ALONZO KINGLINESBALLET Applause Series January 17,2014 Curriculum Guide
ALONZO KING GUIDE CONTENTS LINES BALLET About Des Moines Performing Arts Page 3 Dear Teachers, Going to the Theater and
Theater Etiquette Thank you for joining us for the Applause Page 4 Series presentation of Alonzo King
LINES Ballet. Celebrating its 30th Civic Center Field Trip anniversary season, LINES Ballet Information for Teachers embodies the vision of one of our Page 5 country’s most respected African
American choreographers, Alonzo Vocabulary King. Like audiences around the Page 6 world, we hope that you and your students experience for yourselves the About the Performance manner in which this company is known Page 7 for connecting audiences to a profound sense of shared humanity. About Alonzo King
Page 8 We thank you for sharing this special experience with your students and hope that About the Company, this study guide helps you connect the Alonzo King LINES Ballet performance to your in-classroom Page 9 curriculum in ways that you find valuable. In the following pages, you will find contextual The People Behind the Scenes information about the performance and Page 10 related subjects, as well as a variety of discussion questions and activities. Some What is Dance? pages are appropriate to reproduce for your Pages 11 students; others are designed more specifically with you, their teacher, in mind. Elements of Dance — B.A.S.T.E. As such, we hope that you are able to “pick and Page 12 choose” material and ideas from the study guide to meet your class’s unique needs. Movement in the Classroom:
Background and Activities See you at the theater, Page 13-14
Des Moines Performing Arts Education Team Pre-show Exploration Activities Pages 15-17
Support for Des Moines Performing Arts education programs and the Post-Show Assessment Applause Series is provided by: and Discussion
Alliant Energy, American Republic Insurance Company, Bradford and Sally Austin, Page 18 Bravo Greater Des Moines, Bank of America, EMC Insurance Companies, Greater Des Moines Community Foundation, Hy-Vee, John Deere Des Moines Operations, Resources and Sources Iowa Department of Cultural Affairs, Richard and Deborah McConnell, Pioneer Page 19 Hi-Bred - a DuPont business, Polk County, Prairie Meadows, Sargent Family
Foundation, Target, U.S. Bank, Wells Fargo & Co., Willis Auto Campus, Windsor Charitable Foundation and more than 200 individual donors.
This study guide was written by Karoline Myers; edited by Michelle McDonald. Partially adapted from Alonzo King LINES Ballet Study Guide.
Des Moines Performing Arts Page 2 of 20 Alonzo King LINES Ballet 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 350,000 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. depends on donor funding to support facilities, programming, and education programs.
The Applause Series started in 1996. You are joining us for our 18th season of school performances.
Des Moines Performing Arts Page 3 of 20 Alonzo King LINES Ballet 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. Lively Turn off and put away all cell phones, pagers, and bands may wish for the audience to clap along while other electronic devices before the performance dancers may desire the audience to focus silently on begins. the stage and applaud only during natural breaks in Do not text during the performance. the performance. Audience members can often take cues from performers on how to respond to the Respect the theater. Remember to keep your feet performance appropriately. For example, performers off of the seats and avoid bouncing up and down. will often pause or bow for applause at a specific When the house lights dim, the performance is time. As you experience the performance, consider about to begin. Please stop talking at this time. the following questions: Talk before and after the performance What kind of live performance is this (a play, a only. Remember, the theater is designed to dance, a concert, etc.)? amplify sound. Other audience members and the performers on stage can hear your voice! What is the mood of the performance? Is the subject matter serious or lighthearted? Use the restroom before the performance or wait until the end. If you must leave the theater during What is the mood of the performers? Are they the show, make sure the first set of doors closes happy and smiling or somber and reserved? before you open the second — this will keep Are the performers encouraging the audience to unwanted light from spilling into the theater. clap to the music or move to the beat? Appropriate responses such as laughing and Are there natural breaks in the performance applauding are appreciated. Pay attention to the where applause seems appropriate? artists on stage — they will let you know what is 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 20 Alonzo King LINES Ballet 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. You may enter the building though the East confirmation e-mail within five business days. Your or West lobbies; a Des Moines Performing Arts staff invoice will be attached to the confirmation e-mail. member may be stationed outside the building to direct Payment policies and options are located at the top of you. the invoice. Payment (or a purchase order) for your Des Moines Performing Arts staff will usher groups into reservation is due four weeks prior to the date of the the building as quickly as possible. Once inside, you performance. will be directed to the check-in area. The Civic Center reserves the right to cancel unpaid Applause seating is not ticketed. Ushers will escort reservations after the payment due date. groups to their seats; various seating factors including Tickets are not printed for Applause Series shows. group size, grade levels, arrival time, and special Your invoice will serve as the reservation confirmation needs seating requests may be used to assign a for your group order. group’s specific location in the hall. Schedule buses to arrive in downtown Des Moines at We request that an adult lead the group into the least 30 minutes prior to the start of the performance. theater and other adults position themselves This will allow time to park, walk to the Civic Center, throughout the group; we request this arrangement and be seated in the theater. for supervision purposes, especially in the event that a group must be seated in multiple rows. Performances are approximately 60 minutes unless otherwise noted on the website and printed materials. Please allow ushers to seat your entire group before rearranging seat locations and taking groups to the All school groups with reservations to the show will restroom. receive an e-mail notification when the study guide is posted. Please note that study guides are only printed As a reminder, children under the age of three are not and mailed upon request. permitted in the theater for Applause performances.
DIRECTIONS AND PARKING IN THE THEATER Directions: From I-235, take Exit 8A (Downtown Exits) In case of a medical emergency, please notify the nearest usher. A medical assistant is on duty for all and the ramp toward 3rd Street and 2nd Avenue. Turn Main Hall performances. onto 3rd Street and head south. We ask that adults handle any disruptive behavior in Police officers are stationed at the corner of 3rd and their groups. If the behavior persists, an usher may Locust Streets and will direct buses to parking areas request your group to exit the theater. with hooded meters near the Civic Center. Groups traveling in personal vehicles are responsible for Following the performance groups may exit the theater locating their own parking in ramps or metered (non- and proceed to the their bus(es). hooded) spots downtown. If an item is lost at the Civic Center, please see an Buses will remain parked for the duration of the show. usher or contact us after the performance at At the conclusion, bus drivers must be available to 515.246.2355. 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 20 Alonzo King LINES Ballet Guide VOCABULARY
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 it 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 beyond The dancer in the picture above is unison: the same movement or traditional ideas, rules, and en pointe. series of movements performed at patterns in order to create the same time by more than one meaningful new ideas, forms, poly-rhythms: different rhythms dancer. methods, and interpretations. happening at the same time
Des Moines Performing Arts Page 6 of 20 Alonzo King LINES Ballet Guide ABOUT THE PERFORMANCE
In this special performance for THE PIECES SCHEHERAZADE school audiences, LINES Ballet This piece is inspired by the will perform excerpts from two RESIN legacy of Scheherazade, the works: Scheherazade and Resin. This piece has been described as storyteller of an ancient collection having a sense of ritual to it. Its of Persian, Sanskrit, and Arabic Run Time: Approx. 1 hour long movement phrases can feel tales known as 1001 Nights. It is a like the rhythm of day and night, celebration of the way that we are or of waking and sleeping. The offered a chance to listen to a STYLE voice that can change our lives Alonzo King LINES Ballet is a title refers to the substance that bleeds from a tree when its bark is and the power of art to illuminate contemporary ballet company. our hearts. Alonzo King’s work draws on but slashed. This sap then hardens into “tears.” The idea of tears is also distinctly different from Watch for: classical ballet. follows throughout the piece as the stage is transformed into a Themes of strife, oppression, struggle, voyage, and healing Classical ballet shimmering and timeless Women in pointe shoes. This is characterized landscape and tiny, hardened is to create the longest by rules about tears cascade downwards in extension of line in their body. how the dancer streams of light. must stand and Listen for: move based on Watch for: five positions of Fluid movement The music combines Western the body. Isolated movement of one instruments with traditional Dancers often body part including ribs, Persian instruments. dance on the shoulders, chest, arms, very tips of their hands, and elbows toes, called pointe, and are also A NOTE ABOUT COSTUMES required to stand with their legs Listen for: In modern dance and ballet, rotated outwards. Sephardic music (music of the costumes are often form-fitting Jewish people who lived on and may include bare skin. The Classical ballet divides the body the Iberian Peninsula) from costumes are not intended to be at the waist, separating the upper Turkey, Morocco, Israel, sexual. Instead, the intention is to body from the lower body. In Spain and other points in the allow the audience to see the Alonzo King’s work, the Mediterranean. detailed shapes made by the dancer’s body and allow for a movement flows all the way from The shofar, a horn of ancient range of movement. In this way, it the upper body through to the origin used for Jewish is similar to the uniforms worn by legs and feet to engage the entire religious purposes body. Olympic athletes such as swimmers or gymnasts.
Des Moines Performing Arts Page 7 of 20 Alonzo King LINES Ballet Guide ABOUT ALONZO KING
Image: Post Gazette
Alonzo King is the visionary CHOREOGRAPHY COLLABORATIONS choreographer and artistic After dancing for professional Alonzo King has created more director of Alonzo King LINES companies for a few years, King than 170 ballets during his career. Ballet and has long been noted decided his heart was in teaching On many of them he collaborated as an artist who alters the way and choreography. He founded with world-renowned musicians we look at ballet as an art form. the LINES Ballet in San Francisco and artists such as Danny Glover, in 1982. He based his approach to Pharaoh Sanders, Hamza al Din, He calls his works ‘thought dance training on what he felt his Pawel Szymanski, Jason Moran, structures’ explaining, “When you dance education had been and tabla master Zakir Hussain, listen to music, you are hearing lacking . “Most training is built on among many others. thought made audible, and when the assumption that…[dancers] you see dance, you are have ‘to do’ instead of ‘to be,” Outside of setting work on his own witnessing thought made visible.” King explained. He instead LINES Ballet dancers, King has encourages his dancers to find his created work for many exemplary or her own way through the companies around the world. EARLY LIFE dance, finding the moves that are Alonzo King grew up mostly in natural to them, so that the dance WORK AS A TEACHER Santa Barbara, California, where comes from inside them Renowned for his skill as a his parents brought politics and producing a more powerful and teacher, King has been guest world cultures into their home. stronger final piece. ballet master for dance companies King’s father was a noted civil around the world. “You see how rights activist and businessman. While influenced by his classical meticulous and what a His mother was very supportive of ballet background, his style is perfectionist he is — how clear he her youngest son’s creative groundbreaking and inventive. An is on what he wanted,” noted tendencies, encouraging him to 2000 Boston Globe article by Judith Jamison, former artistic draw and express himself. Karen Cambell describes his director of the Alvin Ailey choreography as taking “ballet American Dance Theater. “And King attended just one semester into the real of hard and fast with the movement he elicited from the of college before leaving to nary a trace of French court dancers — it was so delicious, I pursue his passion for dance in dance…[with] a distinctively had never seen them dance that New York City. muscular, angular, and excitingly way before.” propulsive style.”
Des Moines Performing Arts Page 8 of 20 Alonzo King LINES Ballet Guide ABOUT THE COMPANY, ALONZO KING LINES BALLET
Alonzo King LINES Ballet is a ROLE AT HOME AND THE NAME celebrated contemporary ballet ON TOUR Alonzo King explains the name of company that has been guided LINES Ballet plays an important his company in this way: since 1982 by the unique artistic cultural role in their home town of vision of Alonzo King. The San Francisco. The Company’s “The term LINES alludes to all company is based out of San fall and spring home seasons that is visible in the phenomenal Francisco, California and tours bring illuminating new works to world. There is nothing that is extensively to share their art with Bay Area audiences. made or formed without line. audiences around the world. Straight and Circle encompass In addition, LINES Ballet tours all that we see. Whatever can be around the United States and STYLE seen is formed by line... This contemporary dance globally, allowing the dancers to company, headed by Alonzo share their revelatory style of Lines are in our fingerprints, the King, is known for collaborating dance worldwide. shapes of our bodies, with noted composers, musicians, constellations, geometry. and visual artists from around the The company has been featured world. The extraordinary LINES at venues such as the Venice It implies genealogical Ballet dancers bring King’s Biennale, Monaco Dance Forum, connection, progeny, and spoken visionary choreography to life and Maison de la Dance, the word. are renowned for connecting Edinburgh International Festival, audiences to a profound sense of Montpellier Danse, the Wolfsburg It marks the starting point and shared humanity. Festival and the Holland Dance finish. Festival. It addresses direction, A MULTICULTURAL communication, and design. COMPANY Alonzo King LINES Ballet’s A line of thought. dancers come from all over the world with dancers from the A boundary or eternity. United States (white, African American, Hispanic), South A melodic line. Korea, Australia, Spain, and France. Despite their different The equator. nationalities, the dancers’ training From vibration or dot to dot it is and approach to dance gives the visible organization of what them a common language. Video: “Tracing Lines with Alonzo we see.” King.” http://www.franck-thibault.com/tracinglines/
Des Moines Performing Arts Page 9 of 20 Alonzo King LINES Ballet Guide THE PEOPLE BEHIND THE SCENES
When people see a Composer: a person who writes ON THE ROAD performance, they often think music. In addition, each theater that only of the performers on stage; Alonzo King LINES Ballet travels however, there are many other Lighting Designer: decides what to on its tour has many people on people who come together to kind of light (bright / dark / colors) staff to help with the show. This make the performance happen. will illuminate each dance piece. includes the theater’s own Technical Director and stage crew Costume Designer: designs all that works with the company’s WITH THE COMPANY the costumes the dancers wear technical director. The following list covers many of on stage. the important roles that contribute As you can see, theater is a truly to a professional dance Technical Director: makes sure collaborative experience, requiring performance, such as the one you all the technical aspects go trust and teamwork among many will experience with Alonzo King together and work, for example people. LINES Ballet. the set, lights and sound.
Associate Artistic Director: Rehearsal Director: schedules helps the Artistic Director maintain the daily rehearsal plan, ensuring the artistic quality of the each dance piece is given enough performance and the company. time at rehearsal.
Artistic Director: the person who General Manager: oversees all makes sure the dance company is the business of the company, meeting the artistic standards of everything from advertising to the company. Artistic standards insurance to paychecks to hiring may include the quality of personnel to make artistic dancers, dances (choreography), decisions. In general, making sure sets, costumes, lights, and music. the company runs smoothly. Alonzo King is both the artistic director and founder of Alonzo King LINES Ballet. The dancers are not the only people whose work goes into creating the performance . As you watch, think about how the lighting, costumes, and music help make the show more enjoyable and understandable and enhance the mood of each section.
Des Moines Performing Arts Page 10 of 20 Alonzo King LINES Ballet Guide WHAT IS DANCE?
Dance is a fundamental part of PHRASES SPOTLIGHT ON: the human experience. Read on All dances are made up of ATHLETICISM to learn more about the many sequences of steps and gestures 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 WHY WE DANCE sentence. to the other as a form of
People have always danced. expression, stretching an arm to 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 want to appease the gods, to CHOREOGRAPHY What, if any, differences are ward off evil, to pray for rain, or to Dances performed for audiences there between a dancer have a good harvest. In other are almost always leaping high into the air across societies, people dance mostly for choreographed, or created, by the stage and a basketball their own amusement – by one person, just as a composer player jumping to dunk the ball, themselves or with others. In makes up a piece of music. or an outfielder leaping over the some places, dance is a wall to make a great catch? performing art in which people COSTUMES dance to entertain others. Costumes are used to help bring What are some similarities and the choreographed dance to life differences between someone When people dance they move and to help communicate the participating in sports and their bodies rhythmically to story or idea. someone dancing, in terms of express ideas or emotions. Most movement (leap, bend, stretch, of the time, dance has a structure. In modern dance and ballet, etc.)? Sometimes it is improvised or costumes are often form-fitting made up on the spot. Traditional and may include bare skin. This As with sports, dance also folk or tribal dances are passed allows the audience to see the requires the use of energy. down from generation to detailed shapes made by the What are the differences and generation. dancer’s body. similarities in the amount of energy used by a dancer during a full performance and a
“What is Dance?” partially adapted from Diavolo’s “Young ball player playing a full game? Person’s Concert Study Guide.”
Des Moines Performing Arts Page 11 of 20 Alonzo King LINES Ballet Guide ELEMENTS OF DANCE — B.A.S.T.E.
Dance is the movement of the BODY refers to the awareness of SPACE refers to the space the human body through space in specific body parts and how they body moves through, the direction time using energy. Dancers use can be moved in isolation and of movements, and the shapes, movement to express emotions, combination. levels, and patterns of a group of stories, ideas, and beliefs. The dancers. five elements of dance include: shape: curving, angling, body, action, space, time, and twisting the body levels: low, medium, high energy. It is important to understand each element as they parts: arms, legs, head, feet, direction: forward, backward, come together to create the hands, torso diagonal, sideways whole. focus: straight, curved, open, ACTION refers to locomotor and closed, peripheral Discuss each of the elements as non-locomotor movement. a class and then explore each locomotor: walk, run, leap, element through movement TIME is a musical and dance hop, skip, gallop, slide exercises. These can be as element. It includes beat, tempo, (anything that moves from one simple as the instructor asking accent, and duration. point to another) students questions such as: tempo: fast, medium, slow “Show me low!”, “How can you nonlocomotor: bend, twist make the body go high?”, “Show (anything that does not move with or without music walking, skipping, etc.”, “Use from one point to another) your fingers and show fast.” long / short “Show me stretching.” Other, following and leading patterned / counted more in-depth ideas for exploring the elements of dance can be found on page 14. What shapes do you see in ENERGY refers to the force
the photo above? Examples applied to dance to accentuate the weight, attack, strength, and flow of locomotor movement? of a dancer’s movement. Levels? How would you describe the energy? quality: strong, light, sharp, Adapted from “Dance Education Initiative smooth, soft, sudden, Curriculum Guide”, Perpich Center for Arts Education. May be reproduced for educational purposes. sustained, free, bound
Des Moines Performing Arts Page 12 of 20 Alonzo King LINES Ballet 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 Goal: To get students ready for movement activities. non-dance educator, however, the prospect can be intimidating. Explanation: Warm-ups are important to warm up the muscles and prepare for physical activity; this Like any new concept and experience in the helps prevent injury. Warm-ups also get us ready to classroom, introducing dance is best done when focus and concentrate. scaffolded. The following are some helpful exercises to aid you in laying a foundation for integrating When: You should consider doing some sort of movement activities, such as the ones on pages warm-up prior to each time you do a classroom 14-16, into your classroom with success. movement activity. The following are two examples of warm-up activities that aid clarity and focus. STEP 1: TALK ABOUT DANCE Name Game: Goal: To encourage students to realize that dance is 1. In a circle, have each student stand shoulder to for everyone and to lay the foundation to create a shoulder, with a straight posture and hands out of nonthreatening environment for movement their pockets. exploration. 2. Students one by one, will turn to their right, look that person in the eye and state their name with Explanation: In this activity, students will discuss purpose and clarity. their concepts of dance and will progressively explore 3. When everyone in the circle has gone, evolve the how the body can convey emotion. activity by adding tempo (ex. Say your name but let’s move through the circle faster, like the wind, or slow When: Prior to introducing movement to the like molasses) or add a quality (ex. Say your name classroom for the first time. like a lion). 4. When ready to move on to another step, add the 1. Explore what dance means. Ask questions like, element of switching directions and saying names “What is dance?”, “What does dance mean to you?”, across the circle, using eye contact and a clear voice. “How do you dance?”, “Who dances?” 5. Make sure the students keep going, even with 2. Explain that dancing is for everyone and that it is a laughter, until a complete round is made with each powerful means of human communication. variation. 3. Now suggest several emotions for the students to show you without words or sounds. Call out happy, Game of Ten: sad, love, fear, anger, etc., one at a time. Have the 1. Begin by having students walk around the space at class show those emotions. varying tempos per the instructor’s call. 4. Repeat the exercise, this time without the use of 2. Circle up. any facial expression, and then without the use of 3. Next, give different sets of movements to be done different body parts, to encourage many different to a count of ten. You may choose to use some of the ways to express emotion. following examples.
Shake out hands, legs, arms, and whole body. STEP 2: SET EXPECTATIONS Stretch for 10 in various directions Roll down through the spine to the floor for a Goal: To set expectations for class behavior during count of 10 movement activities. Push-ups, 10 times. Roll over, sit ups, 10 times. Explanation: To best ensure success, set collective Stand up slowly for a count of 10, shake out the rules of what is and is not appropriate during each body again. movement activity. For example, keeping hands and Repeat feet to oneself, areas of the room that are off limits, when it is and is not okay to use our voices. “Introducing Movement into the Classroom” adapted from Diavolo’s “Young Person’s Concert Study Guide.”
Des Moines Performing Arts Page 13 of 20 Alonzo King LINES Ballet Guide MOVEMENT IN THE CLASSROOM: EXPLORING ELEMENTS OF DANCE
THE DANCING MIRROR GROOVING TO THE BEAT
Explanation: Introduction to ACTION, one of the Explanation: Introduction to TIME and SPACE, two basic elements of dance, through exploration of of the basic elements of dance, through beat creation locomotor and non-locomotor movements. and movement through space.
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.
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 1. Write ‘locomotor movement’ and ‘non-locomotor count beats while counting out loud: 1, 2, 3, 4, 5, 6, 7, movement’ on the board and read the descriptions of 8. each from the elements of dance ACTION section on 2. Explore variations in tempo by asking students to page 12. insert a word after each number such as ‘Mississippi’ 2. Read through the examples of each type of action for a slow tempo, ‘art’ for a fast tempo, or ‘dancer’ for as a group and ask students to generate additional a medium tempo. ex. “one, Mississippi, two,” etc. examples of each that can be listed on the board 3. Ask students to divide into two groups: A and B. underneath the title of each type of action. 4. Ask group “A” to clap a beat using one of the 3. Ask the students to stand up and form a circle with tempo prompts from the previous step, while group you. Explain to students that they are to be your “B” moves through the space by stepping on each mirror image. If your hand moves, their hand moves. beat. To give the walking purpose and character, you If your body sways, their body sways, etc. may want to ask students to move like a certain kind 4. Demonstrate a number of examples of action from of animal as they walk, or as if walking on the moon, the board and ask students to name whether the through water, etc. action is locomotor or non-locomotor movement as 5. Students in group “A” can experiment with different they mirror the action. tempos, prompted by you, as students in group “B” 5. Ask students to form pairs and each take turns change their movement to the beat. being the leader and the follower using both 6. Ask the two groups to switch roles. locomotor and non-locomotor actions. Follow-up Questions: Follow-up Questions: 1. Describe the difference between moving to the 1. Describe how it felt to perform locomotor action. beat and creating the beat by clapping. Was one 2. Describe how it felt to perform non-locomotor more challenging for you? Why? action. 2. How did changing the tempo of the beat affect your 3. What was it like to lead your partner? group’s movement? 4. What was it like to follow your partner? 3. Describe some of the ways that everyone moved 5. What did your movements remind you of, if through the space (stepping, high or low levels, etc.). anything? What are some other ways that you might move through space to a beat?
*Exploring Elements of Dance activities are adapted from the Ordway Center for the Performing Arts study guide materials.
Des Moines Performing Arts Page 14 of 20 Alonzo King LINES Ballet Guide PRE-SHOW EXPLORATION, pg. 1
1) WHO DANCES? 2) ‘RESIN’-INSPIRED HAIKU
Goals: To understand that dance is a shared art form Goals: To preview images of the piece ‘Resin’ that around the world students will see performed by Alonzo King LINES Ballet and to use strong verbs in writing. Explanation: Students will view a short video featuring people from around the world dancing Explanation: In this guided activity, students will paired with guided discussion. write haiku using action words inspired by images of ‘Resin’ Materials: Internet connection with YouTube access Materials: Projector or other way to show the video ‘Resin’ Images found on page 17 Chalk board or chart paper Projector or other way to share the images with students Activity: Chalkboard or chart paper to create a word wall 1. Explain to students that they will be going to the Paper and writing utensil theater to see a professional dance performance. Today, you would like to explore the question of ‘Who Activity: dances?” 1. Project one or both of the photographs from the 2. Write “Who Dances” on the chalkboard or flipchart piece ‘Resin’ (found on page 17) for students to see. paper. Ask for students to volunteer ideas about who 2. Ask students to write down at least two or three dances. (Ideas may include ballerinas, cheerleaders, strong action words that they see embodied in the brides and grooms, etc.) images. (Ideas: crouch, fall, drip, splatter, leap, fly, 3. After you have gathered responses, tell students soar) that they are going to watch a short video that may 3. Have students share out some of the verbs they give them some additional thoughts on who dances. wrote down. Collect them on a word wall. 4. Play the “Where the Hell is Matt 2012” video by 4. Next , challenge students to write three haiku. Each clicking on the image below. haiku must contain one of the verbs from the word wall. The haiku should have the following themes: Follow-up Questions: Where they are from 1. Did anything surprise you about that video? Where they are in life now 2. Are there additions we need to make to our ‘Who Where they would like their life to go in the future dances’ list? (Eventually, the goal is to have a student 5. After providing time to write, invite volunteers to suggest that everybody dances in some form.) share their haiku as they feel comfortable. 3. Now that we’ve explored who dances, why do you think people dance? (To celebrate, to entertain, to Haiku: a three line poem with the structure: worship, to express themselves, etc.) 5 syllables // 7 syllables // 5 syllables
Follow-up Questions: 1. Were you surprised by some of the action words that your classmates saw in the images? Were they the same or different from the ones that you saw? 2. Based on the pictures, what do you think this dance is about? What emotions or energies do you see in the photos? 3. How do action words make our writing stronger? 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 to dance with him. Activity inspired by work by teaching artist Paige Hernandez.
Des Moines Performing Arts Page 15 of 20 Alonzo King LINES Ballet Guide PRE-SHOW EXPLORATION, pg. 2
3) WHO WAS SCHEHERAZADE? 4) MUSICAL INFLUENCES
Goals: To understand the story that inspired one of Goal: To explore the place of instruments in a culture the pieces Alonzo King LINES Ballet will perform. Explanation: In this activity, students will research Explanation: Students will hear an abbreviated one of the instruments they heard during the summary of the story of Scheherazade and then performance and report their findings to the class. discuss her story’s relevancy. Materials: Activity: ‘What You Will Hear’ Handout on page 18 1. Tell students that one of the pieces they will see Research resources through the internet or your Alonzo King LINES Ballet perform is entitled school library “Scheherazade” and then read them the story of Scheherazade below: Activity: 1. Provide each student with a copy of page 18, which Once upon a time, there was a Persian king who describes the music that Resin and Scheherazade married a [woman] every night and beheaded each are set to and some of the instruments they heard one in the morning. during the performance. 2. Next, assign each student an instrument from the One night, the tyrant king asked for the vizier’s list and have them research the instrument on the daughter, Scheherazade. She entered his chamber internet or through appropriate print resources in your and offered to tell him a story. The king lay awake school library. and listened to the story with amazement and when 3. Students should try to answer the following it was finished, he demanded another. Clever questions: Scheherazade said no, dawn was breaking and What is the instrument made from? they had run out of time. But she promised a Where did it originate? second story, even more amazing than the first. How is it played? What does it sound like? And so the king kept Scheherazade alive, eagerly Is it used for any special purposes? anticipating each new story. One thousand and one 4. Have students write one or more paragraphs about nights later, the king had not only been entertained their findings. They should include a drawing or photo but wisely educated in morality and kindness by of the instrument if at all possible. Scheherazade who became his queen. 5. Last, ask students to present their findings to the class. If students found audio clips of their instru- By telling stories, she not only saved her own life, ments being played, allow them to share with the but also the lives of others. class as part of their report. -Adapted from Shahrazad: Stories for Life Project Follow-up Questions: Follow-up Questions: 1. What places did the different instruments come 1. Why do you think the king anticipated each new from? What place or purpose did the instruments story? have in their respective cultures? 2. Can you think of examples of ways that 2. Why do you think the composers chose to storytellers (in person, in books, on tv, film, or other incorporate these ancient instruments into the pieces formats) captivate our imaginations and keep us they wrote? wanting to find out what happens next? 3. Many of the instruments we researched are 3. The dance we will see is inspired by the story of thousands of years old and are still being played Scheherazade. It celebrates the idea of how a person today. What significance do you think that has? can use their voice or art to save others. Where do you see this happening in Scheherazade’s story? Who does she save? (Herself? Other women? What about the sultan?) How?
Des Moines Performing Arts Page 16 of 20 Alonzo King LINES Ballet Guide ‘RESIN’ IMAGES (for use with Pre-Show Exploration Activity #2 found on page 15)
Des Moines Performing Arts Page 1718 of 2018 Alonzo King LINES Ballet Guide WHAT YOU WILL HEAR (for use with Pre-Show Exploration Activity #4 on page 16)
IN RESIN: IN SCHEHERAZADE: TOMBAK Much of the dance in Resin is The music for Scheherazade was Shaped like a inspired by the vast and composed by tabla-master Zakir goblet, the Tombak diverse field of Sephardic Hussain, who re-interprets the is made from music. music written by Russian Walnut, or Mulberry composer Rimsky-Korsakov for wood. It is usually Sephardic music is the music of the 1910 ballet Scheherazade. covered with goat the Jewish people who lived on The music you will hear takes or camel skin, and the Iberian Peninsula until the some of the themes from the played with the Spanish Inquisition and they were |original music but incorporates most impeccable forced to leave. traditional Persian and Western Image: PersianDrums.com finger technique. instruments. When played the Tombak is placed under the arm and rested Some of the Persian instruments on the thigh. The bass note you will hear include: known as the "Tom" is produced in the middle of the drum, while the high note "Bak" is created on DAF the narrow edge of the instrument. The Daf is a frame drum made out of The Tombak is the most wood. One side is commonly heard drum in classical covered with Iranian music, and these days, no lamb or goatskin, longer only an accompanying and on the inside The Iberian Peninsula, shown in green, is instrument, it holds its own. today composed of the modern states of of the frame little Spain, Portugal, Andorra, and parts of metal rings are France. Map courtesy of Wikipedia.org. Image: PersianDrums.com attached, which NEY create sound at the smallest The Ney is an end-blown flute
movement. When played it is held prominent in Middle Eastern In their travels to settle elsewhere, with both hands, and played with music. The Ney has been the Sephardic people’s traditional the fingers. played continuously for music became influenced by Considered a sacred instrument, 4,500-5,000 years, making music they came in contact with in the Daf is present in Sufi rituals it one of the oldest musical places such as Italy, the Balkans , for its power to create trance instruments still in use. It Turkey, Morocco, Israel, Spain, states. This drum has now consists of a hollow and other points along the cylinder with established a permanent position k U Mediterranean. . finger-holes. It has a o in the Iranian classical orchestra. C . m very compelling and iu r o The music you will hear in Resin p engaging sound m E DUDUK h s is compilation of Sephardic music, i k which is some r u T The Duduk is one of the : past and present, from field times described e g oldest double reed a recordings preserved by the m as "gut I instruments in the world National Library of Israel located wrenching". in Jerusalem. These field and dates back over 3,000 years. Duduks are mainly recordings are interspersed with Judeo-Spanish songs. made from aged apricot wood. The performer uses One of the instruments you will air stored in his cheeks to hear in Resin is the shofar— a keep playing the horn of ancient origin used for instrument while he Jewish religious purposes. It is traditionally made from a inhales air into his lungs in ram’s horn. a technique known as Image: Wikipedia “circular breathing.”
Image : Armen Enikolopov
Des Moines Performing Arts Page 18 of 20 Alonzo King LINES Ballet Guide POST-SHOW DISCUSSION AND ASSESSMENT
DISCUSSION 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 the LINES Ballet 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 do the movements on 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 Ask students to 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 each dance? What does ______sound like? What does ______feel like? 3. How did the music add to the show? Did you have What does ______smell like? a favorite sound in the performance or a least favorite What does ______taste like? sound? Why? 4) WRITE TO THE DANCERS Prior Knowledge & Connections Once you have seen the performance and you and your students have had a chance to discuss what you 1.Did any of the movement or music remind you of saw and read, write to the Alonzo King LINES any cultures or countries? Ballet dancers. Artists love to read about what teachers and students thought of the performance. 2. What themes did you see in the performance? What did you see specifically that led you to conclude Letters may be sent to: that conclusion? Did any of those themes repeat in different ways throughout the show? Education Department Des Moines Performing Arts 221 Walnut Street Des Moines, IA 50309
Des Moines Performing Arts Page 19 of 20 Alonzo King LINES Ballet Guide RESOURCES AND SOURCES
CLASSROOM RESOURCES
Web 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.
Alonzo King LINES Ballet Website. http://www.linesballet.org/ Features additional information on the company, photos, and video.
“Tracing LINES with Alonzo King.” A short film by Franck Thibault. http://www.franck-thibault.com/tracinglines/ Contains interviews with Alonzo King and several dancers in the LINES Ballet company on the creative process, collaborations, and how King challenges his dancers to grow as individuals.
Print Resources: 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.pcae.k12.mn.us/pdr/danceedinit.html
STUDY GUIDE SOURCES
Alonzo King LINES Ballet Study Guide | Des Moines. Alonzo King LINES Ballet.
Gale Contemporary Black Biography: Alonzo King. http://www.answers.com/topic/alonzo-king
Ordway Center for the Performing Arts: Dance Study Guide Materials http://www.ordway.org/
Diavolo. “Young Person’s Concert Study Guide.” http://www.diavolo.org/
Persian Drums. http://www.persiandrums.com/
The Persian Ney. http://persianney.com/
Des Moines Performing Arts Page 1820 of 1820 Alonzo King LINES Ballet Guide