DANCE

TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)

ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY

Title of Work: painter, enthusiastically introduced her to the work Impressions #2 ( ) of van Gogh when she was a girl. She says that “...under my father’s tutelage, I developed a ‘graphic Creators: Company: Lewitzky Dance Company eye’ that translates to my choreography. I care very Choreographer: Bella Lewitzky, b. 1916 d. 2004 much about the graphics of motion. How movement Composer: Larry Attaway b. 1949 involves space - creating and destroying it.” This work is Decor & Light Design: Darlene Neel, b. 1941 d. 1999 part of a trilogy, which includes Impressions #1, based Background Information: on the sculpture of Henry Moore, and Impressions #3, Bella Lewitzky was born of Russian immigrants in a motivated by the whimsical art of Paul Klee. utopian community in the Mojave Desert. She was greatly influenced by the space, stillness and beauty of Creative Process of the Artist or Culture: her surroundings. Although she loved to move as a child, Ms. Lewitzky brought works of art by Vincent van it was not until high school that she received formal dance Gogh into the studio for her dancers to view and training. At 17, she began taking classes with modern explore improvisationally. She selected specific dance pioneer, Lester Horton, with whom she worked movements and designs which she evolved into phrases closely as a dancer and collaborator until 1950. At that and patterns, weaving them into the completed time she began to teach and create independently, choreography. There are a total of eight sections in the forming the Bella Lewitzky Dance Company in 1966 work. However, two contrasting ones have been when she was 50. In 1970 she pioneered the National selected for our focus. The first is Landscape #1, Artist-in-Schools, Dance Component, and was influenced by two paintings: Starry Night and Starry instrumental in setting the standards for Dance Nights over the Rhone. The dancers move as if they Education. In addition to teaching and performing, were paint applied with strong she demonstrated how creative movement could be brush stokes. They move with the used as a tool for learning concepts within the school energy qualities of smooth, jagged, curriculum. Ms. Lewitzky was well known for the way wavy, pulsing, shimmering and she expressed her thoughts verbally, as well as exploding. It feels as if the dancers kinetically, and she was also a strong advocate for are inside the painting, transforming freedom of expression in the arts. Her artistic vision its vitality into motion. It is placed her in demand with important national and interesting to note that the music European art patrons for the creation of new dances. was created after the dance. Photo: Erica Davidson

About The Artwork: “Change is the only Impressions #2, which premiered in 1988, is based on constant.” Bella Lewitzky Lewitzky’s responses to selected paintings by the artist . Bella’s father, who was also a California Discussion Questions: Sample Experiences: After the video has been viewed: LEVEL I • What movements do you remember? • Circle these body parts: head, shoulders, hips, arms, • Can you show one movement idea from the dance? legs, hands, feet. Vary direction, size and tempo. • What do the movements suggest to you? • Create partner designs using ideas of: circle, high/low, • What actions in nature do the movements suggest? front/back, side/side, around/through, over/under. • What do you think this dance work was about? * • Put the following words into movement: sharp, • What kind of person do you think created this work? pulsing, smooth, jagged, wavy, swinging, shimmering. • What do you think the choreographer was saying? Combine two or three together. • What ideas came to mind as you watched it? • Read the book, Harold and the Purple Crayon. Explore • What was the mood of the music? Was there a ways to draw images using different parts of the body, strong beat? e.g. draw the moon using your nose). Sequence 5 - 7 ideas. • In Impressions #2, what paths did the dancers LEVEL II make on the floor? In the air? • Design shapes and motion based on these universal • Look at van Gogh’s painting, Starry Night. How * design motifs: straight, bent, curves, circles, spirals, dots. does the dance remind you of this painting? • Walk or run a spiral path. Begin at the small part and Multidisciplinary Options: get bigger; reverse. Try it alone, with a partner and in a • Be a dance critic and write your ideas about one group. Change level. Traveling backward, sideways. of the dances you saw. • Select a van Gogh landscape painting and brainstorm • What do you think the choreographer was the movement words it suggests to you. Write them saying in movement? down. Look at them in terms of which words suggest • What kind of movements were selected? Why? motion, time, space, shapes and moods. Select three to • What do you especially like about the dance? five of the words and develop them into a dance study. • What would you change about the dance? • Have students work in partners; one designs three • How did the music work with the dance? shapes which are copied by the partner. Reverse roles. • Did the choreographer show impressions of Copy from the front, side, back, close and far away. van Gogh in the same ways in which you view LEVEL III his landscapes or portraits? How is your view • Look at the video of the dance. Select one phrase from the same? How is it different? either dance section and learn it. Perform it for others. Audio-Visual Materials: * • Look at a reproduction of the painting Starry Night or • Photos courtesy of the Lewitzky Dance Co. Starry Night on the Rhone. Discuss how space is used, • Artsource® video excerpts of Impressions #2: Vincent brush stroke technique, colors, mood, images, balance, van Gogh, Starry Nights, courtesy of the New York energy, unity. Explore these ideas and develop a selection Public Library for the Performing Arts (NYPL call of these ideas into dance impressions, separately or combined. number: *MGZIC 9-5177), 1988. • Explore the eight Laban Effort Actions of press, flick, punch, float, slash, glide, wring and dab. Select two and Additional References: contrast. (Dance Addendum, “Tools for Viewing Dance.”) • Johnson, Crockett. Harold and the Purple Crayon, Harper Trophy, © 1955. LEVEL I, II and III • Joyce, Mary. First Steps in Teaching Creative • Think of poetic phrases that describe natural images Dance to Children, Third edition, Mayfield (i.e., “wind-swept surf”). Use these word images to Publishing Co., Mountain View, CA. 1994. stimulate original movement and dance ideas. * Indicates sample lesson. 2

DANCE WORDS IN MOTION TRANSFORMATION LEVEL I Sample Lesson

INTRODUCTION:

Words can be used to stimulate ideas in movement. Words which have action, shape, energy or time concepts work best. Onomatopoeic words, like ooze, fluffy, rip and bubble, are also effective. Words can be explored individually or combined in a variety of ways, such as: an action verb with an adverb (turning slowly); rhyming words (pick, flick, click); action words (run, bend, stretch). It is important to set an atmosphere where each person's interpretation is respected.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create original movement motivated by words. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Cards with selected words.

• A drum or selection of small rhythm instruments.

PROGRESSION:

• Select some of the following words (or think of your own) and put them on cards. Have the class interpret the word in movement as you show the word or call it out. Encourage spontaneous motion (improvisation) which shows the idea in several ways, rather than stopping after one motion.

Sharp • Smooth • Jagged • Wavy • Swinging • Pulsing • Shimmering • Exploding

Tasks: • Have each person take one of the words and develop it into a movement phrase with a beginning, middle and ending. For younger or beginning students, the idea can be improvised; older students should select and develop their idea so it can be repeated. Have the students perform their ideas in groups of five to seven.

• Divide into small groups and give each group two cards with words on each side. Let them select two of the words and create a movement idea in an AB (2 part) form. Repeat it. They should have a clear beginning and ending to their idea. Simple percussion instruments can be used to accompany the movements. 3

Suggested Criteria for Dance:

• Strong focus • Show originality in choosing movement to express each word • Clear beginning, middle and end

EXTENSIONS:

• Use the words explored in class to write a short story or poem. This can be done by each student, in small groups, or as a class.

• Create a dance where words are used as part of the dance. They can be used rhythmically or as cues for the movement. One person can be the leader and call out different selected words for the group to improvise.

VOCABULARY: improvise (improvisation), phrase, AB form, percussion

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how it felt to move the various words.

DISCUSS: Discuss what you found most interesting when you watched others showing their interpretations of the words.

ANALYZE: Describe the difference between verbally saying a word and moving that same word.

CONNECT: Discuss why you think that words are important in communicating feelings or impressions.

Seagull drawing (page 3) by Eric Byrd from The Lion on the Path, by Hugh Tracey, courtesy of Andrew and Paul Tracey.

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DANCE UNIVERSAL DESIGN MOTIFS TRANSFORMATION LEVEL II Sample Lesson

INTRODUCTION:

The seven universal design motifs are the basic elements from which visual designs are composed. They are divided into: straight lines, angular lines (zig zag), C curves, S curves, circles, spirals and dots. These concepts can be used in both the visual arts and dance movement. They can be a springboard for improvisation and a point of departure for dance studies.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create movement and shapes that reflect one or more of the universal design motifs. (Creative Expression) Design motifs and variations • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Pictures which show these lines in everyday objects, such as fences, clothing, food and nature, as well as reproductions of paintings and photos.

PROGRESSION:

This concept can be developed into a series of lessons, each of which focuses on one or two of the symbols. When they are all explored and understood, the students will have a larger movement vocabulary to draw upon in creating their own dances. Curves will be developed as an example.

• Have the students look around the space and find parts of the room, or objects, which have curved designs. After several are identified, have them show a few selected ones in their arms, legs, and torso. Direct them to be specific. Was the curve horizontal, vertical, or slanted? Was it thick or thin? Was it one curve or a combination of curves?

5 • Ask the students to combine curved designs with one another, placing their curves at different levels, directions, and facings.

• Have them develop a new curved design and find ways to move it, using ideas such as up/down, open/closed, strong/soft, turning/jumping. Ask a few students to share their ideas and have the rest of the class copy their movement, repeating each one three to four times. Build a sequence of several ideas.

• Divide the class into partners. Have them improvise a movement study where they throw (Back, L to R) Kimo Kimura, Kenneth Bowman (Front) Kenneth B. Talley, John Pennington curving motions back and forth to each other, using Lewitzky Dance Company strong or light energy. Think of under curves, over Impressions #2 (VincentVanGogh) curves, wind-up curves, double curves, curves that Photo: Vic Luke travel or turn.

• Direct the students to design three to five different curves. Ask them to sequence them and go from idea one to five.

• Ask five to seven students to demonstrate their curved sequences simultaneously, adjusting their space and timing to the others in the group.

• Combine three ideas together, such as bend, straight, curve. Do in place, then moving through space.

• Have the class use locomotor movements, such as walk, run, slide or skip as they move in curved pathways on the floor. Try moving the curve traveling forward. Retrace your steps traveling backwards or sideways. Add a level change (low - middle - high). Alter the tempo. Find a way to use the arms and torso as the movement is performed. Divide the class into small groups and have them perform their idea simultaneously, adding stops and starts when they wish. Repeat with straight and bent.

Task: Combine any three universal line ideas together, using a variety of shapes as well as axial and locomotor movements.

Suggested Criteria for Dance:

• Strong focus • Include three universal lines

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• Use original shapes • Axial and locomotor movements • Clear beginning, middle and end • Change of levels

EXTENSION:

• Have the students create designs in cut paper, paint or drawing, using the seven universal design motifs. Select three to four of the symbols. Develop a design that shows theme and variation. Variations of the design motifs can be developed by changing size, color and texture. Have the students arrange the motifs three or four times, searching for a pleasing arrangement that shows balance and unity. These can then be interpreted in a dance study.

VOCABULARY: symbol, design, improvisation, shape (as used in dance), phrase, repetition, AB form

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe and show examples of the Universal Design Motifs.

DISCUSS: Discuss what you learned about curves during this lesson.

ANALYZE: Focus on designs around you and analyze how they were each created from different combinations and styles based on the Universal Design Motifs.

CONNECT: Identify the different places in our culture where design is an important element.

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DANCE PAINTINGS TRANSFORMED TRANSFORMATION LEVEL III Sample Lesson

INTRODUCTION: Paintings can be a wonderful source of ideas for dancers. The painting can be used in a variety of ways: as an image or collection of images, as a mood or feeling, as an abstracted impression of something, as a beginning or as an ending. It can be viewed in terms of its elements: line, color, value, shape, texture and space. It can be looked at in terms of its design principles: balance, symmetry, asymmetry, contrast, dominance, repetition, rhythm, and theme and variation. In addition, the brush strokes of the artist are a factor.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Utilize a painting as a point of departure for creating original dance studies. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on Kimo Kimura, Jennifer Handel this lesson. Refer to Assessment at the Lewitzky Dance Company end of this lesson. (Aesthetic Valuing) Impressions #2 (Vincent Van Gogh) Photo: Vic Luke

MATERIALS:

• A slide or reproduction of Vincent van Gogh’s painting, Starry Night or Starry Night over the Rhone.

PROGRESSION:

• Look at Starry Night. Ask the class to brainstorm words that come to mind when they look at the painting. Write these words on a board. Put the words into different categories, such as actions, colors, shapes and feelings.

• Select a few of the words from different categories and improvise them in movement.

• Divide the class into small groups and have them explore the following ideas in the painting; • the spiral paths in the sky • the vertical, undulating quality of the cypress • the shapes and arrangement of the village

8 • the bursting energy of the stars • the short brush strokes • the mood of the painting

• Ask each group to select one specific aspect of the painting and develop their ideas about that aspect into a dance study. Have each group perform their study. Ask the class to ask questions and comment after they have observed each study.

Examples of questions are:

• How did the group use space? Which part of the painting did their movements suggest? • What energy words come to mind as you watched the group perform (strong, weak, vibrating, pulsing, swirling)? • How did the dance begin? End? Did these choices work to frame the middle?

Task: In small groups express an aspect of Starry Night using original movements.

Suggested Criteria for Dance:

• Group cooperation • Strong focus • Use of elements of dance such as, contrast of energy, rhythm, levels, shapes, patterns, pathways, etc.

Nancy Lanier, Kenneth B.Talley Impressions #2 (Vincent Van Gogh) Lewitzky Dance Company Photo: Vic Luke 9

• Smooth transitions • Clear beginning, middle and end • Movements fulfilled

EXTENSIONS:

• Select a painting by another artist and apply the same techniques in this lesson to explore the ideas in the new work. Good choices for artists include: Pablo Picasso, Georgia O’Keefe, Henri Matisse, Paul Klee, Henri Rousseau, Hundertwasser, Jacob Lawrence, Hokusai, René Magritte, José Clemente Orozco and Diego Rivera.

• Select several different paintings by one artist. Divide into small groups, each one exploring the ideas they see in a specific painting. Each group take its best ideas and develop them into a short dance study. Share these and discuss the ways each group captured the essence of the work, transforming their impressions from images and words into dance motion.

• Have the class draw a “doodle” and see if they can show their “doodle” idea in movement. For more advanced students, have them create a movement phrase which can be repeated or try observing a movement phrase and showing the action and path in a “doodle” drawing (or graphic score).

VOCABULARY: Abstract (abstraction), energy quality, space, dance study, transformation

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how a painting can be used as an inspiration for a dance.

DISCUSS: Discuss how you came up with ideas from the painting to explore in movement.

ANALYZE: Discuss the part of the painting you danced and what you most liked and why.

CONNECT: Discuss other forms of art that you could you use as a point of departure for dance.

ADDITIONAL REFERENCE:

• Bonafoux, Pascal. Van Gogh, The Passionate Eye, Discoveries, Harry N. Abrams Inc., NY: 1987 10 “The Search for Identity – Vincent van Gogh” “There is something inside me. What can it be?”

Excerpt From Art & Man, Vol.11, No. 1, Oct. 1980 Reprinted by permission of Scholastic Inc.

You may already know a lot about Vincent van Gogh. If Impressionists. Compared to the 1886 portrait, the 1887 you’ve read, seen, or heard any of the books, films, or painting (both Vincent van Gogh Foundation, songs about him, you probably know that he went mad, ) shows this was a happy time for van Gogh. cut off his ear and later, shot himself at the height of his The brilliant colors and free brushstrokes convey this career. Van Gogh’s short, sensational, and tragic life has feeling. fascinated people ever since he ended it 90 years ago. But his life would have been long forgotten if it weren’t for the Van Gogh became interested in color as a way of more than 1600 extraordinary paintings and drawings he expressing emotion. Later he moved to , a colorful left behind. Like all great artists, van Gogh saw the world region in Southern , which reminded him of in a totally new way and each painting was a part of his Japan. He had been impressed with Japanese woodblock own completely personal vision. Today we take van prints and in 1888 painted himself as a Buddhist monk Gogh’s work for granted because they have become part (Fogg Art Museum, Bequest, Collection of Maurice of our art heritage. But at the time they were created, Wertheim, Harvard University, Cambridge, MA.). Van nothing like these almost shocking paintings with their Gogh used brilliant colors, flat shapes and the black thick, swirling brushstrokes and bright “unnatural” colors outlines of Japanese prints. had ever been seen before. In Arles, van Gogh worked himself to exhaustion. When Vincent van Gogh was born in a small Dutch village in he rested he had time to be lonely. Vincent’s intensity 1853. His father was the local minister and van Gogh tended to frighten and alienate people. To relieve his grew up in a very religious family. Vincent wasn’t loneliness he persuaded another artist, , to particularly interested in art when he was young. He join him in Arles. After an argument, van Gogh turned finished school at 16 and because he needed the work, his rage upon himself. In the first of his fits of insanity, took a job in his uncle’s large art dealers’ firm. Vincent he cut off part of his left ear with a razor. His emotional became restless and quit. He tried teaching school but anguish is reflected in the 1880 self-portrait (Self-Portrait then decided to study for the ministry. He failed the with Pipe and Bandaged Ear. Collection, Mr. and Mrs. entrance exams so he joined a society and was Leigh B. Block, Chicago). The painting vibrates with sent to preach to coal miners in . Vincent was intense colors. His green coat and blue-violet hat stand horrified when he saw the conditions there. He gave out against an orange and red background. The away all of his possessions, slept on the floor, and ate blood-red horizon line draws us to the piercing blue eyes bread crusts in order to live like his parishioners. This staring out of the yellowish face. extreme behavior alarmed the ministry and van Gogh was dismissed. Vincent loved people. He had all kinds of After this terrible incident, Vincent went into a series of dreams and feelings he wanted to communicate, but mental asylums. He continued work at a feverish pace, nothing ever seemed to work out. He was nearly 27, and but suffered more and more frequent attacks. A final he had no idea what he wanted to do with his life. self-portrait (Auvers. 1890. Louvre Museum, .) was done a few weeks before van Gogh walked into the fields The only one who seemed to understand was his brother and shot himself. There is no sign of madness. The gaze Theo. In the many letters he wrote to Theo, Vincent is intense, the brushstrokes thick and swirling, but the always included drawings of everything he saw and did. color is as carefully planned as ever. Theo had a good job so he suggested Vincent try art and offered to support him while he got started. Vincent No one really knows what was wrong with van Gogh. threw himself into his new career, teaching himself, The most important thing about his life, however, is the drawing constantly. Van Gogh did many self-portraits. body of work he left behind. When we think of Each one reflects his emotional state at the time. In the conveying feelings through the use of color, one of the painting done a few years after he began painting, van first artists that comes to mind is Vincent van Gogh. Gogh saw himself as a dark form emerging from the shadows. A year after painting that work, van Gogh went to Paris, where he saw the bright colors of the 11 “An Explosion Color” “Color in and of itself expresses something.”

Excerpt From Art & Man, Vol.11, No. 1, Oct. 1980 Reprinted by permission of Scholastic Inc.

For van Gogh, the color yellow meant everything bottom raises the emotional level just enough to good. It stood for faith, love, triumph, hope and make the difference between a pretty painting friendship. It was the color of the sun, of wheat fields, and a great work of art. (Cover the lower part of of flowers. Vincent even painted the house he lived the painting to see the change in intensity for in yellow. He created a wonderful series of vivid yourself.) yellow sunflower paintings to decorate the room of his friend, Paul Gauguin. (Sunflowers, August, 1888. In “The Night Café” . . . how has van Gogh made , .) But look at the painting the same yellow seem sinister and cold? The of a café at night. Yellow is also the most important artist color in the work (“The Night Café” September, 1888. himself tells us the effect he meant to give: “The University Art Gallery, Bequest of Stephen Carlton room is blood red and dark yellow with a green Clark, B.A. 1903), but do you get a warm, friendly, billiard table in the middle. . . Everywhere there hopeful feeling when you look into this room? is a clash of the most disparate reds and greens in the figures of the little sleeping hooligans in the Vincent van Gogh’s paintings reflect his very empty, dreary room. . . .” This time the colors emotional personality. He told Theo, “I want to are not just solid, flat areas. Orange and green touch people with my art. I want them to say he feels brush strokes break up the yellow floor and give deeply, he feels tenderly . . . ” For this artist, color was a radiating effect to the light from the four gas so important that each one had its own special feeling. lamps above (almost like fumes of poison). A Red was “warm and heady like wine,” blue “spiritual vast expanse of floor fills the entire bottom of the and divine,” green was “sinister and terrible.” But painting, cutting us off from the small, indistinct these meanings could change too. By altering a figures in the back. The great number of vacant color’s value (lightness and darkness), its intensity chairs adds to the feeling of loneliness (empty (brightness or dullness), the amount applied (whether chairs in van Gogh’s paintings often referred to he used just a touch of the color or covered the whole someone close to him who had left or died). The canvas with it), its combination with other colors or its strange, tilting perspective lures the viewer to the texture, van Gogh could change the effect completely. brightest spot in the painting, the curtained doorway near the center. Compare the use of Both paintings (mentioned above) were based on black in this painting to “Sunflowers.” What yellow combined with the same two colors – green effect do the black lines give? and orange-red. The colors in “Sunflowers” are very close in value and intensity. The green is a very warm In “The Night Café” the sense of loneliness and yellow-green, the red a warm orange. These colors alienation in the subject is reflected by the and the painting’s square format convey the conflict among the colors themselves. In this tranquility of the subject. In fact the entire work painting, yellow, van Gogh’s color of joy, takes on would be almost boring if it weren’t for one vital a whole new meaning. touch. The thin blue line and the signature at the

Special Note: These two articles on van Gogh are included to give more information about this exceptional artist and his work. While they don’t directly relate to the paintings used by Bella Lewitzky to inspire her suite of dances called “Impressions #2” (Vincent van Gogh), you can see the process used in analyzing a work of art and how the elements and principles of art come into play as they provide additional lenses for giving perspective to the work and the creative process of the artist. It is easy to access photographs or replica’s of most of the mentioned works on the Internet. 12

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Introduction

ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams

Music Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara Leonard Kathryn Johnson

Technical Production donated by Paul Tracey

Layout and Logo* Design Maureen Erbe Design *Received the LULU AWARD for excellence in graphic design and advertising, sponsored by the Los Angeles Advertising Women (LAAW) Additional Artwork & Artsource® Logo Graphic H. P. Law & Partners

The Music Center of Los Angeles County wishes to thank the artists featured in this publication for their outstanding artistry and their generosity in allowing us to share their creative spirit in the classroom. Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing these resource materials, Music Center volunteers for their help in organizing, proofing and editing Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the Artsource® units in their classrooms.

Mark Slavkin Vice President for Education Melinda Williams Director of Education