The Music Center's Study Guide to the Performing Arts

DANCEMUSIC

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: About The Artwork: There is a Time There is a Time, based on a poem from the Old Creators: Testament, has enduring, universal themes describing Company: Limón Dance Company the human experience. The opening line is, “To Choreographer: José Limón (1908-1972) everything there is a season, and a time to every purpose Score: Meditations on Ecclesiastes, by Norman under the sun.” Limón’s interpretation is both Dello Joio, commissioned by the Juilliard choreographically and musically, a theme with varia- Music Foundation’s Festival of Music tions. He uses a large circle as his main theme for the (awarded the Pulitzer Prize in 1957) opening of the dance, majestically evoking the Premiered April 20, 1956 at the Juilliard School, N.Y. continuous passage of time. This circle is seen Background Information: repeatedly in many different sections, as well as in the Acclaimed for its dramatic expression and technical rhythm, dramatic shapes and contrasting themes. The mastery, the Limón Dance Company has been in concepts in the poem are based on the idea that there is existence for 60 years, continuing long after the death a purpose to all human experiences, such as a time to be of its founder. José Limón, a powerful dancer and born and a time to die; a time to plant and a time to pluck visionary, created many legendary works that have up that which is planted. The opening and these two timeless and universal themes. Founded in 1946 by phrases are among the excerpts featured in the Artsource® Limón and modern dance pioneer Doris Humphrey, video. the company is now led by Carla Maxwell, who Creative Process of the Artist or Culture: worked closely with Limón before becoming Artistic Critic Clive Barnes writes, “the dance motifs are sharply Director in 1978. José Limón electrified the world focused and often brilliantly expressive. . . Emotionally the with his dynamic masculine dancing and dramatic work shows a constant interplay of choreography. Of Mexican descent, he was born in light and shade, so the fierce intensity of “a time to keep silence”, and “a time Culiacán, Mexico in 1908 and moved to California in to speak,” is soon relieved by the release 1915. He found his life’s purpose after he saw his first of “a time to laugh.” Even though dance program in New York in 1928. He said, “What there are solos and duets, the I saw simply and irrevocably changed my life. I saw the company works as a team dance as a vision of ineffable power. A man could, with Photo: Jack Mitchell throughout the dance. dignity and towering majesty, dance . . . as Michelangelo’s “I try to compose works New York visions dance and as the music of Bach dances.” that are involved with Considered to be the foremost male dancer of his man’s basic tragedy and the generation and a master choreographer, he created 74 grandeur of his spirit.” works during his career. José Limón Discussion Questions: Sample Experiences: After the video has been viewed: LEVEL I • Why do you think José Limón used a circle • Have students think of other sets of opposites in their motif for the beginning of this dance? What lives, such as sleep/awake; fear/courage; together/alone. ideas or themes might it represent? Select one to draw, write about, discuss or dance. • What impressed you about the part of the * • “Choral Speaking and Soundscapes” - Divide the dance, A time to be born and a time to die? class into two groups. Have them create a Soundscape • What type of movements did the dancers do to using voice, body percussion, blowing, etc. Select one show the ideas, A time to plant and a time to phrase from the poem. One group combines and pluck up that which is planted? layers sounds to express war, the other group expresses • Can you think of other movement choices or peace. Follow with choral speaking of lines. actions you might include in this dance, if you LEVEL II were the choreographer? What would you • Take the above idea of making individual body shapes change? What would you add? Delete? to express concepts. Work in partners to show the • Describe the music. How did the dance and opposite concepts of selected pairs - i.e., one partner music work together? If you were to choose shows war; the other shows peace. Switch roles, with different music, what might it be? each partner giving their own shape version for each. Multidisciplinary Options: * • ABA Form (“Portraying Opposites”) - Read parts of The poem from Ecclesiastes 3:1-8, on page 3, is the poem to the class and discuss. Then select specific considered to be an “Anchor Work” because of its phrases; have students portray the contrasting ideas poetic artistry, enduring value, and universal themes. in body shapes and movements, showing clear Have students read this poem as individuals or as a intention within the ABA form. Examples include: group. Then, discuss what it means to each of them in born/die/born; plant/reap/plant; weep/laugh/weep. terms of their own experiences and observations of the • Do movement conversations of 4 counts each with a human experience. Divide students into small groups partner, one expressing weeping and one laughing. and give them each one phrase to discuss in greater LEVEL III (All three ideas are included in this lesson) depth. Have them brainstorm a variety of ideas and * • Guide students to individually explore the different responses without judgment. Then, ask each group to phrases within the poem. Form partners, select one think of questions to share. Discuss the questions and phrase they found interesting. Each partner takes one select one or more to explore through discussion, part of the opposite (plant/reap) and expresses it with- research, writing, art, music, song, theatre or dance. in an eight count phrase. One freezes, one moves. Audio-Visual Materials: Have a clear beginning and ending. Repeat three times, • Artsource® video excerpts: There is a Time, featuring the emphasizing the ideas of a cycle of action that includes Limón Dance Company. Music: Meditations on different dynamics. Ecclestiastes, composed by Norman Dello Joio, * • Ask each set of partners to share ideas. One partner by permission of Carl Fischer Music. performs their phrase while the other partner sits and • Photos: Jack Mitchell, Tom Caravaglia, Andre respectfully observes. Switch. Share observations. Beekman and Jack Vartoogian. * • Partners teach their phrase to each other, sequencing Additional References: ideas in the correct order (weep/dance). Perform both • José! Born to Dance: The Story of José Limón. Simon & parts together, designing spatial relationships in a Schuster. Grades 2-4. Simon & Schuster, 2005. variety of ways. Stress a range of dynamics. Create a • “Limón, A Life Beyond Words”- a documentary direct- beginning shape or entrance and an ending shape. ed by Malachi Roth. www.limon.tv 2 • Limón Web Page: http://www.limon.org * Indicates sample lesson

THE POEM TO EVERYTHING THERE IS A SEASON

To everything there is a season, a time for every purpose under the sun. A time to be born and a time to die; a time to plant and a time to pluck up that which is planted; a time to kill and a time to heal . . . a time to weep and a time to laugh; a time to mourn and a time to dance. . . a time to embrace and a time to refrain from embracing; a time to lose and a time to seek; a time to rend and a time to sew; a time to keep silent and a time to speak; a time to love and a time to hate; a time for war and a time for peace.

Ecclesiastes 3:1-8

HISTORICAL NOTE

Ecclesiastes means “teacher” and is considered to be the book of wisdom in the Old Testament of the Bible. It is thought that many of these poems were written by King Solomon, perceived to be one of the wisest and most compassionate men of his time. He reigned over Israel’s Golden Age (970-928 BC).

REVIEWS

“There is a Time has in fact not aged. Emotion surges today (as it must have sprung forth in 1956) from full and ‘felt’ movements which irradiate the underpinning of the dance. The premise itself is of a vivid timeliness. In There is a Time, Limón manifests a profound humanism: the values of peace and justice always end in conquering violence and oppression.” L’Humanité, Lyon, France, September 1986.

“It is a fine work. The gist of its intent seems to be a conviction that in spite of killing and healing, mourning and laughing, breaking down and building up, there is a continuity to life that cannot be destroyed. To this end, the choreographer has chosen the oldest of all symbols of eternity, the dance round, taking up just where Doris Humphrey has left off, and he has used it superbly. There is a wealth of beautiful movement, stunning phrases, rich invention. It is handsomely costumed by Pauline Lawrence, incidentally, and admirably danced by this outstanding company.” John Martin, New York Times, May 1956

3 DANCE CHORAL SPEAKING AND SOUNDSCAPES ENDURING VALUES

LEVEL I Sample Lesson INTRODUCTION:

Sound is powerful! It can be used to express ideas and emotions, as well as create an atmosphere that evokes images. This lesson is about creating contrasting Soundscapes that elicit emotional responses through the auditory sense.

Students will be encouraged to listen to sounds and select ones that they associate with the paired opposites from the poem, To Everything There is a Season. They will be taking a pair of opposites such as war and peace and brainstorming the sounds they might hear in their minds that represent each one. Students will be encouraged to listen and make sure that their sounds have varied texture and work rhythmically with the sounds made by other students. Improvising, they will work as an ensemble rather than independently. Moments of silence will also be encouraged.

OBJECTIVES: (Student Outcomes) Nina Watt in There is a Time - Limón Dance Company Students will be able to: Photo: Jack Vartoogian

• Identify and discuss sounds that represent various paired opposites. (Artistic Perception)

• Create a Soundscape that represents a set of paired opposites. (Creative Expression)

• Express phrases from the poem, To Everything There is a Season, in a variety of ways through Choral Speaking. (Creative Expression and Artistic Perception)

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

MATERIALS:

• The Artsource® video showing excerpts from There is a Time performed by the Limón Dance Company.

• Words to the poem, To Everything There is a Season, found on page 3.

• Pieces of paper with one of the phrases from the poem written on each one. There should be one for each student, and it doesn’t matter if more than one student has the same line.

4 PROGRESSION:

• Give background on the poem and the dance on page 1.

• Use the “Discussion Questions” on page 2 as points of departure for discussion of the dance and the poem. Return many times to discuss the work as new experiences and layers of understanding are built.

BUILDING A SOUNDSCAPE

• Select one pair of opposites from the poem that seems relevant to your students. Build a Soundscape that captures the sounds of the contrasting ideas. For the purposes of showing the steps of the lesson, war and peace will be used as a model.

• Write these two words on two separate areas of the board. Draw a circle around each and create a word web of ideas that are associated with each idea. Follow this with additional word webs that show sounds that would capture the feelings of each word in the first web. Here is an example:

1. Ideas associated with each:

War - aggression, power struggle, fear, anger, conflict, fighting, dying, sadness, victory, loss Peace - cooperation, inclusion, courage, happiness, calmness, friendship, balance, unity, trust

2. Sounds associated these ideas:

War - shouts, growls, blasts, sirens, gun shot, mortar rounds, cries for help, moaning, weeping Peace - humming, laughter, birdsong, pleasant greetings, singing, sounds of children playing

• Divide the class into two different groups. One group will create a Soundscape making and layering sounds of War while the other group listens with silent respect. Encourage silent spaces within the sounds.

• Ask the listening group what they heard and the feelings it evoked. Ask the performing group what they felt and heard as they were creating and performing their War Soundscape.

• Repeat these steps having the other group making and layering sounds of Peace.

CHORAL SPEAKING TASK

• Pass out pieces of paper to each student, with a different line from the poem on each. (i.e., A time to keep silent and a time to speak.) More than one student may have the same line.

• Ask each student to read their line to themselves over and over until they have it memorized. Then, if there is space, have all of the students walk counterclockwise around the room as they do the following Choral Speaking exercises. If there is little space, divide the class in half or quarters and have one group at a time be the active ones, while others respectfully observe.

5 1. Speak your line out loud, using a normal voice. Repeat several times. Freeze.

2. Say your line as slowly as possible, drawing out each syllable. Repeat several times.

3. Say your line as fast as possible, spitting out the words quickly. Repeat several times.

4. Say your line with anger, using power, force and strong emotion as you speak. Repeat several times.

5. Whisper your line, speaking secretively or quietly. Repeat several times.

6. Say your line as if it were a question and you are trying to understand it. Repeat several times.

7. Accent different words in your line, giving emphasis to different interpretations. Repeat several times.

8. Say your line as if it were a rap, speaking it rhythmically. Repeat several times.

* It is optional to add natural gestures as students are walking and speaking.

• Divide students up into small groups. Make sure that each student in the group has a different line.

TASK:

Create a Found Poem and Perform it as a Choral Reading: Ask students to read their lines to each other and then sequence them in an order that they like, creating a “Found Poem.*” They will design a Choral Reading of their “Found Poem.” Using selected vocal techniques they have experimented with, or new ones, they are to work as a group to plan out and speak their lines. They may also use solo, duet, or unison voices. They should show 5-7 different ideas, including sounds from the Soundscape, repeated words or lines, and gestures. The intention of each line should be enhanced by sound and vocal techniques and gesture (optional).

* “Found Poem” - a poem that is composed of selected lines from one or more poems.

Suggested Criteria : • Cooperation and inclusion among all members of the group • All lines of the “Found Poem” are included and sequenced • At least 5 different vocal techniques are used • Successful selection and combination of solo, duets, and unison to best express the ideas in the group’s “Found Poem”

• After each group has had time to plan, create and refine their work, they will perform the Choral Readings of their “Found Poem” for their peers. Review the Ground Rules for doing a good job as both performers and audience.

6 Ground Rules for Performers Ground Rules for Audience

- maintain strong focus throughout - give respect and active attention to performers - perform with energy and clear intent - keep silent - do your very best work - clap, but don’t shout when performers are done - work for unity with your group

• Have the students discuss their response to each group. This can be done after each one has performed or after all groups have performed. Also, use the criteria as a point of departure for the discussion. Construct questions that elicit thinking, rather than one-word answers.

• What did the group do to convey the intent? • What most impressed you about the Choral Reading? • What constructive suggestion would you give to improve the artistry and expressive quality of their work?

EXTENSIONS:

• Ask students to revise and refine their work and perform a second time.

• Record or video their work to view and discuss later.

• Challenge students to add movement and gesture to their reading.

VOCABULARY: Found Poem, Choral Reading, words from the poem that students may not know

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Name the different vocal strategies used in their group work.

DISCUSS: Discuss the process each group used to create their work.

ANALYZE: Discuss the similarities and differences between the individual “Found Poem” and the original poem.

CONNECT: Discuss the relationship of the concepts from the poem to their own life experiences and observations. Since this is an ancient poem, what does that tell us about the lives of people who lived a long time ago and the lives of people today?

7 RUBRIC FOR CHORAL READING TASK:

Advanced: • Excellent focus throughout the performance • Excellent cooperation and collaboration of group members • Incorporation of more than five vocal and sound strategies • Exceptional artistic expression of the ideas within the poem • Clear intent of the lines used in the poem

Proficient: • Good focus for most of the performance • Good cooperation and collaboration of group members • Incorporation of four to five vocal and sound strategies • Good artistic expression of the ideas within the poem • Mostly clear intent of the lines used in the poem

Approaching Proficient: • Inconsistent focus throughout the performance • Difficulty in achieving cooperation and collaboration among group members • Incorporated less than four vocal and sound strategies • Some emerging artistic expression of the ideas within the poem • Unclear intent of the lines used in the poem

8 DANCE Dances in ABA Form: Portraying Opposites THE HUMAN FAMILY

LEVEL II Sample Lesson

INTRODUCTION:

A range of opposite concepts and experiences are threaded throughout our lives. The poem, To Everything There is a Season, speaks of several sets of opposites such as: plant/reap; hateful/joyful; and laugh/weep. However, there are also many other opposites that are found in our daily lives, such as sleep/awake; full/empty; inside/outside; push/pull; up/down; include/exclude; laugh/cry; and dark/light.

By learning the two extremes of any concept, students are better able to find the range of possibilities in between. Almost any set of opposites can be explored effectively Limón Dance Company through creative dance, and this is te There is a Time focusof this lesson. Students will Danskern (Maureen Krumeich and Rob Suy) select pairs of opposites and then will Photo: Andre Beekman create a sequence of contrasting sections in the ABA form. This is a simple way of introducing the basic ABA form used in both music and dance. This form consists of an A section, which represents one idea, such as laughing, and a B section, which represents a contrasting or opposing idea, such as crying. The A sections are done at the beginning and the end, and the B section is done in between the two.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Name and express a variety of paired opposites through body posture, gesture and movement. (Creative Expression)

• Discuss the many ways that opposing concepts are found in everyday life. (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)

9 MATERIALS:

• The Artsource® video excerpts from There is a Time, performed by the Limón Dance Company.

• Any grade level book that features opposites (if desired as a lead-in)

• Drum or other percussion instrument (optional)

PROGRESSION:

• Give some background information on José Limón and his work, There is a Time. Use the “Discussion Questions” on page two of this unit to help you guide students in discussing the piece and finding personal meaning and connections. Do this several times to deepen thinking and add knowledge.

• Ask students to brainstorm a list of opposing concepts and then select two to four to focus on as a group.

• Ask students to each find a place where they can create shapes (poses) and do some basic movement. If there is room, form a circle with enough space inside for several children to move simultaneously. If in a circle, verbally count off the students “1-2-3” and repeat until each student is assigned a number. Then have all the students of one number come into the center of the circle. Give them a set of opposites to depict in shapes or in movement. For example: sitting/standing could be done in individual poses or shapes and slow/fast could be done using motion (walking or reaching, turning, sit or stand, etc.)

• After one group has had a turn, have them return to their place in the circle and another group go into the center to explore a different set of opposites.

• After each group has had a turn, ask the students to think about which opposites they would like to explore further. Use the ABA form, which can be visualized as a “sandwich of opposites.” For example, if the opposite pair is laugh/cry, the sequence would look like this: first, laugh; next, cry; last, (repeat) laugh. Or you could reverse the sections: cry, laugh, cry. This is a simple way to introduce students to a music and dance form called ABA.

• It can also be helpful to give a time structure of eight counts for each section, calling a “freeze” at the end. The most important aspect is to encourage each student to discover as many different ways to show each idea. It is helpful to add “side coaching” tips while they are moving, such as:

- change levels (higher/lower) - make the movements bigger or smaller - travel through space as you move - add a turn or a stretch - show the idea in an isolated body part

Suggested Criteria: • Move without touching others • Maintain focus throughout • 8 counts for each letter section of the ABA form, or “3-part sequence” • find variations using level changes, moving in one spot as well as traveling, changing energy 10

EXTENSION:

• Divide into small groups or partners and have each one select a pair of opposites from the poem (or other source) to express using the ABA form. Have several partners at a time perform their ideas simultaneously for the class. Discuss what the class found interesting and then ask for one wish to identify something each group could improve.

VOCABULARY: opposite, contrast, paired opposites, ABA form, AB form, Rondo form, sequence, repeat; words from the poem that students may not know

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Name the ten paired opposites in the poem.

DISCUSS: Discuss the way they felt when they were dancing any two contrasting ideas.

ANALYZE: Discuss the contrasts in energy (strong/weak; heavy/light), space (close/far; large/small), time (fast/slow), and emotion (sad/happy; afraid/brave; angry/calm) that they experienced when they danced each opposite concept.

CONNECT: Identify all the places where opposites are found in students’ lives.

RUBRIC FOR EXTENSION TASK:

Advanced: • Clear and highly original shapes or poses • Clear contrast between the selected opposites • Wide variety of movement ideas showing changes in levels, energy, and use of different body parts • Extremely clear emotional intent • Maintains focus throughout work • Extremely clear ending with held energy/contained (active stillness)

Proficient: • Mostly clear, original shapes or poses • Mostly clear contrast between selected opposites • Some variety of movement ideas showing changes in levels, energy, and use of different body parts • Clear emotional intent • Maintains focus most of the time • Somewhat clear ending with held energy/contained (active stillness)

Approaching Proficient: • Some clear shapes or poses • Somewhat unclear contrast between selected opposites • Little variety of movement ideas showing changes in levels, energy, and use of different body parts • Lacking emotional intent • In and out of focus throughout work • Lacks a clear ending with held energy/contained (active stillness) 11 DANCE DANCE A POEM ENDURING VALUES and THE HUMAN FAMILY LEVEL III Sample Lesson

INTRODUCTION:

Poems are very similar to dances. Both are abstract and expressive, rather than literal. The intent of a poem is to capture the essence of an idea with well-selected words and images. Poems use words differently than we would in a conversation or essay.

The poem featured in this unit was written over 2000 years ago in ancient times, yet it speaks of the same aspects of the human experience that remain universal today. So, while it is ancient, it is still relevant and gives us ideas to discuss and ponder. There is comfort in knowing that all humans have similar basic emotions and experiences in life, even though the historical and cultural contexts vary.

This poem from Ecclesiastes is ancient, yet it remains relevant and reflects Enduring Values and the Human Family. This is why it is considered to be an “Anchor Work.” Limón Dance Company There is a Time OBJECTIVES: (Student Outcomes) Photo: Tom Caravaglia

Students will be able to:

• Discuss the poem, To Everything There is a Season, and identify connections related to the meaning and value in people’s lives, both ancient people and people today. (Historical and Cultural Context and Aesthetic Valuing)

• Create original movement to different phrases of the poem, To Everything There is a Season, with a partner or small group. (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:

• The Artsource® video showing excerpts from There is a Time performed by the Limón Dance Company.

• Copies of the poem, To Everything There is a Season, for all partners

• Optional - the CD of Turn, Turn, Turn, written by Pete Seeger and performed by The Byrds. This song can be listened to for a musical interpretation of the poem or used as a structure for choreography.

PROGRESSION:

• Show the video excerpt to students. Use the background information on page 1 and the “Discussion Questions” on page two as a point of departure for discussion. Continue discussion to deepen meaning.

• Read the poem, To Everything There is a Season, on page three, and have students discuss its meaning.

• Word Web the main ideas of the poem to find images and action words. These will provide the words and ideas to direct the movement exploration.

• Guide students to individually explore the different phrases within the poem. They can create shapes to represent the ideas and explore how to express feelings through creative movement. Remind the students to contrast their movement and sound throughout the range of large, medium, small, and none at all.

• Divide the students into partners and have the partners select one phrase they found interesting. Each partner takes one concept from the paired opposite (plant/reap; war/peace; hateful/joyful) and expresses it within an eight count phrase. The other partner holds still in a shape. When the moving partner stops, the other partner moves to show the opposite concept.

• Ask partners to try this several times, each time finding a new way to communicate the concept. This is similar to a movement conversation.

• Partners switch roles.

• Partners observe each other and give constructive feedback, stating first what was strong and then making one suggestion for how the idea could be strengthened.

• Each partner selects one idea and “sets it.” This means it will be choreographed, not improvised.

• Each partner will teach their phrase to the other, so that now they know both phrases and can perform them together. After they do this, they can decide their facings (mirroring, side by side, front and back, close or far, facing away, etc.) Partners then create a beginning shape or entrance and an ending shape or exit.

• After all partners have had time to plan, create and refine their dance, they will show their work. Two sets of partners can perform their dances for each other, or for the class.

13 Suggested Criteria: • Use movement gestures, shapes, movement qualities and patterns to bring the poem to life • Use a variety of contrasting movement • Change the level, tempo and directions of the movement • Demonstrate group cooperation and inclusion

• Review the ground rules for the performer and the audience listed in the Level II lesson.

• Have the students discuss their responses to each group. Use the above criteria as a point of departure for the discussion.

EXTENSIONS: • Have students discuss their work and identify the things that really worked and the things they might change after considering the comments they received from peers.

• Give students in each group time to revise and refine their work, striving to also communicate the ideas more clearly and with more dramatic feeling and mood.

• Choreograph a movement phrase for the chorus, “To everything there is a season and a purpose to everything under the sun.” Have all student learn the chorus and perform it in unison, then each set of partners can perform their verse in between. If the chorus is labeled the “A” section and each verse is given another letter, it would look like a rondo - A B A C A D A E. . .

• The song, “Turn, Turn, Turn,” by Pete Seeger can also be a musical structure for creating a full piece of choreography.

VOCABULARY: rondo, words from the poem

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Each group describes how they made choices for their dance.

DISCUSS: Each group discusses the process they used to create their work.

ANALYZE: Each set of partners discusses their paired opposite and the differences in energy, emotion and relevance to their own lives.

CONNECT: Discuss other stories or events where opposition is present.

14 RUBRIC FOR GROUP TASK:

Advanced: • Interesting changes of level, tempo and direction • Excellent group cooperation and inclusion • Powerful contrast between paired opposites • Clear expression of personal artistic intent in performance

Proficient: • Uses changes of level, tempo and/or direction • Good group cooperation and inclusion • Clear contrast between paired opposites • Expression of commitment, energy, and purpose in performance

Approaching Proficient: • Few, if any, changes of level, tempo or direction • Lack of group cooperation and inclusion • Somewhat unclear contrast between paired opposites • Expression of focus and energy in performance

15 EFFECTIVE TIPS FOR GUIDING MEANINGFUL CREATIVE DANCE EXPERIENCES

The poem, To Everything There is a Season, captures the opposing dynamics of the human experience. These emotions and actions are universal to all people and have existed throughout human history. Life and maturation, emotions and their expression have a range of quality and intensity. Some life experiences, such as birth/life/death are cyclical and similar to the seasons. There are cycles that repeat throughout the lives of individuals, friendships, family dynamics, cultures and civilizations. Each cycle may have a different dynamic or range, but the basic phenomena are always the same.

In order to guide students in meaningful experiences to explore and express their connection to these ideas, please refer to the “Movement Chart” (page 22), which can serve as a resource for teachers. The chart takes each contrasting pair of ideas featured in the poem and gives key words that a teacher can use as prompts to facilitate students’ exploration and discovery of their own meaning within each pair of opposite concepts.

These words are based on different elements of dance and will give students the direction they need to find aesthetic meaning through their individual and collective expression.

It helps to think of the teacher as the facilitator and guide in a creative movement class, rather than being the one who must prescribe, choreograph, or lead the movement. The following are principles for facilitation:

SETTING THE STAGE

• SPACE: (Have students spread out into the space, similar to the way checkers are placed on a board) Whether using your classroom space or a multi-purpose room, have all students find a personal spot to stand, even if it is beside a table or desk. If you have ample space, you can organize them into horizon- tal lines, with each line, being slightly to the right or left of the one in front so all students can see. This spot will be called “home base” for each student. It works best for the class to work simultaneously, but with each student working independently at the beginning. When they are comfortable with showing their own ideas, they can then work with a partner and then in small groups.

• AGREEMENTS: Give the class some simple “Ground Rules” or “Agreements” for working in a creative movement class. Here are a few suggestions:

1. Everyone agrees to try everything, just as they do in any other class, and to give their best effort.

2. Everyone agrees to not do anything that will hurt themselves or others - this includes both physically and emotionally.

3. Everyone agrees to move without talking or laughing. They will have more focus if they work silent- ly, except when planning with a partner or small group. When they are focused they are not self-conscious.

4. Everyone agrees to listen and respond to the teacher and to stop on a cue (drum signal, clap, etc.)

GIVING COMMANDS TO YOUR STUDENTS 1. Give short, clear movement commands with confidence and enough volume to reach all students in the room. The purpose of a command is to guide or prompt tasks for the students to solve kinesthetically. This can be called “Kinesthetic Brainstorming.” The commands should be specific. Give the students enough time to process the idea, as well as enough time to express their idea in some depth. While exploring each idea, encourage them to discovermany different solutions for each task or command. Take the opportunity to really observe students’ movement responses so you can assess where they need support, simplification, elaboration, or repetition.

Begin your commands with words such as: HOW CAN YOU . .? . . . FIND A WAY TO . . . DISCOVER HOW TO . . . HOW WOULD YOU EXPRESS . . .?

2. Sidecoaching comments are given while the students are moving. They are helpful hints that guide students to find multiple or additional ways to express the idea and elaborate details. Encourage them to fulfill the movement, rather than just “marking” it. Examples of sidecoaching tips are:

• Make it bigger.

• Use more energy - make it stronger. Use light energy. Start with powerful energy and gradually get weaker.

• Move even slower - have each movement take more time - move smoothly.

• Use even quicker movements. Try moving at different levels as you create.

• Combine two of your ideas together and repeat them.

• Face a different direction and move.

• Can you make your movements bigger, fuller - exaggerate the size?

• Try to change the dynamics (force) from strong to soft or from tense to relaxed.

17 HOW TO USE THE MOVEMENT CHART

1. Select a pair of opposing concepts from the poem, such as born/die.

2. Ask students what action words they associate with each concept. Write these down.

3. Encourage students to decide if they think their words suggest such things as strong/weak, fast/slow, even/uneven, inward/outward, big/little, etc. Write these ideas down, as well.

4. Then using their ideas, as well as those on the chart, direct them to find ways to show each idea in either still poses (often called “shapes”) or active movement. Teachers should find appropriate “life cycle” metaphors for their grade level, i.e. a chick enclosed in an egg and pecking its way out in the hatching process; a butterfly resting in its cocoon and twisting, turning, and breaking its way out; etc. The commands might be: “Find a way to show the process of a chick hatching out of an egg.” Side coaching might include: “Use quick, sharp, tapping actions and stretching or pushing actions. You are inside the tiny space within an egg shell and you must break out. When you have hatched, show ways that you can move your head, wings, and feet.”

5. When you think they have had enough time to explore, call “Freeze.”

6. Then repeat the process with the concept of dying, and then discuss what they felt or experienced.

18 MOVEMENT CHART Strategies for Guiding Movement Explorations

IDEA ENERGY TIME SPACE ACTION QUALITY / IMAGES

• BORN STRONG SLOW SMALL PUSH, CURL, STRUGGLE, RELEASE DIE WEAK SLOW/ FAST LOW STILL, DEPART, DECLINE

• PLANT EVEN REPETITIVE ROWS/PATHS BENT, PRESS, COVER, DIG, SCATTER RHYTHMIC REAP STRONG REPETITIVE LEVELS PICK, SLASH, PULL, GATHER, CUT RHYTHMIC

• KILL STRONG SLOW/ FAST CONTRACT PUNCH, THREATEN, THRUST, JAB, LEVELS DART, LUNGE HEAL WEAK to SLOW EXPAND BALANCE, SOOTHE, MEND, RESTORE STRONG

• WEEP RELEASE UNEVEN CONTRACT SOB, ROCK, SHAKE, SIGH, WRITHE, HEAVY WRING, FLING LAUGH RELEASE UNEVEN EXPAND BOUNCE, SHAKE, JIGGLE, CONVULSE LIGHT

• MOURN STRONG SLOW INWARD SINK, COLLAPSE HEAVY CLOSE DANCE LIGHT RHYTHMIC OUTWARD SWAY, TURN, STRETCH, JUMP OPEN

• EMBRACE STRONG or SLOW TOGETHER WRAP, ENCLOSE, CIRCLE, SQUEEZE LIGHT STEADY EXTEND NO EMBRACE VARIED STILL APART WITHHOLD, RESTRAIN, DETACH

• LOSE WEAK UNEVEN INWARD DROP, FALTER, FLOUNDER SEEK STRONG VARIED OUTWARD SEARCH, INVESTIGATE, PURSUE, PROBE

• REND STRONG UNEVEN APART RIP, TEAR, PULL, BREAK SEW STRONG EVEN TOGETHER MEND, REPAIR, STITCH

• SILENT STRONG or STILL INWARD QUIET, CALM, CONTAINED, MUTE WEAK SPEAK STRONG or VARIED OUTWARD CONVERSE, ARTICULATE, CHATTER WEAK START/STOP

• LOVE STRONG or VARIED OUTWARD DEVOTION, PASSION, WARMTH, YEARN, LIGHT FLOAT HATE STRONG VARIED INWARD and TWIST, FLING, SWIPE, SEETHE, BURN, OUTWARD RAGE

• WAR STRONG VARIED APART DESTROY, OPPOSE, FIGHT, CONFLICT, HEAVY DIVIDE THROW, PRESS, DESTROY PEACE STRONG VARIED TOGETHER UNITE, COOPERATE, BUILD 19 There is a Time - Preliminary Concept Notes by José Limón - 1956

Overview: The entire work is, both choreographically and musically, a theme with variations. The choreographer used as his theme a large circle, which, at the opening of the work, fills the stage and moves majestically as if to evoke the interminable passage of time. This circle is seen repeatedly in many guises, rhythms and dramatic shapes, always making allusion to the text from Chapter 3 of Ecclesiastes and its evocation of human experience.* * 1996 Program Notes, courtesy of the Limón Dance Company

Preliminary Concept Notes: These notes are from the José Limón Manuscript collection at the New York Public Library. They were transcribed by Norton Owen, March 1994.** They give us insight into his thinking and the ideas which served as a foundation for his choreography. The following are excerpts which refer to the video sections featured on the Artsource® video of There is a Time. ** Preliminary Concept Notes, courtesy of the Limón Institute

Born and Die - Solo and company Compact mass - 11 people forming a very close circle which pulsates symbolizing an ovum or a womb in travail - in the pangs of parturition - of birth. Slowly it separates into a large circle still with this pulsation and surge, leaving in the center the newly born who is himself curled into an embryonic shape, and who slowly unfolds, limb by limb, and grows almost like a plant from a seed, to eventual full stature. He takes his place in this large circle, which is to symbolize time - the great continuity - eternal, unbroken, as is a circle, and which is to revolve slowly and without hurry and without end.

The one who is to die begins to falter, to fall behind and out of rhythm and gradually separates himself from the great circle. As this great wheel continues its course he is left to his end in a corner. As the stage is dimmed slowly one pin spot stays on this dying figure. One is aware of the large wheel and its motion in the semi-darkness. finally the spotlight is extinguished on him leaving the big circle wheeling, seemingly without end, in the darkness.

Plant and Pluck Up - Three men for each In terms of pure dance - to evoke the images of planting, of sowing, ritual of impregnation of the earth. The earth is female, and the men, as males to make fecund the soil - a mystic sexual union. they must be first of all a poetic and beautiful dance - with all the beauty of fecundity and fertility - primitive in its direct simplicity - powerful and male.

“To pluck” to harvest - to enfold - using the movements evocative of the harvest, all the great sweeping and swinging motions - the happiness and joy of bounty and achievement of ripeness and fullness - a ripe fulfillment, then - round, full movements - the powerful swinging stroke of the scythe and sickle. The arms carry and embrace full heavy loads - the backs bend with the same. The hands reach and “pluck that which is planted” - hand patterns.

Weep - Laugh Mourn - Dance These two sections done together - “Weep and mourn” by four women. Enter as a ritual with large cloth held high overhead like a canopy of gloom. The thematic circle can be observed to keep the formal aspect in many ways; slow and tragic with the cloth like a funereal pall of unrelieved sorrow - overhead like a heavy cloud, or heavy load - again like a huge blanket where they look for comfort and find none - or try to hide under at times using the gathered ends like whips by flagellants in a frenzy of grief - heavy and slow. 20 Laugh and Dance - Solo This section all in the air - jumps and leaps - perhaps begin with one or two dancers stating this particular variation and slowly build to a large unity, where the large circle is finally formed in a very rhythmic and aerial dance, as much removed from the preceding mourning dance as possible.

Love and Peace Again several formal elements in sequence, combination and juxtaposition. All the constructive motifs and patterns used previously - ...”laugh,” “dance,” “gather”... culminating in a final statement and exposition of the time symbol... that of an affirmative ending to the piece and a formal one as well, reiterating the time wheel in its eternal passage.

rtsource ® A The Music Center’s Study Guide to the Performing Arts

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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