson can be adapted to fit the needs of your classroom. It will take 2 class periods. Inspiration-5 to 10 minutes

Discussion- 5 to 10 minutes

Demo-5 minutes

Sketches- 15 minutes

Mural Drawing- 15 minutes

Painting- 25 minutes

My Myth Mural Story Sheet-15 minutes (This can be assigned as

homework.)

Clean-Up- 5 minutes each class period

My Myth Mural Story Sheet

The title of my mural is…

The main idea of my myth is…

The characters in my mural are…

What is happening in the scene in the mural?

I chose to paint this scene because…

I used the following material for my mural:

While using these materials together, I learned…

Math/Visual Arts Activity-

TLW: use math skills to create an art piece that represents the date they were born in Maya numerals. They will learn how the Maya numeral system operates and how it is different from our own numeral system. Maya Math Vocabulary There are two types of numeral systems. Unary system- a numeral system using a type of tally mark and each number is represented by a different count of symbols. Positional system- a numeral system using place value to determine the value of numerals. Our numeral system, the Hindu-Arabic system, is a positional system. Vigesimal- numbers having a base of 20. The Maya had a numeral system that was vigesimal and both unary and positional. Did You Know?

The Maya invented the number zero. Other civilizations may have understood the concept of zero, but they did not have a number for it. The zero was represented several ways. Here are two commonly seen representations of the Maya zero:

Materials: Buttons or other circular shaped craft item (bottle tops or caps could work as well), craft sticks or other item that could represent a bar, glue, colored paper, Maya Numeral Chart, Maya Numeral Worksheet Elements and Principles of Art: Color, Contrast, Repetition Techniques/Skills- Multiplying, adding, assembling, gluing Lesson Development: Show students the Maya Numeral Chart and explain that there are two different types of numeral systems. Explain how the Maya system works using the chart below on the next page. They used a dot for one through four and a bar for five. The shell represents zero. Once five is reached the dots turn into one bar. More than four dots and 3 bars are never written at once. Four bars are traded for one dot in the next highest place. Place value is recognized vertically with the ones value being at the bottom. See examples on the following pages.

50= (1x10) + (20x2)

10 + 40

825= (1x5) + (20x1) + (400x2)

5 + 20 + 800

2012= (1x12) + (20x0) + (400x5)

12 + 0 + 2000

Demonstrate how to use multiplication and addition to translate Arabic numerals into Maya numerals. Ask students to use manipulatives, like buttons and craft sticks, to figure out how to write the numbers on the Maya Numeral Worksheet on the next page. Have them record the numbers on a sheet of paper using dots and bars, writing the number vertically as the Maya would have. Have them show their work. When they finish the worksheet, have them figure out how to write their birthdate using Maya numerals. Have them use colorful buttons and decorated craft sticks attached to colored paper to represent their special day!

To the left is a birthdate in Maya numerals. 8/23/1971 1x8= 8 (20x1)+ (3x1) = 23 (400x4)+ (18x20) + (11x1) = 1971

Lesson Timeline: This lesson can be adapted to fit the needs of your classroom.

Discussion -10 minutes Worksheet- 20 minutes Birthday in Maya Numerals-20 minutes Clean-Up- 5 minutes

Louisiana Standards for the Arts CREATIVE EXPRESSION:

CE-1VA-E1 exploring imagery from a variety of sources and demonstrating visual

representation; (1, 2)

CE-1VA-E2 exploring techniques and technologies for visual expression and

communication; (2, 3)

CE-1VA-E3 using art vocabulary, elements and principles of design to communicate

the language of art; (1, 2)

CE-1VA-E5 working individually and as a group member in a responsible and

productive manner; (1, 5)

AESTHETIC PERCEPTION:

AP-2VA-E2 recognizing that concepts, such as beauty and taste, are determined by

culture and differ from person to person; (1, 5)

HISTORICAL AND CULTURAL PERCEPTION:

HP-3VA-E2 verbalizing how visual symbols communicate a universal language; (1, 4,

5)

HP-3VA-E3 exploring and discussing art images from the past and the present; (1, 3,

4)

HP-3VA-E4 identifying media used in art works throughout history; (2, 3)

CRITICAL ANALYSIS:

CA-4VA-E2 working individually or collectively to identify symbols and images in art

and in other core curricula; (2, 3, 5)

CA-4VA-E3 identifying works of art by media, subject matter, and culture; (2, 3)