presents
February 22 - March 12, 2021
(PHOTO BY DAVID TORRENCE) Thank you
LEADERSHIP SUPPORT PROVIDED BY:
UNDERWRITING SUPPORT PROVIDED BY:
Thomas A. Kooyumjian Family Foundation
ADDITIONAL SUPPORT PROVIDED BY:
Ameren Missouri Arts Council Cardinals Care National Endowment for the Arts Edward Jones Regional Arts Commission Emerson Mary Strauss Laura Kipnis and Sidney Goldstein Woodcock Foundation for the Appreciation of the Arts Contents
Click the title to move to that section or push the forward arrow to advance the slideshow. Section 1: About Evidence/ Ronald K Brown Section 2: About your teaching artists (Lisa and Angelica) Section 3: “Destiny” (1998) by Ronald K Brown Section 4: Dance and Music Section 5: Dance and Social Justice Section 6: Who are your Mentors? Section 7: What is it like to work as a professional dancer with Ronald K Brown? Section 8: Health: The importance of breathing in dance and in life Section 9: Keeping a Dance Journal Section 10: Resources Section 11: Standards SECTION 1: ABOUT EVIDENCE, A DANCE COMPANY
About Evidence, A Dance Company
(PHOTO BY ERNESTO MANCEBO) SECTION 1: ABOUT EVIDENCE, A DANCE COMPANY
Mission:
The mission of Evidence is to promote understanding of the human experience in the African Diaspora through dance and storytelling and to provide sensory connections to history and tradition through music, movement, and spoken word, leading deeper into issues of spirituality, community responsibility and liberation. SECTION 1: ABOUT EVIDENCE, A DANCE COMPANY
Founded by Ronald K. Brown in 1985 and based in Brooklyn, New York, Evidence, A Dance Company focuses on the seamless integration of traditional African dance with contemporary choreography and spoken word. Through work, Evidence provides a unique view of human struggles, tragedies, and triumphs. Brown uses movement as a way to reinforce the importance of community in African American culture and to acquaint audiences with the beauty of traditional African forms and rhythms. He is an advocate for the growth of the African American dance community and is instrumental in encouraging young dancers to choreograph and to develop careers in dance.
(EVIDENCE COMPANY IN COME YE BY RONALD K. BROWN, PHOTO BY DAVID TORRENCE) SECTION 1: ABOUT EVIDENCE, A DANCE COMPANY
Brown’s choreography is in high demand. He has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco and others. He choreographed Regina Taylor’s award-winning play, Crowns and won an AUDELCO Award for his work on that production. “I hope that when people see the work, their spirits are lifted. I am interested in sharing perspectives through modern dance, theater and kinetic storytelling. I want my work to be evidence of these perspectives,” says Brown.
Evidence now tours to some 25 communities in the United States and abroad. The company has traveled to Cuba, Brazil, England, France, Greece, Hungary, Ireland, Mexico, Senegal, Nigeria, South Africa and Canada to perform, teach master classes and conduct lecture/demonstrations for individuals of all ages. Evidence brings arts education and cultural connections to local communities that have historically lacked these experiences. Annually the company reaches an audience of more than 25,000. SECTION 1: ABOUT EVIDENCE, A DANCE COMPANY
About Ronald K. Brown Founder/ Artistic Director
(PHOTO BY DAN MERLO) SECTION 1: ABOUT EVIDENCE, A DANCE COMPANY
RONALD K. BROWN, raised in Brooklyn, NY, founded EVIDENCE, A Dance Company in 1985. He has worked with Mary Anthony Dance Theater, Jennifer Muller/The Works, as well as other choreographers and artists. Brown has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Dance Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theater of Chicago, Ballet Hispánico, TU Dance, and Malpaso Dance Company.
He has collaborated with such artists as composer/designer Omotayo Wunmi Olaiya, the late writer Craig G. Harris, director Ernie McClintock’s Jazz Actors Theater, choreographers Patricia Hoffbauer and Rokiya Kone, and composers (RONALD K. BROWN, PHOTO BY JULIETA CERVANTES) Jason Moran, Arturo O'Farrill, Meshell Ndegeocello, Robert Een, Oliver Lake, Bernadette Speech, David Simons, and Don Meissner SECTION 1: ABOUT EVIDENCE, A DANCE COMPANY
Brown is the recipient of the 2020 Jacob’s Pillow Dance Award. His other awards and recognitions include theAUDELCO Award for his choreography in Regina Taylor’s award-winning play Crowns, received two Black Theater Alliance Awards, and a Fred & Adele Astaire Award for Outstanding Choreography in the Tony Award winning Broadway and national touring production of The Gershwin’s Porgy and Bess, adapted by Suzan Lori Parks, arrangement by Diedre Murray and directed by Diane Paulus.
Brown was named Def Dance Jam Workshop 2000 Mentor of the Year and has received; the Doris Duke Artist Award, NYC City Center Fellowship, Scripps/ADF Award, John Simon Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Fellowship, a New York Dance and Performance “Bessie” Award, Dance Magazine Award, and The Ailey Apex Award.
Brown is Co-Artistic Director of RestorationART Youth Arts Academy Pre-Professional Training Program / Restoration Dance Youth Ensemble, and a member of Stage Directors & Choreographers Society.
(from Evidence website: https://www.evidencedance.com/about-us) SECTION 2: MEET YOUR TEACHING ARTISTS
Meet Your Teaching Artists Lisa Nicole Wilkerson and Angelica Edwards SECTION 2: MEET YOUR TEACHING ARTISTS Lisa Nicole Wilkerson Lisa is an award-winning actor, voiceover artist, writer and speaker. Her Broadway credits include Motown: The Musical, The Lion King, and the Tony Award-winning The Gershwin's Porgy and Bess. She is a Fred and Adele Astaire Award recipient for "Outstanding Female Dancer in a Broadway Show." In addition to Broadway, she has performed in multiple national tours and at numerous regional theaters. Earlier in her career, Lisa trained as a performing apprentice with Deeply Rooted Dance Theatre under Kevin Iega Jeff’s artistic direction, and later became a member of the Joel Hall Dancers Company and xodus dance collective. Lisa's voiceover credits include tv, radio, new media and industrial videos for companies such as Ford, AT&T, Blue Cross Blue Shield, and Children’s Flonase, as well as the video game Red Dead Redemption 2. Lisa voiced multiple documentary videos in the PBS American Masters UNLADYLIKE 2020 docuseries, and has narrated a wide variety of audiobooks. She has been a featured motivational speaker and/or the storyteller at venues across the country, including New York City’s historic Apollo Theater and the Learning Conference held annually in Orlando. She, also, teaches public speaking skills workshops for everyday people and professionals in various fields, and at all levels of the corporate ladder. SECTION 2: MEET YOUR TEACHING ARTISTS Angelica Edwards Angelica started her dance journey off and on from elementary school to the present. Studying dance in Pittsburgh pa., at Kasemon ballet , Selma Burke arts center, Point Park College, and the performing arts junior high and Highschool. Upon moving to Cleveland Ohio, she studied at Karamu arts center and then received a full Dance scholarship to The Ohio State University where she received a Bachelor of Fine Arts Degree. After graduation she joined the Cleo Parker Robinson Dance Company. Four years later she moved to New York and joined Ronald K. Brown Evidence Dance Company. She performed with many Choreographers while living in New York, Earl Mosley, Dianne McIntyre, Brigette Moore etc. She joined The Lion King on Broadway and is still performing with that company.. Grateful to God, family, and friends. Never Give Up, Persevere! SECTION 3: THE MAKING OF DESTINY
The Making of Destiny
“Upside Down” (PHOTO BY DAVID TORRENCE FROM EVIDENCE WEBSITE) SECTION 3: THE MAKING OF DESTINY
Ronald K. Brown’s evening length piece Destiny was created in 1998 after a three year collaboration with Mr. Brown, Rokiya Kone of the Ivory Coast, and her company Jeune Ballet d' Afrique Noire. This work established the company’s unique style of blending contemporary dance with traditional West African dances. As the title may suggest, the work strives to answer the question “Where are we going
and what is our destiny as a community?” (SABAR FROM SENEGAL, IMAGE FROM MUNTUWORLD.ORG) amid devastating loss and the chaos of trying to find a path forward. SECTION 3: THE MAKING OF DESTINY
The work begins with the premonition of community mourning. In this section, Mr. Brown incorporates a spiritual dance from the Ivory Coast (Cote d’Ivoire) called Noblesse. This is a dance traditionally done at funerals in the Ivory Coast. The word Noblesse refers to the finesse of the movement which Mr. Brown says adds a gentle sweetness to the somber mourning walk that is necessary for this section of the dance. Also present is movement from a social dance from Senegal called the Sabar. The grounded and weighted nature of this dance was also used to express the grief of not knowing who you will lose next in a community. This section concludes with the dancers coming together on stage to aid one of the male dancers in a show of solidarity. those who need it most.
In the next section “Upside Down”, the dance continues with frenetic energy driving the dancers towards their differing paths to a common destiny. Mr. Brown pulls from the more playful and aggressive side of the Senegalese Sabar seen at parties to help drive that energy and fire. This chaos is interrupted sporadically by moments of organized unity and focus brought by the reintroduction of Noblesse and spiritual dances from Guinea. Both dances from the Ivory Coast and Guinea prioritize a groundedness of the legs and center (or SECTION 3: THE MAKING OF DESTINY
viscera as Mr. Brown calls it) that is always active in its relationship to the floor as opposed to ballet where the focus is on pulling the body up and away from the floor. These moments of calm groundedness and almost blessing type ritual reinforce this theme throughout the work: that the thing that gives us focus and purpose is caring for one another and helping those who need it most.
(SABAR FROM SENEGAL, IMAGE FROM MUNTUWORLD.ORG) SECTION 3: THE MAKING OF DESTINY
Activity: Geography Challenge!
Can you match the dance to the country it comes from on the map? Write the correct letter next to the name of the country.
A. Noblesse
B. Sabar
C. Spiritual dances from Guinea SECTION 3: THE MAKING OF DESTINY
Activity: Writing
When you see the excerpt “Upside Down” from Destiny, write down what you see in your journal! Here are some questions to get you started.
1. Do you recognize any of the movements or shapes? Can you name them?
2. What does the music sound like?
3. Where do you see movement from Noblesse? What does it look like?
4. Where do you see movement from the Sabar? What does it look like?
5. What emotion do you think the dancers are portraying at the beginning? At the end? SECTION 4: DANCE AND MUSIC
Dance and Music
The way in which choreographers choose music to accompany their work can vary from artist to artist and project to project. Some choreographers prefer to find a piece of music that inspires them first, and then create a dance around that music. Others might prefer to have an idea of what they want to create and then find music that best suits that idea later in the process.
This was the case for Ronald K. Brown when he was creating the section “Upside Down” from his larger work Destiny. He knew that the main idea of this section would explore themes of identity, chaos, and struggle, so he then chose the song “Upside Down” (1976) by Nigerian musician and political activist Fela Kuti which explores similar topics of the African identity.
(FELA KUTI, PHOTO FROM BBC.CO.UK) SECTION 4: DANCE AND MUSIC
The music of Fela Kuti
Fela Kuti is most well known for creating a style of music called Afro-beat, which fused American blues, jazz, and funk with traditional African drums and beats. With his music, Kuti spoke out against the lasting impact of colonialism and corruption in Africa, particularly in Nigeria. He often talked about the struggle and chaos of finding self identity as an African when you do not even have your family name to hold on to. He addresses this topic in his song “Upside Down”. Take a look at some of the lyrics in this song.
(LENI SINCLAIR/MICHAEL OCHS ARCHIVES, VIA GETTY IMAGES) SECTION 4: DANCE AND MUSIC
Lyrics From “Upside Down”(1976) by Fela Kuti
English man get English name Everything dey under my nose American man get American name For African man outside don't see German man get German name Fillings boku road no dey Russian man get Russian name Land boku food no dey Chinese man get Chinese name Area boku house no dey For African man outside don't see People no dey bear African name I'm beginning to vex up for this land People no dey think African style I no to travel anywheree e People no know Africa great For African man outside don't seeeeeee e e SECTION 4: DANCE AND MUSIC
Activity: Intentional Speaking
After you read through the lyrics, try reading them out loud to yourself sitting down. Then, try reading it out loud standing up and answer these questions.
Does it feel different speaking while standing up?
Does any part of your body naturally move when you speak?
Where there any movements that you found yourself repeating? SECTION 5: DANCE AND SOCIAL JUSTICE
Dance and Social Justice
(Steven Washington and Ronald K. Brown performing “March” at The Joyce Theater in 1998) SECTION 5: DANCE AND SOCIAL JUSTICE
What is social justice and how can we dance it?
Social justice promotes fairness and equity in all aspects of society. In other words, fighting for social justice means wanting all people to have the same opportunities.
For Ronald K. Brown and his company Evidence, social justice is an important part of their mission as a company. Their goal is to use dance to respond to what is happening in the world, share stories and bring more awareness to African and African-American history. Mr. Brown states so simply that “Our liberation is connected. So if I'm not free, you're not free”. His response to social inequalities, whether based on race, gender, economic status, or some other reason, is always the same: Respond with love and not fear.
With this in mind, Mr. Brown responded to the violence against Black Americans in his work “March” created as a duet in 1995. The music for the work includes a version of the 23rd Psalm sung by Bobby McFerrin as well as speeches made by Dr. Martin Luther King Jr. about the value of a man’s life. This dance by Mr. Brown explores the question of the value placed on the life of a black person by society and is just one example of the way in which dance may respond to social trends and current events. SECTION 5: DANCE AND SOCIAL JUSTICE
Activity: Create A Dance Phrase
STEP 1: Read this speech and letter from Dr. Martin Luther King Jr.
Excerpt from Dr. Martin Luther King Jr.’s ”What Is Man?" Sermon at Dexter Avenue Baptist Church in Montgomery, Alabama, July 1954
“As I look at the economic and social injustices existing in our world, I plead for a church that shall be a fountainhead of a better social order. We can talk all we want to about saving souls from hell and preaching the pure and simple gospel, but unless we preach the social gospel our evangelistic gospel will be meaningless. Man is an animal with a material body, and he who overlooks this is overlooking an essential part of man's nature. Yet we cannot stop here. Man is more than an animal. Man is more than flesh and blood. Some years ago a chemist attempted to determine the worth of man in terms of material value. The results of the study revealed that in terms of the markets of that day man was worth only 99 cents in terms of material value. This simply means that the stuff of man's bodily make-up is worth only 99 cents. (I guess
(DR. MARTIN LUTHER KING JR., PHOTO FROM NYTIMES.COM) SECTION 5: DANCE AND SOCIAL JUSTICE
now that the standards of living are a little higher man is worth a little more). But is it possible to explain the whole of man in terms of 99 cents. Can we explain the literary genius of a Shakespeare in terms of 99 cents? Can we explain the artistic genius of a Michelangelo in terms of 99 cents? Can we explain the musical genius of a Beethoven in terms of 99 cent? Can we explain the spiritual genius of Jesus of Nazareth in terms of nighty nine cents? Can we explain the on going processes of our own ordinary lives in terms of 99¢. My friends there is something in man that cannot be calculated in materialistic terms. Man is a being of spirit.”
Excerpt from Dr. Martin Luther King Jr.’s ”Letter from a Birmingham Jail" April 16, 1963
“In a real sense, all life is inter-related. All men are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly. I can never be what I ought to be until you are what you ought to be, and you can never be what you ought to be until I am what I ought to be... This is the interrelated structure of reality." SECTION 5: DANCE AND SOCIAL JUSTICE
STEP 2: Go back and circle 3 to 5 words or images that you find particularly interesting.
STEP 3: For each word or image, create a movement that portrays that word
STEP 4: Arrange the 3 to 5 movements in an order you like and practice them in that order until they flow together.
STEP 5: Perform your short phrase! SECTION 5: DANCE AND SOCIAL JUSTICE
MAKE IT YOUR OWN!
Now you get to pick your own famous speech made by someone you find inspiring. Repeat the activity you just did with choosing words from the speech and make another short phrase to add to your first one. Once you put your two short phrases together, perform it for an audience!
Here are some suggestions of people and speeches to look at.
“The Hill We Climb” by Amanda Gorman (2021)
Malala Yousafzai speech at the United Nations (2013)
“What a gift John Lewis was” by Barack Obama (2020)
(AMANDA GORMAN AT PRESIDENT BIDEN INAUGURATION, PHOTO FROM USATODAY.COM) SECTION 6: WHO ARE YOUR MENTORS?
The Importance of Mentors Alvin Ailey was an important mentor to Ronald K. Brown.
(ALVIN AILEY, PHOTO FROM ALVINAILEY.ORG) SECTION 6: WHO ARE YOUR MENTORS?
WHAT IS A MENTOR?
A mentor is someone you look up to! They help guide you through tough decisions, teach you new things, and help you reach your goals. As a young man, Ronald K. Brown looked up to many artists who he still admires today. Some of his mentors include: New York based choreographer and artistic director of The Works, Jennifer Muller; the prolific French choreographer Maguy Marin; activist and poet Audre Lorde; and Alvin Ailey who was the founder of Alvin Ailey American Dance Theater and a pioneer of promoting African American dance in the US. While these artists may use different mediums or lived at different times, Mr. Brown states that they all share the talent of being courageous story tellers.
(JENNIFER MULLER, PHOTO BY TAKAO KOMORU) SECTION 6: WHO ARE YOUR MENTORS?
NOW IT’S YOUR TURN TO ANSWER SOME QUESTIONS ABOUT YOUR MENTORS!
1. Who do you look up to?
2. What do you like about them?
3. How could you be more like them?
4. How do they help you?
5. What makes them special?
6. Who inspires them? SECTION 7: WHAT IS IT LIKE TO DANCE FOR RONALD K. BROWN?
Lisa Nicole Wilkerson on Dancing for Ronald K. Brown
(PHOTO: GETTY IMAGES) SECTION 7: WHAT IS IT LIKE TO DANCE FOR RONALD K. BROWN? Reflections on working with Mr. Ronald K. Brown written by Lisa Nicole Wilkerson:
When I watched Mr. Ronald K. Brown’s choreography for the first time, my scope of what concert dance could be instantly broadened and brightened. Up to that point, I’d primarily studied and been exposed to ballet, tap, jazz and modern (Horton and Graham), but this movement touched me in a different way. In hindsight, I think it was because it incorporated nearly all of those styles, with the addition of soulful indigenous dance. While sitting in the audience, this movement quite literally spoke to my spirit. I felt it viscerally and was drawn to it. At intermission, I remember tearing open my playbill to see who choreographed what I’d just watched, and said to myself, “I don’t know who Ronald K. Brown is, but I want to dance with him one day.” I had no idea that day would come years later in a different city, and in the form of working in a Broadway show, for which he’d be the choreographer and select me as his dance captain. That distinction remains one of the great honors of my life. SECTION 7: WHAT IS IT LIKE TO DANCE FOR RONALD K. BROWN?
From working with and for him in that capacity, I got the chance to study and understand his work in a multidimensional capacity, because I needed to understand it for myself, as well as for the purpose of teaching and correcting others in our cast, who were singer-actors with little to no dance experience. And, I needed to be able to do so with confidence. So, I paid close attention to, both, how he moved and what he said about his movements. A foundational element I learned was that, to properly execute his work, it requires a clear understanding of what the movements are communicating, and then surrendering to that, as opposed to overdoing anything. When that is achieved (along with getting the steps right, of course), the energy in the movement is allowed to flow freely and uninhibited, and it always feels good. It’s gratifying, challenging and fun, and I think onlookers feel that, too.
Ron utilizes indigenous dances from various African, Afro-Cuban and other cultures that he has studied, and combines them with contemporary dance to create a vocabulary (e.g., the slip, the hover) and aesthetic all his own. It’s rhythmic, grounded, athletic and is always “speaking.” SECTION 7: WHAT IS IT LIKE TO DANCE FOR RONALD K. BROWN?
As with many indigenous dance forms, Ron rarely teaches to counts. He shows you what he wants, which further supports the need for people studying his work to pay attention to what he’s doing and how he is doing it. He works hard and is very generous, in that way. If he sees someone trying and not getting it, he will not give up on that person, but, instead, continue to show that person the movement. When he sees someone executing the movement as intended, he becomes inspired, and a beautiful and fun symbiotic exchange (CAST OF “PORGY AND BESS”, PHOTO BY MICHAEL J. LUTCH) occurs, that is infectious. SECTION 7: WHAT IS IT LIKE TO DANCE FOR RONALD K. BROWN?
In the Broadway show The Gershwin’s Porgy and Bess, Ron’s choreography helped to create and express an atmosphere indicative of the time and place story was set in, as well as the tone of each scene that required movement. For authenticity, he used his knowledge of the people of that culture — in this case, the Gullah people — by incorporating, both, movements specific to their culture, as well as other choreography that helped to indicate their culture. And, he did so to critical acclaim. The show won a Tony Award for Best Revival, and he won the Fred and Adele Astaire Award for Outstanding Choreography.
Ron’s work is beautiful, soul stirring and timeless. I respect him deeply and will always be immensely grateful to have the opportunity to do his work. SECTION 8: PAY ATTENTION TO YOUR BREATHING
Pay Attention to your Breathing SECTION 8: PAY ATTENTION TO YOUR BREATHING
The importance of breathing in dance and in life.
Getting oxygen to your muscles through breathing is always important but it becomes vital when you are dancing, because the more you move, the more oxygen you need. However, dancers often forget to breath enough because they are so focused on getting the movement correct. But, if you practice and remember to use your breath when you dance, you will find that moving becomes easier and less forced. Here is a breathing exercise to try at home! SECTION 8: PAY ATTENTION TO YOUR BREATHING Breathing Exercise:
1. Start by exhaling through your mouth. You can 4. See if you can increase the length of each inhale place your hands on your abdomen to feel your and exhale by one or two counts. Eventually, you abdominals contract. might increase the exhale to a count of eight.
2. Inhale through your nose, with your mouth 5. Then add a one-count pause at the end of each closed and your tongue resting on the roof of your inhale and at the end of every exhale. Slowly mouth, its tip behind the front teeth. Move the back increase that pause to four counts as you get more of one of your hands to your back ribs and feel them proficient. expand (don't be concerned with keeping the belly tight; allow it to expand naturally). 6. Next, try breathing and walking. Walk three steps on your inhale and three on your exhale to start; 3. Begin to count to four in each direction of the after a while you may be able to walk five or six breath. steps on each inhale and exhale.
(Breath Exercise from “Learning to Breathe from the Diaphragm for dancers” DanceTeacher Magazine) SECTION 9: KEEPING A DANCE JOURNAL
Keeping a dance journal
When you keep a journal you can look back on the experiences that helped you grow as a dancer. This can be a place to make notes of thoughts about dance, people you meet who influence you, performances that touch you, as well as keeping your thoughts about your experiences in this program. Keep a journal with you in all of your classes to write down what you liked or would want to learn more about and improve. Write down questions you have for your teachers and take note of their answers. Use the same journal to complete the activities in this guide and any thing that your teacher talks about that you want to remember. You never know when information you learn know could help you in the future. SECTION 10: RESOURCES
Resources
WEBSITES: Official Evidence website that gives information on the mission and history of the company, as well as current information about touring shows and education and outreach opportunities. https://www.evidencedance.com
BOOKS: Dance, Human Rights, and Social Justice: Dignity in Motion, edited by Naomi M. Jackson, Toni Samantha Phim, Scarecrow Press, 2008. Grades 9-12 Learning Senegalese Sabar: Dancers and Embodiment in New York and Dakar, by Eleni Bizas, Berghahn Books, Incorporated, 2014. Grades 9-12. Fela: The Life And Times Of An African Musical Icon, by Michael E. Veal, Temple University Press, May 19, 2000. Grades 9-12.
ONLINE ARTICLES: The Legacy of Fela Kuti’s Music of Resistance: Hear 15 Essential Songs by Jon Pareles, The New York Times, June 10, 2020. Kyle Abraham’s Political Choreography, by Joan Acocella, The New Yorker, December 26, 2016 Devotion: Star turns at the Alvin Ailey, by Joan Acocella, The New Yorker, December 30, 2013. SECTION 11: STANDARDS ADDRESSED
Standards addressed
National Core Arts Standards for Dance (Dance Anchor Standards) Anchor Standard 1: Generate and conceptualize artistic ideas and work. Anchor Standard 2: Organize and develop artistic ideas and work. Anchor Standard 3: Refine and complete artistic work. Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Anchor Standard 6: Convey meaning through the presentation of artistic work. Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work. Anchor Standard 9: Apply criteria to evaluate artistic work. Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding SECTION 11: STANDARDS ADDRESSED
Standards addressed Missouri Show-Me Performance Process Standards (Students in Missouri public schools will acquire the knowledge and skills to): 1.5 comprehend and evaluate written, visual, and oral presentations and works
1.10 apply acquired information, ideas and skills to different contexts as students, workers, citizens, and consumers 2.1 plan and make written, oral, and visual presentations for a variety of purposes and audiences 2.4 present perceptions and ideas regarding works of the arts and humanities
2.5 perform and/or produce works in the fine and practical arts SECTION 11: STANDARDS ADDRESSED
Standards addressed Missouri Show-Me Knowledge Standards (Communication Arts): CA4 writing formally (such as reports, narratives, essays) and informally (such as outlines, notes, etc.)
CA6 participating in formal and informal discussions of issues and ideas
(Fine Arts) FA1 execute original or existing artistic dance movement or works of art using skills of dance FA2 know the principles and elements of different art forms, applying those principles, structures, and processes of dance FA3 demonstrate critical and analytical thinking skills in the artistic response to dance, using the correct vocabulary and terminology to explain perceptions and evaluations of works in dance, music, and theatre
FA4 relate and transfer dance and movement experience to other disciplines and knowledge FA5 connect and compare dance from different cultures and historical time periods SECTION 11: STANDARDS ADDRESSED
Standards addressed Missouri Show-Me Knowledge Standards (Health/Physical Education): HP2 practice principles of physical and mental health
HP4 practice personal fitness and a healthy active living: including proper diet, sleep, and hygiene
(Social Studies) SS2 understanding continuity and change in the history of the world and America