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Ballet Hispanico BA--ET H.SPAN.01 EDUCATOR STUDY GUIDE 2 3osalie 140onnor Eduardo Vilaro, Artistic Director 167 West 89th Street, New York, NY 1002 / Tel 212-362-6710 / Fax 212-362-7809 / Ballet(ispanico.org BA--ET (.SPAN.01 Table of Contents Introduction: Page 3 Dear Educators Standards for Dance: Cit , State, National What is Ballet Hispanico( Performances and Workshops: Page 8 About ,ia-es About the Workshop Things to talk about E.ploring Dance and Culture: Page 10 3esearch topics, resources, and suggested activities Rh thm 1Cuba/Brazil/Puerto Rico4 Blending 5orms 16e.ico, Spain/USA4 Elements of Dance 6aking 6eaning Design Elements: Props, Costumes, 7ights, Sound Watching Dance Behind the Scenes Page 24 About Ballet Hispanico 5ounder Artistic Director Dancers Tech Crew Appendix: Page 27 <,ia-es! Program Performance Reflection 5orm Percussion Instruments Glossar of Terms 5urther Resources Page 32 Books Television, 6ovies, Documentaries Websites Ballet Hispanico Contact Information and Credits Page 33 2 BA--ET (.SPAN.01 Dear Educators, Welcome to Ballet Hispanico! For the past 0 years, our Dance Education and 1utreach programs have worked to engage students, families, educators, dance audiences, and the general public in the guided exploration of dance and -atino cultures. 1ur programs are inclusive, current, reflective, and forward thinking. 1ur goal is to contribute to community and help deepen the base of knowledge in: • Cultural appreciation, • Self-expression, and • Aesthetic Awareness We believe all people have a right to participate in learning experiences that respect their individuality while enhancing their creativity, physical health, and cultural awareness. The activities in this educational supplement are adaptable to many age groups even though suggested grades are indicated. Your feedback is important to us, please consider filling out the workshop and/or performance assessment forms and returning them to Ballet (ispanico. These forms will be sent separately to you. We are grateful that you have chosen to embark on a journey with us. 3achel Watts Director of Education and 1utreach Ballet (ispanico 3 BA--ET (.SPAN.01 Standards: City, State, and National Learning in Dance and Curriculum Connections This document contains information, questions and activities that can stand alone or be used as a tool to connect learning about dance and culture with the experience of seeing a live performance. Activities are in alignment with State and National Standards, and more specifically with the New York 0ity Department of Education Blueprint for Teaching and Learning in the Arts: Dance. The NY0 Blueprint is standards based framework for approaching teaching and learning in dance that uses developmentally appropriate benchmarks for pre-K to 12th grade. Blueprint for teaching and learning in the Arts: Dance New York City Department of Education; grades K-12 Working with Communit and Cultural Resources Students broaden their perspective by working with professional artists and organizations (like those from Ballet HispanicoA • View a professional performance by Ballet (ispanico • Participate in a dance residency with Ballet (ispanico • Bse dance research resources like videos, books, and websites recommended in this guide Dance 6aking Developing Dance 7iterac By exploring, creating, replicating and Students build knowledge of dance and apply observing dance, students: it to analyzing, creating, and performing. • develop technical and expressive skills, and They can: practice movement vocabulary • understand dance as a means of expression • make choreographic choices that develops • apply dance vocabulary physically and verbally personal artistic voice • analyze, critique and communicate about • experience dance as performer and audience dance 6aking Connections E.ploring Careers and 7ifelong Bnderstand dance history and the social and 7earning cultural significance of dance in a way that Students consider the range of dance and enriches student creative work, and connect dance-related professions as they think about to health and well-being. their goals and aspirations. They carry skills learned and appreciation for dance throughout their lives. BA--ET (.SPAN.01 Curriculum Connections (New York State Learning Standards) Ballet (ispanico4s educational supplement also supports learning in the following areas: Arts Social Studies • 0reating, performing and participating in the • (istory of the BS Arts • World (istory • Knowing and using Arts Daterials and • Eeography resources • 0ivics, 0itizenship and Eovernment • 3esponding to and analyzing works of art • Bnderstanding cultural dimensions and contributions to the arts 7anguage Arts Ph sical Education • -anguage for information and understanding • Personal health and fitness • -anguage for literary response and expression • Safe and healthy environment • -anguage for critical analysis and evaluation • 3esource management • -anguage for social interaction National Content Standards K-12 1. Students identify and demonstrate movement 2. Students understand choreographic principles, elements and skills in performing dance processes, and structures 3 Students understand dance as a way to create . Students apply and demonstrate critical and and communicate meaning creative thinking skills in dance C. Students demonstrate and understand dance in 6. Students make connections between dance and various cultures and historical periods healthy living 7. Students making connections between dance and other disciplines C BA--ET (.SPAN.01 What is Ballet Hispanico( All of us are shaped in some way by tradition and culture. We have at times embraced them, rejected them, passed them on through generations, questioned their value, and looked for ways to transform them given new influences. This educational supplement, and the work that Ballet (ispanico does with the 0ompany, in our School and through the Education and 1utreach program is in part to help students understand the origins and influences on -atin traditions in dance, while at the same time to encourage the exploration of traditions and culturally-specific elements as they have changed and as they are interpreted and reinterpreted by artists, dancers, musicians, and choreographers. While it is important to define terms, we are cautious about potential stereotyping and being limited by those definitions. Suggested Activit 6ovement: ‘Telephone’ game1: Eoal: To help students explore the concept of change and transition over time and through generations: 1. Identify one person to be a Fcaller4 with you. (privately show that person a simple movement sequence that the two of you will do simultaneouslyGmake sure the two of you match exactlyA Evenly divide class into two and have them form 2 lines, one behind the other. The last person in the line turns to face the Fcaller4 (you and the other person you have identified as Fcaller4.A Everyone else is facing in the opposite direction. The Fcallers4 then show the movement sequence to the first person in line, the Freceiver4. The Freciever4 then repeats the sequence back to the Fcaller4 (who observe without giving feedback or correctionA The receiver then becomes the caller, tapping the shoulder of the next person in line, who turns to face the caller. The new receiver observes the phrase and then repeats it back to the caller. The new reciever then taps the shoulder of the next person in line who turns around. In this way, the movement phrase is passed through the line, person to person. 2. After the movement phrase has been passed through both lines, all participants will step out of the line and the original callers will demonstrate the movement sequence. Participants can then discuss: • The changes that may have occured when compared to the original sequence • What the process felt like being a caller and being a reciever. • What fears, if any they had as caller or as receiver • What role they felt themselves embodying. (0ritic, supporter, techer, implementer...A 3. The movement telephone game can be repeated with a different movement sequence (with different original callersA. This time, one line can act as observers of the process. (and vice versaA. Each line then has a chance to discuss the process they observe, how the sequence evolved, what elements remained unchanged, were there patterns in the evolution process. 1 Courtesy Susan Thomasson, Dancer, Choreographer and Educator 6 BA--ET (.SPAN.01 Suggested Activit Students can research the roots of their culture through their own families and among their peers. Ask each student to create his or her own family tree: Past • (ave students interview members of their family (parents, grandparents, aunts, unclesA about their pasts. Where were they bornH Where were their parents/grandparents bornH When did they arrive in this countryH What was their workH (ow many children did they haveH • Ask students to research materials on their family origins. If they have more than one ethnic background, compare the different countries and cultures that their people come from. (ow are they differentH (ow are they similarH Present • Ask student to identify current influences on their culture -- they may be from outside of the familial line. (peers, reggaeton, their own beliefsA • (ave students reflect on areas of their culture that they value from past generations and those that they have questioned or rejected. • Ask students if they have relatives from another country. Inquire about customs from those countries. Which do they continue to observe in this countryH (ow
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