DANCE/MUSIC

ARTISTIC PERCEPTION (AP) ® TRADITIONAL CLASSICAL CREATIVE EXPRESSION (CE)

rtsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) A The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)

ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY

Title of Work: is a rural dance from Bauce which is done in a ‘squareset’ Suite of French Canadian Dances formation. This is followed by a ‘gigue’ representing the Irish ‘step-dancing’ influence of the 19th century. Creators: It is based on fewer numbers of tap sounds per beat Company: AMAN (active 1964-2003) Artistic Director of AMAN (1978-96): Barry Glass and incorporates more relaxed arms than traditional Choreographer: Yves Moreau and France Bourque-Moreau Irish dance. The piece then moves to a ‘formal waltz’ Traditional Music Arranged by AMAN Musicians interlude, called Valse Lancier, a dance which became a Background Information: craze all over Western Europe and North America in The AMAN International Folk Ensemble was a cultural the 19th century. Next is Quadrille de Saint-Basile and educational organization based in Los Angeles, from the County of Portneuf in Quebec. Even though dedicated to researching, preserving and presenting the it is called a quadrille (four couples), this is a walking traditional dance, music and folklore of many ethnic dance for six couples. The final piece in the suite is a groups, particularly those representing North American broom dance, called Danse des Balais, from immigrants. A repertory company, AMAN took its name Chicoutimi (a Native American word) in Quebec. It is from the word Amen, meaning “So be it!” It is an a ‘figure-clogging’ dance in which the dancers use affirmative word used to add emphasis to a sentence or a brooms in much the same way that Scottish dancers thought. AMAN continually researched new work in use swords. order to fulfill an active concert and touring schedule, this Creative Process of the Artist or Culture: in addition to serving educational and community When Barry Glass was Artistic Director, he often requests. Mr. Glass had known and long admired the sought out experts in specific cultural dance styles to work of ethnologist Yves Moreau, so when AMAN choreograph work based on traditional material, wanted a French Canadian Suite, he contacted Moreau which as to be presented on a stage and his wife, France Bourque-Moreau, co-directors of rather than in a folk setting. AMAN L'Ensemble Folklorique Les Gens de MonPays. Their is unique in that its musicians were company, composed of students and workers from the skilled in playing many traditional Montreal region, performs traditional dances of Bulgaria instruments and the dancers capable and French Canada. For this assignment they were asked to of performing in a variety of cultural make whatever statement they wanted about French- styles. Canadian culture through dance, music and costume in an

8 to 15 minute piece. Photo: Jessica Duffett “The understanding of other About the Artwork: cultures is certainly desirable. Yves and France Moreau wanted to show a wide range in the However, today the world is such that understanding of the richly varied heritage of French-Canadian culture. They cultures may be essential CANADA QUEBEC chose to choreograph a suite of five dances to represent to the survival of civilized society.” Barry Glass Montreal both rural and urban traditions. The opening Discussion Questions: what country they came from and what traditions they After the video has been viewed: relate to within the culture. Ask students to learn a part • Describe the differences between the two costume of the dance and teach it to the class. If the parents or styles. How did the men’s and women’s costumes, in grandparents are available, invite them to visit the class each style, complement each other? to teach the entire dance and talk about the cultural • What are the similarities between American traditions which accompany it. square dance and the dances in the French Audio-Visual Materials: Canadian Suite? • Artsource® video excerpt: Suite of French Canadian • Name different cultural groups that influenced Dances, courtesy of AMAN. the dances of French Canada. • Artsource® audio recording: Les Saluts, courtesy of • What are the names of the instruments used to AMAN, ©1989. play the traditional music? (piano, button accordion, • Photos: courtesy of AMAN. fiddle, guitar and an Irish Drum called a Bodhram.) Additional References: • Why do you think the French Canadians chose to • Weikart, Phyllis. Teaching Movement and Dance. use brooms in the last dance? In how many ways Second Edition. The High/Scope Press, Ypsilanti, MI: were they used? Can you think of other ways they 1982. Also available are nine records, The Rhythmically could have been used in the dance? Moving Albums, which contain the music for the folk • What do you know about the French Canadian dances described in the book. culture of the 19th century after seeing and hearing Sample Experiences: this performance? LEVEL I Additional Information on French Canadian Dance: * • Learn the simple version of Les Saluts, a French While these music and dance traditions belong to Canadian folk dance done in a circle. the people of Eastern Canada in the Province of • Make up a simple walking dance done in a big circle. Quebec, they have also spilled across the St. Use changes of direction, unison or couple formations Lawrence River and are embraced by the people of and level changes or claps and stamps. Select four pat- the Eastern United States. The principal forms of terns and combine them. Change the order of the pat- French Canadian traditional rural dance were terns and repeat the dance. Try it to two different styles inherited from French and British nobility. The of music in 4/4 meter. Gigue (jig) is a solo dance tradition influenced by LEVEL II Irish and English step dancing and uses a style • Learn the complete version of Les Saluts, a French which is between the rigid Irish and the freer Canadian folk dance (see Extensions of Level I). Appalachian clogging. The last dance shows a clogging * • Learn a four-to-eight couple contra-formation Irish or pattern dance from the town of Chicoutimi. The Scottish reel. A penny whistle, fiddle or piano, playing dance is performed with brooms and is related Gigue (jig) music can be used as musical accompani- historically to the Scottish Sword Dance. Pieces of ment instead of a record. hardwood have been commonly attached to the • Dance the Virginia Reel and compare it to the shoes of the dancers to emphasize the rhythm of the Quadrille. Both are derived from the same historical clogging; AMAN gets a similar effect with metal sources, but have developed in different ways. taps. The musicians wear the traditional Ceinture LEVEL III Flêché, or “Arrow Belt,” a symbol which is * • Learn a Quadrille (French) which uses four to six identified with the culture as is their flag. couples, facing each other, in a set. Multidisciplinary Options: • Research dances from the British Isles (England, • Ask students to interview their parents or grand- Scotland, Wales and Ireland) and from France. Make a parents and find out what folk dances they know collective report and demonstrate what is learned. which represent their cultural heritage. Find out * Indicates sample lessons 2

DANCE/MUSIC LES SALUTS, A FRENCH CANADIAN DANCE ENDURING VALUES

LEVEL I Sample Lesson

INTRODUCTION:

Circle dances are universal and found in the traditions of many cultures throughout the world. Les Saluts is one section of a French Canadian quadrille. It is built upon the dance traditions of France and the British Isles, and is based on walking and bowing.

OBJECTIVE: (Student Outcomes)

Students will be able to:

• Perform a French Canadian folk dance. (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:

• Artsource® audio recording of Les Saluts, arranged and recorded by AMAN.

PROGRESSION:

• Show students a map of Canada and point out the Province of Quebec, where this dance originated.

• Explain that the dances from French Canada have their roots in the court dances of both France and the British Isles, because these are the homelands of a majority of people who migrated to the Eastern part of Canada. French is spoken by about 90% of the population, but English is also spoken as a second language.

• Teach the dance in its simple form, as follows:

LES SALUTS: circle formation facing counterclockwise (line of direction), holding hands.

PART I: Walk 16 steps counterclockwise. Turn and walk 16 steps clockwise.

PART II: Walk 4 steps into the middle of the circle, walk 4 steps backward. Walk 3 steps into the middle of the circle again and bow. Hold the bow until the long note ends. Walk 4 steps backward.

BEGIN THE DANCE AGAIN.

• Depending on the size of the space, you may wish to have a smaller circle inside the larger circle. Both circles can either go the same direction or move in opposite directions.

3 EXTENSIONS:

• Have the students experiment with locomotor steps other than walking. Ideas might include skipping, galloping or sliding.

• Think of another way to bow or salute. Substitute other ideas, as variations, at this point in the dance.

• Teach a more advanced version of the dance to older or more experienced students. It is as follows:

LES SALUTS (more complex version: source is France Bourque-Moreau)

PART I: Make two circles, one inside the other, each group holding hands.The inside circle does eight walking steps to the right, while the outside circle walks eight steps to the Left. Reverse directions. The outer circle walks four counts to meet the inside circle and brings their joined arms over the heads of the inside group to form a ‘front basket figure,’ using four counts. In this new position, everyone circles to the left for eight counts.

PART II: Still in the basket-hold position, all face center and walk forward with four steps (new tune). Then take regular hand hold and all walk backward four counts. Walk forward three counts, drop hands and take a bow with the music cue. Then, the outside circle walks backward and gets into its original position, while the inner circle takes hands to begin the dance again.

VOCABULARY: counterclockwise (line of direction), basket-hold position, improvisation

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the sequence of the dance using your own words.

DISCUSS: Discuss the music and how it felt to dance to it (What was the feeling?)

CONNECT: What are other situations where people bow or salute? Are these gestures still used today?

AMAN dancers in Danse des Balais from Suite of French Canadian Dances 4 Photo: Jessica Duffett DANCE/MUSIC DANCE A REEL ENDURING VALUES

LEVEL II Sample Lesson

INTRODUCTION:

A reel is a dance performed to music in 2/4 or 4/4 meter in quick tempo. One form of a reel is a choral dance in which the men and women form straight lines facing each other. Reels are divided into a number of figures which are performed by couples and lines. They include arches, stars, place changing, circling, moving together and apart, crossing over, swinging partners and many others. An older English name for reel is ‘chain’ which relates to the art of braiding and weaving. Many different cultural groups have created chain dances which may have grown symbolically out of their observations of the shaping and forming power of nature. Some dances are also related to the crafts of spinning and weaving.

OBJECTIVE: (Student Outcomes)

Students will be able to:

• Perform a reel. (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:

• A recording of an Irish or Scottish reel or a penny whistle to play a tune.

PROGRESSION:

• Give the students some background on the reel from information provided in the introduction and other available sources.

• Teach the class the basic two-step. In Irish dance this is done high on the toes. The two-step is a step- together-step pattern which alternates sides each time the pattern is repeated. In Irish and Scottish dances the ‘together’ step is done by bringing the back foot in close to the front foot and directly behind the ankle of the front foot. Have them practice the step several times traveling forward.

• Teach a variation of the two-step which goes from side to side and remains in place rather than traveling forward. This pattern is step-behind-step, or it can be done step-in front-step. The first and last step of the pattern are both done on the same foot. e.g., Right-left-Right or Left-Right-Left.

• Practice a sliding step, which is like a gallop, except that it travels sideways. Have them try this movement with a partner, holding both hands and facing each other, then turning under the arch formed by both sets of arms and trying the sliding movement back to back, arms out wide (the butterfly). 5 PART I: Partners take two traveling two-steps across the set to partner's X X X X place, taking partner’s R hand when passing. Take 2 two-steps as you arrive in place (R foot goes forward and L goes behind R and R goes for- O O O O ward for the two-step). Repeat the entire pattern back to original place. Repeat both parts.

X PART II: Each line ‘casts off’ by turning out away from partner X X X and leading down with traveling steps to the foot of the line. As each couple meets at the foot, they turn under their own arms, back-to-back O O O to form the ‘butterfly’ position and slide back to place. Repeat. O

PART II SECOND TIME: Couples 1 and 3 meet in the center in the forward-facing butterfly position and slide toward each other. When a X X collision is about to occur, couple 1 separates, letting couple 3 pass X between them and continue to the head of the line. Couple 1 joins after X couple 3 passes and they continue to the foot of the line. All of the above O takes 4 beats. Couples 1 and 3 reverse the figure back to place. Repeat O with couples 2 and 4. O O

• Dance the patterns several times until everyone is clear on the instructions and can enjoy the dance. Always take the time to discover problems in understanding and to re-teach sections which are unclear. It is also very helpful to have a group - that can perform the dance well - demonstrate while the others watch.

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Task: Perform a reel.

Criteria for Dance:

• Work in unison • Work with group cooperation • Perform the correct sequence • Execute the steps with skill • Perform with enthusiasm • Coordinate the music and the dance

EXTENSION:

• Find other reels from the British Isles which you can learn.

VOCABULARY: reel, butterfly position, two-step, penny whistle

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Select one figure of the reel that was performed and find words to describe the action and form.

DISCUSS: Discuss the reel and how it might historically relate to the concept of a chain, braiding or weaving. What are the commonalities between these actions?

ANALYZE: Think of another dance you have seen or know about and compare or contrast it to the reel.

CONNECT: Identify and discuss other aspects of culture that people carry with them when they immigrate to a new place.

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DANCE/MUSIC QUADRILLE DE LOTBINIÈRE ENDURING VALUES

LEVEL III Sample Lesson

INTRODUCTION:

Originating in France, the “quadrille” is a group couple dance that was popular in Europe in the 18th and 19th centuries. In the quadrille, an even number of couples perform complicated figures, moving in a square and dancing to a musical meter which can alternate between 6/8 and 2/4. The North American square dance is based on the quadrille. The original musical themes were chosen from popular or operatic airs; however, today the music used to accompany the dance is usually a reel or jig.

The Quadrille De Lotbinière is from the Eastern Townships in Québec and was recorded by Camille Brochu during her fieldwork in the summer of 1990. Her source was Normand Legault. The dance has been simplified for this lesson.

OBJECTIVES: (Student Outcomes) *This dance is appropriate for 5th grade and older.

Students will be able to:

• Learn and perform a French Canadian quadrille. (Artistic Perception, Historical & Cultural Context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• A recording of any brisk reel or jig.

• AMAN Artsource® video of Suite of French Canadian Dances.

PROGRESSION:

• Give some background on the AMAN group and show the video of the Suite of French Canadian Dances. Focus on the fourth section of the dance which is Quadrille de Saint-Basile. Discuss the background of the quadrille and why it is found in the dances of French Canada.

• Discuss the similarities between American square dance and the quadrille. Introduce the idea of dance figures and the coordination required to per- O X form each figure in a group dance. X O • Ask the class to find partners and form a square with four couples facing inward. Women on the R of their partner, inside hands joined, outside OX hands hanging freely at sides. Couple #1 has its back to the music; other couples numbered CCW (counter clockwise) from #1; i.e., couple #2 is to X O the R of couple #1, couple #3 is opposite couple #1, couple #4 is to the L of couple #1. 8 • Outline of the basic dance structure for Part I of the dance, Quadrille De Lotbinière.

PART I

• Introduction (done only once by all) • Main figure performed by couple #1 • Transition • Main figure performed by couple #2 • Main figure performed by couple #3 • Transition • Main figure performed by couple #4 • Transition • Finale (optional or can be taught as a separate dance segment)

BASIC STEPS:

• Walking step with a slight lilting or ‘up-and-down’ quality on the balls of the feet; i.e., up on count ‘&,’ down on the beat. This step is used throughout the dance except when otherwise indicated.

• Chassé step is used mostly in the promenade. A sideward gliding step on the ball of the foot with lightly bent knees (ct. 1), followed by a small leap sideward onto the other foot in the same direction, landing in place of the previous supporting foot (ct. &). Chassé steps are basically a sideward galloping or sliding step which is kept small and close to the ground.

• The swing is done in open social dance position with parallel shoulders, and should be as level and smooth as possible. It can also be done with partners facing and each holding the other by the hands or upper arms, or can be done as an elbow swing.

PART I INTRODUCTION (done only once by all four couples)

• All dancers bow to their partner, then to their corner; all join hands at shoulder level with slightly bent elbows and circle L using walking steps, making one complete turn (16 cts).

• All couples hold R hand to R hand of partner and L hand to L hand of partner (skating position); prom- enade R with 16 walking steps.

PART I FIGURE (done in turn by each couple)

• Active couple leads to the R hand couple and forms a circle of four; two couples circle L one complete turn; (active W remains and stands in a line of three with the R hand couple) (8 cts.);

• Active M moves on to the opposite couple, joins them in a circle of three; three people circle L one complete turn (active M steals the opposite W taking O X her L hand into his R hand while opposite M stands alone in place) (8 cts.); XX O OO X

9 • Active M and opposite W of the head couples lead to the L hand cou- ples and form a circle of four; two couples circle L one complete turn X (opposite W remains and stands in a line of three with the L hand couple OO while the two active M returns home alone facing the opposite M) (8 cts); XX OO • Active and opposite M go forward and back with eight steps (four steps X toward each other, four steps backing away) (8 cts.); same two M do a dos-a-dos passing R shoulders (8 cts);

• Two lines of three change places by circling CCW half-way around (8 cts);

•Two M go forward and back and do a dos-a-dos again; two lines of three change places again.

PART I TRANSITION:

• All dancers turn to face their corner and do an allemande L (joining L hands at shoulder height and doing a half turn to change places), followed by a grand chain (giving R hand to their partners, L hand to the next, and so on), W circling CW, M circling CCW; when reaching the half-way point, dancers bow to their partners and continue the grand chain until they reach home (32 cts).

• All couples do the swing (16 cts).

• All couples circle R with chassé steps one complete turn (16cts).

Task: Perform a French Canadian quadrille

Criteria for Dance:

• Work in unison • Work with group cooperation • Perform the correct sequence • Execute the steps with skill • Perform with enthusiasm • Coordinate the music and the dance • Know and discuss the background and history of the dance

EXTENSIONS:

• Teach this finale separately or as part of the dance:

• Joining hands in a circle facing center, four couples go forward and back with four walking steps toward center followed by four steps back; all go forward again. Four W remain in the center holding hands down at sides (12 cts);

10 • M promenade CW around the W one complete turn ending on their partner’s L side (12 cts);

• Reaching over the W’s arms, M grasp hands in front of their partners to form a basket; all dancers circle CW twice around (16cts);

• Once back home, dancers reverse the basket bringing the arms over their heads and around their backs while maintaining the hand hold; all dancers circle CCW in this position twice around (16 cts);

• Allemand L to the corner; grand chain (can substitute grand right and left); swing partner; promenade.

• Class divide into fours and work out at original 32 count dance figure for two couples.

VOCABULARY: quadrille, chassé, main figure, swing, promenade, dos-a-dos, grand chain, allemande left, grand right and left

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the different dance figures in your own words.

DISCUSS: Discuss the difficulties of coordinating individual and group efforts to perform the different dance figures. This is a form of spatial intelligence and requires that people can hear directions and trans- late them into action.

ANALYZE: Think about the reel and the quadrille and analyze the similarities and differences between the two forms.

CONNECT: In considering the possible movement combinations that can be performed in a square, discuss some other possibilities that could be choreographed within this geometric form.

RUBRIC: Advanced: • Performs dance with clear steps and forms, in full cooperation with group. • Always moves with rhythm. Proficient: • Performs dance mostly with clear steps and forms, in cooperation with group. • Mostly moves with rhythm. Approaching Proficient: • Performs dance withou clear steps and forms; lacks cooperation with peers. • Has difficulty staying with the rhythm of the music.

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Introduction

ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors

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Project Coordinator Susan Cambigue-Tracey

Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams

Music Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

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The Music Center of Los Angeles County, wishes to thank the artists featured in this publication for their outstanding artistry and their generosity in allowing us to share their creative spirit in the classroom. Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing these resource materials; Music Center volunteers for their help in organizing, proofing and editing Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the Artsource® units in their classrooms.

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