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Please fill out our online surveys at http://www.umass.edu/fac/centerwide/school/index.html Thank you! Suggested Study Guide *Please note that this is only a suggested guide. As each group of students differs, instructors may wish to focus on only a few of the proposed topics of discussion or create their own study guide more suited to their particular student group. We hope that your students enjoy this cultural experience and that it deepens their understanding of this unique culture and art form! Thursday, February 4, 2016 @ 10 AM Fine Arts Center Concert Hall TAO: Seventeen Samurai

1 Welcome Welcome Welcome Welcome Information for Teachers and Parents Information for Teachers and Parents Information for Teachers and Parents Information for Teachers and Parents Our goal is to offer high quality performances for young people in a safe and comfortable setting. Please help us by following the below guidelines. Please arrive early. You should arrive at the theatre 30 minutes prior to the noted start time. Allow for travel time, parking, being seated and bathroom visits. It is important that we begin our performances on time so that all schools can meet their lunch and/or dismissal times. Be sure to check the location of the performance when making your bus reservations. Performances take place in the Fine Arts Center Concert Hall or Bowker Auditorium in Stockbridge Hall. Please see the map at the end of this guide for driving and drop-off instructions. Upon arrival your group will be greeted by an usher either at your bus or in the lobby. We do not issue individual tickets for performances. Your usher will direct your group to their reserved seats. Both theaters are accessible for Mobility Impaired members. An infrared listening system is available in both theaters. Access parking is available adjacent to the theaters. An Access permit should be clearly visible in the parked vehicle. To better meet your needs, please inform us of any special seating requirements one month prior to the performance by calling 413-545-2116. For the comfort of all our seated patrons, we request that backpacks, lunches and other gear be left on the bus. Also, please remove all hats when seated in the theater. Food, drinks other than water, smoking, candy and gum are all not allowed in the theater. The use of cell phones, portable music players, cameras or any other recording device, including non-flash photography and cell phone cameras, is strictly prohibited. PLEASE BE SURE TO TURN OFF ALL CELL PHONES. Any teasing, disruptive and rude behavior by students towards each other or to others seated close-by during a performance is not acceptable. Teachers and chaperones will be held responsible for any such incident reported to the Fine Arts Center staff. All complaints received will be forwarded to the schools involved. Repeated offences from the same school/s may result in cancellation of future reservations for shows.

2 Theatre Etiquette Theatre Etiquette Theatre Etiquette Theatre Etiquette Please read and review the following information with your students . WE expect everyone to be a good audience member. Good audience members……… .. • Are good listeners • Keep their hands and feet to themselves • Do not talk or whisper during the performance • Do not eat gum, candy, food or drink in the theater • Turn off all cell phones and do not use portable music players, cameras (including cell phone cameras!) or any other recording devices • Stay in their seats during the performance • Do not disturb their neighbors or other schools in attendance • Do not text message during the performance. “ Theatre is not theatre without an audience .” Live theatre differs from watching television or movies. Remember that performers can see and hear you. As an audience member you are a vital contributor to the perfor- mance experience that you and those around you will have. How you behave and how you react to the show will affect the artists’ performances. That is why each performance is a unique experience, it will never be repeated exactly the same. Talking to your neighbor, sending text messages, and other similar behaviors are distracting to the rest of the audience and to the artists. Please be re- spectful of the artists on stage performing for you by listening quietly. Of course, it is appropriate to react to what you are seeing – some things may make you laugh, gasp out loud, or you may be asked to respond by answering questions from the performers, singing along or clapping. Most of all, it is important to be present “in the moment” by being attentive and enjoy the performance. And of course – show your enthusiastic appreciation by applause at the end of the performance!

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3 the Artists Artists Artists Artists TAO, the Japanese Taiko drum super group has toured the world. Their new production, Seventeen Samurai, showcases the tradition- al disciplines of strength, purity of mind and the spirit of the Japanese warrior. Taiko drums originated in Japan and are played with sticks called bachi. The drums are made of leather and wood and can range in size from eighteen inches to four feet in diameter. Taiko drums have played multiple roles in Japanese culture ranging from dispelling evil entities at harvest festivals to a form of battlefield communication. Typical of a Taiko drum performance is the inclusion of other traditional instruments such as the fue (wooden flute) and the shamisen (a stringed guitar). TAO’s extraordinary precision, energy, and stamina have been witnessed by more than a million spectators. The director and founder, Ikuo Fujitaka, has created a world-class company and a performance that incorporates both the complexity and diversity of the traditional Taiko drum. Called "Powerful, dynamic and unique" by Time Out magazine, TAO’s production features athletic bodies in a show of explosive drumming with innovative choreography and dressed in contemporary costumes by global fashion designer Junko Koshino. Koshino, one of Japan’s most highly acclaimed fashion designers, was best known for her costume work in the Broadway musical play “Pacific Overtures” (for which she received a Tony Award nomination). The TAO drummers live and train at a compound in the mountains of Japan and reach the highest level of musical virtuosity only after years of intensive study. Additionally, TAO’s performers incorporate martial arts routines as they pound the large eight hundred pound drums that fill the stage. Each performer brings a nontraditional flair to the group by drawing on their diverse backgrounds: one as a hard rock musician, another as a gymnast and yet another as a composer. They offer a young and vibrantly modern take on a traditional Japanese art form.

4 the Samurai Samurai Samurai Samurai The samurai, members of a powerful military caste in feudal Japan, began as provincial warriors before rising to power in the 12th century with the beginning of the country’s first mil- itary dictatorship, known as the shogunate. As servants of the daimyos, or great lords, the samu- rai backed up the authority of the shogun and gave him power over the mikado (emperor). The samurai would dominate Japanese government and society until the Meiji Restoration of 1868 led to the abolition of the feudal system. Despite being deprived of their traditional privileges, many of the samurai would enter the elite ranks of politics and industry in modern Japan. More importantly, the traditional samurai code of honor, discipline and morality known as bushido–or “the way of the warrior”–was revived and made the basic code of conduct for much of Japanese society. The word “samurai” roughly translates to “those who serve.” (Another, more general word for a warrior is “bushi,” from which bushido is derived; this word lacks the connotations of service to a master.) Discipline, strength and honor were the ideals of being a samurai. The TAO drummers follow a similar discipline of hard physical training, developing strength and maintaining the honor of being the best drummers. Image downloaded from http://hubpages.com/education/SamuraiWarriors

5 the Instruments Instruments Instruments Instruments Taiko literally means big drum. It is gener- ally used to describe a particular kind of Japanese drum that is hollowed out from a solid piece of keyaki wood (zelkova wood) and skinned by stretching and tacking a cow or horse hide over each end of the body. The word can also be used to refer to a type of Japanese drumming. There are many types and sizes of drums that make up a drum ensemble. When the word “taiko” is preceded by an adjective (usually to indicate the type of drum or style of playing), then the “t” changes to a “d”. There are many kinds of Taiko drums in Japan, but they can be broadly divided into two categories: Taiko with a nailed head (byou-daiko), and Taiko with heads stretched over a hoop and tensioned with ropes (shime-daiko). Bachi are the sticks used to beat the taiko drums. Byou-daiko (also called byou uchi-daiko) have bodies that are traditionally carved from a single log, and heads that are stretched onto the taiko and tacked in place. This style of taiko cannot be tuned after the head is stretched. Since the bodies of byou-daiko are carved from a single log, making a large taiko typically requires a large tree that has grown for a minimum of two hundred years; the largest odaiko ever produced required a tree that was 1,200 years old. The heads are made from cowhide. Taiko Drum with Bachi Shime-daiko Drum Taiko Drum images downloaded from Creative Commons

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6 the Instruments & Instruments & Instruments & Instruments & Vocabulary Vocabulary Vocabulary Vocabulary The nagado-daiko (long-bodied taiko) is by far the most popular taiko used in the modern style of playing. They are also very common in festivals and in temples and shrines. They have a characteristically deep, reverberant sound. These drums are often referred to by their size: ko- daiko or small drum about twelve inches; chu -daiko translates as medium drum, about twenty to thirty inches; and odaiko (big fat drum) range from thirty inches to five feet or more. Odaiko literally means "big fat drum" and can refer to any large taiko drum. The term is usually reserved for na- gado-daiko that have a head over three feet in diameter. Odaiko are typically placed on a stand and played horizon- tally, often by two people at once. Typically, one player will beat out a basic rhythm while the second player solos. Odaiko can reach huge proportions, sometimes weighing in at over three tons and spanning six feet in diameter. These Mammoth Odaiko are often built for shrines or temples, and their cost can run into the hundreds of thou- sands of dollars. The Fue is a bamboo flute similar to the piccolo and held horizontally. The shakuhachi is a bamboo flute with four holes in the front and one hole in the back. It was used in Japanese court music to accompany the koto and also in the Buddhist religion as a form of meditation. Shime-daiko is a general term for a rope-tensioned drum and can be tuned. The word "shime" comes from the Japanese verb "shimeru", which means to bind or tighten up. Shime-daiko have two heads which are sewn over steel rings and laced to a body with a rope or cord. They are tensioned with another rope or cord that is wound around the lacings of the first rope. The pitch can be changed by adjusting the tightness of this second rope. In taiko groups, the shime is often used to keep the basic rhythm and establish time, but they are a versatile solo instrument as well. The oke-daiko , or okedo , is made with a stave construction - not carved from a single piece of wood. They tend to be larger than a typical nagado-daiko, often around six feet in length and three feet in diameter. They are usually played horizontally, raised up on a high stand. Chonmage is a form of Japanese traditional haircut worn by samurai. Originally a method of using hair to hold a samurai helmet steady atop the head in battle, it became a status symbol of the samurai in Japanese society. Feudalism a system of political organization (as in Europe during the Middle Ages) in which a vassal served a lord and received protection and land in return Katana the traditionally made Japanese swords used by the samurai. Katanas have a curved, slender, single-edged blade with a circular or squared guard and long grip. It was used with two hands. Samurai roughly translates to “those who serve” and were a military class in feudal Japan from 790 A.D. until the mid 1870’s.

7 History of Taiko History of Taiko History of Taiko History of Taiko Drumming Drumming Drumming Drumming Taiko has been associated with many aspects of Japanese culture since ancient times. It is said that Taiko was used to drive away the plague and evil spirits. In the Shinto religion, it was used to call upon and entertain the gods, or kami, and in Japanese Buddhism, its sound was the manifestation of the voice of the Buddha. Both noblemen and commoners played and listened to Taiko, which could be found in imperial court orchestras, in Kabuki and Noh Theater, on the battlefield and in the rice fields. Fifth-century clay dolls holding drums and sev- enth-century poems and paintings are evidence that Taiko was an integral part of the Japanese culture for the past fifteen centuries. In ancient times, during droughts or dry seasons, the life of a Japanese village rested on the en- durance of their taiko drummer. Control of the water from a river that ran between two villages was gambled. The village whose taiko drummer could play the longest got the right to control the river water. Discussion Questions • Why might it be important for a village to control water from a river? • What does this tell us about economics of a Japanese village during ancient times? When many Japanese immigrated to North America in the early part of the 1900's, they brought taiko drums with them. In 1910, Taiko drumming was well established in Hawaii and by 1930 had made inroads to San Francisco on the US mainland. However, after World War II, Taiko drumming in the United States died out. It was not until 1968, when Japanese-born drummer, Seiichi Tanaka established the first ensemble taiko group that the drumming saw a renaissance in the United States. Discussion Questions • Why might Japanese immigrants and those of Japanese heritage stop practicing Taiko after World War II? • Why do you think it took so long for Taiko to be revived in the US? Did other important things happen in the US during the 1960’s that might have influenced the Taiko resurgence? Japanese Festivals and Taiko The Japanese people celebrate many festivals throughout the year. Some of these festivals, called matsuri, can be tied back to ancient times through the practice of Shinto. Shinto is a Japanese way of life that includes rituals, prac- tices, attitudes, and institutions that express the people's relationship with their land and the lifecycles of the earth and humans. The festivals were tied to the agricultural seasons. Winter and spring festivals prayed for a good planting. Summer festivals were used to drive away any misfortunes that would hurt the crop. Fall festivals gave thanks for an abundant harvest. In the rural areas, spring and fall festivals were the most important. In the cities, summer festivals were directed at keeping away disease or other disasters which might fall on the inhabitants.

8 History of Taiko History of Taiko History of Taiko History of Taiko Drumming Drumming Drumming Drumming Discussion Questions • Why might country residents view the spring and fall festivals as the most important? • Why would the city residents celebrate a festival to keep away disease in the summer and not the winter? Almost every Japanese village has a Shinto shrine dedicated to a spiritual being called a kami. Festivals were celebrations to honor the kami or a significant event or person in the history of the village. The festivals often centered around a procession of the mikoshi, a portable shrine, carried on two long poles through the streets. Music and dance played important roles in the celebrations. The local people felt they could communicate with the spirits through the festival and would ask for good luck and favor for special events or family members. There were many rituals associated with the festivals. People believed that they and the area around the shrines needed to be purified. Then, offerings were be made to please the kami. Finally, the kami would come to earth and attend ritual banquets with the participants. The matsuri also promoted a sense of community among the people. In addition to the parades, procession and feasts there were games and contests of skill. The contests could include tug of war, boat races, and horse races. In days of old, these contests were viewed not as forms of entertainment, but as a means of requesting help from the spirits. The Legend of Hi no Taiko In the Emperor Keitai’s day at his castle built on a hill in Mikuni, a special taiko was used to stir up the officers of the army and to frighten the enemy. Many years ago the Mikuni seashore was hit by a tremendous storm which lasted 60 days and nights. No ship could get in or out of the harbor and the townspeople, who were largely fisherman, had to stop fishing. This caused great hardship in the town and the people nearly died of hunger. The leader of the town called a town meeting to discuss a solution to their problem. It was decided to build a great fire and beat the taiko. This would calm the gods of the sea who were angry. They built the fire and beat the taiko for three days. The storm passed and the sea became calm. Peace and prosperity returned to Mikuni. The fisherman returned to fishing and good catches. Today, the Mikuni drum still sounds a welcoming blessing for prosperity as ships enter the harbor. Hi no Taiko is celebrated on January 7 each year. On this day the young townspeople compete at playing taiko. Another festival featuring taiko drums takes place during the Chichibu festival in Saitama Prefecture (north of Tokyo). During the festival, gigantic shrines on wheels are pushed through the streets. The rhythms of the Taiko consists of two main phrases the Ko-nami (small wave) and the Ou-nami (big wave). These rhythms were originally played on the boats carrying the huge blocks of stone that were used to build Osaka Castle. The Taiko player would set the pace for the oarsmen and by the rhythm he could communicate the sort of waves that were coming ahead. The wheeled shrines are a symbolic reminder of the boats. Discussion Question uni25CF Can you think of any other cultures that used song or music to help them in their work?

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9 Learning Learning Learning Learning Activities Activities Activities Activities A Guide to Japanese Pronunciation A Guide to Japanese Pronunciation A Guide to Japanese Pronunciation A Guide to Japanese Pronunciation Vowels are always pronounced the same way; long vowels are simply longer in duration (actually two syllables), the sound doesn’t change: Pronounce “a” like the short “ah” sound as in the word father. Pronounce “i” like the long “ee” sound as in the word eat Pronounce “u” like the long “oo” sound as in the words food or zoo Pronounce “e” like the short “eh” sound as in the word end. Pronounce “o” like the “oh” sound as in the word Ohio The Consonant sounds are: Pronounce “k” like the “ka” sound as in the word cat Pronounce “g” like the “ga” sound as in the word gourd Pronounce “s” like the “snake s” sound in the name Sue Pronounce “sh” like the “sha” sound as in the word seashore Pronounce “z” like the “za” sound as in the word zoo Pronounce “j” like the “ja” sound as in the name Jack Pronounce “t” like the “ta” sound as in the word tick Pronounce “ts” like tsetse fly. Pronounce “ch” like the hard “ch” sound as in the word chicken Pronounce “n” like the sound as in the word new Pronounce “h” like the “ha” sound as in the word have Pronounce “f” like the “foo” sound in the band named “Foo fighters”! Pronounce “b” like the hard “b” sound as in the word boy Pronounce “p” like the “pa” sound as in the words party and pea Pronounce “m” like the “ma” sound as in the word mama Pronounce “ya” like the sound in the word in yahoo Pronounce “r” more like a “d” than an “r” (as in a British butler saying “very good, madam”) Pronounce “w” like the sound in the word wander Adapted from: Bestor, Theodore. A (relatively) easy guide to Japanese pronunciation.

10 Learning Learning Learning Learning Activities Activities Activities Activities Chopstick Shigin-Writing and World Literature Many people are familiar with the Haiku, a three line Japanese poem consist- ing of seventeen syllables. Did you know that the Haiku was derived from a much longer poetic form called Waka that contained 31 syllables and five lines? (It starts out just like a Haiku but ends with two more lines of seven syllables each.). An even older Japanese poetic form is called the Shigin. This type of Japanese poetry is created to be chanted, either individually or within a group. Each shigin poem is composed of lines of kanji. Kanji is a Japanese form of pictogram writing. It is different from an alphabet since each Kanji stands for a word or an idea. The most common Shigin were written in four lines and each line was seven characters long. (Just like a quatrain with seven words in each line!) Shigin are thought to have originated in China early in the first millennium AD. During the 5 th century many books from China were brought into Japan and it is believed the Shigin poetic form spread to Japan at that time. Chopsticks are used in East Asian (China, Japan and Korea) countries as eating utensils. They can be very fancy and made out of precious metals like silver and gold or common materials like bamboo. For this activity each student will write a shigin on flat sided bamboo chopsticks-one line per side. Materials Black fine line felt tip pens Flat sided bamboo chopsticks (like those found in Chinese take out restaurants) Procedure Read examples of Japanese poetry such as haiku, waka or shigin. Point out to students how often this poetry deals with nature themes and the seasons. It is similar to free verse and does not rhyme. It does not contain articles or conjunctions. Using a set number of words for each line, have students write a four line shigin. Write one line on each side of a bamboo chop stick. Extension In small groups have students place their chopsticks together and roll them over to create collaborative poems. How many possible new poems can be created using two chopsticks? Three? Four? Etc. Bibliography Morice, David. The Adventures of Dr. Alphabet. New York: Teachers and

11 Learning Learning Learning Learning Activities Activities Activities Activities Mochi-Japanese Sweets These sweet rice balls are made to celebrate many Japanese fes- tivals. Ingredients can commonly be found at Asian or internation- al food markets. Ingredients: For Rice Balls : 2 1/2 cup glutious rice (mochi gome) 1/2 cup Japanese rice 3 cup water For Toppings: 3/4 lb. anko (sweet azuki bean paste) 1/2 cup crushed walnuts and 2 Tbsp sugar, grinded well 3 Tbsp black sesame seeds and 1 1/2 Tbsp sugar, grinded well 1/3 cup kinako (soy bean powder) and 2 Tbsp sugar, mixed Preparation: Put both kinds of rice in a bowl and wash with cold water. Drain the rice in a colander and set aside for 30 minutes. Place the rice in a rice cooker and add measured water. Let the rice soak in the wa- ter for 30 minutes. Start the cooker. Put prepared toppings, such as anko and sesame seeds, in seperate bowls. When rice is cooked, let it steam for 15 minutes. Mash the rice with wooden pestle until sticky. Wet hands and shape the rice into oval balls. Cover rice balls with different toppings. Makes about 32 rice balls Retrieved Feb. 1, 2009 http://japanesefood.about.com/od/rice/r/ohagi.htm

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12 Resources Resources Resources Resources Resources The Five College Center for East Asian Studies is committed to promoting East Asian Studies at the Five Colleges and supports, encourages, and improves the teaching of East Asian cultures in elementary, middle, and secondary schools, and two- and four-year colleges in the Northeast. They have extensive library, webinars and other resources for K-12 teachers. FCCEAS is located 138 Elm St. Smith College, Northampton, MA 01063 and you may contact them at: (413) 585-3751 or through their website: https://www.fivecolleges.edu/fcceas/ History.com. January 5, 2016. Samurai and Bushido. History Channel website with an article on the history of the rise of the Samurai class with additional links of interest. http://www.history.com/topics/samurai-and-bushido JICC. January 5, 2016. http://www.us.emb-japan.go.jp/jicc .Website of the Japan Information Center for the Japan-Washington DC embassy. The Cultural Spotlight link has new and archived articles on Japanese life and traditions. Kid’s Web Japan. 1996. Jaunuary 5, 2016. http://web-japan.org/kidsweb/index.html Web page especially for kids sponsored by the Japanese Ministry of Foreign Affairs. Contains information of special interest to children and teachers regarding Japanese life and traditions. Kovacs, Edna. Writing Across Cultures. Oregon: Blue Heron Publishing. 1994. Out of print. A handbook on writing poetry and lyrical prose from different world cultures and historical periods. Michi Online: Journal of Japanese Cultural Arts. 2003. Jaunuary 5, 2016. http://www.michionline.org/resources/Glossary/S/shigin.html Good glossary of Japanese art forms and associated terms. Morice, David. The Adventures of Dr. Alphabet. New York: Teachers and Writers Collaborative. 1995. Good book for creative poetry writing activities. PBS.com . January 5, 2016. Japan: Memoirs of a Secret Empire. Public Broadcasting Channel series about the rise and decline of the Samurai culture in Japan. http://www.pbs.org/empires/japan/index.html Wikipedia. 2007. January 1, 2007. http://en.wikipedia.org Online encyclopedia of definitions for glossary terms. This site is good for basic information but should be confirmed with a second source.

14 PARKING AND DIRECTIONS FOR THE FINE ARTS CENTER’S CONCERT HALL and RAND THEATER School Bus Parking: Students should be dropped-off at Haigis Mall off of Massachusetts Avenue. University Security will direct buses to an appropriate parking lot during the performance (typically by the football stadium). PLEASE BE SURE YOUR BUS DRIVER KNOWS THAT ALL PER- FORMANCES LAST APPROXIMATELY 1 HOUR AND THEY SHOULD RETURN A FEW MINUTES BE- FORE THE ANTICIPATED END TIME. If drivers are not with the buses, they may miss the radio call from security asking them to return for pick-up, resulting in unnecessary delays returning to your school. Individual cars: If necessary, individuals may drop-off students with a chaperone at Haigis Mall (you will be directed by security to the mid-point turn of Haigis Mall – see map) prior to parking. We rec- ommend parking in the Campus Center Parking Garage to avoid searching for a me- tered space. It is a five-minute walk to the Concert Hall. All other available parking during weekdays is at meters. Available lots and pricing (current as of 1/1/07) are listed below: Parking in the Garage is available to our patrons at a discounted rate of $1. To receive this rate you MUST give the Garage attendant a parking pass. To receive your pass, please call our office to let us know that you will be arriving by car. Parking passes are sent with the invoices. Please call (413) 545-2116 if you didn’t receive one. Parking meters are enforced Monday – Friday, 7AM – 5PM. Meter rates are $1.00 per hour. Parking Garage – near Campus Center, across from the Mullins Center off Commonwealth Avenue Lot 34 – Behind Visitors Center with 3, 5 & 10-hour meters available Haigis Mall – 2 hour maximum on meters Lot 62 - Adjacent to Fernald Hall with 3 hour maximum on meters, limited spaces available. From the North: (Vermont, Greenfield) I-91 south to Route 116. Follow signs on 116 “To the University of Massachusetts.” Exit ramp leads to Massachusetts Avenue. Turn left (east) on to Massachusetts Avenue toward the campus. Continue through one light and watch for Lot 34 by the Visitors Center on your right and the en- trance to Haigis Mall on your left. From the South: (Springfield, Holyoke) I-91 north to Route 9. Turn right (east) on Route 9 over the Coolidge Bridge and through Hadley. Turn left (north) on Route 116 (across from Staples) heading toward campus. Turn right at first exit at “University of Massachusetts,” then bear right onto Massachusetts Avenue toward campus. Continue through one light and watch for Lot 34 by the Visitors Center on your right and the entrance to Haigis Mall on your left. From the West: (Northampton, Pittsfield) Route 9 east through Northampton and over Coolidge Bridge. Fol- low remaining directions under “From the South”. From the East: (Belchertown, Ludlow) North on Routes 21, 181 or 202 to Route 9 into Amherst. Right on to North Pleasant Street (main downtown intersection), north through center of town. Turn left at Triangle Street (Bertucci’s Restaurant on your right), rejoining North Pleasant Street. To reach Lot 34 and Haigis Mall continue on main road, which becomes Massachusetts Avenue. Haigis Mall will be on your right, Lot 34 on your left.

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15 For Concert Hall, Rand Theater and Bowker Auditorium – Patrons traveling by car are encouraged to park in the parking garage. Discounted parking is available in the garage for $1. A parking permit is required for discounted parking in the garage. Please call the Arts & Educational Programs Office if you require permits at (413) 545-2116. All other parking on campus is at available meters at the rate of $1 per hour. Parking is enforced Monday – Friday, 7AM – 5 PM. Buses will drop-off students as indicated on map. Buses will be given parking instructions by Campus Security.