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The Music Center's Study Guide to the Performing Arts DANCE TRADITIONAL ARTISTIC PROCESSES ® CLASSICAL 1. CREATING (Cr) Artsource CONTEMPORARY 2. PERFORMING, PRESENTING, PRODUCING (Pr) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL 3. RESPONDING (Re) MULTI-MEDIA 4. CONNECTING (Cn) ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY Title of Work: About the Artwork: Interlace (1992) and Sarve Kashmir Interlace is a traditional Armenian dance based on the Creator: structural designs seen on Armenian churches from Anna Djanbazian (1952 - 2017) the 4th – 17th century. In keeping with a strong Founder, Artistic Director and Choreographer of the communal feeling, there is an emphasis on group Djanbazian Dance Company movement and patterns. Traditional Armenian Background Information music supports the dancers. Graceful arm and hand Choreographer, dancer, and teacher, Anna Djanbazian movements and interlocking arms echo the lines and began dancing at the age of three in her father’s ballet design motifs on the buildings. Circular floor school in Tehran, Iran. As the daughter of a Persian pathways that spiral in and out, linear formations mother and Armenian father, Anna grew up with a rich with intricate connections and weaving patterns cultural and artistic heritage. Sarkis Djanbazian, Anna’s between the dancers visually highlight the grace and father was a former member of the legendary Kirov quiet strength of the dance. In keeping with Ballet Company in St. Petersburg (then Leningrad) who Armenian tradition, the costume includes a small hat left Russia in the 1940s to escape the difficult political with an attached veil that covers the hair, a big jacket climate. The school he started in Tehran, the Djanbazian belted at the waist and a skirt that hides the feet - Ballet Studio, was recognized as a National Treasure by emphasizing the illusion of effortless gliding. the Shah of Iran, Muhammad Reza Pahlavi. Later, her Creative Process of the Artist or Culture: father was also honored with the National Arts Medal. Anna Djanbazian’s Persian- After high school, Anna left Iran to attend the Yerevan Armenian heritage, love of Choreographic Dance University in Armenia, (then part design, nature, and her commit- of the USSR). Earning a B.A. degree in Classical Ballet ment to grow as an artist and Armenian Folk Dance, she returned to Tehran, took influence her themes and over her father’s school and began her own career. For choreographic projects. While she 12 years, Anna produced and staged over 43 dances and remains strongly tied to the eight full-length ballets. In 1984, she and her family left Photo: Glimore 1996 traditional dances, she does not want them to remain Iran because of the restrictions imposed upon artists by frozen in time like “precious objects gathering dust on the 1979 Iranian Revolution. Following in her father’s a shelf.” footsteps, Anna opened her own studio in 1988 in Ancient Armenia “I want to keep the dances of Glendale, California. She also earned an MA Degree Black Sea Caspian my cultures alive - to stay Sea from UCLA where she explored Modern Dance. Anna’s connected to their roots. Mediterranean and I also feel this need to grow Sea IRAN dream of a company to present cultural and modern and look at them with a new IRAQ vision that is contemporary but works was realized in 1991. Egypt Persian Gulf remains cultural.” Anna Djanbazian Discussion Questions: Ross Collins, Larousse Kingfisher Chambers, New York, After the video has been viewed: 1998, ISBN 1-84089-025-8. A is for Asia, Cynthia • Describe each dance you viewed. What feelings did Chin-Lee, Orchard Books, N. Y, 1997, ISBN 0-531- you have while watching the dances? Give reasons to 30011-0. support your answers. Audio-Visual Materials: • Compare the two dances in terms of use of space, • Artsource® video excerpt of Interlace and Sarve tempo, energy, costume, feeling, etc. How were they Kashmir, courtesy of Anna Djanbazian and her company. alike? How were they different? • Were the dancers performing in unison, small Sample Lessons: groups, or individually? Which kind of energy did Level I each dance project? What body parts were emphasized? * • Read The Persian Cinderella by Shirley Climo and make • Define and discuss the word “architecture.” List connections to the version most well known in America. connections to architectural elements in Interlace. • Learn about the Persian New Year celebration - No Ruz. • Describe the different musical accompaniments Recreate this spring festival and compare and contrast that were heard in each dance. Make comparisons. with other New Year’s celebrations. • Create musical “jewelry” (as seen in Sarve Kashmir) Background on the Artwork Continued: from simple found materials (flattened bottle tops, pull Sarve Kashmir reflects the style of Persian dance usually tabs, bells, etc.) to accompany cultural music. performed in small spaces (in homes or courtyards) • Reread the story of Noah’s Ark, the legendary ship that and done in circular or serpentine lines. The bare- landed atop Armenia’s highest mountain, Mt. Ararat. foot performers, laden with jewelry in their noses, Level II and on fingers, wrists, ankles, and toes, portray a * • Learn about a legendary story told to Marco Polo group of women Anna saw selling bread on the street when he passed through the ancient town of Saveh in in Zehedan, a city in the desert of southern Iran. Persia. The story portrays the three Wise Men as both Dancers perform as soloists and in small groups, Holy Men and Astronomers. Create “Star Maps” and moving their bodies with quick flicking actions of dance them. the hands, small gestures of the shoulders and quick • Research and learn about early Persian contributions footwork. These flicking movements are done to to Astronomy. Consult Harry Ford’s book, A Young enhance the musical sound of their jewelry. In Enthusiast’s Guide to Astronomy - and One Small Square Zehedan, the costumes and music are similar to those - The Night Sky by Donald M. Silver. found in the deserts of Northern Africa. The women Level III wear brightly colored, open veils over their heads as a • Research building materials, the architecture and shield from the hot sun. Loose caftans are worn over distinctive formation of the Armenian Church. pants which are banded at the ankles to keep out the • Recall and repeat some of the formations you dust and sand. The music, played on drums, has a observed in the dance Interlace. Do these in small strong percussive feel and keeps a lively beat that groups. Create your own formations and hand holds, inspires the dancers. then experiment with traveling these formations in the Multidisciplinary Options: classroom space. • Look at the alphabets and languages of Armenia * • Build dance studies based on architectural forms and and Iran. Compare and contrast their form to cantilevers Practice using body cantilevers and weight English and other languages. Consult these refer- sharing among partners and in small groups. Make ences for ideas: Write Around the World - The Story of visual and body design connections to the dance How and Why We Learnt to Write. Vivian French, Interlace. 2 * Indicates sample lessons · ADDITIONAL INFORMATION ON THE DANCES BACKGROUND ON INTERLACE The countries of Armenia and Persia (known today as the country Iran), are both ancient cultures with unique customs, rich cultural heritages and heroic survivals despite invasions and conquests by other pow- ers. Home of the legendary Mt. Ararat, where Noah’s Ark came to rest, Armenia’s legacy includes its dis- tinction as being the first country to adopt Christianity as a state religion in 301AD. The Armenians were also the creators of a style of religious architecture which anticipated the Western Gothic and Romanesque Cathedrals of Europe. Interlace, while done in the tradition of Armenian cultural dance with its linear groupings and flowing elegance, was inspired by the intricate stonework and architectural design seen in the buildings, facades, and archways of 4th - 17th century Armenian churches. The stonework decoration found on the buildings show elements of nature (birds, plants, vines, and flowering vegetation) geomet- ric designs (scrolls, interlacings, loops, ribbons, braids and coils) and some stylized human figures. The movements seen in this dance are the result of the choreographer’s desire to bring the motifs and natural design impressions of the architects and stone masons of the extraordinary churches to life. BACKGROUND ON SARVE KASHMIR Iran’s culture and artistic legacy was influenced by its original inhabitants, the Persians, its geographic location as a doorway between Asia and ancient Mesopotamia, and the Islamic religious tradition. Islam, which was brought to Iran in 7AD by the Arabs, is comprised of different sects. The powerful Shia sect who live in and around the capital, Teheran, advocate a return to strict spiritual and religious laws. Women are strongly encouraged to follow a clothing code which requires the wearing of the Chador, a black, bell-shaped garment which covers the woman’s head, face, and body to protect her from the eyes of men. The smaller Sunni Sect, who live in regions far away from Teheran, have a certain amount of freedom in pursuing their beliefs. This includes the wearing of traditional costumes not sanctioned by the government. The idea for this dance came from a trip that Anna took to Zahedan, a desert city in southern Iran, at the foot of Mount Taftan. While sight-seeing and gathering ideas for artistic work, Anna came upon a group of women selling bread in the street. What struck her was that here, during the height of the Islamic Revolution, with its strict laws prescribing suitable dress for women, these ladies were dressed in colorful clothes, open veils and great displays of jewelry. While they were reluctant to have their pictures taken, they were quite generous with information and hospitality, inviting Anna and her husband to their homes to share their culture with them.
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