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: 1) Playas del Alma (Beaches of the Soul) from Flamenco Piece 1: Playas del Alma from Flamenco Directo. Here a Directo traditional flamenco form, “Alegrias” (joys) is danced to 2) Solea X Bulería Concierto Flamenco the inventive music of Cañadú. This modern example of Creators: an Alegrias uses a movement language informed by Company: Nuevo Ballet Español modern and jazz dance and music. Choreographers: Ángel Rojas and Carlos Rodríguez Piece 2: Solea X Bulería. An excerpt of a solo from Music: Cañadú Concierto Flamenco. Danced by Ángel Rojas, this piece displays the dancer as percussionist, supported only by Background Information: the hand-clapped beat and eventual outbreak of song Nuevo Ballet Español (NBE) was founded in 1995 by supplied by two singer/palmeros (clappers). Ángel Rojas and Carlos Rodríguez, two young dancers Creative Process of the Artist or Culture: who built their reputations dancing with many leading The history of flamenco is a multicultural story: Spanish dance companies. Raised in Madrid, they Flamenco is woven into the culture of southern Spain trained with flamenco master, José Granero, while also (Andalusia) with its roots in the gypsy community. studying other dance forms such as ballet, modern and Believed to originate in northern India, the gypsies were jazz. In forming their company, Rojas and Rodríguez nomad tribes, some of which migrated across Europe wanted to create a 21st century vision of flamenco that and Africa. As they went, they gathered a multicultural could appeal to a young audience, without betraying weave of dance and musical influence until they settled the essence of the form. As they have said, “In art, there in Andalusia in the mid-1400s. By then the Moors had are hardly ever any revolutions as such, rather there are occupied Andalusia for over seven centuries, so flamenco evolutions, new pathways over routes that have already music contains strong Moorish threads along with those been trodden…This is a flamenco that reflects our of Jewish, Catholic and local music. Towards the end of generation…No one can say we’re not dancing 15th century the Catholic flamenco, with the palmas (hand clapping) and cantes Kings expelled the Moors, (songs), but it’s infused with funk, jazz and classical.” initiating a two-century era of The dancers are trained in NBE’s unique style of persecution of non-Catholics. flamenco influenced by modern dance. Also (Continued on page 2.) distinguishing the work of NBE is its collaborative relationship with the equally creative music groups, Cañadú and Mahera. Both dance and music entities Photo: © Vallinas are committed to exploring and expanding the “This is a flamenco that boundaries of flamenco by drawing from other forms reflects our generation…” and styles. Ángel Rojas & Carlos Rodríguez

Creative Process of the Artist or Culture Continued: • Explore palmas (musical clapping) using the pictures Flamenco expresses the pain of the gypsies during this in Level I Sample Lesson. dark period, much as the Blues was born of the • Discuss gesture which is a way of speaking without suffering of black slaves in the United States Over time, words. Identify some gestures seen in the NBE video flamenco has enjoyed spurts of evolution provoked by excerpts. Ask students to compose a sequence of exposure to other forms such as jazz, Indian, hip-hop gestures that they can repeat. In partners have students and Latin music as well as tap, ballet and modern teach each other their gesture sequences. dance. Some purists feel these influences and fusions LEVEL II contaminate the form but others recognize that as long * • Study both NBE video excerpts. What parts of the as its practitioners maintain artistic integrity, the art body can be used to create percussive sounds? What form is simply staying true to its multicultural origins. different sounds can these produce? Assign teams to Discussion Questions: produce each of these sounds, e.g. clapping, stomps After the video has been viewed: (golpes), slapping the chest and thighs, snapping the • What other kinds of dance have students seen fingers. or participated in? Compare them to flamenco * • Using clapping (palmas), one group maintains the dancing (e.g. flamenco is strong, grounded, and steady beat while other teams explore the different earthy, while classical ballet is light and aerial). rhythms that can be done against it. Define the order • What is the beat (e.g. the constant, unchanging and number of times each group will perform their pulse in a piece of music)? See Vocabulary, page 3. pattern. Compose an ending that all participants will • What other things in our world have a beat perform together (in unison), then perform the work. (e.g. clocks, machines, the heart)? • Learn how to do golpes (flamenco foot stomps) using • What is rhythm (e.g. changing patterns of beats directions in Level II Sample Lesson. Divide the class and offbeats)? See Vocabulary, page 3. in two. Have one group clap a steady beat with a leader Audio-Visual Materials: dictating changes in tempo (speed) while the other • Artsource® video excerpts: Playas del Alma from the group does golpes, one golpe for every two claps. show Flamenco Directo. Solea X Bulería from Concierto LEVEL III Flamenco. Courtesy of Nuevo Ballet Español. • The term “isolation” in dance refers to the moving of • Photos: courtesy of Nuevo Ballet Español. only one part of the body at a time. For instance, the Additional References: robotic movement that is often an element of Break • Flamenco – a documentary film by Carlos Saura Dancing is made up of isolations. What parts of the showing the array of flamenco styles from traditional to body most lend themselves to distinct separated modern. Juan Lebrón Productions 1994. movement (e.g. the head, shoulder, hips, hands)? • Latcho Drom - a documentary film by Tony Gatlif Students explore these possibilities by creating their showing the connections between the dances and own isolation sequences. Try hip-hop music or simply music of gypsy cultures worldwide. New Yorker Video a steady beat supplied by a group of students clapping 1998. in unison. • Flamenco World website: www.flamenco-world.com. * • Assign groups to create choreography for each rhythm Sample Experiences: pattern of the percussion music created in Lesson II. LEVEL I Use a variety of steps, shapes, contrasting qualities and * • Learn strategies for viewing a dance by studying the floor patterns. Take turns being musicians and dancers videos of Playas del Alma and Solea X Bulería. to perform the final dance. 2 * Indicates sample lesson

Vocabulary for this Unit:

Spanish Vocabulary

Flamenco – a dance form from Spain Andalucia – Andalusia - southern Spain Nuevo – new Español – Spanish palmas – musical clapping of hands palmas sordas – mute sounding claps palmas claras – sharp sounding claps golpe – stomp of foot or feet zapateado – footwork cante – song

English Vocabulary percussion – musical sound produced by striking something beat – the constant, unchanging pulse in a piece of music offbeat – beats between the main beats of music (produces syncopation) rhythm – changing patterns of beats and offbeats. tempo – speed locomotion – traveling in space locomotor step – a traveling step gesture – movements (usually with hands or arms) that communicate something without words to another person or people isolation – moving a body part on its own choreography – the creation of and planning for a dance choreographer – the creator of a dance score – piece of music, musical composition unison – all participants doing the same thing at the same time

3 DANCE LOOKING AT A FLAMENCO DANCE ENDURING VALUES and FREEDOM & OPPRESSION

LEVEL I Sample Lesson INTRODUCTION:

The experience of a dance is in the relationship between the audience and the performers. An audience that is practiced in looking at the various components that go into a dance is better able to appreciate it from different points of view. Through multiple viewings of a dance, guided by questions and followed by discussion, students learn to see, appreciate and describe the various parts that go into making it. The task of analyzing, making comparisons and then describing what one has seen develops an Playas del Alma from Flamenco Directo awareness of the creative possibilities Nuevo Ballet Español of dance-making. This is a creative Photo: © Vallinas process in itself.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate knowledge of the various components that go into choreographing a dance. (Artistic Perception)

• Discuss their deeper understanding of the nature of flamenco dance. (Aesthetic Valuing and Historical and Cultural Context)

• Analyze and make comparisons between the steps, shapes and qualities used in the dance. (Aesthetic Valuing)

• Use a richer descriptive vocabulary. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video of excerpts of Playas del Alma and Solea X Bulería 4 • Background information on flamenco and the Nuevo Ballet Español

PROGRESSION: • View both segments of the Artsource® Nuevo Ballet Español video several times. The viewings can be done on separate days. When both have been viewed and discussed, then students can compare and contrast their perceptions. The following questions can be used to discuss both pieces.

• How are the rhythms made?

• In what different ways are percussion sounds produced by the dancers and musicians?

• Especially notice the palmas (musical clapping) and discuss how it is used by both musicians and dancers in the piece. The hands become musical instruments that can make distinctly different sounds. Look at the palmas directions below and try them out.

palmas sordas (deaf, as in muted.)

Cup the right hand crossed over the left, keeping the hands slightly rounded as though holding a bug. This is to create a space to capture the air. Clap and notice the dull or bass sound made.

palmas claras (bright.)

Straighten the hands and slap pretty hard with the right hand on the palm of the left. This should make a sharp sound.

Note: With both sordas and claras, emphasize keeping the hands closed at the end of each clap rather than letting them fly open again. Correct palmas are performed with the hands held away from the body just opposite chest level, elbows lifted and rounded and shoulders down (imagine embracing a large egg.)

• What different kinds of shapes are used (e.g. round, straight, wavy)? Try making different shapes with the arms.

5 • What different kinds of movement are used in the dance, e.g. locomotion steps, turns, jumps, stomps, claps, isolations, etc.? After the viewing, have students identify and describe them.

• What different movement qualities are used, e.g. smooth, jagged, soft, hard, loose, held, relaxed, tense? Ask students to identify and describe them. Repeat moving the arms in the different shapes with these different qualities.

• What directions and floor patterns do the dancers move in (e.g. up-down, side to side, diagonals, in circles, etc.)? Students identify and discuss these.

• Analyze the structure of the dance – how does it begin, develop, end? What is important in performing an ending (e.g. dancers freeze in a strong ending pose)? Is the dance dramatic, sad, or funny? Is there a story? If so, what do you think the story is about?

• What about the music, vocals or dancing suggest the ideas of Freedom & Oppression?

VOCABULARY:

See page 3.

DESCRIBE: Describe and name the movements you observed as the dancers moved.

DISCUSS: Discuss the feelings or emotions the dancers expresses. Did you feel these emotions as well?

ANALYZE: Compare and contrast the two different dances. How were they the same? How were they different?

CONNECT: What words, ideas, feelings or other forms of expression or work come to mind when you think of Flamenco music and dance?

6 DANCE BODY DRUM - CREATING PERCUSSION WITH THE BODY THE HUMAN FAMILY

LEVEL II Sample Lesson

INTRODUCTION:

Part of the essential core of flamenco is rhythm (compas) whether audible (i.e., rhythm we hear) or rhythm patterns we see. In many dance forms the dancers move to music and rhythms supplied by musicians. In flamenco and other percussive dance forms, such as tap, Indian Kathak or Irish Step Dancing, the dancer is also acting as a percussive musician while dancing. While all of these forms are usually also accompanied by various instruments, percussive dance can sometimes be seen without any other musical support. In its most pared Playas del Alma from Flamenco Directo down form, flamenco can be Nuevo Ballet Español performed in total silence, with only Photo: © Vallinas the percussive sounds produced by the dancer being heard or to nothing but the steady beat supplied by one or more clappers (palmeros) as in video excerpt #2, Solea X Bulería. This lesson focuses on this latter possibility and explores the various ways that flamenco dancers can produce percussive sound using only the body.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Identify the characteristics of flamenco dance. (Artistic Perception and Historical and Cultural Context)

• Discuss rhythm as distinct from steady beat. (Artistic Perception)

• Produce percussive sounds and build a rhythm pattern using only the percussive possibilities of the body. (Artistic Perception and Creative Expression)

• Demonstrate good listening skills. (Artistic Perception)

• Work cooperatively in groups. (Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. (Aesthetic Valuing) 7 MATERIALS:

• Artsource® video of excerpts #1 and #2, Playas del Alma and Solea X Bulería

• Background information on flamenco and the Nuevo Ballet Español

PROGRESSION:

Watch both segments of the enclosed Artsource® video of Nuevo Ballet Español and use the “Discussion Questions” on page two.

• Ask students to explore what parts of the body they can use to create percussion sounds (e.g. palmas (musical clapping), golpes (stomps), slapping the torso and thighs, and snapping the fingers). See directions on performing two different kinds of palmas in Lesson I. Golpes are performed correctly by bending the knees with the feet together, lifting the lower leg behind you and dropping the feet with a relaxed, heavy weight. Easy alternating motion between the feet is achieved by relaxing the hips so that weight can be shifted from side to side without bouncing up and down or jamming the knees. (See below. The drawings show a dancer wearing heeled flamenco shoes, but golpes can still be done in flat shoes or trainers.)

• Describe the various sounds these different percussive uses of the body can produce.

• Assign small groups to create a rhythm pattern (see samples below) and perform it using a combination of the above possibilities.* One group serves as the support group, maintaining the steady beat. The other groups practice performing their particular rhythm against it.

* Vocalizing the rhythms is an effective way to learn each pattern.

8 Examples of rhythms in four beats: The first line is the steady beat. The other 4 lines are some possible rhythm patterns with suggestions for vocalizing them. Students may come up with other possibilities for both:

Steady beat 1 (da) 2 (da) 3 (da) 4 (da) Rhythm pattern 1 1 (um) 2 (pa) &(pa) 3 (pa) 4 (pa) Rhythm pattern 2 1 (um) &(pa) 2 (um) &(pa) 3 (um) &(pa) 4 (pa) Rhythm pattern 3 &(ba) &(ba) &(ba) &(ba) Rhythm pattern 4 2 (ta) &(ta) 4 (ta) &(ta)

TASK: • Decide on a sequence for the different rhythm patterns and the number of times each will be repeated. • Groups perform their rhythm patterns in this sequence against the steady beat of the support group. • You will find it needs an ending. Explore different ways to end it. Decide on an ending for everyone to perform together (in unison) and perform it again. Examples of an ending could be a stomp, vocal sound or stop.

CRITERIA: • Clean and consistent forms • Demonstrate good listening skills. • Follow directions. • Find variety in the ways that different percussion sounds can be combined to create a rhythm pattern. • Group cooperation. • Maintain steady beat, working with rhythm patterns • Maintain rhythms • Make all sounds clear and in unison

EXTENSION: • Describe the performing experience. What was challenging or surprising about it? • Discuss ways that the experience changes student perceptions of being a musician/dancer. • Analyze how the work can be improved, both visually and in terms of sound. • Watch the NBE video again. In what ways did this experience relate to the NBE dance video? In what ways did it change student perceptions as well as their own abilities?

MULTI-DISCIPLINARY EXTENSION: • Write a poem that expresses an emotion communicated by flamenco dance. This can be based on an event in a student’s life that made them feel proud, angry, frustrated, powerful, etc. • Using clay, paint or crayons create artwork that expresses this emotion. • With pencil or crayons draw some of the floor patterns seen in the dance or shapes made by the dancers.

VOCABULARY:

See page 3.

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ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the performing experience. What was challenging or surprising about it?

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: • Consistently focused • Highly inventive use of the body to make percussion sounds • Excellent ability to hear and maintain rhythms • Excellent ability to hear or maintain a steady beat • Excellent team cooperation and participation

Proficient: • Focused most of the time • Some inventive use of the body to make percussion sounds • Some ability to hear and maintain rhythms • Some ability to hear or maintain a steady beat • Good team cooperation and participation

Approaching Proficient: • Inconsistent focus • Lack of inventive use of the body to make percussion sounds • Inconsistent ability to hear and maintain rhythms • Inconsistent ability to hear or maintain a steady beat • Lack of team cooperation and participation

10 DANCE MAKING A DANCE ENDURING VALUES and THE HUMAN FAMILY LEVEL III Sample Lesson

INTRODUCTION:

This lesson should be done only after completing Level I and II Lessons. By now, students have studied a flamenco dance in depth with guided viewing and discussion of the NBE Artsource® video excerpts. They have then created an original percussion composition with the body. The next step is to enter the world of choreography and create a dance. A large space, such as a gym, multipurpose room, or auditorium would be preferable for this lesson.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate a deeper understanding of the various components that go into the making of a dance/choreography. (Aesthetic Valuing)

• Use their imaginations and creativity to Playas del Alma from Flamenco Directo explore the infinite ways the body can be used Nuevo Ballet Español expressively. (Creative Expression) Photo: © Vallinas

• Work cooperatively in groups. (Connections, Relations and Applications)

• Demonstrate a deeper understanding of the nature of flamenco dance through discussion and performance. (Aesthetic Valuing)

• Describe, discuss, analyze and connect information and experiences based on this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video of excerpt from Playas del Alma (1st segment)

PROGRESSION:

• Students have now learned about the various components of dance-making analyzed in Level I–shape, steps, contrasting qualities, floor patterns, directions and structure, e.g. beginning, middle, end. Using these elements, a dance can be choreographed to the percussion score created in Level II.

• Assign a different group to create choreography for each rhythm pattern created in Level II. Define a

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space in the room for each group to perform as well as an area for the musicians. Then develop each choreographic component as follows:

• Using contrasting shapes (e.g. round, straight), create some shapes to be performed to the chosen rhythm.

• Apply these shapes to different kinds of movements and steps (e.g. locomotor steps, movement on the spot, turns, jumps, gestures, isolations).

• Apply contrasting qualities to the created movement (e.g. smooth, jagged, soft, hard, loose, held, relaxed, tense, etc.). Perhaps think of an emotion or attitude you wish to express (i.e., pride, strength, anger, sadness, etc.)

• Define floor patterns and directions in which to move.

• Be certain that the piece has a clear beginning, middle and end.

TASK: Once each group has created choreography for its rhythm pattern, divide the class in two groups to take turns beings musicians and dancers. The musicians perform the rhythm score created in Level II while the dancers perform their choreography to it. (NOTE: If there are a sufficient number of students, these two groups can also be divided in half so that students may also take turns being an audience and performing.)

CRITERIA: • Strong, consistent focus • Clearly defined shapes, steps and floor patterns. • Variety in the ways that different shapes, steps and floor patterns can be combined. • Contrast in movement qualities. • Group cooperation. • Performance energy (fulfills rhythm and movement)

EXTENSIONS: • Ask students to create a way to draw (i.e. notate) the dance they have created and performed. • Ask students to draw a picture that expresses the essence of flamenco as they have experienced it.

ASSESSMENT: (Aesthetic Valuing) • DESCRIBE: Describe the various roles and experiences in this lesson: creating, performing and being an audience member. What was interesting, challenging or surprising about the roles and experiences? What parts of the self did these experiences challenge and involve (e.g. body, brain, feelings, thoughts, etc.)?

• DISCUSS: Discuss ways that the experience changed student perceptions of being a musician, dancer, choreographer, and/or audience member. In what ways have these experiences changed student perceptions of themselves as people?

• ANALYZE: Analyze ways that the dance is interesting to watch. How could it be improved? 12 • Watch the first NBE video excerpt again and then discuss how student perceptions of it have now been transformed. (e.g. How has their appreciation of the dance changed? How has their appreciation of the work of the dancers and choreographers changed and/or grown?)

• CONNECT: Discuss what you learned that can be applied to other areas of working together with others.

RUBRIC FOR MAKING A DANCE:

Advanced: • Consistently focused • Highly inventive combination of steps, shapes, floor patterns and directions • Excellent ability to dance to rhythmic music • Excellent ability to perform movement with contrasting qualities • Excellent team cooperation and participation • consistent, strong performance energy

Proficient: • Focused most of the time • Some inventive combination of steps, shapes, floor patterns and directions • Some ability to dance to rhythmic music • Some ability to clearly perform movement with contrasting qualities • Good team cooperation and participation • Good performance energy

Approaching Proficient: • Inconsistent focus • Lack of invention in combining steps, shapes, floor patterns and directions • Inconsistent ability to dance to rhythmic music • Inconsistent ability to clearly perform movement with contrasting qualities • Lack of team cooperation and participation • Lack of strong performance energy

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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