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The Music Center's Study Guide to the Performing Arts

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The Music Center's Study Guide to the Performing Arts 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: poured like raindrops onto and into my being. I have African Roots in American Soil danced on the dusty earth and the sound of my feet Performed by African American Dance Ensemble pounding against the earth brought the rhythms of life Creator: into my blood. The elders applauded and I fell down and gave thanks.” After two decades of building his company Choreographer, ethnologist: Dr. Chuck Davis b. 1937 in New York, he returned to North Carolina to start a Background Information: second company, the African American Dance Ensemble, Chuck Davis, a towering African American dancer and which he currently directs. He works energetically to bring choreographer, was born on New Year’s Day in Raleigh, all people his message of “Peace, Love and Respect for North Carolina. He states, “I came from a background Everybody” through dance. which was poor financially, but rich in love. I love my About the Artwork: family and the spirit of unity in the community.” His During the infamous ‘Middle Passage,’ black people first dance break came when he filled in for an injured were transported to many places and carried the genes member of the Richardson Dancers in Washington and customs of several different racial and ethnic groups D.C. He continued to dance with the company, but did with them. Mr. Davis meticulously studies the specifics not gain professional status until 1959 when he joined of each and then shows the blending of these different the Klara Harrington Dance Company. He performed cultures. The African diaspora (scatter widely) means with a number of modern, jazz, Afro-Cuban and that there is a connection wherever black people went. African companies, working with such people as Pearl This would include all of the dance styles from countries Primus, Bernice Johnson, Olatunji and Eleo Pomare, to such as Brazil, Cuba, Haiti and black Africa, as well as name a few. In 1968 he founded the Chuck Davis those from black America. Dance Company in New York, prompted by his disdain for the way black people were portrayed in Tarzan Creative Process of the Artist or Culture: movies. To fight this injustice, he set out to portray the Mr. Davis believes that “To understand the culture, truth about black culture through dance. An intro- study the dance. To understand the duction to Charles Reinhart in 1972 gave him his dance, study the people. A person chance to spread his message through the national with no heritage knowledge has a Artists-in-Schools program, as a faculty member at The rough future in store.” American Dance Festival, and later as a member of the New York Duke University dance faculty. In 1977 he took his first N. Carolina trip to Africa and also founded the annual DanceAfrica festival sponsored by the Brooklyn Academy of Music. Photo courtesy of Chuck Davis Many benefit from Davis’ long experience and exten- “My one goal is to service humanity sive research in Africa. “I have gone to Africa and I have through dance.” sat at the feet of elders and I have listened as their words Chuck Davis Discussion Questions: self-determination, collective work and responsibility, After the video has been viewed: cooperative economics, purpose, creativity and faith. • What is Africa? Where is it? Who lives there? See Kwanzaa Celebration Addendum. • What do you know about the continent of Africa? Audio-Visual Materials: About any of the countries in Africa? About any of • Artsource® video excerpt of African Roots in the specific cultural groups? American Soil African American Dance • What is the meaning of “African diaspora?” Ensemble, courtesy of Chuck Davis. Which parts of the world have a direct African • Artsource® audio recording: The Girl on the connection? How is it seen, heard and felt within Rock, an African folk tale from the Shona the culture? People of Zimbabwe, told by Paul Tracey, • Why does Chuck Davis think dance is so powerful? courtesy of Andrew and Paul Tracey. What do you think about the power of dance? Why? • Artsource® audio recording: Traditioal • What impressed you most about the dancing in African music (drums, xylophones, mbira), the video? What words describe the movement? courtesy of the International Library of African • How does this style of dance compare to other Music (Rhodes University, South Africa). styles of dance you have seen? • Photos: courtesy of Chuck Davis. More About the Creative Process of the Artist: Sample Experiences: Every year Chuck Davis journeys to Africa and “sits LEVEL I at the feet of the elders.” He researches the history * • Listen to the African tale, The Girl on the Rock. Learn of specific ethnic groups and strives to learn how the response portion of the chant and the rhythmic each dance is connected to the society and which sounds which represent each animal character. After movements, songs and music are performed for the story is known, dance the parts and characters. specific occasions. Only when he knows this • Watch the video, African Roots in American Soil, and information can he incorporate the authentic give responses to the two dances. movements into original African American work. LEVEL II Although he recognizes that movement takes on * • Experience chanting as a tool for learning, and other meanings when it is removed from its roots, perform in a Call and Response manner. he is conscientious about paying homage to its ori- • Identify some of today’s popular dance steps. Watch gin. His work is an African American interpretation the video of African Roots in American Soil and note of authentic material from Africa resulting in a the similarities between the movements in Isicathulo blending of styles and movement. and some of today’s popular dance steps. Try to do some movements from the video. Multidisciplinary Options LEVEL III • In many of the African ethnic groups, it is * • Many African ethnic groups have some form of a believed that wise people speak in proverbs. It is “Leadership Dance.” Leaders create challenging thought that everything has a place in life and a reason rhythmic patterns which the group performs together. for being. Look at the Proverb Addendum in this • Black African groups have ceremonies which unit and select one, or take a proverb which you celebrate the passages of life. Think of ceremonies in know from your own heritage. Develop a short the American culture which do this (birthdays and story with animal or human characters that ends or weddings). Create a Baby Naming Ceremony, including begins with this proverb. a special chant and dance movement. Students should • Learn about the African American celebration select a name for themselves which tells something of called Kwanzaa. It begins December 26th and lasts their character, appearance, accomplishments or history. for seven days, stressing the principals of unity, * Indicates sample lessons 2 DANCE DANCE AN AFRICAN FOLK TALE ENDURING VALUES LEVEL I Sample Lesson INTRODUCTION: There is no substitute for a good storyteller. Their words, gestures, inflections and the emotions they evoke cannot be translated into the printed word. Storytelling is an ancient and respected tradition in societies where verbal communication is foremost and people have time to give to the experience. This art still flourishes in many countries, regions and villages throughout the continent of Africa. At important and exciting moments in a story, the African teller may break into a melodic and rhythmic song or chant. Many times different characters in the story will have Illustration of The Girl on the Rock by Eric Byrd their own song. One of the charms of many from The Lion on the Path, by Hugh Tracey African stories is the creation of roles played by courtesy of Andrew and Paul Tracey animal characters who communicate with humans on equal terms. In the stories of the Shona-speaking people of Zimbabwe, Elephant and Lion are the undisputed chiefs in the stories; Baboon is their assistant and Antelope is their obedient subject. Others, such as Hyena and Jackal are portrayed as servants, and Tortoise is the creature of unhurried wisdom. Rabbit is quick-witted and playful, but suffers the consequences of those who outsmart him. Python is the healer and Crocodile can take on the traits of a husband or father. Birds are messengers and also serve as a nagging conscience, following evil doers. When the stories are told, the audience is usually aware of these traditional character traits and looks forward to new adventures which involve these various animals. In well established storytelling groups among the Karanga people (Shona group) in Zimbabwe, it is customary to conclude a session by reciting an old traditional verse, often a nonsense one, in order to break the story spell. It is clearly understood that anything that is said after the story spell is true and no longer make-believe. The following story, The Girl on the Rock, is from the Karanga people and was heard and translated by Dr. Hugh Tracey. OBJECTIVES: Students will be able to: • Gain an appreciation for traditional African storytelling and its universal appeal. (Aesthetic Valuing) • Participate in the retelling and dramatization of an African story from the Karanga people in the country of Zimbabwe. (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) 3 MATERIALS: • Artsource® audio recording of The Girl on the Rock, told by Paul Tracey.
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