[SATURDAY, MARCH 26, 2011 ] THE ARTS IN YOUR CLASSROOM [9] @ Montalvo Arts Center CAPTURING CREATIVITY 15400 Montalvo Road, Saratoga 8:30am – 4:00pm Presented in collaboration by Montalvo Arts Center, the Santa Clara County Office of Education, and the Lurie College of Education at San José State University Shape Flow and Story Development – Move, Feel, Articulate and Write with David Popalisky Santa Clara University, Dept. of Theatre and Dance [email protected] Target Grade Level: Fifth Grade

DESCRIPTION: This lesson integrates shape flow dance experiences with opportunities for students to write and develop simple story lines based upon kinesthetic participation and experiences watching dancers moving in shape flow. This lesson investigates dance as shapes flowing through space and time. Just as a story needs to create a through line of action and detail, shape flow, when sensitively felt and carefully observed, moves through nuanced paths that create a compelling whole. Shape flow is a defined shape that moves through space evolving in relationship to what came before and will follow after. By having students move back and forth between quick writing activities and guided movement experiences they can immediately capture in writing the creative choices they have just made or witnessed in their peer’s movement. This translation from a felt bodily awareness to written language will facilitate a creative capture of expressive details based on authentic experience and ultimately enrich their writing. Shapes can be considered as static three-dimensional objects, yet in choreography the body moves through shapes that continually evolve though space over time. Consider how a flip book creates the illusion of motion with static pictures. Students have to observe, react and immediately capture that reaction in a physical shape. The integrated activity of using language to quickly capture this kinesthetic experience allows students to discover fresh strategies for inventing language and enriching their description of character actions. Understanding shape flow through experience awakens students to shape flow around us at all times (from the slow growth of plants, the moderate tempo of a cloud’s unfolding, to the quick explosion of a popcorn kernel). It teaches them to write about development of a dramatic action story from a bodily felt point of view.

LEARNING GOALS/EXPERIENTIAL GOALS: In this lesson students will: • Discuss the concept of shape flow with two-dimensional drawings. • Learn a simple phrase and break it into smaller component parts. • Write brief and immediate impressions of dancers moving. • Write a description of a sports action, perform the sports based movement phrase with both percussive and sustained dynamics, then describe the sports action again. • Learn about photographer Eadweard Muybridge’s 1880’s experiments with sequential photographs of humans and animals in motion, which led to the creation of film. • Split into groups where Group #1 cooperatively creates an evolving group dance and Group #2 writes impromptu descriptions or imagined stories suggested by the dance flow though space. • Spontaneously improvise shapes that relate to and extend their collaborators shapes. • Discuss and write about their experiences from both an insider performer perspective and from the external observer perspective.

Download additional copies online at www.montalvoarts.org/learn/study_guides 1 | P a g e MATERIALS: • colored markers, paper, pencils

VOCABULARY: • directions (six cardinal): • diagonals • levels o up • tempo • intersection o down • shape flow • internal perspective o front • canon • external perspective o back • dynamics • paths in space o side right • degrees of force o side left • axial movement

PROCEDURE: Of all the exercises included in this workshop 1) through 9) could comprise Part I of this lesson and, with the repeat of a simple warm-up, 10) through 18) could comprise Part II. PART I 1. Do a simple warm-up with reaches of the arms and legs in the six cardinal directions. Vary the dynamics by exploring balls of different weights in the same directions. What degrees of force are required to throw a ping pong ball versus a basketball. 2. Discuss the concept of shape flow. Solicit answers that suggest examples from nature (clouds) and human action (sports). Consider different directions and degrees of force, for ex. a rocket thrust upwards in a powerful arc and snow floats down in gentle swirls. Demonstrate the concept of “shape flow” with two-dimensional drawings in a grid with each square a related progression for the prior one (this can be a simple cartoon, ex. a curled line the gradually uncurls and folds the opposite direction). 3. Have students write down a simple action of reaching to catch a ball and then throwing it in the forward direction (eg. an outfielder catching a fly ball and throwing to home plate). 4. Lead the group in this simple action of reaching up to catch a ball, returning down to a bent leg grounded position and then throwing the ball forward stepping to the front. 5. Break up this action into twelve component parts as a way to “analyze” or see the shape in flow. The up gesture is fractured into four parts moving in that direction, the down gesture is fractured into four parts moving in that direction and the forward gesture is fractured into four parts moving in that direction. Perform this first in a percussive quality where each component part becomes a frozen shape on the beat. Again think of a flip book to imagine the separate parts that make up the shape flow. It can also be tried in a smooth, sustained flow which is harder to keep in rhythm. 6. Now have students write their description of this movement again after considering what they felt in experiencing this fractured shape flow action. 7. Develop this simple ball catch and throw shape flow by creating a canon where different groups start on part one, five, and eight. (a musical term- a canon has several dancers start at different places in the sequence at the same time). Change tempos, and/or directions to manipulate this simple compartmentalized shape flow; the look should resemble a strobe light illuminating motion. Let some of the students watch the completed study as others perform. This exercise develops the choreographic potential of a simple shape flow dance movement. 8. Show and discuss how in the 1880’s Eadweard Muybridge’s experimented with sequential photographs of humans and animals in motion. Note how he photographed his subjects from various angles (directional viewing). These early photographic studies were the direct antecedent of motion pictures. His exploration of human motion in space presented a new way to perceive and study humans in motion, ultimately influencing the art of dance as well as all life subsequently captured through film. 9. Working in small groups students should describe another action and then build their own shape flow dance using the process outlined above with the throwing action. This new action can be based on a literal action or an imagined action. Once again have them return to rewrite the description of the action after having felt it in their moving bodies. Share both the new “dance” and written description with the class.

AiYC9: Shape Flow & Story Development with David Popalisky 2 | P a g e PART II 10. Using Eadweard Muybridge’s experimental photographs of humans and animals in motion point out how photos that are three or four apart in the series are noticeably different yet by observing each intervening photograph the movement flow can be clearly seen. 11. Do a simple improvisational where each student uses axial movement, (movement around one’s axis such as rotational swings and extensions). Have them break the motion into many small shapes that progress successively along the path of the larger movement. Think what movement in a strobe light looks like. Perhaps bring in a strobe light to demonstrate this effect. Discuss how the darkness between each pulse of light makes invisible the little slivers of movement that connect the whole. 12. Pair off students – one starts as a mover and the other as a writer, then they will switch. Considering the improvisation in 11) have the mover make a shape and hold it for 5 – 10 seconds. The writer describes the action in 5 - 10 words (the Twitter era). Then the mover develops the movement action (shape flow) a small amount yet with some noticeable change (eg. perhaps the shape rotates, lowers a weight, begins to swing a bat, a smile emerges, a hand shape compresses). Each change of shape requires another 5 – 10 descriptive words by the writer. Do this up to ten times and then change roles. A later writing development could take this evolving description of action and create a one – two paragraph story from it. Lead the Follower – Shape Flow through Space. This exercise is immediately engaging, fun and challenging at the same time. This exercise works with people of various physical restrictions as it could be miniaturized for hands or arms. In a large space (can be done successfully outdoors) divide the class into groups of approximately five. The leader of each group makes an initial three dimensional abstract body shape. The follower runs quickly in front of this person and creates a related shape that reveals where the first shape might actually go next in space. For example, if it begins to twist to the right it might continue in that direction and descend until the limits of the body suggest it take a new shape and direction. The remaining dancers follow similarly, the original first person as part of the group continues the evolving shape forward. The emphasis is on spontaneity and a quick transition from shape to shape. The flowing group shape will rise and lower in space, expand and contract, and reveal a clear three-dimensional related path of movement through the space. The resulting “dance” should look like the action unfolding in a flip book. Direct this shape flow to follow a certain path (from one end of the room to the other and back again) for a certain distance or allow it to meander at random. 13. Have each student then write to answer these prompts. • What did you see (the shape of the person you had to follow)? • What choice did you make to develop or further the shape flow? • What did you feel while making and holding the shape? (It may be a big reach out or a tight, low, ball shape on the ground.) By answering these prompts they will need to capture immediately the creative choices they made and the felt sense of their various movements, including quickly running from the back of the line to the front new lead shape. 14. Now split the class into several groups of movers (4 - 5 students) with a different 4 – 5 who are paired to watch their shape flow in space. Let the shape flow develop along a path (set or random) for about one minute, then have the writers quickly invent a story, interpretation or description of the action. It may resemble a snake slithering, an animal reaching up to grab prey, or someone in a long slow fall to the ground holding a package. Once again switch the roles of the two groups. • Do any of the shape flows suggest a larger story? 15. Start the shape flow exercise again with entire class and direct the shape flow groups on paths that will intersect, creating the additional task/problem of interacting and spontaneously accommodating another group in shape flow. (This works well with four groups, one in each corner that have to cross to the opposite corner and return, causing at least two interactive moments with other groups). Even though students may be moving over and around dancers from another group they need to stay concentrated on their group’s shape flow.

AiYC9: Shape Flow & Story Development with David Popalisky 3 | P a g e 16. Finally have the entire group write one last time about the added difficulties of intersecting with another shape flow. • How does this complicate the descriptive story? • What problems are presented and solved? • What fun accidents or unique solutions occurred? 17. Conclude by having a group discussion about the entire process. What was the experience from an insider perspective? Discuss the look of the dance from the outside. Following are some questions to prompt discussion: Internal: • How did you sense the shape flow in the group dances? • What contributed to your decision process in choosing shapes? • Did you feel restricted, inspired or both? • How did you relate to the group? • How did you solve the problem of intersecting with another group? Was it difficult, surprising, fun? External: • What did your eyes see in the dances? • Did you edit or add up what you saw to create a composite like an old fashion flickering movie? • How did groups solve problems? • Was any section especially visually interesting or did it generate a feeling response? • Could you see the shape flow?

VAPA DANCE STANDARDS: Artistic Perception 1.1 Demonstrate focus, physical control, and coordination in performing locomotor and axial movement. 1.3 Demonstrate a greater dynamic range in movement utilizing space, time, and forces/energy concepts. 1.4 Incorporate the principles of variety, contrast, and unity with dance studies. Creative Expression 2.2 Invent multiple possibilities to solve a given movement problem and analyze problem-solving strategies and solutions. Aesthetic Valuing 4.1 Use dance vocabulary to identify and support personal preferences for dance observed or performed. 4.3 Identify the special and challenging characteristics of the experience of dancing for an audience. Historical and Cultural Context This lesson draws on Eadward Muybridge’s exploration of human motion in space as perceived through photography.

PRESENTER BIOGRAPHY: David J. Popalisky is an Associate Professor in the Dept. of Theatre and Dance at Santa Clara University where he teaches modern dance, dance history and choreography. Former artistic director of DaaPo, based in New York City, David has choreographed, performed and taught throughout the United States, in Italy and Korea, including recent California performances in the Brand Library series (Los Angeles) the West Wave Festival and Vision Series (San Francisco) and the Monterey Dance Festival in both 2005 and 2010. In 2009, he created Sculpted Chaos for the Wing and a Prayer Dance Company in Reno, NV and presented Go , a trio on the theme of migration in nature for Dancing in the Park, in San Francisco. Continuing that theme in September of 2010 he premiered Migrations at SCU, an hour- long outdoor performance that traversed the entire campus. Two recent full evening works include The Fatherhood Project , a celebration of fathers everywhere and Barred from Life , a multi-media performance work that explores the human experience of wrongful conviction, performed throughout California, in Milwaukee, WI and Chicago, IL. David has taught dance in Belize, Italy and Korea and has worked as a Master Dance teacher for the Bay Area California Arts Project, other summer arts workshops and been a repeat presenter for Arts in Your Classroom. David is married with two sons, aged sixteen and twenty - four, which inspired “Dads Don’t Dance,” three summers of workshop for dads exploring issues of fatherhood through dance.

AiYC9: Shape Flow & Story Development with David Popalisky 4 | P a g e DANCE MUSIC DISCOGRAPHY: by David J. Popalisky Artist CD / Tape Title Comments: Youssou N’Dour The Guide (Wommat) African pop - excellent tenor voice, upbeat “ “ Eyes Open, Set, Joko All very good Pat Metheny Life Talking, First Circle Guiter foundation, wonderful instrument blends and Latin influences Cirque Du Soleil Nouvelle Experience and Allegria Good variety of rhythms Terry Riley A Rainbow in Curved Air Spacious, minimalist music used for Dance Team’s Ball dance Salif Keita Folon ... The past, Moffou African Pop - upbeat JellyBean Rocks the House, Just Visiting this Planet Upbeat house music. Sting Ten Summer’s Tides (?) Jazz rock fusion Peter Jones* Music For Movement 1-4, The Fifth Instrumental and synthesized, various rhythms, lots of Movement percussion, excellent *Available by writing Peter Jones at PO Box 294, South Hadley, MA 01075 Jon Scoville Wide Life Instrumental and synthesized, various rhythms, sweet melodies “ “ Palmistry Inventive two hand piano shorts Dan Byron Bug Music Fun, upbeat short jazz works Yo Yo Ma etc. Appalachian Journey Excellent Deep Forest Deep Forest World sounds and synthesized Turtle Island String Quartet SkyLife Modern String Quartet - great rhythms John Adams Ear Box Brilliant career compendium Les McCann Listen Up Jazz – up tempo/ballads Gypsy Kings Compas Flamenco Fusion – energized Blue Man Group Audio Driving percussion

DANCE TEXT BIBLIOGRAPHY: by David J. Popalisky Videotapes Palm Play and Step Style available through UC Berkeley Extension Media Center (415) 642-0460 Sam Hernandez Abstract Imagist Used for sculpture studies. Santa Clara University Art Dept. Jamake Highwater Dance: Rituals of Experience Dance History, great photos Anne Livet (ed) Contemporary Dance Coffee Table text on artists from Merce Cunningham, Judson Church choreographers, great photos Barbara Morgan Martha Graham/ Sixteen Dance in Great photos of Graham and modern dance style. Photographs Wynn Kapit/ Lawrence M. The Anatomy Coloring Book Fun and thorough approach to anatomy Elson Andrea Watkins/ Priscilla Dancing Longer Dancing Stronger, Good text on injury prevention and basic Clarkson anatomy Alma M. Hawkins Moving from Within A New Method for Dance Making, Artculates the creative process in making choreography, applicable to all ages Elizabeth Hayes Dance Composition and Good basic on composition principles and how to put on a Production dance concert. Murray Louis On Dance Fun essays on dance and life by one of the great modern dancers. Mary Joyce First Steps in Teaching Creative Classic text in how to teach creative movement. You’ll Dance for Children recognize the locomoter steps here. Contact Mayfield Publishing Co. 1 (800) 433-1279, ask for Bookstore Services. Richard Kostelanetz (ed) Merce Cunningham / Dancing in A good history of Cunningham and his work. Space and Time Chuang Tsu Inner Chapters A New Translation by Gia Fu Feng and Jane English, Random House, NY Stephen Nachmanovitch Free Play wonderful text on process on creativity in all art forms.

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