In order for students to receive the full benefit of understanding the arts, Coppélia they must not only attend the event or exhibition, but also This Teachers’ guide is presented by engage the work with curiosity and artistic Ballet Arts, Inc. Jackson, TN awareness so that it 731-668-7353 becomes a learning experience. This document will help Ballet Beginnings you prepare students to Man has danced since the beginning of time. It was used as a form of religious attend the selected expression and celebration. It later became a medium of entertainment and recreation. event or exhibition Dance is considered the oldest to the arts and a forerunner of the other performing with an understanding art forms, such as music and drama. In dance we find elements of many other art forms: of the elements of the poetry, literature, painting, sculpture, design, mime, and movement. particular art form, its The roots of ballet come from public celebrations such as parades, masques, and themes, its history, and pagents of Italy and France in the 15th, 16th and 17th centuries. When Henry ii of France the way it relates to other subjects. Also married Catherine de Medicis in 1533, she brought to France the Italian balleto, where it included are special became the ballet. Louis XIV was a patron of the arts, and himself a dancer in court ballets. activities, which allow The became the home for the French ballet, and from that time, terminology for students to engage in ballet technique was given in the French Language (see the accompanying Glossary of their own creative Ballet Terms). processes in regards to In the early eighteenth century, ballet became a profession, with the founding of the selected arts event. schools, theaters, paid performers, and rival aesthetic movements. In Russia, at this same time, the tsars wanted anything that would imitate European court manners. Russia The Center for Arts imported dancing masters, choreographers, and dancers throughout the 18th century. Education advocates for the arts in Frenchman established a Russian classical school of dance, which is now education and known as the Kirov Ballet. Petipa staged many ballets, and they came to form the Western practices its idea of Russian theater art, especially those ballets set to the music of Tchaikovsky, such as philosophy of aesthetic “Sleeping Beauty” and ”. arts education through In the years that have passed since then, ballet spread to North America and its many programs around the world, many talented individuals made their mark as performing artists or including Artists in the choreographers. Today in the United States, three major companies dominate. They are the Schools, Focus and Joffrey Ballet (1960), American Ballet Theater (1939) and New York City Ballet (1934). Partner Schools, the The many professional ballet and dance schools have become the source of fresh ballet Aesthetic Education Teaching Institute, talent for companies throughout the Western World. Ticket Subsidy, Wolf Trap Early Learning Music by Leo Delibes Through the Arts, Senior Arts, Project SOAR, and the Family Choreography adapted after Marius Petipa and George Balanchine Arts Series. . Funded in part by the Jackson Arts Council. Page 2 CAE

Act III Coppelia The day of the Festival of Bells begins. Village couples unite in holiday dress and dance Act I before the Mayor. The bells are rung for Dawn, Many years ago in a small village in the middle Prayer, Work, War, Peace, Desire and other golden of Europe, there lived a doll maker named Dr. Coppelius. hours. It is a day of celebration. One fine summer morning, Dr. Coppelius Swanilda and Franz are to be married. Dr. emerges from his workshop to admire his latest creation, Coppelius is upset about the damages to his Coppelia. There she sits in his window – his workshop. Swanilda offers to give him her bag of masterpiece, so lifelike, so beautiful. No one would ever gold, but the mayor gives the old doll maker a bag of suspect she’s only a doll. She sits motionless with her gold to make amends. book on the balcony of Dr. Coppelius’s toyshop. Coppelia, each for a different reason, fascinates Swanilda and Franz, young lovers about to be married. The entire village is curious about Dr. Coppelius and what goes on in his mysterious workshop. They mock the eccentric old man, but they are also somewhat afraid of him. The mayor of the village proclaims the next day the Festival of the Bells. Any young couple married on that day would be given a bag of gold. If a young woman is unsure of her lover, she can listen to the stalk of wheat. Only if her lover is true will she hear a reply. Swanilda does not hear a reply, so she flees from Franz and the villagers in her disappointment. Later that evening, old Dr. Coppelius decides to walk around the village square. He locks his workshop door and begins his walk, not noticing he has dropped his key. Swanilda and her friends find the key and secretly let themselves into his toyshop.

Act II Swanilda and her friends are delighted to find mechanical wind-up figurines and Coppelia. When Swanilda tries to greet Coppelia and gets no response, she sees that Coppelia is only a doll! Returning from his walk, Dr. Coppelius furiously chases the girls away with the exception of the hidden Swanilda. Following love as well as curiosity, Franz climbs through the window. He is soon overwhelmed by Dr. Coppelius’s magic potion. The doll maker believes he has brought Coppelia to life by drawing energy from the sleeping Franz. Swanilda, dressed in Coppelia’s clothes, dances as Dr. Coppelius directs. Coppelius is plunged into despair when he finds out that Coppelia is really Swanilda.

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Tennessee English/Language Arts Curriculum Standards P Primary – K-3 s Anchor Standards for Reading Integration of Knowledge and Ideas 7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitavely, as well as in words. n

. Anchor Standards for Writing Text Types and Purposes

o 3. Write narratives to develop real or imagined experiences or events using effective technique, well i -chosen details, and well-structured event sequences. Production and Distribution of Writing t 4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Range of Writing

c 10. Write routinely over extended time frames and shorter time frames for a range of tasks, purposes, and audiences.

e Anchor Standards for Speaking and Listening Comprehension and Collaboration 1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. 2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitavely, and orally. Presentation of Knowledge and Ideas nn 5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.

o Music Standards

3.2 Improvise a developmentally and/or grade-appropriate rhythm using body percussion, pitched, and/or non- pitched instruments.

C 4.1 Create a rhythmic composition. 8.1 Experience and recognize elements of music as they relate to other art disciplines. 8.2 Examine ways in which music interrelates with other academic disciplines. 9.1 Recognize, describe, and perform music of various cultures and historic periods.

Tennessee English Language Arts Standards Elementary – 4,5 m

Anchor Standards for Reading Integration of Knowledge and Ideas

u 7. Integrate and evaluate content presented in diverse media and formats, including visually and

l quantatively, as well as in words.

Anchor Standards for Writing Text Types and Purposes u 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured sequences. Production and Distribution of Writing 4. Produce clear and coherent writing in which the development, organization, and style are c appropriate to task, purpose, and audience. i Range of Writing 10. Write routinely over extended time frames and shorter time grames for a range of tasks, purposes, and audiences

rr Anchor Standards for Speaking and Listening Comprehension and Collaboration 1. Prepare for and participate effectively in a range of converations and collaborations with

u diverse partners, building on others’ ideas and expressing their own clearly and persuasively. 2. Integrate and evaluate information presented in divers media and formats, including visually, quantatively, and orally.

C Music Standards 3.2 Improvise a developmentally and/or grade-appropriate rhythm using body percussion, pitched, and/or non- pitched instruments while keeping a steady rhythm. 8.2 Investigate and compare ways in which music interrelates with other academic disciplines 9.1 Classify and/or perform music of various cultures and historical periods.

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C Tennessee English Language Arts Standards Middle Grades 6-8 Anchor Standards for Reading Integration of Knowledge and Ideas 7. Integrate and evaluate content presented in diverse media and formats, including visually and u quantitavely, as well as in words.

Anchor Standards for Writing rr Text Types and Purposes 3. Write narratives to develop real or imagined experiences or events using effective technique, well -chosen details, and well-structured event sequences. Production and Distribution of Writing i 4. Produce clear and coherent writing in which the development, organization, and style are c appropriate to task, purpose, and audience. Range of Writing 10. Write routinely over extended time frames and shorter time frames for a range of tasks, purposes, and audiences. u

Anchor Standards for Speaking and Listening

Comprehension and Collaboration l 5. Prepare for and participate effectively in a range of conversations and collaborations with diverse u partners, building on others’ ideas and expressing their own clearly and persuasively. 6. Integrate and evaluate information presented in diverse media and formats, including visually, quantitavely, and orally.

Presentation of Knowledge and Ideas m 5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.

Music Standards C

3.2 Create a non-notated rhythmic variation to a given short rhythmic pattern. 7.2 Evaluate the quality and effectiveness of music performances. o 8.1 Explore the relationship between music and other art disciplines. 8.2 Explore the relationship between music and other academic disciplines.

9.1 Explore the characteristics of music genres and styles within their historical and nn cultural settings. e c t i o n s

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It’s Alive! It Walks! It Talks! It E Orchestrating the Dance Dances

Language Arts Music Brainstorm ideas with teachers and A TLW demonstrate that both sounds and peers. movements can form rhythmic patterns. Describe setting characters and events in detail. C Warm-up: Read a simple sentence to the class in a monotone. Read it again TLW create his own character from an H adding different rhythmic patterns to object brought from home. your voice each time. Vary the speed, tone, or energy level of your voice. Clap Materials: An object from home, I the rhythmic patterns. Discuss which pencil, paper, and an open space. patterns are more interesting and why.

Warm-up: Imagining their object N Teaching Activity: coming to life, students will write a 1. Invite students to form a circle. One description of the object’s personality, at a time, have each student speak their movements, style, voice, and habitat. G own mane in a rhythmic pattern of their choice. Ask the group to echo each Teaching Activity: have each student person. become his character and explore the 2. Have each student speak their following movements as the character: name and clap the rhythmic pattern. 1. Locomotor (traveling) A Encourage them, to explore different movements patterns. Again, have the group echo 2. Greeting of others as they their pattern. travel C 3. Have each student add a 3. Conversing with others through movement pattern to their rhythmic body language pattern. Encourage them to use 4. Performing daily tasks T different body parts. Again, echo the rhythm and the movement. Divide into groups of 3 or 4 and create 4. Invite students to get in pairs. Give a scene (defining the setting and I each student pair a simple sentence focus) with each of the developed about a character in Coppelia. Students characters interacting through create a rhythmic and movement pattern movement and the spoken word. V to their sentence. 5. Have the pairs take turns being the Closure: Each group will perform its I “orchestra” (clapping the rhythm) and scene for the rest of the class. After the “dancer”, dancing the rhythm. each performance, discuss how the students portrayed their character T Closure: through movement, and how they Discuss other rhythmic patterns that are a combined the different personalities to part of daily activities. Examples: the create their scene. I rhythm of the school bus, brushing teeth, eating, walking to class, running to class, watching television, skipping rope, E bouncing a ball, etc. S

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Emotions Through Motion

Language Arts T TLW Express a feeling through movement. E Materials needed: Several different emotional situations written on pieces of paper. Ex: angry with brother, lonely for A friend.

Warm-up: Discuss the different C situations in Coppelia in which the characters feelings were expressed H through their movement. Using many A Personal Story adjectives, describe various feelings and Curriculum Connection: the movements that coincide with each I Language Arts feeling. Example: anger-stamp, explode; fear-shiver, tremble, sad- slow, TLW write their own stories based on heavy, downward movements. N a dream they have experienced.

Activity: Warm-up: Engage students in a 1. Call out different emotions and ask G conversation about their own dreams. students to express the feelings. Encourage the students to explore Activity: different movement qualities as teacher 1. Students write their own dream calls them out. stories what might occur that could be 2. Invite students to get into “pairs”. Let A transformed into a character and or a each pair draw an emotion situation to place during a dream. “dance”. Remind them to have a 2. Illustrate a particular scene from beginning, middle, and an end to their C their story. dance. 3. Working in groups, act out a part of 3. Ask each pair to perform their their story with movement only- no “dance” for the rest of the class. Have T voices the observers try and determine the Closure: emotion situation from the movement. Ask students to share their stories with Closure: I the class. Let the students take the Discuss the various movements each stories home and share them with their group selected for it’s situation and how parents. Ask the parents to share a these movements conveyed the emotion V story about a particularly vivid dream. to the audience. Discuss ways we all move in relation to I how we feel at a particular moment.

Variation: Do the same exact T movement but with a different felling. How does this change the movement? For example, stamp your foot in anger, I and then stamp it with joy. Does your posture change? Does the placement of your head and arms in the movement E change? S Page 7 CAE

History and movement Compare and Define Music Kindergarten T Music Grade TLW move to the beat using TLW describe the differences between simple dances to relate music with two dances. geography. E Warm-up: Discuss with students the different types of dances (solo, duets, Activity: Using a globe or map, corps) before the performance point out France,. Read Ballet A Using the program as a guide, Beginnings to students and explain. Activity: TLW write descriptions of each dance Demonstrate plie and releve. TLW demonstrate and practice moving from C using musical terms-tempo, dynamics, releve to plie. meter, and tone color to compare and contrast two dances. Closure: TLW will move on the beat doing releve, then plie to one of H the selections. Contrasts I Be a Great Audience Music Music TLW demonstrate appropriate audience TLW recognize the difference in behavior. mood of contrasting pieces of music. N Activity: Teacher will read and discuss Warm-up: Children observe while “Student Behavior at a Live the teacher tosses a balloon in the air G Performance”. and allows it to float to the ground. Closure: After performance, TLW Activity: Have children toss their state specific example of appropriate balloons in the air and observe as it behavior. floats to the ground. Duplicate the movement with their bodies. Do Listen - Listen several times. Ask children to keep A Music their balloons in the air while TLW maintaining their own floating, demonstrate through sustained movement. Use different C movement same and different body parts to keep the balloon in the sections in larger musical forms. air. Come to a soft slow ending. T Activity: Pat rhythm of “A” section of “March”. TLW repeat rhythm. When Activity 2:TLW move on the beat to student s are familiar with the rhythm, “March”. Teacher directs movement I listen to March and identify rhythm each (i.e. pat knees, clap, tap ) as music time repeated. Listen again and pat the plays. Students pattern. rhythm each time it is heard. Students Closure: Discuss differences V will listen quietly to string section. between movements. Closure: Students will pat rhythm of I “A” section and march in place to “b” section. T I E S