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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: choreographed many Broadway shows, including Rainbow ’Round My Shoulder (1959) performed by The Alvin Raisin. He is on the dance faculty at the University of Ailey American Dance Theater California, Irvine. Creators: Choreographer: Donald McKayle b.1930 About The Artwork: Music: Traditional African American, arranged by Robert De Rainbow ’Round My Shoulder was born in a moment of Cormier and Milton Okun from the collection of inspiration when Mr. McKayle met musician Leon Bibb. John and Alan Lomax Performing one weekend at a resort in the Catskills, they Background Information: collaborated on a prison song, Told My Captain, which Born in New York, Donald McKayle’s impressive career reflects the hardship and rhythms of Southern chain encompasses both modern and theatrical dance styles. gangs. McKayle actually chained himself to Bibb, improvising His early interest in dance was intensified at seventeen ideas through dance movement. Their performance, when he was electrified by seeing Pearl Primus, a young, intended to be a one-time happening, so affected the energetic black dance artist who combined modern with audience that they repeated it throughout that weekend. authentic African dance. The friend who had invited McKayle realized that this idea needed to be developed him to her concert was a student of Miss Primus. After into a full length piece. It took two years to complete. the performance McKayle felt such a strong chemistry Creative Process of the Artist or Culture: with Pearl Primus and her work, he insisted that his friend “The more specific and truthful you can be, the more teach him everything she knew that very night. universal your work will be,” states Mr. McKayle. He However, without technical dance training it seemed has a profound interest in African American heritage doubtful that he would be allowed to study at The New and has based this work on themes and styles drawn Dance Group where Ms. Primus taught. He insisted from this culture. Fascinated and moved by the strong, that if they would only audition him, they would know pulsing, repetitive rhythms of he was a dancer. His audition won him a scholarship to work and prison songs, he the school and marked the beginning of his legendary based Rainbow ’Round My dance career. From the beginning he choreographed and Shoulder on the concept of danced, never feeling that he was limited to only one of being a prisoner with a dream these roles. Mr. McKayle believes that having all the of freedom. senses open throughout life is very important for him as an artist. This openness has also helped him change the New York, NY minds of others. In 1955 he was the first black male “What is beautiful about selected to join the Martha Graham Dance Company mankind are the differences, and that is a thing to celebrate.” and he toured with them on their historic tour of Asia, Donald McKayle sponsored by the U.S. State Department. He has also Los Angeles, CA Discussion Questions: Multidisciplinary Options: After the video has been viewed: • Learn a traditional work song, such as the Hammer • What is the mood at the beginning of the dance? Song. Find a recording of it. The important pulse is on • Why do you think the choreographer selected the “off beat” rather than the main beat. Clap the off Rainbow ’Round My Shoulder as the title for the dance? beat rhythm and discuss the reason for the strong, • What movements were used to show the agony of compelling rhythm. Listen to the lyrics, then think of the men on the chain gang? Can you show any? other tools or instruments which fit the song. Add new verses. • How did the movement and music work together? • List words which describe the feelings of imprisonment • What was the hope of the men? Which dancer do and freedom. Think of an everyday object and, you think represented hope and freedom? Why? incorporating some of these words, write a poem or short • Describe your feelings from seeing the dance. story based on its response to freedom or imprisonment. Examples of objects: pencil, towel, cup, brush, shoe, box, Summary of the Dance Scenario: curtain. Until recently it was a common practice in the South to chain convicts together at their ankles as they Sample Experiences: worked at road construction, stone quarrying and LEVEL I bridge building. In this dance, Donald McKayle • Working alone, find how it feels to walk in the follow- shows the frustration and anger the men felt, as well ing ways: heavy, light, dragging, bouncy. Then, work on as their dreams of freedom. The stage lighting creates these ways of walking with a partner, copying each the ‘crack of dawn’ as five convicts enter, performing other’s movement choices. Discuss the differences you strong, stark and full-bodied movements. Their felt when moving in these different ways. twisting actions are interrupted at times as if they are * • Think of group work movements which can be reacting to being whipped. Although the movements explored, such as hauling, dragging, pushing, pulling, of the men are forceful, they become weighted and lifting and carrying. Create variations for each. weary as the day evolves. A woman appears, but is LEVEL II really a vision representing freedom. Three duets • In small groups, have leaders call out work commands follow, connected by choral transitions, representing for others to do as they travel along a straight path in 30 the memory and desire of a man for his sweetheart, seconds. Contrast this experience by having each student mother and wife. All the female roles, originally move along a curved path, doing movements of their performed by Mary Hinkson, are danced by the same own choice for 30 seconds. Compare the experiences. woman. The dance, set to the compelling rhythms of * • First with a partner, then in small groups, have a leader traditional African American folk songs, is scripted to create slow, strong, clear movements which are mirrored build emotional tension towards an explosive, sad ending. or shadowed by the partner or group. Work for smooth flow of motion and transitions. Audio-Visual Materials: LEVEL III ® • Artsource video excerpt: Rainbow ’Round My * • Working in partners, have one partner mime a strong Shoulder, courtesy of The Alvin Ailey American whipping (slashing quality) action to which the other Dance Theater and Donald McKayle. responds in dance movement. Repeat this several times • Photos: courtesy of The Alvin Ailey American working on action/reaction variations. Try in slow Dance Theater. motion, then fast motion. Change roles. Discuss the Additional References: experience and how the movements differed. How did • American Dance Festival. The Black Tradition in each role feel when you performed it? Modern Dance, American Dance Festival. • Select an African American spiritual or work song and www.americandancefestival.org. create small group studies which are inspired by the rhythm. Combine sections to create a whole work. 2 * Indicates sample lessons DANCE RHYTHMS OF WORK ENDURING VALUES LEVEL I Sample Lesson INTRODUCTION: In many cultures, people work together to lighten tedious, repetitive jobs. To quote The Fireside Book of Folk Songs, “The principle of ‘music while you work’ was discovered long ago when men first saw that rhythm and unity of action helped to perform a task with greater swiftness and efficiency. Music, more than anything else, gave their actions the combined effort that was needed.” In the past, sailors would sing sea chanties as they hoisted the sails, pulled in the lines and loaded cargo. Working on the railroad, the men would sing as they dragged the ties into place and drove in the spikes. As workers still do in Africa, slaves in America would provide a rhythm for their work by singing, giving them the will and energy to endure long hours of hard labor. Even during World Wars I and II, factory workers in many countries incorporated work songs to make their jobs easier. Soldiers who had to march great distances kept their spirits high by singing songs which kept them in step and lifted their morale. In this unit, we are focusing on the work which prisoners had to do, as a forced member of a chain gang; however this lesson can highlight any type of work which people have done throughout history. OBJECTIVES: (Student Outcomes) Students will be able to: • Move with unity and rhythm with others. (Artistic Perception) • Express individual interpretation of dance movements based on work movements. (Creative Expression) • Discuss the historical and cultural use of music and rhythm to support and channel the energy of people who perform repetitious work movements. (Historical and Cultural context) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing) MATERIALS: • Audio recording of the Hammer Song or other works songs such as sea shanties, railroad songs or prison songs. • Artsource® video excerpt of Rainbow ’Round My Shoulder, danced by The Alvin Ailey American Dance Theater. 3 PROGRESSION: • Introduce the idea of people creating a rhythmic pattern while working together to get hard jobs done. Sometimes people get paid for this type of work and sometimes they are forced to work against their will. • Give a brief introduction to Rainbow ’Round My Shoulder and give some history of the chain gangs. Refer to the unit pages for this information.
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