Esperanza Rising

1. Study Guide: a resource for teachers

2. TABLE OF CONTENTS
CHAPTER ONE: ABOUT THE PLAY
ESPERANZA, AN INTRODUCTION 3
THE SETTING 4
LITERARY THEMES 5

CHAPTER TWO: CULTURE AND LANGUAGE
LEARNING SPANISH! 6
TRADITIONAL VALUES 7
MARIACHIS 9
CHAPTER THREE: IMMIGRATION
CAUSE… 11
…AND EFFECT 12
CHAPTER FOUR: THE PRODUCTION
THEATER FOR YOUNG AUDIENCES 13
EMERSON’S ESPERANZA 14

or discussion questions to
incorporate in the classroom
ABOUT THE AUTHOR
KEY
Born on December 25th, 1951 in
Bakersfield, California, Pam Muñoz Ryan earned
her bachelor’s and master’s degree in education
from San Diego State University. A former
bilingual teacher, Muñoz Ryan was encouraged by
one of her professors to write. Taking the advice,
Muñoz Ryan found success and published her first
picture book in 1994.
The story of Esperanza Rising came from
Muñoz Ryan’s grandmother who was an immigrant
from Mexico. Like Esperanza, her grandmother
had to endure the hardships of her father’s death
and prejudice against her Mexican heritage.
more challenging information
for older students
Activity
To go further…
Behind the scenes
anecdotes from members of
Emerson’s production
BOOK SIGNING!
1
Pam Muñoz Ryan will be at
the Emerson College
Bookstore located at 114
Boylston Street,
Saturday, November 14th
from 4:00 – 5:30pm!

3. THE JOURNEY FROM BOOK TO STAGE
 
After graduating college, Lynne Alvarez traveled
to Mexico where she served as a newspaper reporter in
Veracruz. Alvarez also taught journalism and English at
the local university. In 1978, the Puerto Rican Traveling
Theatre invited her to join their playwriting workshop.
With the company she wrote three plays, all exploring
her Latina background. Usually a writer of poetry,
Alvarez’s writing style is dense poetic style with rich,
vivid imagery, and highly stylized language.
Before her recent death in 2009, Alvarez lived in
Dallas, TX and was the playwright in residence at the
Undermain Theatre.
PLAYWRIGHT
2
To get your students in a “theatre” mindset, encourage them to adapt their mind’s image
of a story to the stage.
Pick either a book the class is reading together, or let your students use one they are
reading independently. Generate a class discussion or activity using the following:
•What is the most important part (the Climax) of the story?
•Who are your favorite characters? How do you envision them in real life? Think of their walk,
physical and personality characteristics, presence, demeanor, clothing etc.
•Attempt to include Dramatic Structure: Who is the antagonist, the villain, and who is the
protagonist, the main character? Describe their traits using the above.
Options:
•Have the students walk across the room as their chosen character. Discuss what the student
conveys in their movement.
•Create a drawing of their chosen character, or an event in the story.
3 Children’s Theater of Madison
Madison, WI (2008)
4 Chicago Children’s Theatre
Chicago, IL (2008)
5 Civic Youth Theatre
Lafayette, IN (2008)
6 The Children’s Bilingual Theater
Marietta, GA (2009)
7 Emerson Stage
Boston, MA (2009)
PREVIOUS PERFORMANCES
1 Children’s Theatre Company
Minneapolis, MN (2006)
2 Brigham Young University Theatre
Provo, UT (2008)

4. PLOT SYNOPSIS THE CHARACTERS
SPANISH MEANING
Esperanza: "Hope"
Ramona: "Protector"
Luis: (from Louis) "Warrior in Battle"
Hortensia: "Gardener"
Miguel: "He who is like God"
Alfonso: "Eager, noble"
Modesta: "Shy, modest"
Isabel: "Consecrated to God"
Marta: (from Martha) "Lady"
Chapter 1: About the Play
Esperanza Wealthy rancher’s daughter
Hortensia Maid of Don Sixto’s family
4 Mariachis Musicians
Don Sixto Esperanza’s father, a landowner
Ramona Esperanza’s mother, Sixto’s wife
Marielena Esperanza’s best friend
Miguel Hortensia’s son, ranch hand
Luis Sixto’s brother, town mayor, bank owner
Isabel Miguel’s cousin, 8 years old
Modesta Isabel’s mother, Hortensia’s sister-in-law
Alfonso Modesta’s husband, Hortensia’s brother
Marta Modesta’s niece
Esperanza Rising is the story of a
wealthy Mexican girl whose privileged
existence is shattered when her father
dies and her family loses everything
they own in a fire. Esperanza is forced
to leave her mother behind and flee to
California with the family maid and
her son. Forced to work in a migrant
labor camp, Esperanza must learn to
rise above her difficult circumstances
and discover what she's truly made of.
Set in the turbulent 1930's, and based
on the popular book by Pam Muñoz
Ryan, Esperanza Rising is a poetic tale
of a young girl's triumph over
adversity.
3

5. THE VINEYARD
ACROSS THE BORDER: SOUTHERN CALIFORNIA
Aguascalientes, Mexico
El Rancho Linda Flor, Esperanza’s home
growing up is located in
the center of the country.
Aguascalientes climate is
consistently warm,
averaging 66F. It’s also
usually dry, with the
exception of summer
rains. All types of terrain
are in the region,
including mountains,
valleys, plains, and rivers.

Arvin, California
The migrant camp, where Hortensia’s family lives is located
north of Los Angeles. Arvin has a brutal climate; hot during the
summer, with temperatures in the
80's, and cold during the winter with
temperatures in the 40's! Temperature variations
between night and day also create uncomfortable
conditions. Landlocked, with no rivers running
through, Arvin is a flat plain with little rainfall; average
precipitation is just 12 inches.
Chapter 1: About the Play 4

6. RED ROSES • Protagonist: Esperanza is the protagonist of the
story. She must rise above her father’s death, the
burning of their home, the absence of her mother, and
endure poverty in order to find freedom.
• Antagonist: Tio Luis is the antagonist of the story.
Esperanza and her mother must flee to the United
States to escape his hold. He makes it difficult for
Ramona to meet Esperanza in California.
• Conflict: Esperanza must learn to adapt to a new life
as a poor migrant in California, after her father is
murdered and house is burned down. She needs to
raise money by working at the camps, without being
caught, in order to bring her mother from Mexico.
• Climax: Occurs when Miguel brings Ramona to
California at the end of the play.
• Denouement: The resolution occurs in the final
scene; when Esperanza and Ramona replant the roses
Miguel had brought from their home in Mexico.
WHAT WOULD YOU BRING?
MIGRATION
Chapter 1: About the Play
Red roses are a major symbol
in Esperanza Rising, representing
growth, uprooting and rebirth. In
history, the red rose is most
commonly recognized as the symbol
for love. This symbol stems from
Greek and Roman mythology, in
which the red rose was closely tied
to the goddess of love.
DRAMATIC STRUCTURE
Emerson cast member
Fernanda Vazquez is a Mexican
native. Below she elaborates on
her heritage and culture:
“My dad’s job kept us
moving for five years, and in that
time we lived in three different
countries. To be honest, it was
really hard at first. Letting go of
your roots is never easy; you feel
like your identity is being shaken.
Ultimately you learn to adapt, but
you change a lot. You learn to
integrate bits of the new culture
with the old one, and you end up
being a weird mix, but quite
unique.”
Esperanza flees to California to escape her uncle:
•If you had to pack up and leave at a moment’s notice,
what would you bring? Discuss the meaning of this
object and what it expresses about you.
Fernanda has lived in several different cultures:
•If you were traveling to a foreign land, what object
would you bring to represent, and more importantly
explain, the culture of the United States?
5

7. SPANGLISH
Chapter 2: Culture and Language
VOCABULARY FUN PHRASES!
muñequita doll
mi amor my love
mi reina my queen
tío uncle
muchacho boy
pistolero gunman
bestia beast
Viva México
Long live Mexico
Qué latosa es Usted
You’re so noisy
Todos a divertirse
Have a good time
Híjole. Qué montón de gente
Geez. A bunch of people
Juega el pollo pelón
Play the bald chicken
Arriba y adelante
Up and ahead
Y tú, qué palillo
And you’re a toothpick .
Chiquitita bonita
Pretty little one
Feliz Cumpleaños
Happy Birthday
Fernanda Vazquez was a big help by teaching her native language to fellow cast
members.
“I generally don’t like correcting people when they are trying really hard to get something right.
I didn’t feel like a teacher, I felt more like I was someone they could consult when in doubt. My peers
and I would just go over the words that they have to say, and we would say them over and over again.
Some of them need to write it phonetically, others learn better by memory.”
A STUDENT, TEACHER
In groups of four to six, invite each student to randomly choose (from a hat, perhaps?)
a vocabulary word, or phrase, from the list. Have each group create a story using the words
selected. Emphasize dramatic structure, and how each story should include a beginning,
middle, and end.
Options:
•Attempt a scene in “spanglish.” Encourage your students to use as much Spanish as possible.
•Have the group write a formal script in class and perform it.
•Give them a few minutes to create an outline and then improvise their performance.
•Every member of the group must say a line with one of words chosen.
It can be the word they picked, or any the group picked- you choose!
6

cobarde coward
ojalá I hope
buitre vulture
escalera stair
cállate be quiet
paquetes packages
correo mail

8. FAMILY
WOMEN MEN
In the 1930s and
today a lot of importance
in Mexican culture is
placed on family. Both
immediate and extended
members define family
in Mexico.
Women usually stray little
from the family unit. They are
responsible for raising the children,
and running the household.
Men have the role of protecting their
family and keeping them financially stable.
They are the ones to have friends outside
the family and deal with the struggles of the
outside world.
Chapter 2: Culture and Language 7
IMMIGRANTS
Abigail Vega, the actress playing Ramona in Emerson’s
production, shared her family photographs, taken in 1917.
The man below is Abigail’s great-grandfather, Siprian
Villareal Benavidas. Born in 1885 on a ranch, he worked there,
much like the campesinos in the play. His last name he would
have passed down in Mexico is actually Villareal, but in the
United States his records indicated that his last name was
Benavidas, Abigail’s grandmother's maiden name.
The woman above is Abigail’s great-grandmother,
Josefina Salinas Rodriguez, and the baby in the photo is her
grandmother, Esperanza Benavidas.
Abigail’s grandmother was born in 1915, which
would have made her 14 in 1929, just 2 years older than our
Esperanza. She was born in the U.S. and grew up along the
border of Texas and Mexico. In this area, almost no one
spoke English, and there was very little connection to
American culture at all. It wasn't until the 1930s that the
U.S. government began paying attention to what was
happening in that Texas area and started implementing laws
regarding English in the schools. For example, Abigail’s
grandmother would have graduated high school (if she did
at all) in 1933, and yet she never spoke a word of English!

9. THE ISLAND
THE FLAG
THE EMBLEM
According to legend,
the gods advised the Aztecs
to establish their city at the
place where they saw an eagle, perched on a prickly
pear tree, devouring a serpent. They saw this
mythical eagle on a marshy lake that is now the
Zócaloor main plaza in Mexico City.
The colors in Mexico’s flag represent:
• Green: the Independence
Movement
• White: purity of the
Catholic Faith
• Red: tribute to the
Spaniards who fought for
Independence
Chapter 2: Culture and Language
To get the students started,
have them focus on the idea of
creating a country:
What is important?
• principles
• lifestyle
• level of community
• terrain
• industry/ economy
• religion
• opinion of the other islands
• and ask your students to list more!
Separate the class into groups of four to five,
to create their “island.”
• Have each group create a flag on an 8.5x11in, or
larger, piece of paper, representing life on their
“island.”
• On a separate sheet of paper, write what each part
(color, symbol, picture) represents in the flag.
8

10. Chapter 2: Culture and Language
ORIGIN OF THE NAME
CLOTHING
LISTEN!
THE TRADITION
In the 1930s, all Mariachis wore an
adapted traje de charro, directly translated to
a cowboy costume. The outfit traditionally
included a waist-length jacket and tight
wool pants. Both were usually decoratively
embroidered and fashioned with silver
buttons or cut leather designs. The pants
had a slight slit at the ankle, to fit over a
short riding boot.
Mariachi music commonly deals
with the themes of betrayal, lost love and
vengeance; however, the music itself is
characterized by a rhythmical flow of
sounds involving Spanish language and
heritage.
Coming from Mexico, the
word Mariachi is named after the
wood used to build the village
performer’s stage.  
THE TIME OF YOUR LIFE
The roots of Mariachi music are planted in nostalgia from rural life, a time of honor,
tradition, modernization, and peace. Music has always been a form of expression:
•Using any creative form (drawing, a poem, lyrics, movement, etc.) have your students
creatively express their “roots.”
•After, in small groups of three to four, have them share their creations. Ask the students to
explain the connection between the art form and their roots.
•To wrap up, try an open discussion guided by the students. Encourage them to point out
details they noticed or liked about a group member’s, and/or their own, creation.
Here are some websites
that play great Mariachi music for
you and your class to listen to:
www.mariachimusic.com
www.last.fm/tag/Mariachi

9
Roxanne, Emerson’s Director,
found Hector while he was playing
with a local mariachi. You can read
and hear more about Hector at:
www.martinezmorales.com

11. Chapter 2: Culture and Language
THE MARIACHIS
The four Mariachis in Esperanza Rising are all well-versed
musicians with a passion for music. Here is a little bit more
about the musicians, and the instruments they play:

Accordion- Musical Theatre BFA Junior Nathan
Chang from Nashville NC has been playing the
clarinet for eight years and started learning the piano
just a year ago. Nathan will have been playing the accordion
for just six weeks at the show’s opening; however, he mastered
the instrument in about two weeks to prepare for rehearsals.

Violin- Musical Theatre BFA Junior Nick Lee from
Kansas had no experience with the Spanish language
prior to Esperanza Rising. He approached learning the
lyrics by concentrating on singing sounds and was
coached by Fernanda Vazquez. But Nick’s violin skills needed
no instruction; he has been playing for nine years.

Vihuela- An instrument similar to a guitar, the vihuela has
five strings and is played with the musician’s fingernails. Dru
Serkes is a Musical Theatre BFA Junior from Connecticut.
Like Nathan, learned the instrument for the show. Dru’s
musical training includes a year of bass guitar, five years of
drums, and another five years on the guitar. His guitar
experience helped him adapt to the vihuela he plays in
Esperanza Rising.

Guitar- The show’s Musical Director, Héctor Martínez
Morales, has been playing the guitar since he was 13 years old.
Currently, Morales teaches music full time in Cambridge and
also freelances as a composer and performer. Formally trained
in classical music composition, guitar, and piano performance,
this is only his second show as the Musical Director.
DISCUSSION
QUESTIONS
Try this as a
class, or a group,
activity:
• What kind of
music do you listen
to? Pick one artist
or song that
everyone in the
group likes (or can
at least settle on.)
• Why is that song
likeable? Is it the
lyrics, melody,
rhythm, etc?
• Why do you
think people listen
to music?
• What do you
think would
happen if music
didn’t exist in the
world?
10

12. Chapter 3: Immigration THE MEXICAN REVOLUTION
The long, bloody, and chaotic war
began with Porfirio Díaz, the ruler of
Mexico since 1876. In 1908, he declared
that Mexico was ready for democracy, and
accordingly, he would not seek another
presidential term. Díaz’s withdrawal
resulted in several detrimental events:
•Francisco Madero led the uprising that
started the war.
• Mexico’s population suffered a decline
of 360,000 people.
• A major drop occurred in the country’s
agricultural output.
• Black markets flourished in cities,
funding and perpetuating corrupt
organizations.
• Almost all banking and credit systems
within Mexico disappeared.
THE BEGINNING
“NEXT!”
1910 - 1929
Includes the years that Esperanza lived with
her family in Aguascalientes, Mexico. During that
time, a large number of Mexicans left their country
to seek opportunities in the United States.
• U.S. Population: 106,521,537
• 2,132,000 unemployed, unemployment 5.2%
• Average annual earnings $1,236
Feel free to photocopy the card (right,) or simply write a similar format on the board,
for each student in your class to fill out individually.
• Stress the significance held in this little piece of paper by exploring the thoughts of
immigrants. Discuss the projected image of the United States as the ideal country and life.
Have students articulate the good and bad of life in the U.S.
11
United States of America
Immigrant Validation Form • This exercise is a
perfect opportunity for
drama in the classroom.
Your students are
immigrants from Mexico
in the 1930s. The teacher
can play the Immigration
Officer creating and
playing out different
scenarios that immigrants
may have encountered at
the border.
Name: Gender:
DOB: Place of Birth:
Postal Address: Ethnicity:
Marital Status:
…………………………………………………...………...………………………………………...
Height: Weight:
Eye color: Hair color:
…………………………………………………...…………………………………………………...
Employment Details:

Medical History:
…………………………………………………...…………………………………………………...
Official use only:

 

13. THE MEXICAN BORDER
WORKING LIFE
Chapter 3: Immigration
When Esperanza, Hortensia, and
Miguel fled to California for work and a
better life, they met the economic hardships
of the Great Depression. Considering the fact
that immigrants were known as “cheap
labor,” they faced the fear of not being paid
enough to support their families or of being
replaced by another person who would work
for less.
Consistently classified as “unskilled”
workers, Mexicans were only considered for
labor-intensive jobs, and were thought of by
employers as expendable. Strikes were
prevalent in the struggle for better working
conditions and often turned violent.
Luis Alberto Urrea, author of Across
the Wire: life and hard times on the
Mexican border, recounts his vivid memory:
“We met the many ambassadors of poverty:
lice, scabies, tapeworm, pinworm, ring worm, fleas,
and crab lice. We met diphtheria, meningitis,
typhoid, polio, turista, tuberculosis, hepatitis, VD,
impetigo, measles, chronic hernia, malaria, and
whooping cough. We met madness and demon
possession.”
1930 – 1934
During the time that Esperanza, Miguel,
and Hortensia were living and working at the
camps in California, the U.S. deported more
than four hundred thousand Mexicans.
• U.S. Population: 123,188,000
• Unemployment rises to 25%
• Average annual earnings: $1,368
 
U.S. RESPONSE
IMMIGRATION TODAY
Michelle Macedo, another Emerson cast member, has a personal experience with
immigration; her father is a U.S. immigrant from India.
“The youngest in his family, my father is from Goa, India, previously a Portuguese colony before
India gained its independence after WWII. Affected by the colonization, the state of Goa still recognizes
three languages- Hindi, a native dialect, and Portuguese. Religion in the state was also influenced; my
father is a Catholic, although most people assume he is Hindu, solely because he is from India. Moving to
the United States for graduate school, my father was the first in his family to move out of India and the
first not to have an arranged marriage.
My first language was Hindi, but I forgot it pretty quickly because I did not keep up practice. I
have been going to India almost every Christmas, and it is still strange. Strangers think that I am a
westerner who is unaware of the Indian culture, even though all of my family is Indian.
Esperanza Rising makes me feel very appreciative of diversity in America and how many people
have different backgrounds. I currently live in California, and travel to Mexico often to embrace and
explore the culture. My traveling and heritage has made me develop an immense respect for immigrants.”
12

14. TYA?
NOTES FROM THE DIRECTOR
Chapter 4: The Production
Representing the United
States in the International Association
of Theater for Children and Young People,
Theatre for Young Audiences/USA
(TYA/USA) is a national service
organization promoting theater for
children and young adults by:
• Improving the reputation, and
visibility, of theater among young
audiences
• Connecting professional managing
and artistic directors, artists, arts
agencies, and theaters to encourage
quality theater for young people.
Dear Teachers,
Like you, I am a teacher. I know the long hours
you put into your work and the great energy it takes to
touch lives like you do. In these times, I also realize that
it is harder than ever to foster opportunities for your
students…busses, permission forms, scheduling, etc.
Therefore, I would like to thank you deeply for bringing
your students to see our production of Esperanza Rising!
Many of you, I am sure, have read this book several
times with multiple groups of young people. I am sure
that more than a few of you consider it one of your
favorites. I understand! Pam Muñoz Ryan has written a
piece rich with poetry, emotion and symbolism. I like to
think that Esperanza Rising helps young people to think
about change, growth, and what gives every one of us
hope in our lives. You will find that Lynn Alvarez’s
dramatic adaptation is quite different from the book.
However, my awareness and appreciation of the book
influenced my vision of the play and was part of the
evolution of the production process. We hope that you
will enjoy the production alongside of your students, and
that you and your students will leave the theatre thinking
about migration, oppression and hope! We further hope
that the production will serve as a catalyst for dialogue in
your classrooms. We will be eager to hear from you and
your students, so let us know what you and your students
thought!

Sinceramente,
Roxanne Schroeder-Arce
[email protected]
Director
13

15. ARTISTIC STAFF
PRODUCTION STAFF
THE CAST
Chapter 4: The Production
Roxanne Schroeder-Arce
Héctor Martínez Morales
Crystal Tiala
Rafael Jean
Tracy Werheimer
Brendon Doyle
Michele Teevan
Chris Brindley
Cheyenne Postell
Justine Spingler
Director
Music Director
Scenic Designer
Costume Designer
Lighting Designer
Sound Designer
Props Master
Assistant Director
Dramaturgs
Helen Bennett
Steven Kaplan
Lindsay Eberly
Kevin Dwyer
Rachel Enright
Catrin Evans
Brian Choinski
Erik Skovgaard
Helen McCarthy
Courtney Wrenn
Stage Manager
Assistant Stage Manager
2nd Asst. Stage Manager
2nd Asst. Stage Manager
Production Supervisor
Production Carpenter
Master Electrician
Production Sound Engineer
Scenic Artist
Study Guide Coordinator
Peter Andersen
Chris Brindley
Olivia Brownlee
Noel Carey
Nathan Chang
Vinny Cueva
Alyssa Gomez
Victoria Gomez
Adrian Hernandez
Sara Holt
Chelsey Lebel
Nick Lee
Michelle Macedo
Vanessa Moyen
Jessica Naimy
Chris Nicolosi
Nora Reilly
Miguel Septién
Dru Serkes
Kameron Tarlow
Hannah Tehrani
Fernanda Vazquez
Abigail Vega
Jill Waters
Esperanza Rising stage manager, Helen
Bennett with a mariachi at a company
outing early this October!
14
Ensemble 
Agent/Ensemble
Okie Mother
Okie Father
Mariachi
Luis
Isabel/Ensemble
Hortensia
Don Sixto
Modesta/Ensemble
Esperanza
Mariachi
Servant Girl/Ensemble
Ensemble
Marielena/Ensemble
Okie Boy
Worker/Ensemble
Miguel
Mariachi
Alfonso/Ensemble
Worker/Ensemble
Worker/Ensemble
Ramona
Marta/Ensemble

16.  
EMERSON STAGE
PRODUCTION STAFF
Producing Director
General Manager
Director of Production
Production Manager
Technical Director
Technical Supervisor
Benny Sato Ambush
Julie Hennrikus
Bonnie Baggesen
Deb Acquavella
Keith Cornelius
Caroline Mulcahy
EMERSON COLLEGE
THEATRE EDUCATION PROGRAM
• The Bachelor of Arts degree in
Theatre Education involves the use of theatre
in a variety of educative settings, in addition
to formal K-12 teaching. Some students will
choose to pursue certification for K-12
Teachers of Drama; all use the program to
develop interests and expertise in a wide
range of theatre areas. Students in Theatre
Education often do two full years of acting
work at Emerson, and with the permission of
the Acting faculty, can do up to two
additional semesters of work. Students
seeking licensure must also complete the
Educator Licensure requirements.
• The Master of Arts degree in
Theatre Education is for students who wish
to pursue careers and opportunities that lie at
the intersection of theatre and education. As
such, this program provides professional
training in both theatre and education, and in
the uses of theatre and drama as vehicles of
education in a multitude of settings.
The graduate program is designed
with a central core of courses; within the
central core, there are three course streams,
Theatre Teacher, Education Theatre, and
Community, Theatre Education. With
additional work in areas of special interest to
students, Emerson’s program supports a
broad range for individuals to meet their
career goals.
SOURCES
Table of Contents
Pam Munoz Ryan picture and information:
Scholastic Inc. Pam Munoz Ryan. July 2009
<http://www.pammunozryan.com/>.
—. Pam Munz Ryan. August 2009
<http://teacher.scholastic.com/authorsandbooks/events/
ryan/>.
Lynne Alvarez information:
Peterson, Jane T. and Suzanne Bennett. Women
playwrights of diversity: a bio-bibliographical sourcebook.
Santa Barbara: Greenwood Press, 1997. Peterson and
Bennett

Chapter 1
The Vineyard information
Advameg Inc. Aguascalientes. September 2009
<http://www.nationsencyclopedia.com/mexico/Aguascali
entes-M-xico/Aguascalientes.html>.
Southern California information
Wikimedia Foundation Inc. Arvin, California. September
2009 <http://en.wikipedia.org/wiki/Arvin,_California>.
Red roses information:
Types of Flowers. Meaning and Symbolism of Red Rose
Flower. September 2009
<http://www.typesoflowersguide.com/flowername/427/
meaning_of_rose_red_flower.html>.
Chapter 2
Family, Women, Men information
Gordon, Milton M., ed. Mexican Americans. Englewood
Cliffs: Prentice Hall, 1970.
The Flag, Emblem information
Inside Mexico. Inside Mexico. September 2009
<http://www.inside-mexico.com/flag.htm>.
Chapter 2 con.
Origin of the Name information
Gonzalez, Silvia. Mexico, The Meeting of Two
Cultures. New York: Higgins and Associates, 1991.
Other mariachi information
Shorris, Earl. The Life and Times of Mexico. New
York: W. W. Norton & Co., 2006.
Chapter 3
The Mexican Revolution information
Joseph, Gilbert M. and Timothy J. Henderson. The
Mexico Reader: History, Culture, Politics. Durham:
Duke University Press, 2003.
1910-1929, 1930-1934 information:
Whitley, Peggy. American Cultural History. August
2009<http://kclibrary.lonestar.edu/decade20.html>.
Chapter 4
TYA information:
ASSITEJ International. Theatre for Young Audiences.
September 2009 <http://www.assitej-usa.org/>.