The Center's Study Guide to the Performing Arts

DANCE

TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The 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: Stamping Ground In 1972, choreographer Jirí Kylián first saw Aboriginal Creators: dancers while watching a documentary. Ten years later he Company: Nederlands Dans Theater (NDT) was able to observe the Aboriginal culture firsthand by Choreography: Jirí Kylián, 1938- traveling to Groote, an island off the northern coast of Music: Carlos Chavez Australia. It was there that the largest gathering of Aborigines Background Information: had been assembled by the Aboriginal Cultural Jirí Kylián began his dance training at the ballet school Foundation. He experienced the inspirational Aboriginal of the Prague National theatre in 1947, when he was dances known as “stamping.” All ages participate in the nine years old. From the age of fifteen he studied at the ritual and ceremonial dances that represent the individuality Prague Conservatory, and in 1967 he went to the Royal of each tribe, as well as providing them with a common Ballet School in London with a scholarship from the language. Jirí Kylián studied these dances in order to find British Council. There he came into contact with the “new” ways to move, stamp and communicate the essence most important developments in choreography in ballet, of animal characteristics through dance gesture. as well as contemporary dance. Consequently, John Cranko, a major choreographer of this period and direc- Creative Process of the Artist or Culture: tor of the Stuttgart Ballet, offered him a dancer’s contract In the creation of this dance, Jirí Kylián first did on-site and encouraged Kylián’s ambition to create his own research by attending the Aboriginal ceremonial dances dance works. After choreographing his first piece for the and finding out their historical and cultural meanings Nederlands Dans Theater, he was soon hired as Artistic through conversations with tribal members. He later Director, creating more than 50 dance works. After a few went into his studio to experiment years, he established himself as one of the most ingenious with different animal qualities choreographers in the world with dances such as and movements; these he matched Symphony of Psalms, Forgotten Land and Stamping with the personalities and natural Ground. Since the late eighties, Kylián’s artistic view and energy and gestures of his style have moved towards abstraction and surrealistic individual dancers. images. His choreographies defy academic categorization The Netherlands because he blends elements as he sets his creative boundaries. England His work is very much based on music and the universal Photo: Joris Jan Bos “The roots (of both Aboriginals ideas and emotions that are at the core of the human and modern cultures) come Germany experience. Although he is no longer the Artistic from the same place - from the Belgium inside of the human being.” Director of NDT, his influence continues to be an France Jirí Kylián Choreographer inspiration to the company.

Discussion Questions: Sample Experiences: After the video has been viewed: LEVEL I • What are the similarities and differences between the • Using clapping, snapping and stamping, find different body ancient Aboriginal dances and the contemporary dances? percussion combinations that you can repeat. Share ideas. • What animals can you identify in either the Aboriginal * • Work with a partner in a mirroring experience. Each person dances or the contemporary work? Describe the characteristics will take turns creating the movement and then duplicating that connect the dancer to a specific animal. the partner’s movement. Next, try having dance conversations. • The female soloist has an extremely long, limber body. • Respond to selected sounds using different movement words What type of feeling or emotion is evoked? What images that are associated with each. For example: a finger cymbal of creatures come to mind? Support your answer. will elicit turns; a hand clap will indicate a strong jump and freeze. • What words came to mind as you watched the male and LEVEL II female duet? What surprised or impressed you? • Create an improvised duet by selecting one or two gestures • In your opinion, what value is there for today’s or motifs from the male/female duet. Think of your dance in choreographer to study the dance and traditions of an terms of a “call and response” in which each dancer does a ancient culture? movement motif or rhythmic phrase that is echoed by the partner. Multidisciplinary Options: * • “Peeling the Stage” - Divide the class into three or four Through research, Mr. Kylián found that there are several groups of 8-10 people. Group 1 enters an empty space; each important elements to Aboriginal stamping: the ability of person creates a different abstract animal shape using 8 counts. the dancers to jump suddenly in the air without preparation; A second group enters and assumes one of the shapes of group and the use of counter movements and weight which give 1. Then, group 2 will have 8 counts to transform from the each physical move more length and drive. Many of the first shape into their own animal shape. Repeat with group 3. Aboriginal dances are derived from the movements of • Research paintings of animals, done in an abstract or primitive animals. This leads to multiple styles of walking. style. Brainstorm words that these images evoke. Use these However, the most vital element of their dances is the words to capture the essence, energy, actions, mood and char- actual stamping which provides the sounds that accompany acteristics of the animal. Alone, in partners or groups, create a their performances. Using Mr. Kylián as a model, select short, theatrical dance piece inspired by one or more animals. an ancient culture that interests you and research the LEVEL III dance and music. Discover the instruments that were * • View a dance using Aesthetic Valuing strategies. played, find sculptures or murals that show the postures, • Create a “Dance Canvas,” where students stand around the costumes and instruments in particular contexts, such as edges of an empty space, in the arrangement of a rectangular a ceremony or social gathering. Highlight specific aspects frame. Students enter the canvas space on cues, or in their own that are fundamental to this culture and make their timing, and create different body shapes to resemble segments music and dance unique. of a natural environment. Other students add designs onto Audio-Visual Materials: the original shapes with the intent of extending the natural, • Artsource® video excerpts: Road to the Stamping sculptural environmental designs. Ground, an RM Arts/NOS TV, Holland Co-Production. LEVEL IV • Photos: Courtesy of the Nederlands Dans Theater. * • Creation myths are found in almost every ancient culture. Additional References: Research Aboriginal creation myths, and in small groups, • Jonas, Gerald. Dancing. Harry N. Abrams, Inc., interpret one through dance. Publishers, New York in Association with Thirteen/WNET. • Use small (14" or 16") garden sticks, one per pair. Both • Dancing Series, a production of Thirteen/WNET in partners place an index finger on one end of the stick using the association with RM Arts and BBC-TV. right amount of tension to keep it balanced between them. • Nederlands Dans Theater Web Page: http:// They must maintain this connection as they explore a variety www.balletcompanies.comNederlandsDansTheater/ - 1k of ways to move cooperatively with smooth, flowing energy. • Road to the Stamping Ground /NDT video. RM Arts. * Indicates sample lesson 2 DANCE CREATE AND DUPLICATE MOVEMENT THE HUMAN FAMILY LEVEL I Sample Lesson

INTRODUCTION: Stamping dances are an integral part of life for the Aboriginal tribes, and all ages participate. These dances represent the origin and individuality of each tribe and serve as a means of communication among them since there is no common language.

Regardless of which tribe is dancing, these dances are usually performed in groups where all members achieve synchronization and oneness with the other dancers, while still dancing for themselves. This ultimately leads to a more emotional performance.

Sometimes dancers move independently (alone) and sometimes they move in unison (together) with a partner or group. This lesson focuses on the necessary skills needed by students to work in unison with a partner. In Part I, students will take turns creating slow, continuous and clear movement that is precisely “mirrored” by their partner. Part II gives them the challenge of having a movement conversation with a partner.

Hopefully, students will discover ways to move that emanate from a flow of consciousness. They have the opportunity to be a leader and the responsibility of being a follower. It is important to be able to experience both roles and to feel confident in each one.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Express a variety of different movements using smooth, flowing energy. (Creative Expression)

• Demonstrate the dance forms of mirroring and conversation styles using improvisation. (Artistic Perception and Creative Expression)

• Incorporate the dance elements of level, direction, sharp and smooth, slow and fast into their studies. (Artistic Perception)

• Demonstrate focus, physical control, and accurate reproduction in performing axial (in place) and locomotor (traveling) movement. (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 excerpt of Stamping Ground.

• Any type of smooth, flowing musical CDs or audio tapes. Suggestions include: classical, New Age, guitar, flute or didgeridoo music. It recommended that music without words or vocals be used. 3 PROGRESSION:

• Give some background on the -*Stamping Ground video using the information and questions on page 1. After viewing the video, use the “Discussion Questions” on page 2 to give students a chance to express their responses to what they saw.

PART I

• Ask students to create movement that is slow, continuous, smooth and clear. Ask for a volunteer to lead the class in a warm-up exercise called “mirroring.” The leader stands in the front and faces the class. He/she will create movements that are slow, continuous, smooth and clear. It helps to ask them to draw lines in space that are smooth and clear, using different directions and parts of the body to initiate the movement. The challenge for the group is to observe and simultaneously duplicate the movement of the leader as accurately as possible. The class should think of themselves as a mirror image of the leader. This means that if the leader lifts his/her right arm, the class will lift their left arms.

• If there is interest for others to be leaders, have several students lead the mirroring exercise. It is also helpful to play music that is slow, continuous and expressive while they move.

• Divide the students into partners and have them select who is “A” and who is “B.” Ask them to sit or stand about 18 inches apart, facing each other. Direct “A” to lead “B” in a series of simple actions moving slowly and smoothly. Actions can include raising one arm and lowering it, reaching out to the side and back, circling shoulders, lifting a leg, circling both arms like a large wheel in front of the body, etc. Repeat this with “B” being the leader and “A” following. Emphasize that the partners should focus on each other’s eyes rather than directly on the movement. This will help them stay focused and united. They will see the movement with their peripheral vision.

• When they have practiced how to create and duplicate movement that is slow, continuous, smooth and clear, direct them to think of a beginning, middle and end for each of their movement ideas. This would be similar to verbal phrases or sentences done in movement. Also encourage them to change their level as they move. Change roles several times. Appropriate music can add support, assist with the flow and phrasing of the movement, and encourage expression. Divide the class in half and perform for each other.

Task #1: Work with a partner, one leading and one following, to mirror each other’s movement phrases. Switch roles on a signal from the teacher.

Criteria: • movements must be smooth, slow and continuous • add changes of level • leader lead with very clear and large movements; be aware of keeping partner with you • follower duplicate the movement ideas clearly and in the same period of time • work cooperatively • test: is it hard to determine who is leading?

4 Nederlands Dans Theater 2 Stamping Ground Choreographer: Jirí Kylián Dancers: Tessa Cooke, Urtzi Aranburu Photo: Joris Jan Bos

PART II

• Once students can confidently mirror with a partner, they are ready for the next challenge which is conversational movement. This is where one partner “speaks” in a movement phrase while the other partner listens, then the second partner responds. This idea moves back and forth between the two partners, just as a conversation does. This concept is similar to the duet done by the male and female dancers in Stamping Ground.

• It works best in the beginning stages to give a specific number of counts for each partner to move. If a drum is used, the teacher can beat the head of the drum for partner #1 and the rim of the drum for partner #2. These movements can be quick and rhythmical. The movement vocabulary can include: jumps, turns, sharp gestures, reach and bend, twists, shaking, and locomotor movements such as walk, run, skip.

TASK #2: In partners, do an improvisation using a conversational style. One partner will move for four counts while the other partner freezes and observes intensely. Then the roles switch with the second partner speaking with movement while the first partner stops and observes. This “conversation” switches back and forth several times.

CRITERIA: • Work cooperatively • Move for 4 counts and then hold still for 4 counts (or 6 or 8 cts.); one partner moves while the other is still • Use different changes of levels and directions • Find variety in the movement choices • Add stops or pauses • Change the spatial arrangement, such as near and far, or away and toward, around or in front of. • Maintain focus and concentration 5

EXTENSIONS:

•After the class has practiced the mirroring many times, a bigger challenge for them is to change the lead- ership role without stopping the movement or talking. It requires them to “sense” when the role is chang- ing and to work intuitively.

• In the mirroring experience, students can increase the space between them, so that they must stay in touch while 20 or more feet apart, increasing the observational and awareness skills.

• Have two sets of partners work together in a square formation where each person is in a corner of the square. Each one takes a turn leading and then “passing” the movement to the one on their right. • In the conversation partnerships, extend the time from four counts to eight counts. Try different styles of music.

• After doing these two experiences, replay the video to see if they are able to observe more things that can connect with what they did in their own improvisations.

VOCABULARY: mirror, smooth, continuous, clear, phrase, sense

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the mirroring experience and what made it a “mirror” rather than a “shadow.”

DISCUSS: Discuss what things made the mirroring experience successful. What made the conversation experience successful?

ANALYZE: Identify the challenges they faced when working with a partner and what they could do to overcome them.

CONNECT: Discuss how their dance movement experience related to the dance video they saw.

RUBRIC FOR MIRRORING - task #1:

Advanced: • Consistently focused • Highly original movements with clear intent • Highly consistent in performing slow and smooth movements • Excellent cooperation between partners as they work in both role

Proficient: • Focused most of the time • Some original movements with clear intent most of the time • Mostly consistent in performing slow and smooth movements • Good cooperation between partners as they work in both roles

Approaching Proficient: • Inconsistent focus • Movements lack originality and intent • Inconsistent in performing slow and smooth movements • Cooperation between partners is lacking

RUBRIC FOR CONVERSATIONS - task #2: Advanced: • Consistently focused • Highly original movements with lots of variety • Consistently moves for four beats and freezes for four beats at correct time • Excellent cooperation between partners as they work in both roles

Proficient: • Focused most of the time • Some original movements with some variety • Mostly consistent in moving and holding for four counts at correct time • Good cooperation between partners as they work in both roles

Approaching Proficient: • Inconsistent focus • Movements lack variety • Inconsistent in moving and holding for correct number of beats and at correct time • Cooperation between partners is lacking

7 DANCE ANIMALS REVEALED POWER OF NATURE

LEVEL II Sample Lesson

INTRODUCTION:

Aborigines live close to the earth and have strong connections to the natural world. Their religion is deeply involved with the land. They believe it is the mother of all living things to which the spirit returns for rebirth after death. Aborigines do not own the land; it owns them. They are its custodians, believing that the ancestral beings of the Dreamtime, or Dreaming, created lands, animals, people and places. Some of these are sacred to men, others to women, some to both. These ideas are also expressed in their art where earth tones of clays and ochres as well as charcoal convey specific meanings.

The land on which the Aborigines live has a wide variety of animals, many of which are not found on other continents. These animals include: marsupials (meaning pouch) - kangaroo, wallaby, koala, opossum, numbat, wombat, badicoot, echidna, duck-billed platypus and Tasmanian devil. Other Australian fauna include the crocodile, the dingo (wild dog), lizards, and birds such as the beautiful budgie, kookaburra and emu. Nederlands Dans Theater 2 Stamping Ground In the duet on the Artsource® video, you can see the dancers Choreography: Jirí Kylián doing jumping and punching movements that represent Dancers: Miguel Rodriquez, Urtzi Aranburu Photo: Joris Jan Bos kangaroos, and an Aboriginal girl imitating an animal. In their dances, the Aborigines are masters at miming the movements of many of these animals.

This lesson will focus on animals and their characteristics. The challenge will be to capture the weight, energy, postures, focus and timing of specific ones.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Identify and discuss the characteristics of different Australian animals (Artistic Perception)

• Interpret selected characteristics of specific Australian animals through dance (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)

8 MATERIALS:

• The Artsource® video showing the excerpts from Stamping Ground

• List of Australian animals and their characteristics on pages 12-14.

PROGRESSION:

• Show the class the Artsource® video of Stamping Ground and discuss it using the “Discussion Questions” on page 2.

• Introduce a few (3-4) of the animals from Australia and give background information on them. Show pictures, if available.

• Write down the name of each animal on the board and create a list of characteristics and actions for each one. An example of this would be:

Kangaroo: Glider Possum Emu jumps upward and forward climbs trees tall and heavy - walks boxes with short arms steers with its tail fast runner, doesn’t fly balances/sit on tail swoops and lands upright good swimmer

• Have students spread out to find a space so they can move easily. Direct them to move like each animal, being aware of whether it is heavy or light, fast or slow and improvise the different actions each can do. Also, explore poses and shapes that each can take.

Task: After taking time to be specific and work toward capturing the characteristics of each one, have each student select one animal. Give them eight counts (16 counts for older or more experienced students) to choreograph a dance study for that animal. Ask them to begin and end in specific shapes or poses that suggest the animal.

• Divide the students into three groups of 8-10. Ask group 1 to be the first performers and go into the space and take their beginning shape. Use hand claps or a drum to beat 8 spaced out counts of time, such as: 1.... 2.... 3.... 4.... 5.... 6.... 7.... 8. Students perform their animal studies simultaneously with the others, holding their final pose on count 8.

Group 2 moves out into the space and takes the ending pose of group 1. Group 1 exits using four counts, while group 2 holds the shapes for these four counts. Then Group 2 has four counts to transform the shape into the beginning shape for their dance study.

This is then repeated with group 3. When group 3 completes their study, groups 1 and 2 join a group adding their ending animal shapes to the others.

Criteria:

• clear beginning shapes that capture the essence of the specific animal • 8 counts of movement that show the nature, weight, timing and actions of the animal • contrast of energy, focus, stillness and motion or levels • clear ending shapes that capture the essence of the specific animal • duplicate the shape of another animal when indicated • combine animal shapes for the final ending

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 very best work - clap, but don’t shout when performers are done - work for unity with your group

• Have the students discuss their response after all groups have performed. Also, use the criteria as a point of departure for the discussion. Suggestions for questions that elicit thinking, rather than one word answers, include: • What did different people do to convey the essence of their animal choice? What did they do that gave you clues about the animal they represented through artistic movement? • Did they have contrast in their idea? Was this shown in the element of space, time or energy? • What most impressed you about the shapes and about the motion? • What constructive suggestion would you have to improve the artistry of their work?

EXTENSIONS:

• Extend the animal study into a 16 or 32 count phrase.

• Have students work together, combining their animal phrases and doing some of the motifs in unison or a call and response form, similar to the duet in the Artsource® video.

•Watch the Artsource® video again and discuss what they see after choreographing their own animal dance.

VOCABULARY:

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the words you used to motivate your animal study?

DISCUSS: Discuss the feelings you got when portraying your animal?

ANALYZE: Discuss some of the differences you observed when watching people do their animal study?

CONNECT: Discuss how the traits of animals relate to the traits of people.

10 AUSTRALIAN ANIMALS AND THEIR CHARACTERISTICS:

MARSUPIALS:

Kangaroo: There are over 50 species of kangaroo, which are named after the Aboriginal word, “kang guru” which means “there he goes.” The kangaroo belongs to a group of marsupials called macropads which means “big feet.” Kangaroos sleep during the heat of the day and search for leaves and plants to eat at night. They can travel over long distances going up to three weeks in search of water and can dig holes three feet deep to find it. When overheated, they pant and lick their paws like cats do. A baby, called a joey, lives and grows in its mother’s pouch until it is about six months old. However, even after that age it will stay close to its mother, diving head first into the pouch when scared. When danger is sensed, one kangaroo will sound a “thump” to alarm others, sending them scattering, stopping intermittently to focus in several directions before bound- ing onward. Kangaroos travel in groups called “mobs.” Each one has a “boomer,” or leader, who defends his position against other males. Although kangaroos are timid and easily scared, they are fierce fighters, using a boxing style with their short, strong forearms and kicking with their hind legs. They can bound up to ten feet upward and cover a distance of 20 feet in one jump. They always move their back feet together, except when swimming. Good at hopping and jumping, they move like a pogo stick, but are awkward when walking. Their tail serves as a counterweight, moving up and down, and can also be used as a prop for sitting.

Wallaby: The wallaby is a close relative of the kangaroo, but is smaller. Some resemble rabbits and can move easily and quickly, swerving from side to side. One type that is particularly interesting is the “organ grinder” wallaby which, when threatened, will extend its forearms sideways, circling them as it leaps to safety.

Koalas: The koala gets its name from the Aboriginal word, “koo-la,” which means “one who does not drink.” They rarely drink water directly, but get their intake from the dew on eucalyptus leaves, their main diet. They live in eucalyptus trees in the Eastern Australian forests. Contrary to popular belief, Koalas are not bears, although they have a long, black snout, small dark eyes, and thick, soft grayish fur. They have no tail, but do have sharp claws on three fingers and two thumbs. Being nocturnal, they feed during the night and snooze in the fork of tree branches during the day. Before eating, the koala must inspect each leaf, for some leaves contain hydrocyanic acid which can be fatal to them. Their babies live in the mother’s pouch until about six months, then ride on their mother’s back. But, when a baby misbehaves, the mother gives it a terrible spanking on its bottom; it cries and screams, sounding like a human baby.

Possums: 25 different kinds of possums live in Australia, ranging in size from three inches to the size of a house cat. Most have pink noses and thin, hairless ears. Their mouth, with 50 teeth, is larger than a human’s. Their prehensile (“good for wrapping around and grasping”) tail, is long, curly, rough and scaly. Young possums can be seen hanging by their tails from tree branches; they have a “toe” that acts like a thumb for grasping. Like other marsupials, they are nocturnal and have a good sense of smell and night vision. But, unlike the other marsupials, they eat insects and flesh as well as nectar and fruit. Their long, strong claws allow for expert climbing and they can be found residing in tree trunks, abandoned nests or underground burrows. As adults, they tend to travel alone and are rarely seen with other possums.

AUSTRALIAN ANIMALS CONTINUED

MARSUPIALS CONTINUED

Glider Possum: The Glider Possum is not related to the flying squirrel, but resembles one. It has a flap of skin between its front and back legs, so that when jumping, the legs spread to stretch the skin tight. It forms a parachute that allows them to glide gracefully from tree to tree. The tail helps them steer and balance. A glider swoops just before landing, allowing it to stop upright. All gliders are fighters, screechers and chirpers.

Numbat: Numbats are small, reddish-banded anteaters with bushy tails. They use their powerful claws to shred wood in order to find termites which they retrieve with sticky tongues. Unlike other marsupials, they hunt during the day and live in hollow logs. Although they are friendly creatures, they refuse to defend themselves from predators. Needless to say, their number is dwindling.

Wombat: This vegetarian animal is medium-sized, curious and friendly. It is heavy and resembles a brown, furry pig, but it can run on its short, sturdy legs up to 25 miles per hour. A Wombat baby rests in a pouch that opens to the back. The babies are playful and active, running, rolling, jumping, nuzzling and bumping, but can burrow quickly below the surface, forming one hundred foot tunnels. Because they feed on bark and plants, their teeth grow continuously, grinding down and sharpening as they eat.

Bandicoot: Bandicoots are rat-sized, marsupial moles which are unattractive, but friendly. They live underground, getting there by digging, diving and swimming just below the surface. They move above ground by scooting on their stomachs and pushing with their back feet.

Tasmanian devil: This animal is a vicious carnivore with a huge appetite. It can eat five times its weight at one sitting. They are black, shaggy creatures which grow to be the size of large house cats. They have enormous jaws and are strong, persistent hunters. They can swim long distances underwater with babies in their pouches. Known for their horrible tempers, the Tasmanian devils are prone to sudden rage; they scream, snarl, whine and growl.

Duck-billed Platypus: The platypus, along with its cousin, the echidna, are the only egg-laying marsupials. The platypus has a bill shaped like that of a duck, teeth and a tail like a beaver. Its feet are webbed and it is covered with thick fur. It lives in rivers and eats insect larvae.

Echidna: The echidna is an anteater with a long, slender snout that is covered with spines. It feeds on ants and termites, gathering them up by inserting its nose into their nests and drawing them out with its long sticky tongue.

Goanna: Almost every type of lizard lives in Australia. The goanna is a large, active lizard that is an important character in many aboriginal stories. Also called a Monitor Lizard, it is an excellent hunter and climbs trees in search of birds and eggs to eat. It hatches its own eggs outside its body and has a snake- like tongue. Action words that describe it would include: slithering, climbing, twitching, waiting and lis- tening, scurrying.

AUSTRALIAN ANIMALS CONTINUED

Crocodile: The crocodile is a cousin to both the dinosaur and the alligator. It can grow to be as long as 25 feet and weigh as much as two tons. Some live to be as old as 100 years. The main difference between the croc and the gator is that the crocodile snout is more narrow. It has a big, toothy grin and is covered with skin that is scaly, leathery, and bumpy. Although they can be grumpy and cranky, they do get along well together. They are cold-blooded, which means their body temperature is the same as their surroundings. Upon hatching her babies, the mother croc will take the babies into her mouth in a special pouch. When they are older, she will let them ride upon her back as she sunbathes. A dominant male rules the banks and must give permission for other crocs to pass. If they want to pass, they must raise their heads to expose their throats. When walking, the croc sways in a side to side manner rather than up and down. While swimming, the croc uses its webbed feet to paddle, moving its tail ferociously to gain speed. It either sinks low in the water and waits motionless until its sees something to snatch or, glides slowly like a log, then rips, tears and swallows the prey it has been watching. Since it can breathe underwater, it can also drown its victim.

Dingo: Originally brought to Australia by the Aborigines three to four thousand years ago, the dingo is a descendent of the Asian wild dog. Most of these wild domestic dogs weigh up to 45 pounds and have short reddish or yellowish hair, a long tail, perky ears, sharp teeth and a sharp muzzle. It doesn’t bark, but does make a crying sound. They travel in “packs” and are hunters who prey on kangaroos, wallabies, wombats, rabbits and sheep.

Budgie: Often appearing in Aboriginal folktales and myths, the name for this bird comes from the Aborigine word, “budgerigar” meaning “good bird and food.” This tells us that it was considered a tasty treat. They come in a huge assortment of vivid colors and have hooked bills. They travel and nest in large flocks and change locations according to the seasons.

Kookaburra: The Aborigines supposedly believed that the kookaburras called the sun up from its bed each morning with their noisy, hysterical laughter. They are also often heard singing in groups. This com- munal chorus also performs again at dusk. White and dark brown, they nest near water in gum trees; after swooping down to catch their food of shrimp, frogs or insects, they beat it against a hard object until it is ready to eat.

Emu: The large, flightless emu is much like an ostrich. A nomadic bird, it can be between five and six feet tall and weigh up to 125 pounds. It has a powerful kick, both sideways and backwards and is also a swimmer and runner, reaching up to thirty miles per hour on land.

RUBRIC FOR ANIMAL STUDIES:

Advanced: • excellent focus throughout the performance • extremely clear, original animal shapes • inventive, expressive movements • fulfill animal energy and perform with purposeful intent • movement captures weight, postures and timing of the animal for an 8 count phrase • all shapes held with active stillness; moved at appropriate times during transitions • excellent cooperation between all members of the group

Proficient: • mostly good focus throughout the performance • mostly clear, original animal shapes • some inventive and expressive movements • mostly fulfills animal energy and performs with clear intent • movement sometimes captures weight, postures and timing of the animal for an 8 count phrase • most shapes held with active stillness; mostly moved at appropriate times during transitions • good cooperation between all members of the group

Approaching Proficient: • focus was not consistent throughout the performance • animal shapes lack clarity and originality • movements lack inventiveness and expression • rarely fulfills animal energy and performs with clear intent • movements did not capture the weight, postures and timing of the animal; didn’t move with an 8 count phrase • shapes were not held with active stillness; did not move at appropriate times during transitions • lack of cooperation between members of the group

14 DANCE FIND MEANING IN DANCE THROUGH DISCUSSION ENDURING VALUES

LEVEL III Sample Lesson

INTRODUCTION:

When they have an opportunity to discuss a performance after viewing it, students will understand it better and gain more more satisfaction from the experience. Viewing dance is kinesthetically stimulating and often stirs our emotions. Many images and thoughts may come to mind as we watch the dance unfold. When this experience extends to a discussion about what was seen and experienced, awareness is heightened and many connections can be made. Aesthetic valuing is about thinking in ways that help a student make aesthetic judgments, analyze, think critically and make comparisons.

This lesson highlights some ways of approaching these discussions and helps the teacher select the types of questions that will elicit reflective and thoughtful responses from students. This will help them construct their own meaning.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate knowledge of the dance elements, vocabulary and choreographic processes in discussing and analyzing a solo and duet. (Aesthetic Valuing)

• Discuss how ancient cultures can provide source material for modern work. (Historical & Cultural Context)

• Describe, discuss, analyze and interpret Stamping Ground, an authentic ritual dance by an Aboriginal culture and Jirí Kylián’s research, creative process and work based on that culture. (Aesthetic Valuing)

• Demonstrate the ability to make connections between specific experiences and knowledge and how they relate to one’s life. (Connections, Applications, Relationships)

Jirí Kylián, Nederlands Dans Theater Photo: Dirk Buwalda

15 MATERIALS:

• Artsource® video showing excerpts from the Stamping Ground..

• VCR and monitor.

• Background information on the choreographer, the Nederlands Dance Theater and the process used in researching and creating the dance (page 2).

PROGRESSION:

• The Artsource® video shows excerpts from the video, Road to the Stamping Ground. For a more in-depth study, it is recommended that you order the full video (see page 2). In this excerpt you will see:

• some footage of the authentic Australian Aboriginal Tribal Dances • some of Kylián’s experiences and reflections as he observes these authentic dances • some of Kylián’s exploration of the concepts he identified • a glimpse of Kylián’s choreographic process to translate the authentic rituals into the medium of concert dance • two excerpts of the ballet, Stamping Ground

This lesson will describe a solo (from Part I) and a duet (from Part II) featured in the Artsource® video excerpt. • Give an introduction to the video before students watch it and also background on the choreographer and his work. It is essential that you view the video ahead of time so you are familiar with the segments and can direct students to observe key aspects that they will discuss.

As you view the video, write questions, thoughts and impressions about the excerpts, and especially the solo and duet. The following descriptions and questions may be helpful in your preparation.

Assessing Prior Knowledge: • Ask students to define the word Dance. Define the term choreographer.

• Ask them to describe tribal dance. Describe Contemporary Dance.

• What is a solo? What is a duet? What is an ensemble?

• Who are the Aborigines? What do you know about their culture? Where do they live? (Show a map of Australia.)

• What fauna is indigenous to Australia? (kangaroo, koala , wombat, opossum, numbat, duck-billed platypus, Tasmanian devil, crocodile, dingo, kookaburra, emu, goanna lizards, etc.)

• Identify and discuss some of the reasons people dance.

16 FEMALE SOLO (There are five solos in the ballet and this is the third one)

Description: The third soloist enters upstage left through the black curtains with her arms stretched out diagonally forward and connected. This position allows her arms and hands to carefully guide her towards her new environment while she maintains a downward focus. Her long, limber body produces unimaginable twisting and connecting shapes. Some of these medium level shapes are frozen and others move through the performing space. Afterwards, she performs spider-like stretching movements where her hair becomes an extension of her multi-level shapes and movements.

When the fourth soloist enters from stage right, the third responds as if she is being chased out of the sacred territory and quickly exits stage left while making, soft, percussive sounds.

Topics for Discussion:

• How and where does the soloist enter the stage?

• Where is her focus when she enters the stage?

• What mood is immediately established?

• How does she use arm and leg combinations?

• What type of percussive sounds does she make as she moves?

• What type of feeling or emotion is evoked by watching this solo?

• How does flexibility enhance the ability of the dancer to portray an image?

• What animal or creature images come to mind as you watch her?

• How does her hair contribute to her solo?

DUET BETWEEN A MALE AND FEMALE (The same soloist just seen)

Description: Part I has no musical accompaniment, but body percussion and sliding sounds can be heard. Part II begins with music and the entire dance ensemble enters the stage from different points off stage and surrounds the male dancer who enters from backstage center. Each dancer freezes in one of their shape motifs performed in their solos. The fifth soloist reacts to the entrance of the other dancers and, while he is exiting, the center male dancer gestures towards him. Gradually, three of the dancers exit the stage leaving the center male and the third female soloist. However, she eventually exits stage left and reenters on stage right to perform a duet with the male dancer.

The duet begins with the dancers performing in unison, but like a echo, facing forward and then backwards. Creating a type of conflict, they begin to react to each other’s movement. While pushing and pulling away from each other, they react by creating a sudden movement or shape. During these special movements, it is evident that the music was personalized to enhance the movement of each dancer. Finally, the duet connects by creating shapes and movement.

17 Topics for Discussion:

• Describe the dancers’ reaction to the music.

• How and where did the dancers enter the stage?

• Describe the repeating rhythmic or movement patterns in the choreography. Can you identify the motifs?

• In the duet, what type of animal-like movement were you able to identify?

• How does the music relate to the movement? How does this differ from the solo which was without music?

• Analyze the dialogue/conversation between the two dancers.

General Questions:

• What impressed you most about the video and the work?

• What have you learned about the Aboriginal culture from this dance?

• What would you need to know about a culture if you were to create a dance about it?

• What do you think is important in researching a culture? What would you need to protect, feature or portray?

• What do you think Kylián intended to express in Stamping Ground? Did he accomplish what you think he intended? Why? How?

EXTENSIONS:

• Use the “Guide to Aesthetic Evaluation for Viewing Dance” as another approach to initiating discussion.

• Use Level I, II and II Sample Lessons to guide students in exploring movement and creating original choreography.

VOCABULARY: aesthetic, solo, duet, choreographer, Aborigine, culture, kangaroo, koala, wombat, opossum, numbat, duck-billed platypus, Tasmanian devil, crocodile, dingo, kookaburra, emu, goanna lizard

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how the discussion of the performance helped in understanding the work of Jirí Kylián.

DISCUSS: Discuss the things that each person found to be more valuable after the discussion and viewing of the video.

CONNECT: Discuss the importance of researching ancient cultures and seeing how people throughout history have approached the universal questions and searched for answers. 18 A GUIDE TO AESTHETIC EVALUATION FOR VIEWING DANCE

PERFORMANCE LEVEL • Were the performers skilled? In what ways? • Was the choreographic intent clear and well executed? • Was there a projection of power, flow, control? • Were the movements devoid of strain (except for intent to express feelings of tension? • Were the performer(s) charismatic in drawing you into content/performance? • Were the body types of the performers aesthetically suited to content/performance concepts?

STAGING EFFECTIVENESS • Were costumes, lighting, sets, and props used effectively? Address those that apply. • Why do you think the choreographer made these choices?

PERSONAL RESPONSE • Did the dance art work speak to you? In what ways? • Was it stimulating or boring? What parts did you respond to? • Was it inventive, daring or was it traditional and conventional? • Did it arouse a kinesthetic response? What feelings did you experience? • At the end, did it feel like the piece was completed, the choreography was communicative and satisfying? • What images, connections and personal meaning did you discover from the experience?

IMPACT OF CHOREOGRAPHY • Did the choreography arouse a feeling of personal involvement with the performers and movement content? • Did the choreography arouse memories of an experience, person, emotion or place? • Did the choreography evoke feeling that were congruent with social or religious concerns? • Did the choreography have a dramatic, emotional impact? • Did the choreography tell a story or event? • Did the choreography communicate the values of a specific culture? What were they? • Did the choreography present an inventive or surprising formulation of movement which added enjoyment or curiosity? • Was the choreography/performers/performance physiologically exhilarating, bringing a sense of excitement, beauty and virtuosity in the execution of the piece as a whole? • Was there a sense of unity or did the work feel fragmented?

USE OF THE ELEMENTS OF DANCE • Were the shape designs for solo and groups staged effectively, with variety? • Was there a variety of use of space levels, pathways, and moving spatial designs? • Was there a variety in time-speed, from fast to slow to stillness? • Was there a variety of energy use of dynamic changes throughout? • Was the musical accompaniment, or lack of, appropriate? (Discuss volume, rhythm, mood, instrumentation, vocal sounds or words, dynamics, style, etc.) • Was there appropriate use of text, narrative, lyrics, etc.?

Source: Schrader, Constance. A Sense of Dance. Illinois: Human Kinetics, 1996. Additions to the Source: Susan Cambigue-Tracey 19 DANCE ABORIGINE CREATION MYTHS ENDURING VALUES AND THE POWER OF NATURE

LEVEL IV Sample Lesson

INTRODUCTION:

The Australian Aborigines had a symbiotic relationship with nature. They were hunters and gatherers who lived off a harsh desert land. Their livelihood depended on what the environment could provide them by way of shelter, food and water. Everything had its place and function in nature and they believed man to be included in this system as well.

In most Aboriginal creation myths, the period of creation was called ‘Dreamtime.’ In several of these stories, the world, man, animals, plants and nature were created and named by supernatural beings who later disappeared into the earth or into the heavens. The universe was made from pre-existing materials.

In some myths, the earth starts out as a featureless plain that was transformed into the landscape by awakened beings such as giant serpents. These serpents pushed upward and writhed across the void, creating today’s landscape . Many of these supernatural beings were the ancestor-heroes of specific totems* who taught their members the rituals they were to perform.

The structure of the Aboriginal universe varied little across Australia. It consisted of three planes: the earth, the sky and the underworld. Circular and flat, the earth was covered by the dome of the sky which stretched out to the horizon. The sky was the plane upon which supernatural beings or the ancestral- heroes lived. It was also where the souls of people went after they died and it was believed that water was plentiful there. The stars represented the campfires of the beings that lived up there. According to their beliefs, certain shaman, or medicine men, had the ability to travel between the earth and the sky.

*A totem is a natural object, often an animal, which is adopted as the emblem of an individual, a gender, clan, location or family. These totems allowed the Aborigines to cooperate with nature, structuring their world and providing a basis for their mythology.

* Information adapted from http://www.astronomy.pomona.edu/archeo/australia4/australia4.html - The Universe of the Aborigine by David Jensen

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss the creation myths of the Aborigine. (Historical & Cultural Context) • Discuss how ancient cultures can provide source material for modern work. (Historical & Cultural Context) • Interpret an Aboriginal creation myth through dance. (Creative Expression.) • Demonstrate the ability to make connections between creation myths and how they relate to one’s life. (Connections, Applications, Relationships)

20 MATERIALS:

• drum and beater

• Selected music

PROGRESSION:

• Assess students prior knowledge about myths and creation myths by asking them questions.

• Tell or read them the information about Aborigine culture and their creation myths, found at the top of this lesson.

• Do a warm up or anticipatory set that focuses the energy of the group. The mirroring exercise in the Level I experience could work. Or, guide a “walk-about” where students all walk simultaneously, but in individual paths. Direct them to stop on cues to do such actions as reaching, turning, bouncing, circling different body parts or opening and folding. These actions are done in-between the walking segments.

Task: Divide into groups. Explore the following ideas and find a way to interpret them through a group dance: • earth begins as a featureless plain • superhuman creatures transform the landscape and create rivers, mountains, trees, rocks, etc. • motions of pushing, lifting, writhing, shaping are used in the creation of nature • three planes are created: sky, earth and underworld

Criteria: • use the element of space: levels, directions, focus, size, path • demonstrate contrast of energy • use the element of time: metered or non-metered, body percussive sounds or silence • include actions of pushing, lifting, writing, shaping or carving • dance should be about one minute in length • work for variety and unity • work cooperatively with all group members

EXTENSIONS:

• Refine and develop each dance and find a way to connect all the groups together. Sometimes this can mean that all do some of the movements in unison.

• Add authentic Aborigine didgeridoo music.

• Perform the work for other classes. Add narration and theatrical elements.

• Research creation myths from other cultures. Discuss the similarities and differences.

• In groups, select another myth from the research done and interpret it through dance.

21 VOCABULARY: myth, creation myth, ancient, culture, totem

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the process your group went through to create your dance.

DISCUSS: Discuss the challenges your group faced and how you dealt with them.

ANALYZE: Analyze the differences and similarities between the various interpretations.

CONNECT: Discuss the importance of researching ancient cultures and seeing how they approached the universal questions and answers for which all people search.

Nederlands Dans Theater 2, Stamping Ground Choreographer: Jirí Kylián Dancers: Catherine Riesi, Dylan Newcomb Photo: Joris Jan Bos

22 Australian Aboriginal Creation Myth when she finally sank beneath the horizon they were panic-stricken, thinking she had deserted There was a time when everything was still. All the them. All night they stood frozen in their places, spirits of the earth were asleep - or almost all. The thinking that the end of time had come. After what great Father of All Spirits was the only one awake. seemed to them like a lifetime the Sun Mother Gently he awoke the Sun Mother. As she opened peeked her head above the horizon in the East. The her eyes a warm ray of light spread out towards the earth’s children learned to expect her coming and sleeping earth. The Father of All Spirits said to the going and were no longer afraid. Sun Mother, At first the children lived together peacefully, but “Mother, I have work for you. Go down to the eventually envy crept into their hearts. They began Earth and awake the sleeping spirits. Give them to argue. The Sun Mother was forced to come forms.” down from her home in the sky to mediate their bickering. She gave each creature the power to The Sun Mother glided down to Earth, which was change their form to whatever they chose. bare at the time and began to walk in all directions However she was not pleased with the end result. and everywhere she walked plants grew. After The rats she had made had changed into bats; there returning to the field where she had begun her were giant lizards and fish with blue tongues and work the Mother rested, well pleased with herself. feet. However the oddest of the new animals was an The Father of All Spirits came and saw her work, animal with a bill like a duck, teeth for chewing, a but instructed her to go into the caves and wake the tail like a beaver’s and the ability to lay eggs. It was spirits. called the platypus.

This time she ventured into the dark caves on the The Sun Mother looked down upon the Earth and mountain sides. The bright light that radiated from thought to herself that she must create new her awoke the spirits and after she left insects of all creatures lest the Father of All Spirits be angered by kinds flew out of the caves. The Sun Mother sat what she now saw. She gave birth to two children. down and watched the glorious sight of her insects The god was the Morning Star and the goddess was mingling with her flowers. However, once again the the moon. Two children were born to them and Father urged her on. these she sent to Earth. They became our ancestors. She made them superior to the animals because The Mother ventured into a very deep cave, spreading they had part of her mind and would never want to her light around her. Her heat melted the ice and change their shape. the rivers and streams of the world were created. Then she created fish and small snakes, lizards and African Bushmen Creation Myth frogs. Next she awoke the spirits of the birds and animals and they burst into the sunshine in a glori- People did not always live on the surface of the ous array of colors. Seeing this the Father of All earth. At one time people and animals lived underneath Spirits was pleased with the Sun Mother’s work. the earth with Kaang (Käng), the Great Master and Lord of All Life. In this place people and animals She called all her creatures to her and instructed lived together peacefully. They understood each them to enjoy the wealth of the earth and to live other. No one ever wanted for anything and it was peacefully with one another. Then she rose into the always light even though there wasn’t any sun. sky and became the sun. During this time of bliss Kaang began to plan the wonders he would put in the world above. The living creatures watched the Sun in awe as she crept across the sky, towards the west. However 23 First Kaang created a wondrous tree, with branches What we see is only the outside form or body. stretching over the entire country. At the base of the Inside is a living spirit that we cannot see. These tree he dug a hole that reached all the way down spirits can fly out of one body into another. For into the world where the people and animals lived. example, a woman’s spirit might sometime fly into After he had finished furnishing the world as he a leopard; or a man’s spirit fly into a lion’s body. pleased, he led the first man up the hole. He sat down on the edge of the hole and soon the first This may be part of the reason that animals play woman came up out of it. Soon all the people were such an important role in their myth. gathered at the foot of the tree, awed by the world they had just entered. Next, Kaang began helping Japanese Creation Myth the animals climb out of the hole. In their eagerness some of the animals found a way to climb up Long ago all the elements were mixed together with through the tree’s roots and come out of the one germ of life. This germ began to mix things branches. They continued racing out of the world around and around until the heavier part sank and beneath until all of the animals were out. the lighter part rose. A muddy sea that covered the entire earth was created. From this ocean grew a Kaang gathered all the people and animals about green shoot. It grew and grew until it reached the him. He instructed them to live together peaceful- clouds and there it was transformed into a god. ly. Then he turned to the men and women and Soon this god grew lonely and it began to create warned them not to build any fires or a great evil other gods. The last two gods it made, Izanagi and would befall them. They gave their word and Kaang Izanami, were the most remarkable. left to where he could watch his world secretly. One day as they were walking along they looked As evening approached the sun began to sink down on the ocean and wondered what was beneath the horizon. The people and animals stood beneath it. Izanagi thrust his staff into the waters watching this phenomenon, but when the sun dis- and as he pulled it back up some clumps of mud fell appeared fear entered the hearts of the people. They back into the sea. They began to harden and grow could no longer see each other as they lacked the until they became the islands of Japan. eyes of the animals which were capable of seeing in the dark. They lacked the warm fur of the animals The two descended to these islands and began to also and soon grew cold. In desperation one man explore, each going in different directions. They suggested that they build a fire to keep warm. created all kinds of plants. When they met again Forgetting Kaang’s warning they disobeyed him. they decided to marry and have children to inhabit They soon grew warm and were once again able to the land. The first child Izanami bore was a girl of see each other. radiant beauty. The gods decided she was too beautiful to live in Japan, so they put her up in the sky and However the fire frightened the animals. They fled she became the sun. Their second daughter, Tsuki-yami, to the caves and mountains and ever since the people became the moon and their third and unruly son, broke Kaang’s command people have not been able Sosano-wo, was sentenced to the sea, where he to communicate with animals. Now fear has creates storms. replaced the seat friendship once held between the two groups. Later, their first child, Amaterasu, bore a son who became the emperor of Japan and all the emperors The Bushmen of Africa believe that not only are since then have claimed descent from him. plants and animals alive, but also rain, thunder, the wind, spring, etc. They claim: Source:http://www.cs.williams.edu/~lindsey/myths /myths_13.html 24