Crossing Borders/Breaking Boundaries The Arts of India, 1556-1658 June 23 - July 1, 2008 |
Unit of Study: Fiction-Short Story; Portfolio Design Discipline: ESOL 4 Time Period: Five classes The South and Central Asian ESL students in my high school classes see little representation of themselves in the literature selections we usually read, so to include them in our literary attention (especially during the concurrent seasons of Ramadan and Divali) I‘ve sought selections from their cultures that would interest all. High school students- even 15-year old boys- love romantic dramas like “Romeo and Juliet.” A trot through the 16th-century libraries of Northern India turns up three romantic gems from Hindu, Arab and Mughal arts that can be presented in a 5-7 hour unit. They show universal symbols, character types and themes. The era’s two artistic legacies- Muraqqa manuscripts and the Taj Mahal – took inspiration from these love stories that cross class lines. The three of them can work well in American classrooms, especially in ESOL, literature and writing classrooms, where portfolios will be developed. Background: Three lasting love stories enjoyed wide renown in the Mughal era. Two are from folk tradition: “The Ramayana” is the epic from ancient India traditionally told through dance, and “Majnun Leila” is a tale recorded by the Persian poet Nizami in 12th century but originating in either Arabia or the Caucasus. The third love story - of Shah Jahan and Mumtaz Mahal, both entombed in the Taj Mahal - is historical. The three stories follow similar character, plot, thematic patterns. Because the Mughals prized books, they commissioned the writing and illustration of numerous classics as well as non-fiction court reports and family portrayals. Surely the highly educated rulers of the day knew the legends that they and their predecessors illustrated, so It’s plausible that the Shah Jahan and his wife were inspired by the lovers of earlier legend. To launch this unit, a teacher needs to outline the region’s geography and history, available in any high school world history book. She should note that the region is a crossroads of several civilizations: Indian, Turkic, Persian, to name the few with most direct impact. The art of the Mughal book illustration- Muraqqa’- also should be presented visually and explained as elegant scrap books often patched together with borders that sometimes comment on the central panels. The era prized the book partly because of the Islamic culture’s regard for the book, beginning with the Quran, and partly because the Mughal culture had long been nomadic and therefore created moveable art. Materials:
Resources: 1. 2008 Summer Institute, Crossing Borders, Breaking Boundaries, UMCP, Center for Renaissance and Baroque Studies, various presenters and websites. See www.crbs.umd.edu. 2. Muraqqa catalogue’, Imperial Mughal Albums from the Chester Beatty Library, Art Services International 2008 (Sackler Gallery, Smithsonian museum exhibit, 2008) 3. Laila and Majnun at School: Page from manuscript of Laila and Majnun of Nizami (Afghanistan, Herat). www.metmuseum.org/toah/ho/08/nc/ho_1994.232.htm Three story books that tell the three stories: 4. “The Story of Rama,” Indian Children’s Favorite Stories, Rosemarie Somaiah & Ranjan Somaiah. Tuttle Publishing, 2006. North Clarendon, VT 5. The Adventures of Rama, Milo Beach. Freer Gallery Publishing, 1983. Washington, DC. 6. Taj Mahal, Caroline Arnold & Madeleine Comora, Rahul Bhughan (illus.). Carolrhoda Books, Inc., 2007. Minneapolis, MN. 7. Still under search, Majnun Leila storybook in English 8. The Silk Route, 7,000 Miles of History, John S. Major & Stephen Fieser. Harper Collins, 1995. 9. Timelines of the Persian and Mughal empires from the Metropolitan museum in N.Y. 10. Map of Asia from any atlas, preferably historic atlas. 11. “When the Moguls Ruled,” National Geographic, Vol. 167, 12. Shabanu: Daughter of the Wind, Suzanne Fischer Staples. Knopf Random House Books, 1989 13. Under the Persimmon Tree, Suzanne Fischer Staples. Square Fish Books, Farrar Straus Giroux, 2005 14. Ghandi Standards/ Learner Outcomes: (Fine Arts) (2.0) Historical, Cultural, and Social Context: Students will demonstrate an understanding of visual arts as a basic aspect of history and human experience by analyzing three muraqqa illustrations that depict characters or scenes in three different love stories known in the Mughal era. (Content-ELL) 3: English Language Learners will read English to acquire language and comprehend, analyze, interpret, and evaluate a variety of literary and informational texts. (Content Reading) 1.2. Students will identify connections among two or more texts. Objectives/ Skills: (Fine Arts) (2.1.b) Student will compare images and forms that explore universal themes about human experiences from different times and places and create original muraqqa to demonstrate grasp. (Content-ESL Reading) (3.5). Student will make inferences or draw conclusions and make generalizations about parallels in two or three traditional stories. (Content-Reading) 1.2.4. Students will make connections between different texts and illustrations by comparing scenes and recreating a portfolio that applies Muraqqa style to personal interests. Vocabulary (Use dictionary to include parts of speech, word parts, etymology): calligraphy, caste, Divali, dome, folio, Hindu, Islamic, legend, longing, manuscript, minaret, mourn, Mughal, muraqqa, Muslim, nomadic, portfolio, scene, shah, tomb. Motivation/Discussion: Show photo of Taj Majal and ask students to write as much as they know about it. Discuss responses. Then compare photo to storybook cover illustration, which uses Muraqqa graphic elements. Scope and Sequence: Days 1, 2, 3, 4- Read stories and make original muraqqa folios of story scenes.
*Guided Practice-
*Independent Practice-
Day 5- Portfolio Design
Assessment: Part A. Did student coherently map or summarize the story and state a theme? Part B. Students and teacher may use rubric. Muraqqa Portfolio Rubric: 1. / 1. Both sides of folder are designed and labeled with full name Closure: Folios are assembled, each may contain anywhere from one solo story scene portrayal and theme statement or one scene from each of the three stories. The portfolio covers also may serve for other literature/writing projects. Reflection: South-Central Asian ESOL students responded enthusiastically to the attention paid their cultures. (Quotes and anecdotes follow.) The small regional book collection I’ve assembled since is circulating very actively (Included in Section VIII-Resources) One caution- Teachers should be prepared to handle South-Central Asian student disenchantment with one another’s cultures due to current national hostilities. Stressing the tolerant court culture of the middle-late Mughal era and the wealth of cultural exchange helps. Supporting Evidence and Anecdotes: In addition to some authentic North Indian artwork (attempting to upload), which have been on display in our classroom all year, my ESOL students took an active interest in hearing more about this region. African and Latino students asked Indian and Pakistani students to teach them Urdu lettering and mendi design. One shy Indian student asked me to add a speech from Gandhi to our study of Martin Luther King and Nelson Mandela, since I kept crediting him as an earlier model of peaceful protest. Two added novels to my personal lending library very actively circulated and drew this response from one Pakistani girl. By Ummema Tanveer Some responses to their closure activity about the portfolio designs follow: Prompt: If you make a family album or portfolio in 50 years, how do you hope it will differ from the current one? Responses: I hope my portfolio in the future will show my wisdom that I have gained with the years.-Lucy (Nicaragua) It will be in an old-fashion way, different from the modern. It will show a lot of jobs and money. It will be about sharing with other people.- Anthony (Nigeria) If I make a family album when I’m 50, years old, it wil look very different from now. I include pictures from black and white. I include 50-year-old designs. I include cultural pictures, so my grandchildren and children know about 50 year-old cultures and people. – Mahek (India) |
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