Young readers will learn Spanish terms and their meaning. Parents, teachers and homeschoolers will love sharing this wonderful culture and the true meaning of family and tradition. What is it about her understanding of Mexico that makes her feel this way? Consider the dress that Lupe wears on the first day of school. What does it symbolize for Lupe? Why does Margie have such a different reaction to it? Though she is initially hesitant, why does Lupe ultimately choose to go to California with her aunt Consuelo? What changes in her home life have promoted this shift?
Margie really prides herself with being born north of the border as an American. In your opinion, what leads Margie to have such strong feelings toward her citizenship? How do you feel about her attitude regarding her place as a US citizen? Do you think the place of birth is the only qualification to be a good citizen? Why or why not?
In your opinion, do you think Margie has a reason to be jealous? Explain the significance of the title, Dancing Home. What events and relationships portrayed in the book are expressed by this title? This is an English-speaking country. Live in America, speak American.
Do you speak a language other than English? Does anyone in your family? What are your feelings about being bilingual? Do you think her parents are right to do so? What do Margie and Lupe gain from this holiday experience? Consider the variety of settings for Dancing Home and name the three places you believe to be most important to the story.
Using textual evidence from the book, explain why you find them to be significant to the story. For what reasons do you think Margie feels connected to her friend Camille? In what ways are the two of them similar? How would you characterize the relationship between the two of them, and how does it change over the course of the novel?
Describe Lupe. How does she change throughout the story? Have you ever shared any of her feelings? In what ways does the visit by her uncle Francisco help make Margie more understanding of the struggles faced by Lupe? Francisco failed Lupe in many ways, yet he is finally able to give her a powerful gift. Explain your answer.
In what ways is the image represented symbolic for the events that transpire throughout the course of the book? In what ways does Camille help Margie better understand and appreciate her heritage? Do you feel that reading this book has given you new insight about what immigrant students may experience? About any other issue? Please explain your answer. Explain your choices. Using the library and the internet, research to learn more about this government program, being sure to consider how many workers participated, where these farm workers provided assistance, and what the benefits and challenges were.
In Dancing Home, Margie struggles when her American Christmas is modified so that her family can celebrate a more traditional Mexican holiday. Using the library and the internet, research what the major similarities and differences are between Christmas in Mexico and Christmas in the United States. Make thematic connections. Consider the themes of Dancing Home: examples include but are not limited to family, friendship, sacrifice, and courage.
Select a theme and find examples from the book that help support this theme. Find out more about folklorico dances, being sure to focus on the importance of music, costumes, and their purpose for celebrations like Cinco de Mayo. Language is also a very important theme in Dancing Home. Find out about the language history in the United States. Which languages were spoken in this land before English?
What are the personal benefits of speaking more than one language? What are the benefits for society when languages are maintained? Consider your most special relationships. What makes these individuals so important? Compose a personal journal entry where you share your thoughts, and be sure to answer the following questions:. It may be reproduced in its entirety or excerpted for these purposes.
Argentina's telenovelas focus on melodramatic twists of traditional middle class life, with touches of comedy. Telenovelas are broadcast by the main television networks, Artear and Telefe. Many popular "youth telenovelas", aimed primarily at children and teenagers, are produced in Argentina.
Several youth telenovelas have become hits in other countries, where they have been remade or shown in their original Argentine versions. Because Argentine television broadcasts many American- or European-style situation comedies and dramedies , [ citation needed ] the telenovela is less pervasive today in Argentina than in many other Latin American countries. In Bolivia, telenovelas contain drama, romance, music, natural landscapes, remote situations and adventures, some are based on novels, historical and factual events.
The country has made over 15 telenovelas so far, most of the productions take place in Santa Cruz de la Sierra. Most of the popularity has been made into much of prosperity for much of the country.
Not very many telenovelas are made in the country. The genre's carriage on domestic television networks comes from international productions imported from Brazil, Colombia, Argentina and Mexico. The Bolivian telenovelas are produced by independent producers, many producers are more dedicated to the country's film industry. Brazilian telenovelas more often "novelas" are both more realistic and apt to broach controversial subjects.
These programs showcases realistic depictions of middle class, working class and upper class individuals in society. Brazilian telenovelas often have convoluted subplots involving three or four different settings. Usually, there is a rich setting, a poor setting and one or more settings in which the characters of both settings can interact. There is no black-and-white cut between "good" and "evil" characters, with the protagonists often displaying weaknesses like promiscuity, drinking, drug abuse, stupidity and excessive ambition, among others; and the antagonists showing features or motivations that attract sympathies, like abuses suffered in the past, family problems and poverty.
On the other hand, it is not uncommon for a hero to be relegated to a secondary role due to the actor's lack of charisma. Besides the convoluted plots, Brazilian telenovelas also approach sensitive social issues and try to present a bit of the country's actual culture, sometimes in an idealized way.
Another important difference between telenovelas from other countries is that Brazilian telenovelas rely much less on individual stars than other South American works. A Brazilian telenovela may have a permanent cast of more than 40 actors, of which some seven or eight are considered "central" to the show. The chief reason for this is that telenovelas are not shot in advance instead chapters are shot only fifteen days before their airdate so that they can respond to public reaction.
Whereas theoretically, the CBC's main English-language television network could broadcast English-language shows from American stations and also was forced to compete with U. As a consequence, Francophone television in Canada developed differently from Anglophone television. Beginning with its tenth season in , Degrassi: The Next Generation was produced and broadcast in a style similar to the telenovelas format.
This lasted until episode 21 of the twelfth season in Degrassi: Next Class also adapts this format for its broadcast on Family Channel. Chilean telenovelas focus on both traditional drama and middle-class life, with some touches of comedy. Often, these programs show life outside of the capital, like with the TVN novela Iorana which took place on Easter Island. Colombian telenovelas such as Betty la fea "Betty, the ugly one" often focus on comedic storylines.
However, some are of a more realistic vein or are adaptations of novels. Caracol and RCN also produce and broadcast their own shows. It is notable that many novelas designed and written by Colombians sell outside the country well, as a prime export. One fine example is Betty, la fea adapted by ABC in the United States as Ugly Betty in which the franchise for the storyline was translated and adapted by over 30 networks around the world.
These tend to focus on drug trafficking and situations related to it such as violence, mafiosos living luxurious hedonistic lives and women selling themselves to them in order to escape poverty. These stories have often been made in the format of television series even making seasons of these shows like El Cartel which consists of 2 seasons.
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Telenovelas made by AVA were aired in more than 25 countries. Television networks in the Dominican Republic have started to produce their own novelas through Venevision International, Iguana Productions and Antena Latina Productions. Comedy-drama series such as Catalino el Dichoso and sequel En La Boca de los Tiburones were also considered telenovelas during the early s. There are currently plans for more telenovelas that are filmed and produced in the Dominican Republic.
In , Germany began producing its own telenovelas. All German telenovelas are formatted as melodramatic love stories. In Indonesia, a similar format exists called the sinetron a portmanteau of sine , short for cinema and tron , from "elec tron ic" , which are essentially soap operas in a miniseries -style format. While most English-language soap operas can continue indefinitely, almost all Sinetrons have a predetermined duration, usually running for only five-, six- or seven days a week and in total for more than five months.
Sinetron are usually made by production companies such as Sinemart and MD Entertainment.
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These programmes are usually broadcast on national television networks during the country's designated primetime period 6. In Malaysia, the equivalent of telenovela for a local language drama is drama rantaian. The drama may last for 13 episodes for a weekly drama and more than 15 episodes if broadcast by a daily basis, usually three to five days a week. However, since almost all television broadcasters that air domestically produced dramas also air foreign dramas, Malaysian television dramas are less prolific compared to Indonesian, Philippine or South Korean dramas.
Mexico is one of the first countries in the world to be known for producing telenovelas aimed to shape national social behavior — one issue of which is on family planning during the s. The Mexican model of telenovelas — then to be replicated by other telenovela-producing countries in Latin America and Asia for most of the s — usually involves a romantic couple that encounters many problems throughout the show's run, a villain and usually ends with a wedding.
The use of sexually themed episodes starring the leading couple of the story has been a common element through most Mexican and even Latin American telenovelas. Televisa and TV Azteca are the largest producers and exporters of Mexican telenovelas. Telenovelas produced by U. Previously, telenovelas were often thought to be used as a government tool to distract citizens from national issues, a reason cited for temporary decrease in their credibility and popular appeal.
Nowadays, Mexican television has managed to counteract government influence in its telenovelas.
In particular, around , Televisa found an enormous market for its telenovelas in regions such as Brazil and parts of Latin America, post- Cold War Eastern Europe and Asia. This precipitated the so-called 'Telenovela Craze'. Credited by media experts especially to Televisa's move in the early s of exporting its telenovelas to parts of the world, this rivaled the wave of American sitcoms that had been broadcast worldwide in the same period.
During the peak of the global success of Latin American telenovelas in the s and s, several prominent Mexican actors and actresses gained huge following for the telenovelas that they starred and which were viewed in the mentioned regions. Due to the international success of the telenovelas broadcast in and out of Mexico, by the late s, the company claimed that telenovelas were Mexico's leading export product.
Many consider the period from to to be Televisa's Golden Age of telenovelas, at the same time when the Mexican government loosened its control over television.
However, with American drama and comedy series becoming increasingly popular among Mexican audiences through cable or satellite television and unlicensed copying, the television companies opted to adapt stories from Argentina, Colombia and Brazil. These used veteran actors in order to decrease expenses. Currently, the most successful telenovelas are being created by Argos and Telemundo and are rebroadcast or adapted by the main companies. The most successful one, La Reina del Sur , based on the book by Arturo Perez Reverte , is based on the true story of a female drug trafficker in Sinaloa.
Though it was censored somewhat due to the Drug War and was broadcast on a low-rated channel, it achieved higher viewership than other programs in the same timeframe. Peruvian telenovelas, like other telenovelas, revolve around the character's personal lives. But, there slight touches of comedy, drama and suspense. Al Fondo Hay Sitio has all of these touches and has become one of the most famous telenovelas of Peru and has been shown around South America in Ecuador , Bolivia , Paraguay and Uruguay.
However, Philippine telenovelas, which portray the reality of Filipino as well as much of other Asian societies, have evolved through decades and feature specific characteristics distinct from most of the world's telenovelas. Philippine telenovelas are shorter than American television series in terms of the number of seasons, but are usually aired daily like and may contain more episodes than Latin American telenovelas. They can last up to more than a year depending on the audience ratings, or suffer sudden cancellation if they prove unpopular among viewers.
Another distinct feature of Philippine telenovelas from almost all of the world's other television dramas is that guest actors and actresses usually are not promoted to regular cast, and that once a member of the cast is assigned among series regulars, he or she cannot be demoted to recurring characters anytime throughout the show's run regardless of whether he or she exits the series due to various reasons.
Most domestically produced Philippine telenovelas, however, use ensemble cast which tend to be more flexible when new characters are introduced throughout a series' entire run. The Philippines is one of the first few nations in the world outside the United States to introduce international encore television programming despite varying timezones abroad — where television series are exported abroad not as canned shows but good for simultaneous broadcasting during their original runs in the source nation — through overseas satellite channels by the major Philippine television networks.
Classic Philippine telenovelas focus on the miserable life of the protagonist " bida " , with a plot centred on some quest such as finding love or their lost family. Antagonists " kontrabida " were depicted as thoroughly evil — characterized as very greedy, rude and violent, and often planning to kill or kidnap the protagonist for money. Telenovelas usually begin with the protagonists' past, move on to their present situations, and sometimes include flashbacks. Twists are also popular and often feature characters who are revealed to be siblings or relatives of the protagonist, or love interests.
A typical ending is obvious and predictable, with the antagonist dying painfully as a form of retribution , and the protagonist only being injured and hospitalised, later marrying and having children. Casting was limited, with actors appearing as protagonists or antagonists in different, sometimes simultaneously-running series. Rarely do any former Philippine telenovela end in sudden cancellation due to the death of its lead star one notable exception is the original, classic version of Anna Liza , which was cancelled in due to the death of its lead actress.
The late s and s coincided with the end of martial law and the resulting expansion of commercial television networks as the Philippine government loosened controls over the press and media. With the help of simultaneous nationwide programming across the Philippines and the advent of the 'Telenovela Craze' precipitated by Mexican telenovelas broadcast worldwide, previously dominant Filipino sitcoms had been largely replaced by domestically produced drama series airing on primetime television to encourage more competition among networks and reach out to more audiences across the nation.
Modern Philippine television dramas are usually termed teleserye , a portmanteau of the Filipino words " telebisyon " "television" and " serye " "series" , and are sometimes called P-drama overseas. The term teleserye originated in the s from the ABS-CBN-produced Pangako Sa 'Yo , dubbed by the Philippine media as the first true teleserye as well as the most widely exported and most watched single Philippine television series abroad.
In the 21st century, teleseryes may belong to one or several genres such as suspense, comedy, politics or fantasy, but featured several new variations from the previous Philippine telenovelas of the preceding century.
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Unlike Filipino telenovelas in the 20th century, only few teleseryes beginning s last more than a year as a result of most television producers cautiously using plot twists in the series' scripts to aid better reception with audiences. Moreover, teleseryes focus on the lives of both protagonist and other characters they meet.
They also have a faster pace of storyline compared to previous Philippine telenovela classics. Antagonists are less violent compared to the older, stereotypical telenovela villains. Instead, they have more developed structure and are depicted as more human and even pitiful. They often survive the show's ending and may reconcile with the show's protagonists. Unlike telenovelas, little to no crossovers between simultaneously running teleseryes have been aired in the country to date.
Directors also hire successful reality television contestants and, starting s, internet personalities , regardless of acting skill, either as minor characters or occasionally major characters. Earlier Philippine teleseryes would soon replace Latin American telenovelas as the country's most popular form of primetime entertainment. However, in the mids, they faced stiff competition against imported Korean and Taiwanese drama series shown on national television as well. Still, the situation would improve considerably by the late s when most of the country's major television networks had begun to shift to an all-Filipino primetime programming.
Despite the country's strong and long-standing Catholic values , most of the teleseryes beginning the late s and early s contain storylines induced with controversial issues such as infidelity and adultery, mother surrogacy , or homosexuality and the LGBT community.
Open discussion of national economic and political issues — some of which were previously restricted by the national government — such as neglect of rural agricultural production, urban warfare, human rights abuses and the plight of OFWs abroad also began during this era of Philippine television. Some of the most recent teleseryes incorporating such storylines ranked among the all-time most watched Philippine teleseryes in and out of the country.
In particular, these series of the s include Be Careful with My Heart , Forevermore , Wildflower , and the currently airing television adaptation of Ang Probinsyano. The Philippines has been known to have initially imported foreign-made telenovelas as part of their nationwide television programming and then eventually switched to producing and broadcasting their own domestically produced telenovelas in and out of that country. The Philippines, by a wide margin, is the most popular television drama-producing nation in Southeast Asia. The first Portuguese telenovela was Vila Faia , in Throughout the s and s, almost all Portuguese telenovelas were broadcast by RTP.
However, since the start of the 21st century, TVI has emerged as the most prolific broadcaster of Portuguese telenovelas. SIC , which usually imported telenovelas from Brazil's Rede Globo, has also started to produce its own telenovelas. Portuguese telenovelas have since exceeded telenovelas from neighboring Spain in terms of international popularity by the s. Portugal also sells telenovelas to Eastern Europe and America. The history of telenovelas produced in Puerto Rico often must be divided into before and after in many situations.
There was a lot of acceptance of the telenovela genre in that U. Production of telenovelas in the U. It is unknown if Puerto Rico will continue with its production. Telenovelas were first introduced to Soviet viewers in , when a stripped-down version of Escrava Isaura running only 15 episodes was shown on central television channel. The adaptation of that series was very popular with the Soviet viewers. After the collapse of the Soviet Union in , Russian TV channels commenced broadcasting telenovelas usually those imported from Brazil on a regular basis.
Today, Latin American telenovelas are usually replaced by Russian-made alternatives. It currently airs on Prva Srpska Televizija. Inkaba was canceled after it flopped to lure on viewers. South African most successful telenovela is Uzalo. Uzalo has over The connection between the families is that their eldest sons were switched at birth during the period when Nelson Mandela was released from prison. Uzalo details the relationships and conflict between members of the two families as part of a complex story.
Korean telenovelas include a genre similar to the soap opera but without the neverending plot and frank sexual content. These dramas typically involve conflicts around dating and marital relationships, money problems, relationships between family members and in-laws usually between the mother-in-law and daughter-in-law , and often complicated love triangles with the heroine usually falls in love with the main character who may treat her badly for a while instead of the one who always cares for her. South Korea became one of the world's largest Asian-based television drama producers at the start of the 21st century.
Korean dramas have been exported globally and have contributed to the Korean Wave phenomenon known as Hallyu.