T he magic of the Ballet Nutcracker returns for the beginning Presented by The New Mexico Ballet Company of the holiday season. With its myriad Artistic Director/Choreographer, Jolie Sutton-Simballa of memorable characters, as well as lavish costumes, sets, and scenery, this enchanting tale brings Tchaikovsky’s timeless music to life through dance, while also serving as a one- hour introduction to classical music and the exquisite art of ballet!

Monday, Standards addressed by attending this performance November 26, 2012 FINE ARTS/THEATER, DANCE AND MUSIC Standard 3: Integrate understanding of visual and performing arts by seeking 10:15am only connections and parallels among arts disciplines, as well as all other content areas. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works. Tuesday, LANGUAGE ARTS Strand I: READING AND LISTENING FOR COMPREHENSION November 27, 2012 Content Standard I: Students will apply strategies and skills to comprehend information that is read, heard, and viewed. 10:15am & 12:15pm As part of our mission to integrate the arts into classroom academics, the Grades: 3 - 12 Dreamcatchers Study Guides are intended to provide helpful information for teachers and students to use before and after attending our performances. Curriculum Connections: Language Arts, The activities presented in these guides are suggested to stimulate lively Fine Arts/ Theater, Music & Dance responses and multi-sensory explorations of concepts and themes in order to use the theatrical events as a vehicle for cross-cultural and language arts learning. Educators are encouraged to use our suggestions as springboards to lead students into meaningful, dynamic learning thus extending the In this issue of Dreamcatchers– dramatic experience of the plays. Introduction ...... 2 Selected Dreamcatchers materials provided by The New Mexico Ballet Synopsis...... 2 Company, The Kennedy Center’s ArtsEdge, The Milwaukee Ballet and other Fun Facts ...... 2 resources noted throughout this guide. Vocabulary ...... 3 Pre-performance Activities...... 4 Post-performance Activities...... 6 Outreach Activities...... 8 Resources & Websites...... 10 About the Artistic Director/ Choreographer...... 10 Worksheet ...... 11 Etiquette...... 12 by Nikolay Kuznetsov, 1893 Introduction (http://artsedge.kennedy-center.org) The first performance of The Nutcracker took place in in 1892. Pyotr Ilyich Tchaikovsky (pronounced chai-KOFF-skee) adapted the ballet from a story called “The Nutcracker and the Mouse King,” written by German author E.T.A. Hoffmann. (PEH-tee-PAH), and his assistant , created the original choreography. Surprisingly, the first performance of the In the Pine Forest (Song 9) – The sounds of the battle scene melt into ballet was not regarded as a success. In fact, 25 years passed before dreamy melodies, created with a harp and other stringed instruments, as anyone outside of Russia performed it! Clara and the Prince dance through a wintry landscape. Waltz of the Snowflakes (Song 10) – While in the Land of Snow, Clara A complete version of The Nutcracker was not performed in and the Prince are greeted by the Snow Queen and her cavalier. The song the United States until 1944, when it was presented by the is unique because of the combined use of voices and instruments. San Francisco Ballet with choreography by Willam Christensen. ACT II It was the San Francisco Ballet that began the tradition of presenting Divertissement (an amusement) – Clara and the Prince arrive in the The Nutcracker on an annual basis. Land of the Sweets and the Prince describes Clara’s brave deed. The While The Nutcracker may have been born in Russia, it has certainly Sugarplum Fairy orders the inhabitants to celebrate. This section is made adapted to its American home. It become both an annual holiday up of a group of dances, performed to some of the best-known melodies from the ballet. tradition, and, with all of its variations, a reflection of the character Chocolate - Spanish Dance (Song 11) – “Chocolate” is a Spanish-flavored of our country—that is, a mix of many ethnicities and ideologies. dance; listen for castanets. Coffee - Arabian Dance (Song 12) – An Arabian dance. Synopsis Tea - Chinese Dance (Song 13) – Oriental in flavor; listen for the The abbreviated version of The Nutcracker to be performed for the glockenspiel. Popejoy Schooltime Series runs sixty minutes, and features highlights Trepak - Russian Dance (Song 14) – A trepak is a fiery Russian dance and on-stage narration for this introduction to ballet and classical music. set to a simple beat. In a trepak, the dancer squats on his or her haunches The Overture (Song 1) – A preview/summary of the music to be heard and kicks out each foot alternately. throughout the performance. Dance of the Flutes (Song 15) – Also called The Dance of the Toy Flutes. ACT I Mother Ginger & The Gingerbread Cookies (Song 16) – Mother Ginger Decoration of the Christmas Tree (Song 2) – The energy and style of greets Clara and her Prince, then has her little children, the Gingerbread this piece echoes the busy preparations for Christmas. The Stahlbaums Cookies, dance in their honor. prepare for the arrival of their guests, while Clara and Fritz play. Waltz of the Flowers (Song 17) – In the Land of Sweets, even the flowers Finally, their guests arrive. dance for Clara and the Prince. March (Song 3) – The children play and dance joyfully to some of the Dance of the Sugarplum Fairy (Song 18) – The Sugarplum Fairy and famous and memorable melodies of The Nutcracker. her partner perform a series of dances, including a pas de deux, a type of Children’s Gallup and Entry of the Parents (Song 4) – The children play ballet duet. mischievously, which leads into a delightful dance. Waltz Finale (Song 19) – The visit to the Land of the Sweets ends with Arrival of Drosselmeyer (Song 5) – An abrupt change in the music a grand waltz. The change in the music signals the end of Clara’s dream, signals the arrival of Fritz’s and Clara’s magical uncle. At first, he frightens as the Sugarplum Fairy bids her farewell. Clara suddenly awakens with a Clara and Fritz, but then delights them by making their toys dance. start and finds her Nutcracker back under the tree. She runs to hug her beloved Nutcracker, and is left to wonder if it was all indeed a dream. Grandfather’s Dance (Song 6) – Clara receives a beautiful Nutcracker as a gift from her Uncle Drosselmeyer. After Fritz breaks in a fit of jealous rage, he is sent to bed. Drosselmeyer then magically fixes the badly Fun Facts damaged Nutcracker. After the guests’ final dance, everyone gets ready to say goodbye to their hosts, while Clara reluctantly bids farewell to her (http://artsedge.kennedy-center.org and previous Uncle and goodnight to her beloved Nutcracker. Dreamcatcher study guides) Clara and the Nutcracker (Song 7) – After her parents insist that Clara Many of the dance steps and terminology used in ballet come keeps the Nutcracker downstairs, she creeps back down to check on it from the French language. That’s because ballet was popular- under the Christmas tree. Drosselmeyer appears to protect Clara from ized in France by King Louis XIV. He loved ballet so much that the evil Rat King, by bringing the Nutcracker and tin soldiers to life. The Christmas tree becomes gigantic and mice fill the room. he took dance lessons every day. He also started the first school of ballet, and his ballet master, Pierre Beauchamps, created The Battle (Song 8) – The sounds of the drum, flute, and horn create the feeling of a battle as the mice and the soldiers fight. Clara distracts special steps for the king alone to perform. the Rat King with a wedge of cheese, which gives the Nutcracker Prince Ballets are never interactive with the audience. The storytelling a chance to stab him. Listen for the dramatic change in the music that is done through movement and music, and thus requires silent indicates when the Nutcracker has turned into a Prince. attention at all times. Clap for spins! In any performance, you can clap after dances and after impressive dance moves, such as fast pirouettes, or quick rotations. In dance performances with live music, be sure to also clap when the conductor first appears. Choreography, like an essay, has a structural pattern and a texture governed by a controlling purpose. The structural pattern emerges from interrelated parts and a point of view, bound together in a unique pattern of emphasis, subordination, and coordination.

2. POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet The texture projects elements such as tone (assonance, Vocabulary dissonance; satire, humor), rhythm, the “syntax”, “diction,” (http://dictionary.reference.com/) and “rhetorical” qualities of movement (expansion, compress- Sharing this vocabulary with your students will enhance their ion, hesitation, abruptness, fluency, etc.). experience at the performance. Encourage them to watch for Listen up! A great way to prepare for a dance performance is examples of these elements from the ballet. to listen to the music, either online or on a CD. You’ll appre- Ballerina – a female and a Prima Ballerina is a star ciate the performance even more if you become familiar female ballet dancer. with the music. Charleston – a fast rhythmic dance from the 1920s, characterized Instruments heard in The Nutcracker include: by kicking and twisting of the legs from the knee down. Flutes Trombones Tambourine Choreography – the art of composing dances; planning and Piccolos Bass trombones Glockenspiel arranging the movements, steps, and patterns of dancers. Oboes Tubas Tympani Costumes – the clothes worn on stage to help show a performer’s English horns Cymbals Harp character. Trumpets Triangle Strings Danseur – a male ballet dancer and a Premier Danseur is a star The Nutcracker Ballet is based on the book “The Nutcracker male ballet dancer. and the Mouse King”, written by E.T.A. Hoffman. Divertissement – a diversion or entertainment; in music, an In 1891, choreographer Marius Petipa commissioned Pyotr instrumental composition in several movements, light and Ilyich Tchaikovsky to write the music for The Nutcracker Ballet. diverting in character, similar to a . In 1892, the first production of the ballet took place at the Glisser – to glide; a traveling step executed by gliding the Maryinsky Theatre of Russia, home of the Kirov Ballet. working foot from the fifth position in the required direction, the other foot closing to it. The ballet made its way to Western Europe in the 1930s and March – music characterized by its two- or four-beat pattern to America by 1940, performed by Ballet Russe. with the first beat emphasized. The first American version of The Nutcracker Ballet was Pas de Deux (French) – dances done by two people together, performed in 1944, by the San Francisco Ballet. usually a man and a woman. In 1954, , co-founder and ballet master Pirouette – a whirling about on one foot or on the points of the of the New York City Ballet, created his now-famous version toes, as in ballet dancing. of The Nutcracker Ballet. Balanchine was trained at the famous Plié – to bend; a position where legs bend before rising or Kirov Ballet of St. Petersburg, and can be credited with helping jumping up. to popularize The Nutcracker across the United States. Props – short for properties, the objects used by the performers, Balanchine’s Nutcracker follows the original plot closely. including furniture and decorative items. However, he chose to have the roles of the young girl Clara (or Marie, as she is sometimes called) and the Nutcracker Proscenium arch – the arch above the front of the stage, a prince played by actual children, and adjusted their choreo- window on the action of the performance. graphy accordingly. Because they are not adults, there is no Relevé – to rise; dancers lift their heels keeping toes down. hint of a romance between them, as is seen in other versions. Sauté – to jump; done after a plié; dancers spring into the air The New York City Ballet performs Balanchine’s Nutcracker stretching their legs. every holiday season. Scenery – the backdrops and set pieces, which set the place, time Robert Joffrey’s (Joffrey Ballet Company) The Nutcracker and “form” of the performance. premiered in 1987. It was produced in the spirit of the original Score – the written music, usually written for each specific instrument. ballet by Marius Petipa, but Joffrey wanted his version to have Silhouette – a likeness cut from dark material and mounted on a an American feel. Most productions of The Nutcracker were light background, or one sketched in outline and solidly colored presented using European themes and traditions. In contrast, in; a shadow. Joffrey’s version is set in 1850s America and highlights inno- cence, wonder, and family ties. Solos – dances done by a single person. Spotlights – the lights used to accent/isolate and draw attention Joffrey worked on his production of The Nutcracker for 15 to performers and objects on the stage. years, all the while collecting an assortment of Victorian cards, prints, illustrations, and toys, all of which would Spotting – dancers focus on one spot as they turn. This helps form the basis for his sets and costumes. them avoid dizziness. Joffrey’s research of Victorian tin toys also inspired the sleek Tempos – the speeds at which music is played. glow in the dark mice costumes. Tourner – to turn; indicates that the body is to turn while executing a given step. African American choreographers have altered The Nutcracker in a variety of ways, to shift the ballet from an overwhelmingly Tutu – a fluffy skirt that allows a ballerina’s legs to be seen. The white tradition to one that better reflects their own experience. short kind is called a “pancake”, the longer “romantic”. Donald Byrd’s 1995 Harlem Nutcracker tells the story of a Waltz – music characterized by its three-beat pattern with the black family during the holidays, with a grandmotherly Clara first of the three emphasized. as the matriarch.

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 3. Pre-Performance activities Interactive nutcracker Grades: 3 – 12 Objectives: ž Students will gain familiarity with the music and story of The Nutcracker. ž Students will make predictions about what happens in selected scenes. ž Students will create original scenes based upon their predictions. Materials: q The story of “The Nutcracker“ q A recording of Tchaikovsky’s Nutcracker Suite q Pen and paper Procedures: 1. Read the story of “The Nutcracker” to the class so that they are familiar with the plot. 2. Play musical selections from The Nutcracker Suite for the class. Identify which part of the story the music accompanies. As the music plays, ask students to free write about what they envision is happening in the scene, based on what is happening with the music (changes in tempo, increased volume or intensity, etc.). Responses should be detailed and provide more information than what was given in the story. 3. Ask students to share their favorite scene. Which scene seems like it would be the most fun to act out? Divide students into groups based on their favorite scene choices. 4. Give students time to discuss what they would like to do with their scene. They can choose to dance or just walk through. Include dialogue or mime scenes silently, etc. Each group identifies specific actions for a specific moment in the music. Repetitions or dramatic shifts in the music are good cues for action. 5. After students have had time to plan and rehearse, allow the groups to perform their scenes for the class. Discuss what each group chose to present. How did they choose to expand upon what they already knew about the story? How did they use the music to dictate action in the scene? Extensions/Modification: È Have students create scripts of their scenes. I include any dialogue and stage directions used, so that the scene can be recreated by anyone who picks up the script. Provide examples of scripts to help with formatting. Assessment: Q Quality of participation Q Writing for each scene expands upon original information given in the story. Q Action in scenes fits with musical accompaniment.

Standards

LANGUAGE ARTS STRAND I: Reading and listening for comprehension. Content Standard I: Students will apply strategies and skills to comprehend information that is read, heard, and viewed. STRAND II: Writing and speaking for expression. Content Standard II: Students will communicate effectively through speaking and writing. STRAND III: Literature and Media Content Standard III: Students will use literature and media to develop an understanding of people, societies, and the self. FINE ARTS/ THEATRE & DANCE Standard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama, and visual arts. Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

4. POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet Show. Don’t TEll. Grades: 3 – 12 Objectives: ž Students will be able to communicate a specific emotion, task, or story without using words or sound. ž Students will collaborate to create scenes that are performed without sound. Materials: q Large space for movement q Collection of short stories, preferably ones that are already familiar to the class. Fairy tales and fables work especially well. Procedures: 1. Assess students’ familiarity with ballet. You may want to review some of the more famous ballets: Sleeping Beauty, , Romeo and Juliet, etc. Note that ballet tells a story without using words; have students discuss how dancers are able to do this. They should come to the conclusion that dancers use physical movements and facial expressions to tell stories. 2. Have students practice expressing themselves without words. Give students a variety of emotions to convey without making any sound, using only their bodies and their faces. This can be done on an individual volunteer basis, with students in front of the class, or as a group with everyone practicing at the same time. Examples of emotions to practice include: joy, anger, sadness, surprise, fear, etc. Encourage students to engage their whole bodies, and to exaggerate facial expressions. 3. Have students practice performing a task without speaking or making noise. Tasks can either be generated by the group, or assigned by the instructor. Example tasks include: cooking dinner, fixing a car, playing a sport, etc. The point is for students to get comfortable with the idea of conveying information using only their bodies. 4. Once students are comfortable using their bodies to communicate, split students into small groups of three to four. Assign each group a short story. Each group will explore how to communicate their story to the class using only their bodies. Allow students time to collaborate and come up with a scene. 5. Have each group perform their stories for the class. Ask students to identify specific movements or facial expressions that the group members used to communicate something important to the scene. Extensions/Modifications: È Turn this activity into a guessing game. Depending on students’ level of comfort with pantomime, ask the students to pantomime and guess which tasks are being performed (step # 3), or which story is being performed. Discuss specific actions that helped them make their guess. È For younger students, find a story that the entire group can act out together. The instructor can narrate the story as the students develop movements to act out what is being spoken. Students can either play each character as one big group, or they can divide into small groups where each group represents one character in the story. Assessment: Q Students effectively communicate basic elements of a story using only their bodies to communicate. Q Quality of participation

Standards

LANGUAGE ARTS STRAND I: Reading and listening for comprehension. Content Standard I: Students will apply strategies and skills to comprehend information that is read, heard, and viewed. STRAND III: Literature and Media Content Standard III: Students will use literature and media to develop an understanding of people, societies, and the self. FINE ARTS/ THEATRE Standard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama, and visual arts. Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 5. Post-Performance activities nutcracker Finger Puppets (adapted from http://familyfun.go.com/crafts/ballerina-puppets-665192/) Grades: 3 – 8 Objectives: ž Students will recall details from the performance of The Nutcracker, including costumes, sets, characters, and plot. ž Students will create finger puppets that resemble characters from The Nutcracker. ž Students will improvise scenes based on the story of The Nutcracker. Materials: q Multiple copies of “Ballerina Finger Puppet Template” (p. 11) q Paper q Scissor q Markers, crayons, paint, stickers, etc. q Fabric, ribbon, etc. q Glue q A recording of Tchaikovsky’s Nutcracker Suite (optional) Procedures: 1. After viewing the program, discuss how the characters, costumes, sets, and music all work together to create The Nutcracker. Have students discuss their favorite characters, costumes, etc. Encourage them to recall as much detail as possible. 2. Create an outline of the story of The Nutcracker as presented in the ballet. What happens first? What happens after that? Include any details that students can recall about the costumes or sets, including colors, accessories, props, etc. 3. After the timeline is complete, ask students to select scenes that they would like to recreate using finger puppets. 4. Divide students into groups. Each group should pick one scene from The Nutcracker to recreate. Have groups list the characters, costume features, set pieces, etc. that they will recreate. 5. Distribute several copies of the “Finger Puppet Template” to each group. Give students time to color and decorate their dancers. Have additional craft supplies handy for the optional creation of scenery. Students can draw on a large piece of paper and use it as a backdrop. 6. Allow groups time to rehearse their scenes. Scenes do not have to be exact recreations of the scene from the ballet. Encourage students to make the scenes their own, and to perhaps to add dialogue and/or sound effects. However, remind them to make sure that their scenes make sense. Groups may also use music from the ballet to enhance their scenes. 7. Each group will present their scene to the class. After each scene, discuss choices that the group made to tell their part of the story. How was their scene similar to the ballet? How was it different? What did you like? What could be improved upon and how? Extensions/Modifications: È Perform your scenes for another class. Consider choosing a younger class (Kindergarten or 1st grade) who has not seen the ballet. Make sure your scenes come together to tell the general story of The Nutcracker. È You can also perform scenes for a class who did see The Nutcracker Ballet. Compare your version to the version presented by TheN ew Mexico Ballet Company, then ask students for their feedback Assessment: Q Students are able to recall events and characters from the performance. Q Students create finger puppets that resemble characters from the performance. Q Students create original scenes based on those from the performance. Q Quality of participation

Standards

LANGUAGE ARTS STRAND I: Reading and listening for comprehension. Content Standard I: Students will apply strategies and skills to comprehend information that is read, heard, and viewed. STRAND III: Literature and Media Content Standard III: Students will use literature and media to develop an understanding of people, societies, and the self. FINE ARTS/ VISUAL ARTS & THEATRE Standard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama, and visual arts. Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

6. POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet THE DANCE OF THE FALLING LEAVES (adapted from a lesson in the Milwaukee Ballet Nutcracker study guide) Grades: 3 – 12 Objectives: ž Students will make observations of the movement of falling leaves. ž Students will collaborate to create unique movements that emulate their observations. ž Students will work collaboratively to create original dance performances. Materials: q A large variety of tree leaves. Different shapes and sizes would be best. I( f leaves cannot be found, you can use scarves) Procedures: 1. Review the story of The Nutcracker, as told in the ballet. Have students discuss their favorite scenes. Discuss the dances performed by the snowflakes and the flowers. What did the dancers do with their bodies to represent these characters? 2. Tell students that they will have the opportunity to choreograph their own dance, using an object from nature as their inspiration. 3. Divide students into groups of four to six people. Have each student find a special leaf. Instruct them to hold the leaf in the air and let it fall to the ground several times, and to make observations about the way the leaf falls. Encourage students to discuss their observations within their groups. 4. Give students about five minutes to create their own physical interpretations of the leaf falling to the ground, using their own bodies. Encourage them to recreate how it falls, twists, turns, flutters, swirls, floats, drops, sways, swings, circles, glides, slides, and eventually comes to rest. 5. In their groups, have each student perform their leaf interpretations for each other. After each student has had a chance to perform, the group decides on one movement from each student’s original interpretation that everyone will learn. The group then practices each movement a minimum of three times, to make sure that everyone knows the patterns. 6. Instruct the group to decide on a sequence for all the steps, which will then come together to create an original dance. The dance should include every group member’s movement at least once. Example: Movement #1 followed by movement #4, then #2, repeat #2, #3, #1, etc. 7. Once groups have coordinated their choreography, encourage them to create a beginning and end to the piece. They are to make decisions about how they will enter and exit the stage, if they will start and end in frozen tableau, etc. 8. Once the dances are all complete, have each group perform their dances for the rest of the class. 9. Discuss the process each group went through to mimic the movement of a leaf and turn it into a dance. What were the challenges? What did they enjoy the most? Extensions/Modifications: È Rehearse and perform your leaf dances for an audience. F find music to fit your movements, create simple costume pieces, and give your dance a title. È Younger students may be more comfortable developing these dances as one large group. Have students stand in a circle and perform the movements together, guided by the instructor. Assessment: Q Students create unique movements based on their observations of falling leaves. Q Quality of participation Q Students work collaboratively to combine movements in a meaningful way.

Standards

LANGUAGE ARTS Strand I: READING AND LISTENING FOR COMPREHENSION Content Standard I: Students will apply strategies and skills to comprehend information that is read, heard, and viewed. FINE ARTS/ DANCE Standard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama and visual arts. Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 7. Outreach Activities The New Mexico Ballet Company Each year, the New Mexico Ballet Company provides 8,400 New Mexico school children with access to dance arts. The History of Dance and Discovery Workshops, now in their 15th year, brings NMBC directly into 11 elementary schools within the Albuquerque Public Schools and Rio Rancho School systems, giving the students and their teachers the opportunity to learn about the history of dance, watch live performances by professional dancers, and participate in dance as an expressive art – all for free. http://www.newmexicoballet.org

National Dance Institute of New Mexico Partnering with public schools, NDI-New Mexico provides dance classes, as well as numerous educational and outreach opportunities. http://www.nationaldance.org/

Dance Fiesta The annual Dance Fiesta is a four-day event full of Albuquerque competitions and events. The 2012 dates were September 27-30. http://www.dancefiesta.net/ Resources & Websites Websites

A tribute to Prima ballerinas (photo collection) http://www.ballerinagallery.com

The New York City Ballet is world-famous for its premium dance performances. http://www.nycballet.org

Critical Dance is an international non-profit entity, founded for the purpose of promoting and supporting the dance arts through moderated public forums and events, periodicals, and financial and resource support. http://www.criticaldance.com

Discover what’s new in dance news, with a New York Times section devoted to just that! http://www.nytimes.com/dance

The Pacific Northwest Ballet website is a great source for learning about professional dance, as well as their extensive school and educational options. http://www.pnb.org

Learn about the history of , including more information about renowned composer Tchaikovsky. http://www.russianballethistory.com

American Ballet Theatre is recognized as one of the greatest dance companies in the world. A living national treasure since 1940, ABT annually tours the United States, performing for more than 600,000 people; it is the only major cultural institution to do so. http://www.abt.org

The of Antwerp, Belgium tours the world and educates some of the best ballet dancers. Don’t forget to set the website for English! http://www.royal-ballet-school.org

The School of American Ballet, the official training academy of the New York City Ballet, was established in 1934. The School’s alumni roster is a “who’s who” of contemporary American classical ballet. http://www.sab.org

8. POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet Magazines Recommended by the nmbc Dance Magazine by Macfadden Performing Art Media Pointe Magazine Ballet News (back issues) Ballet Review, editor Francis Mason Ballet 2000 - French Edition by Editions Ballet 2000-Magazine Subscription Canada’s Royal Winnipeg Ballet by Royal Winnipeg Ballet-Magazine Subscription BOOKS Minden, Eliza Gaynor. The Ballet Companion: A Dancer’s Guide to the Technique, Traditions, and Joys of Ballet. New York: Fireside Book/Simon & Schuster, 2005. Print. Kostrovitskaya, Vera Sergeevna., and Oleg Briansky. 100 Lessons in Classical Ballet [the Eight-year Program of Leningrad’s Vaganova Choreographic School]. Garden City, NY: Doubleday, 1981. Print. Homans, Jennifer. ’s Angels: A History of Ballet. New York: Random House, 2010. Print. Grant, Gail. Technical Manual and Dictionary of Classical Ballet. New York: Dover Publications, 1967. Print. Warren, Gretchen Ward., and Susan Cook. Classical Ballet Technique. Tampa: University of South , 1989. Print. Lee, Laura, and Meredith Hamilton. A Child’s Introduction to Ballet: The Stories, Music and Magic of Classical Dance. New York: Black Dog & Leventhal, 2007. Print. Froman, Kyle. In the Wings: Behind the Scenes at the New York City Ballet. New York: John Wiley & Sons, 2007. Print. Speck, Scott, and Evelyn Cisneros. Ballet for Dummies. Hoboken, NJ: Wiley Pub., 2003. Print. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets. Garden City, NY: Dolphin, 1975. Print. Mason, Francis. I Remember Balanchine: Recollections of the Ballet Master by Those Who Knew Him. New York: Doubleday, 1991. Print. Au, Susan. Ballet and Modern Dance. New York: Thames & Hudson, 2002. Print. Duberman, Martin B. The Worlds of Lincoln Kirstein. New York: Alfred A. Knopf, 2007. Print. Bentley, Toni. Winter Season: A Dancer’s Journal. Gainesville: University of Florida, 2003. Print. Fisher, Barbara Milberg. In Balanchine’s Company: A Dancer’s Memoir. Middletown, CT: Wesleyan UP, 2006. Print. Kirstein, Lincoln. Dance: A Short History of Classic Theatrical Dancing. Princeton, NJ: Princeton Book, 1987. Print. Jowitt, Deborah. Time and the Dancing Image. New York: W. Morrow, 1988. Print.

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 9. Videos Balanchine Library (6 volumes) Elusive Muse- 1998 The Nutcracker / Baryshnikov, Kirkland, Charmoli Starring Mikhail Baryshnikov, Gelsey Kirkland, Alexander Minz, et al. (Sep 28, 2004) Ballerina Starring Alina Somova, Svetlana Zakharova, Diana Vishneva, et al. (July 21, 2009) Ballet 101 - A Beginner’s Class, DVD Starring Jennifer Nunes (Aug 21, 2004) New York City Ballet: The Complete Workout, Vol. 1 and 2 (Nov 7, 2006) Tchaikovsky - Swan Lake / , Murphy, Corella Starring Marcelo Gomes, Gillian Murphy and (Oct 4, 2005) Ballet Class for Beginners Starring David Howard (Aug 31, 2004) - Birmingham Royal Ballet Starring Elisha Willis (Apr 26, 2011) Great Pas De Deux - Fonteyn, Nureyev, Makarova, Dowell, Baryshnikov, Bessmertova, and more Starring Margot Fonteyn, Royal Ballet, , et al. (Feb 10, 2004) / Baryshnikov, Harvey, American Ballet Theatre Starring Mikhail Baryshnikov, Cynthia Harvey, Richard Schafer, et al. (Apr 15, 2003) : Tchaikovsky- The Sleeping Beauty Starring Tchaikovsky, Cojocaru, Bonelli and Nunez (Aug 26, 2008) Alice’s Adventures in Wonderland Starring Lauren Cuthbertson, Sergei Polunin, Edward Watson, et al. (Oct 25, 2011) The Video Dictionary of Classical Ballet Starring Kevin McKenzie and Georgina Parkinson (Aug 15, 1991) Dancing for Mr B - Six Balanchine Ballerinas / Moylan, Tallchief, Ashley, Kistler, Hayden, Kent Starring Maria Tallchief (Sep 30, 2008) THE : Six Ballets Starring Patrick Dupond, Noella Pontois, Sylvie Guillem, et al. (Aug 19, 2008) Delibes: (Jan 29, 2008) The Little Mermaid - featuring the San Francisco Ballet Starring , LeraAuerbach, San Francisco Ballet, et al. (Nov 15, 2011) Starring , David Drew, Martin Harvey and (Oct 28, 2008) Ballets Russes Starring Irina Baronova, Yvonne Chouteau, Yvonne Craig, et al. (Sep 12, 2006) Backstage at the Kirov (Nov 28, 2011) Youtube searches New York City Ballet, American Ballet Theatre, Pacific Northwest Ballet, San Francisco Ballet, Miami City Ballet, Aspen Santa Fe Ballet, Ballet Russe de Monte Carlo, Don Quixote Ballet, Sleeping Beauty Ballet and Swan Lake Ballet

About the NMBC’s artistic director, choreographer

Jolie Sutton-Simballa was trained in Albuquerque by Karen Alwin, Lynn Cox, and Tamara King. She began performing with New Mexico Ballet Company in 1989, and performed with the University of New Mexico Dance Company, among others. She received her BFA in Dance from UNM in 1997, where a scholarship is named in her honor. She graduated as UNM’s first MFA in Choreography in 2004. She has choreographed over 50 ballets including Don Quixote, Alice in Wonderland and NMBC’s all-new production of The Nutcracker. Jolie served as NMBC’s Assistant Artistic Director for seven years, and in 2009, was appointed the artistic director.

10. POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet Ballerina Finger Puppet Template (http://jas.familyfun.go.com/arts-and-crafts?page=CraftDisplay&craftid=10630)

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 11. Each touring production is selected with youth and family audiences in mind, from titles and materials that reflect the cultural diversity of our global community. They include new plays, familiar stories, literary works, biographies, mythology, folk tales, music, dance, and puppetry. These professional performing artists create educational experiences designed to encourage literacy, creativity, communication and imagination. With such a vast audience to serve, our productions are designed to target different grade ranges. Please review these materials to make sure the grade recommendations and content are appropriate for your group.

Music, theater, dance, and opera are collaborative arts. This means they require the cooperation of many people: the directors, the performers, and the audience. Live performances can transport you to other times and places, but to do so, they require you, the audience to listen, observe, discover, and imagine. A poster of Theater Etiquette is included on the website. Please post it and discuss it with your students before coming to the performance. Seeing a live performance is a special experience. Although it is not required, many people enjoy dressing up when they attend the theater. Gentlemen should remove hats or caps when inside the building. Please enjoy your food, drink, and gum in the lobby. Please allow ushers to seat your entire group before rearranging students and/or taking groups to the restroom. Photography and recordings of the shows, as well as cell phones, texting, or gaming are all strictly prohibited during the performances. Crying babies, unhappy siblings, and other loud noises disturb the actors and the other patrons. Please be considerate and leave the hall during these periods. You may still enjoy the show in the lobby via our large screen monitors. Some shows are interactive, and involve audience participation; some are not. Discuss with your class how to know the difference, as well as what is appropriate conduct in a theater, versus at a sports arena or outdoor concert. During a musical, it is appropriate to clap at the end of a song. During a ballet or dance performance, it is appropriate to clap at the end of the number. Curtain calls occur when the show has ended and the cast comes forward to take their bows. The best way to show the performers how much you appreciate their hard work is to stay at your seats and clap until the actors leave the stage, or until the curtain comes down and the house lights come on. “People think dreams At the end of the show, after the applause, remain in your seats until you are aren’t real just because dismissed from the theater. they aren’t made of If you are staying for the Question & Answer session, remain in your seats until the house clears and then move down front toward the stage. matter, of particles. SAFETY Dreams are real. But they are made of Adult  For the safety of our younger visitors, UNM requests clearly visible school 2012 - 2013 POPEJOY SCHOOLTIME SEASONSEASON2013 POPEJOY SCHOOLTIME 2013 POPEJOY SCHOOLTIME - - 2012 2012 Supervision identifiers on all students PreK – 2nd grade. Ex.: matching t-shirts or hats, viewpoints, of images, Required school/teacher tags, etc. of memories and puns and  Teachers and students should immediately report to the kiosk (round desk) lost hopes.”- Neil Gaiman in the main lobby if they become separated from their group.  Restrooms are open to the public. Please escort students. Dreamcatchers are produced by the Education Department of Popejoy  Backpacks, strollers, car seats, and lunches must remain in the lobby, as per Hall, Albuquerque, New Mexico. fire code. If possible, we recommend that these items are not brought into the Find us at: www.schooltimeseries.com building. We cannot monitor ownership, and UNM is not responsible for Contact: [email protected] any misplaced or stolen items. Join our community at: www.facebook.com/schooltimeseries The Popejoy Schooltime Series is supported in part by awards from- Popejoy Hall, New Mexico’s premier nonprofit venue for the performing arts The Eugene and Marion Castiglia Popejoy Children’s Schooltime Endowment and entertainment. The Popejoy Schooltime Education Endowment The Popejoy Schooltime Series is a program of The Univeristy of New Mexico.

2011 VINTAGE ALBUQUERQUE

The Popejoy Mission: To provide access to the performing arts for all New Mexicans.