COMPLEXIONS CONTEMPORARY BALLET
Applause Series Curriculum Guide April 10, 2015 Dear Teachers,
Thank you for joining us for the GUIDE CONTENTS Applause Series presentation of Complexions Contemporary Ballet. About Des Moines Founded in 1994, Complexions’ Performing Arts groundbreaking mix of methods, styles, Page 3 and cultures has created an entirely new and exciting vision of human movement Going to the Theater and over the past 20 years. Theater Etiquette Page 4 We hope that this study guide helps you connect the performance to your Civic Center Field Trip in-classroom curriculum in ways that you Information for Teachers find valuable. In the following pages, you Page 5 will find contextual information about the performance and related subjects, as Vocabulary well as a variety of discussion questions Photo: Rob Garland. Pages 6 and activities. Some pages are appropriate to reproduce for your students; others are designed About the Performance more specifically with you, their teacher, in mind. As such, we Pages 7 hope that you are able to “pick and choose” material and ideas from the study guide to meet your class’s unique needs. About Complexions Contemporary Ballet As a final note about the study guide, many of the activities are Page 8 movement-based; we encourage you to look to our “Introducing Movement into the Classroom” section for helpful tips to make Meet the Dancers your class’s first steps into the world of dance a successful and Page 9 enjoyable experience for all. The People Behind the Scenes See you at the theater, Page 10
Des Moines Performing Arts Education Team What is Dance? Page 11
Elements of Dance Support for Des Moines Performing Arts education programs and the Applause Series is provided by: Page 12
Alliant Energy, American Republic Insurance Company, Bradford and Sally Austin, Bank of America, Casey’s General Stores, EMC Insurance Companies, Pre-Show Exploration Greater Des Moines Community Foundation, Hy-Vee, John Deere Des Moines Pages 13-14 Operations, Iowa Department of Cultural Affairs, Richard and Deborah McConnell, Pioneer Hi-Bred - a DuPont business, Polk County, Prairie Meadows, Post-Show Assessment Principal Financial Group, Sargent Family Foundation, Target, U.S. Bank, Activities Wells Fargo & Co., Willis Auto Campus, Windsor Charitable Foundation and more than 200 individual donors. Pages 15
Introducing Movement into the This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Classroom Midwest that is funded by the National Endowment for the Arts, with additional Page 16 contributions from the Iowa Arts Council and General Mills Foundation. Resources and Sources Page 17
This study guide was compiled and written by Karoline Myers and edited by Sarah Bannon.
Des Moines Performing Arts Page 2 of 17 Complexions Contemporary Ballet Curriculum Guide ABOUT DES MOINES PERFORMING ARTS
Des Moines Performing Arts is a private, nonprofit organization and is an DID YOU KNOW? important part of central Iowa’s cultural community. It is recognized nationally for excellence as a performing arts center and is committed to More than 300,000 people visit engaging the Midwest in world-class entertainment, education, and cultural Des Moines Performing Arts activities. venues each year.
Des Moines Performing Arts presents professional touring productions, Des Moines Performing Arts including theater direct from Broadway, world-renowned dance companies, opened in 1979. family programming, comedy, and concerts. Des Moines Performing Arts Education and Community Engagement programs are core to Des Moines has three theater spaces: Performing Arts' mission as a nonprofit performing arts center. Civic Center, 2744 seats Stoner Theater, 200 seats Public education programs allow audience members and local artists to Temple Theater, 299 seats make meaningful and personal connections to the art they experience on (located in the Temple for our stages. Guest lectures and Q&As with company members allow the Performing Arts) audiences to explore the inner workings of the performance. In addition, master classes, workshops, and summer camps taught by visiting No seat is more than 155 feet performers give local actors, dancers, and musicians the chance to from center stage in the Civic increase their skills by working directly with those who know what it takes Center. to succeed on the professional stage. Cowles Commons, situated Through its K-12 School Programs, Des Moines Performing Arts strives just west of the Civic Center, is to ensure that central Iowa students have affordable access to high quality a community gathering space arts experiences as part of their education. More than 50,000 students and that is also part of Des Moines educators attend curriculum-connected school matinee performances Performing Arts. The space through the Applause Series annually. In addition, Des Moines Performing features the Crusoe Umbrella Arts sends teaching artists into the schools to provide hands-on workshops sculpture by artist Claes and residencies in special opportunities that engage students directly in Oldenburg. the creative process. And, through its partnership with the John F. Kennedy Center, Des Moines Performing Arts provides teachers with As a nonprofit organization, in-depth professional development training on how to use the arts in their Des Moines Performing Arts classrooms to better impact student learning. The Iowa High School depends on donor funding to Musical Theater Awards is Des Moines Performing Arts’ newest initiative support facilities, programming, to support the arts in Iowa schools, providing important learning tools and and education programs. public recognition to celebrate the achievements of students involved in their high school theater programs. The Applause Series started in 1996. You are joining us for our 19th season of school performances.
Des Moines Performing Arts Page 3 of 17 Complexions Contemporary Ballet Curriculum Guide GOING TO THE THEATER . . .
YOUR ROLE AS AN THEATER ETIQUETTE AUDIENCE MEMBER Here is a checklist of general guidelines to follow
when you visit the Civic Center: Attending a live performance is a unique and exciting opportunity. Unlike the passive experience of watching a movie, audience members play an Leave all food, drinks, and chewing gum at school important role in every live performance. As they act, or on the bus. sing, dance, or play instruments, the performers on Cameras, recording devices, and personal stage are very aware of the audience’s mood and listening devices are not permitted in the theater. level of engagement. Each performance calls for a different response from audience members. Turn off and put away all cell phones, pagers, and Musicians and dancers may desire the other electronic devices before the performance audience to focus silently on the stage and applaud begins. only during natural breaks in the performance. Do not text during the performance. Audience members can often take cues from performers on how to respond to the performance Respect the theater. Remember to keep your feet appropriately. For example, performers will often off of the seats and avoid bouncing up and down. pause or bow for applause at a specific time. When the house lights dim, the performance is
about to begin. Please stop talking at this time. As you experience the performance, consider the following questions: Talk before and after the performance only. Remember, the theater is designed to What kind of live performance is this (a play, a amplify sound. Other audience members and the dance, a concert, etc.)? performers on stage can hear your voice! What is the mood of the performance? Is the Use the restroom before the performance or wait subject matter serious or lighthearted? until the end. If you must leave the theater during the show, make sure the first set of doors closes What is the mood of the performers? Are they before you open the second — this will keep happy and smiling or somber and reserved? unwanted light from spilling into the theater. Are the performers encouraging the audience to Appropriate responses such as laughing and clap to the music or move to the beat? applauding are appreciated. Pay attention to the Are there natural breaks in the performance artists on stage — they will let you know what is where applause seems appropriate? appropriate.
A SPECIAL EXPERIENCE Open your eyes, ears, mind, and heart to the entire experience. Enjoy yourself! Seeing a live performance is a very special experience. Although it is not required, many people enjoy dressing up when they attend the theater. GOING TO THE THEATER information is adapted from the Ordway Center for the Performing Arts study guide materials.
Des Moines Performing Arts Page 4 of 17 Complexions Contemporary Ballet Curriculum Guide CIVIC CENTER FIELD TRIP INFORMATION FOR TEACHERS
Thank you for choosing the Applause Series with Des Moines Performing Arts. Below are tips for organizing a safe and successful field trip to the Civic Center.
ORGANIZING YOUR FIELD TRIP ARRIVAL TO THE CIVIC CENTER Please include all students, teachers, and chaperones When arriving at the Civic Center, please have an in your ticket request. adult lead your group for identification and check-in After you submit your ticket request, you will receive a purposes. A Des Moines Performing Arts staff member confirmation e-mail within five business days. Your may be stationed outside the building to direct you to a invoice will be attached to the confirmation e-mail. specific entrance. Payment policies and options are located at the top of Des Moines Performing Arts staff will usher groups into the invoice. Payment (or a purchase order) for your the building as quickly as possible. Once inside, you reservation is due four weeks prior to the date of the will be directed to the check-in area. performance. Applause seating is not ticketed. Ushers will escort The Civic Center reserves the right to cancel unpaid groups to their seats; various seating factors including reservations after the payment due date. group size, grade levels, arrival time, and special Tickets are not printed for Applause Series shows. needs seating requests may be used to assign a Your invoice will serve as the reservation confirmation group’s specific location in the hall. for your group order. We request that an adult lead the group into the Schedule buses to arrive in downtown Des Moines at theater and other adults position themselves least 30 minutes prior to the start of the performance. throughout the group; we request this arrangement This will allow time to park, walk to the Civic Center, for supervision purposes, especially in the event that a and be seated in the theater. group must be seated in multiple rows. Performances are approximately 60 minutes unless Please allow ushers to seat your entire group before otherwise noted on the website and printed materials. rearranging seat locations and taking groups to the restroom. All school groups with reservations to the show will receive an e-mail notification when the study guide is As a reminder, children under the age of three are not posted online. Please note that study guides are only permitted in the theater for Applause performances. printed and mailed upon request. IN THE THEATER DIRECTIONS AND PARKING In case of a medical emergency, please notify the Directions: From I-235, take Exit 8A (Downtown Exits) nearest usher. A medical assistant is on duty for all Civic Center performances. and the ramp toward 3rd Street and 2nd Avenue. Turn onto 3rd Street and head south. We ask that adults handle any disruptive behavior in their groups. If the behavior persists, an usher may Police officers are stationed at the corner of 3rd and request your group to exit the theater. Locust Streets and will direct buses to parking areas with hooded meters near the Civic Center. Groups Following the performance groups may exit the theater traveling in personal vehicles are responsible for and proceed to the their bus(es). locating their own parking in ramps or metered (non- If an item is lost at the Civic Center, please see an hooded) spots downtown. usher or contact us after the performance at Buses will remain parked for the duration of the show. 515.246.2355. At the conclusion, bus drivers must be available to move their bus if necessary, even if their students are staying at the Civic Center to eat lunch or take a tour. QUESTIONS? Buses are not generally permitted to drop off or pick up Please contact the Education department at students near the Civic Center. If a bus must return to [email protected] school during the performance, prior arrangements or 515.246.2355. must be made with Des Moines Performing Arts Thank you! Education staff.
Des Moines Performing Arts Page 5 of 17 Complexions Contemporary Ballet Curriculum Guide VOCABULARY
Complexions Contemporary Ballet.Photo by Jae Man Joo. balance: a state of stability with duet: two dancers performing solo: a dance performed alone equal weight and energy on either together. (one dancer) or set apart from side of a dancer’s “center.” other dancers on stage. ensemble: a group of dancers body: an element of dance that performing together. space: the area in which a dancer refers to the awareness of specific moves, encompassing level, body parts and how they can be energy: refers to the force applied direction, floor pattern, shape, and moved in isolation and to dance to accentuate the weight, design. combination. attack, strength, and flow of a dancer’s movement. Adjectives teamwork: to work jointly with choreography: the arrangement such as explosive, smooth, free, others in order to create or solve a of movement in space and time. A restrained, wild, etc., describe problem. series of moves usually set to some different types of energy music. that dancers can exhibit. technique: a set of skills which dancers develop to perform a contemporary ballet: a form of rehearsal: practice in preparation certain dance form. Sometimes, dance that incorporates elements of a public performance. particularly in modern dance, of both classical ballet and choreographers become famous modern dance. It takes its repertory: the group of dances for their own dance technique. technique and use of pointe work that are actively performed by a from classical ballet while also company. tempo: the time, speed, or rhythm allowing a greater range of of the beats of a piece of music or movement than the strict body pointe work: when a ballet the pace of any movement lines permitted in classical ballet. dancer supports all body weight activity. on the tips of fully extended feet. creativity: the ability to go unison: the same movement or beyond traditional ideas, rules, poly-rhythms: different rhythms series of movements performed at and patterns in order to create happening at the same time the same time by more than one meaningful new ideas, forms, dancer. methods, and interpretations.
Des Moines Performing Arts Page 6 of 17 Complexions Contemporary Ballet Curriculum Guide ABOUT THE PERFORMANCE
Edgar Anido and Complexions Contemporary Ballet, Photo: Melissa Bartucci
With its groundbreaking mix of A DAY IN THE LIFE Cross-cultural ballet methods, styles and cultures, The concert will include a Complexions will present a look glimpse of what it is like to be a with attitude…. into modern dance, rooted in Complexions dancer, through the Wearing toe shoes ballet, in a way that transcends demonstration of a typical has never looked like cultural and artistic boundaries. company dance class. Audiences will view a series of warmups and so much fun.” Run Time: Approximately 1 hour exercises that the dancers do to -Washington Post hone their technique and prepare their bodies for the movement THE DANCES Complexions requires of them.
Complexions Contemporary Ballet ARTIST SPOTLIGHT: has a diverse repertoire of more As you watch, think about than 80 works in an array of how the exercises progress. STEVIE WONDER styles. Within a single What types of movements do performance, audiences may they start with? How do the experience ballet with toe shoes movements and exercises get to contemporary movement, bigger and more complex? ranging all the way to street dance. Works are set to music as AUDIENCE diverse as classical pieces by INTERACTION composers Rachmaninoff or Bach, to modern music by popular The program will also include an artists like U2 or the Rolling interactive portion where select Stones. students and teachers will join the company on stage to explore Innervisions is set to the For their school performance, where choreography comes from music of Stevie Wonder, an Complexions will share excerpts and how it is created. American musician who has won from various pieces to show their 25 Grammy Awards, the most ever range of styles. To cap the show, As you watch, think about awarded to a male solo artist. they will perform the full length where a choreographer may Innervisions is the title of his 1973 work, Innervisions, a find his or her inspiration. album, which addressed a range of contemporary piece set to the themes and issues, including love, music of Stevie Wonder. inequality, and racism.
Des Moines Performing Arts Page 7 of 17 Complexions Contemporary Ballet Curriculum Guide ABOUT COMPLEXIONS CONTEMPORARY BALLET
For twenty years, Complexions’ PHILOSOPHY THE FOUNDERS foremost innovation is that dance Complexions Contemporary Ballet Rhoden and Richardson’s unique should be about removing was founded in 1994 by artistic career paths paved the way for boundaries, not reinforcing them. directors Dwight Rhoden and them to re-define dance. Each As such, their work is not limited Desmond Richardson. Born of has a multi-faceted resume that to the traditions of a single style, their lifelong appreciation of the shows that neither has ever been period, venue, or culture. Learn beauty and artistry of the comfortable with his art being more about the company’s multicultural, the two set out to placed in a box. Instead, from E! philosophy and founders. reinvent dance by mixing dance to PBS to VH1, from Cirque de methods, styles, and cultures. Soleil to the Joffrey Ballet and Alvin Ailey American Dance Since the founding of Theatre, the two have allowed the Complexions, Rhoden and transformative power of their art to Richardson have set over 80 flow freely throughout the works for the Company and entertainment world. To them, the toured across the globe with great only limits on their creative vision acclaim. Audiences everywhere is nothing but the limits of the ask, “How do you get dancers to human body itself.
Dwight Rhoden, Artistic Director move like that?” & Resident Choreographer Their philosophy has always encouraged a strong technical foundation, physicality and versatility, coupled with an artist’s uniqueness, individuality and passion.
Complexions is celebrating its 20th
Desmond Richardson, Artistic Director anniversary season! & Artist-in-Residency
Des Moines Performing Arts Page 8 of 17 Complexions Contemporary Ballet Curriculum Guide MEET THE DANCERS
Terk Waters Ashley Mayeux YoungSil Kim Addison Ector (Mansfield, OH) (Houston, TX) (Born Okayama City, Japan) (Los Angeles, CA)
Jennie Begley Kelly Marsh IV Andrew Brader Jillian Davis (Born Manila, Philippines) (St. Louis, MO) (New Orleans, LA) (Kutztown, PA)
ALSO FEATURING:
Shanna Irwin, Apprentice DANIEL Doug Baum Jenna Graves Daniel LaMont Moore Tim Stickney, (Baltimore, MD) (Philadelphia, PA) (Washington, DC) Apprentice
Des Moines Performing Arts Page 9 of 17 Complexions Contemporary Ballet Curriculum Guide THE PEOPLE BEHIND THE SCENES
When people see a Lighting Designer: decides what ON THE ROAD performance, they often think kind of light (bright / dark / colors) In addition, each theater that only of the performers on stage; will illuminate each dance piece. Complexions Contemporary Ballet however, there are many other travels to on its tour has many people who come together to Costume Designer: designs all people on staff to help with the make the performance happen. the costumes the dancers wear show. This includes the theater’s on stage. own Technical Director and stage crew that works with the WITH THE COMPANY Technical Director: makes sure company’s technical director. The following list covers many of all the technical aspects go the important roles that contribute together and work, for example As you can see, dance is a truly to a professional dance the set, lights and sound. collaborative experience, requiring performance, such as the one you trust and teamwork among many will experience with Complexions Rehearsal Director: schedules people. Contemporary Ballet. the daily rehearsal plan, ensuring each dance piece is given enough Artistic Director: the person who time at rehearsal. makes sure the dance company is meeting the artistic standards of General Manager: oversees all the company. Artistic standards the business of the company, may include the quality of everything from advertising to dancers, dances (choreography), insurance to paychecks to hiring sets, costumes, lights, and music. personnel to make artistic Complexions Contemporary Ballet decisions. In general, making sure has two Co-Artistic Directors, the company runs smoothly. Dwight Rhoden and Desmond Richardson.
Composer: a person who writes music. RIGHT: What do you think this dance is about based on the lighting and costumes that you see? What mood are the lighting and costume designers trying to make? Photo by Jae Man Joo.
Des Moines Performing Arts Page 10 of 17 Complexions Contemporary Ballet Curriculum Guide WHAT IS DANCE?
Dance is a fundamental part of PHRASES SPOTLIGHT ON: the human experience. Read on All dances are made up of to learn more about the many sequences of steps and gestures ATHLETICISM reasons why people dance and called phrases. Phrases make up To dance and to play a sport how dances are put together. a dance the same way that words requires a purpose of movement: are put together to form a jumping from one end of the stage sentence. to the other as a form of WHY WE DANCE expression, stretching an arm to People have always danced. Dance can be performed as a catch a ball. As you watch think solo, duet, or in a group. about the following: In some societies, people dance mostly for religious reasons. They CHOREOGRAPHY What, if any, differences are there between a dancer want to appease the gods, to Dances performed for audiences leaping high into the air across ward off evil, to pray for rain, or to are almost always the stage and a basketball have a good harvest. In other choreographed, or created, by player jumping to dunk the ball, societies, people dance mostly for one person, just as a composer or an outfielder leaping over the their own amusement – by makes up a piece of music. wall to make a great catch? themselves or with others. In some places, dance is a COSTUMES performing art in which people What are some similarities and dance to entertain others. Costumes are used to help bring differences between someone the choreographed dance to life participating in sports and When people dance they move and to help communicate the someone dancing, in terms of their bodies rhythmically to story or idea. movement (leap, bend, stretch, express ideas or emotions. Most etc.)? of the time, dance has a structure. In modern dance and ballet, costumes are often form-fitting Sometimes it is improvised or As with sports, dance also and may include bare skin. This made up on the spot. Traditional requires the use of energy. allows the audience to see the folk or tribal dances are passed What are the differences and detailed shapes made by the down from generation to similarities in the amount of dancer’s body. generation. energy used by a dancer during a full performance and a ball player playing a full game?
Des Moines Performing Arts Page 11 of 17 Complexions Contemporary Ballet Curriculum Guide ELEMENTS OF DANCE — B.A.S.T.E.
Complexions Contemporary Ballet, Photo: Melissa Bartucci
Dance is the movement of the BODY refers to the awareness of (SPACE, cont.) human body through space in specific body parts and how they levels: low, medium, high time using energy. Dancers use can be moved in isolation and movement to express emotions, combination. direction: forward, backward, stories, ideas, and beliefs. The diagonal, sideways five elements of dance include: shape: curving, angling, twisting body, action, space, time, and focus: straight, curved, open, energy. It is important to parts: arms, legs, head, feet, closed, peripheral understand each element as they hands, torso come together to create the TIME is a musical and dance ACTION refers to locomotor and whole. element. It includes beat, tempo, non-locomotor movement. accent, and duration. Discuss each of the elements as locomotor: walk, run, leap, hop, tempo: a class and then explore each skip, gallop, slide (anything that fast, medium, slow element through movement moves from one point to another) exercises. These can be as with or without music simple as the instructor asking nonlocomotor: bend, twist long / short (anything that does not move from students questions such as: one point to another) “Show me low!”, “How can you patterned / counted make the body go high?”, “Show following and leading walking, skipping, etc.”, “Use ENERGY refers to the force your fingers and show fast.” SPACE refers to the space the applied to dance to accentuate the “Show me stretching.” Other, body moves through, the direction weight, attack, strength, and flow more in-depth ideas for exploring of movements, and the shapes, of a dancer’s movement. the elements of dance can be levels, and patterns of a group of found on page 14. dancers. quality: strong, light, sharp, smooth, soft, sudden, sustained, Adapted from “Dance Education Initiative free, bound Curriculum Guide”, Perpich Center for Arts Education.
Des Moines Performing Arts Page 12 of 17 Complexions Contemporary Ballet Curriculum Guide PRE-SHOW EXPLORATION, pg. 1
1) WHO DANCES? 2) MY LIFE HAIKU
Goals: To understand that dance is a shared art form Goals: To preview Complexions Contemporary around the world Ballet’s work and to use dance as a way to encourage use of strong verbs in writing. Explanation: Students will view a short video featuring people from around the world dancing Explanation: In this activity, students will view a paired with guided discussion. video of an excerpt of the piece Innervisions and use it as inspiration to write haiku about their lives. Materials: Internet connection with YouTube access Materials: Projector or other way to show the video Computer with YouTube access Chalk board or chart paper Projector Chalkboard or chart paper to create a word wall Activity: Paper and writing utensil 1. Explain to students that they will be going to the theater to see a professional dance performance. Activity: Today, you would like to explore the question of ‘Who 1. Play a video excerpt of Innervisions for students. dances?’ Click HERE for video. 2. Write “Who Dances” on the chalkboard or flipchart 2. Ask students to write down as many action words paper. Ask for students to volunteer ideas about who that they see embodied in the footage as they can. dances. (Ideas may include ballerinas, cheerleaders, (Ideas: crouch, fall, swing, reach, leap, fly, soar) brides and grooms, etc.) 3. Have students share out some of the verbs they 3. After you have gathered responses, tell students wrote down. Collect them on a word wall. that they are going to watch a short video that may 4. Watch the video again and encourage even more give them some additional thoughts on who dances. creative verbs that they see. 4. Play the “Where...is Matt 2012” video by clicking on 4. Next , challenge students to write three haiku. the image below. Each haiku must contain one of the verbs from the word wall. The haiku should have the following Follow-up Questions: themes: 1. Did anything surprise you about that video? Where they are from 2. Are there additions we need to make to our ‘Who Where they are in life now dances’ list? (Eventually, the goal is to have a student Where they would like their life to go in the future suggest that everybody dances in some form.) 5. After providing time to write, invite volunteers to 3. Now that we’ve explored who dances, why do you share their haiku as they feel comfortable. think people dance? (To celebrate, to entertain, to worship, to express themselves, etc.) Haiku: a three line poem with the structure: 5 syllables // 7 syllables // 5 syllables
Follow-up Questions: 1. Were you surprised by some of the action words that your classmates saw ? Were they the same or different from the ones that you saw? 2. Based on the video, how would you describe the style of Complexions? 3. How do action words make our writing stronger? 4. How did you connect the action word to your own life? 4. Did having ideas for action words make it easier or harder to write your haiku? Why or why not? Show students the video “Where the Hell is Matt? 2012” in which Matt Harding engages people from all around the world in dancing with him. Activity inspired by work by teaching artist Paige Hernandez.
Des Moines Performing Arts Page 13 of 17 Complexions Contemporary Ballet Curriculum Guide PRE-SHOW EXPLORATION, pg. 2
3) THE DANCING MIRROR 4) GROOVING TO THE BEAT
Goals: To identify locomotor and non-locomotor Goals: To identify and create a beat, to change action, to develop basic dance vocabulary, and to tempo of beat and movement, and to move through practice types of action. space to beat.
Explanation: In this movement-based activity, Explanation: In this movement-based activity, students will explore ACTION (one of the students will explore TIME and SPACE, two of the basic elements of dance) through exploration of basic elements of dance, through beat creation and locomotor and non-locomotor movements. movement through space.
Materials: Materials: Open area Open area Chalkboard and chalk or whiteboard and markers Activity: Activity: 1. Ask the students to create a circle and clap 8 count 1. Write ‘locomotor movement’ and ‘non-locomotor beats while counting out loud: 1, 2, 3, 4, 5, 6, 7, 8. movement’ on the board and read the descriptions of 2. Explore variations in tempo by asking students to each from the elements of dance ACTION section on insert a word after each number such as ‘Mississippi’ page 12. for a slow tempo, ‘art’ for a fast tempo, or ‘dancer’ for 2. Read through the examples of each type of action a medium tempo. I.e. “one, Mississippi, two,” etc. as a group and ask students to generate additional 3. Ask students to divide into two groups: A and B. examples of each that can be listed on the board 4. Ask group “A” to clap a beat using one of the underneath the title of each type of action. tempo prompts from the previous step, while group 3. Ask the students to stand up and form a circle with “B” moves through the space by stepping on each you. Explain to students that they are to be your beat. To give the walking purpose and character, you mirror image. If your hand moves, their hand moves. may want to ask students to move like a certain kind If your body sways, their body sways, etc. of animal as they walk, or as if walking on the moon, 4. Demonstrate a number of examples of action from through water, etc. the board and ask students to name whether the 5. Students in group “A” can experiment with different action is locomotor or non-locomotor movement as tempos, prompted by you, as students in group “B” they mirror the action. change their movement to the beat. 5. Ask students to form pairs and each take turns 6. Ask the two groups to switch roles. being the leader and the follower using both locomotor and non-locomotor actions. Follow-up Questions: 1. Describe the difference between moving to the Follow-up Questions: beat and creating the beat by clapping. Was one 1. Describe how it felt to perform locomotor action. more challenging for you? Why? 2. Describe how it felt to perform non-locomotor 2. How did changing the tempo of the beat affect your action. group’s movement? 3. What was it like to lead your partner? 3. Describe some of the ways that everyone moved 4. What was it like to follow your partner? through the space (stepping, high or low levels, etc.). 5. What did your movements remind you of, if What are some other ways that you might move anything? through space to a beat?
Teacher Tip: Teacher Tip: If you have not introduced movement activities within If you have not introduced movement activities within your classroom before, be sure to check out your classroom before, be sure to check out “Preparing for Success: Introducing Movement Into “Preparing for Success: Introducing Movement Into the Classroom” on page 16 for some simple exercises the Classroom” on page 16 for some simple exercises and pointers to get your class started. and pointers to get your class started.
Adapted from Diavolo’s “Young Person’s Concert Study Guide.” Adapted from Diavolo’s “Young Person’s Concert Study Guide.”
Des Moines Performing Arts Page 14 of 17 Complexions Contemporary Ballet Curriculum Guide POST-SHOW ASSESSMENT AND DISCUSSION DISCUSSION QUESTIONS ASSESSMENT ACTIVITIES
The Art Form 1) WRITE A REVIEW Ask students to imagine that they are a critic for the 1. Who dances? school newspaper. They are going to write a review of Complexions’ performance to inform others about 2. Why do we dance? what they experienced. They should describe with detail: what they saw; what they heard; how the Elements of Dance performance made them feel; what the performance reminded them of; and what their favorite part was 1. Which parts of the body were the dancers using? and why. Remind students that they must paint a picture of the experience with their words so that 2. Were all the body parts moving together or others who did not see the performance can imagine separate from one another? it as vividly as possible.
3. Were all the performers moving at the same 2) YOUR ARTISTIC IMPRESSION speed? How would you describe their movement? Create your own artistic impression of the performance. Using shapes, lines, colors, patterns 4. Did they all move to the same beat? and other artistic elements from your imagination, draw or paint a picture that expresses how the 5. What kind of spatial shapes did the dancers form? dancers made you feel. Use art to interpret your impression of the performance and qualities of the 6. What adjectives would you use to describe the dance. energy of the dancers? 3) EXPLORE EMOTION Performance Components Have students pick an emotion they felt while watching the performance. Allow students to draw or 1. How did the lighting add to the show? write about the emotion using the following questions to guide their exploration: 2. How did the costumes help to express the ideas or What does ______look like? moods of the dance? What does ______sound like?
What does ______feel like? 3. How did the music add to the show? What does ______smell like?
Prior Knowledge and Connections What does ______taste like?
1. Did any of the movement or music remind you of 4) WRITE TO THE DANCERS anything you’ve experienced before? If so, what did Once you have seen the performance and you and they remind you of? your students have had a chance to discuss what you saw and read, write to the Complexions 2. What themes or ideas did you see in the Contemporary Ballet dancers. Artists love to read performance? What did you see specifically that led about what teachers and students thought of the you to that conclusion? Did any of those themes performance. repeat in different ways throughout the show? Letters may be sent to: 3. One of the pieces you saw Complexions Contemporary Ballet perform was Innervisions, If you Education Department had to give this piece a different title, what would you Des Moines Performing Arts call it? Why? 221 Walnut Street Des Moines, IA 50309 4. What, if anything, did you find surprising about the demonstration of a Complexions class?
Des Moines Performing Arts Page 1815 of 1817 Complexions Contemporary Ballet Curriculum Guide PREPARING FOR SUCCESS... INTRODUCING MOVEMENT INTO THE CLASSROOM
Introducing movement into the classroom can be a STEP 3: WARM-UP richly rewarding experience, tapping into both visual and kinesthetic learning modalities. For the non-dance educator, however, the prospect can be Goal: To get students ready for movement activities. intimidating. Explanation: Warm-ups are important to warm up Like any new concept and experience in the the muscles and prepare for physical activity; this classroom, introducing dance is best done when helps prevent injury. Warm-ups also get us ready to scaffolded. The following are some helpful exercises focus and concentrate. to aid you in laying a foundation for integrating movement activities, such as the ones on page14, When: You should consider doing some sort of into your classroom with success. warm-up prior to each time you do a classroom movement activity. The following are two examples of warm-up activities that aid clarity and focus. STEP 1: TALK ABOUT DANCE
Goal: To encourage students to realize that dance is Name Game: for everyone and to lay the foundation to create a 1. In a circle, have each student stand shoulder to nonthreatening environment for movement shoulder, with a straight posture and hands out of exploration. their pockets. 2. Students one by one, will turn to their right, look Explanation: In this activity, students will discuss that person in the eye and state their name with their concepts of dance and will progressively explore purpose and clarity. how the body can convey emotion. 3. When everyone in the circle has gone, evolve the activity by adding tempo (ex. Say your name but let’s When: Prior to introducing movement to the move through the circle faster, like the wind, or slow classroom for the first time. like molasses) or add a quality (ex. Say your name like a lion). 1. Explore what dance means. Ask questions like, 4. When ready to move on to another step, add the “What is dance?”, “What does dance mean to you?”, element of switching directions and saying names “How do you dance?”, “Who dances?” across the circle, using eye contact and a clear voice. 2. Explain that dancing is for everyone and this it is a 5. Make sure the students keep going, even with powerful means of human communication. laughter, until a complete round is made with each 3. Now suggest several emotions for the students to variation. show you without words or sounds. Call out happy, sad, love, fear, anger, etc., one at a time. Have the Game of Ten: class show those emotions. 1. Begin by having students walk around the space at 4. Repeat the exercise, this time without the use of varying tempos per the instructor’s call. any facial expression, and then without the use of 2. Circle up. different body parts, to encourage many different 3. Next, give different sets of movements to be done ways to express emotion. to a count of ten. You may choose to use some of the following examples. STEP 2: SET EXPECTATIONS Shake out hands, legs, arms, and whole body. Stretch for 10 in various directions
Goal: To set expectations for class behavior during Roll down through the spine to the floor for a movement activities. count of 10 Push-ups, 10 times. Explanation: To best ensure success, set collective Roll over, sit ups, 10 times. rules of what is and is not appropriate during each Stand up slowly for a count of 10, shake out the movement activity. For example, keeping hands and body again. feet to oneself, areas of the room that are off limits, Repeat when it is and is not okay to use our voices. Adapted from Diavolo’s “Young Person’s Concert Study Guide.”
Des Moines Performing Arts Page 16 of 17 Complexions Contemporary Ballet Curriculum Guide RESOURCES AND SOURCES
CLASSROOM RESOURCES
ArtsEdge from the Kennedy Center Web Site. http://artsedge.kennedy-center.org Contains resources on national grade-level dance standards, lesson plans for integrating dance into core curriculum areas, and multimedia resources for students to explore various dance styles.
Au, Susan. Ballet And Modern Dance. 2nd ed. 2003.
Dance Education Curriculum Guide. Perpich Center for Arts Education. Frames dance as an integral part of learning for all students. For more information and to order, visit http://www.mcae.k12.mn.us/index.php?section=outreach_publications
Humphrey, Doris. The Art of Making Dances. Princeton Book Company Publishers. 1991.
Allen, Debbie. Brothers of the Night. Dial. 1999.
STUDY GUIDE SOURCES
Complexions Contemporary Ballet. Facebook Page. https://www.facebook.com/complexionsdance
Complexions Contemporary Ballet Web Site. http://www.complexionsdance.org/
Diavolo “Young Person’s Concert Study Guide.” Chisa Yamaguchi, Education Director.
Ordway Center for the Performing Arts: Dance Study Guide Materials http://www.ordway.org/
“Stevie Wonder.” Wikipedia. http://en.wikipedia.org/wiki/Stevie_Wonder
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