The holiday season commences with this local treasure, a Highlights of The veritable piece of eye-candy with its sumptuous sets, scenery, Nutcracker and costumes. The adept dancers Featuring The NewM exico Ballet Company of the New Mexico Ballet Commentary by Jolie Sutton-Simballa Company, accompanied by Tchaikovsky’s illustrious score, bring these memorable characters to life. The stage becomes a magically animated storybook, inviting the audience into a world of wonderment and awe. The heartwarming performance doubles as a one-hour introduction to classical music and the exquisite art of ballet.

All Popejoy Schooltime Series productions are designed to integrate the Monday, December 2, 2013 arts into classroom instruction. Each production is selected with youth and : family audiences in mind, from titles and materials that reflect the cultural 10 15am only diversity of our global community. These professional performing artists create educational experiences designed to encourage literacy, creativity, Tuesday, December 3, 2013 communication and imagination. These productions purposefully target 10:15am & 12:15pm specific grade ranges. Please review these materials to make sure the recommendations and content are appropriate for your group. We then Grades: 3 - 12 encourage educators to use our suggestions as springboards into meaningful, dynamic learning, thus extending and anchoring the performance experience. Curriculum: English Language Arts, Fine Arts/ Theatre, Music & Dance

Standards addressed by attending this performance IN this issue of Dreamcatchers– Introduction...... 2 Common Core State Standards: Synopsis ...... 2 English Language Arts: Speaking and Listening (CCSS.ELA-Literacy.SL) Fun Facts...... 2 Comprehension and Collaboration: Integrate and evaluate information presented in Vocabulary ...... 3 diverse media and formats, including visually, quantitatively, and orally. Activities...... 4 Interactive Nutcracker...... 4 New Mexico Content Standards: Show. Don’t Tell ...... 5 Fine Arts: Theatre, Music & Dance Nutcracker Finger Puppets...... 6 Content Standard 3: Integrate understanding of visual and performing arts by seek- The Dance of the Falling Leaves...... 7 ing connections and parallels among arts disciplines as well as all other content areas. Outreach Activities...... 8 Resources & Websites...... 8 Content Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works. About the Artistic Director/Choreographer...... 9 Worksheet...... 10 Etiquette...... 11 Credits ...... 11 Dreamcatchers are produced by the Education Department of Popejoy Hall, Albuquerque, NM [email protected], www.schooltimeseries.com, facebook.com/schooltimeseries Introduction (http://artsedge.kennedy-center.org) The first performance of took place in Russia in 1892. (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 Lev Ivanov, created the original The Battle (Song 8) – The sounds of the drum, flute, and horn create the choreography. Surprisingly, the first performance of the ballet was not feeling of a battle as the mice and the soldiers fight. Clara distracts the regarded as a success. In fact, 25 years passed before anyone outside Rat King with a wedge of cheese, which gives the Nutcracker Prince a of Russia performed it! chance to stab him. Listen for the dramatic change in the music A complete version of The Nutcracker was not performed in the that indicates when the Nutcracker has turned into a Prince. United States until 1944, when it was presented by the San Francisco In the Pine Forest (Song 9) – The sounds of the battle scene melt into Ballet with choreography by Willam Christensen. It was the San dreamy melodies, created with a harp and other stringed instruments, Francisco Ballet that began the tradition of presenting The Nutcracker as Clara and the Prince dance through a wintry landscape. on an annual basis. Waltz of the Snowflakes S( ong 10) – While in the Land of Snow, Clara While The Nutcracker may have been born in Russia, it has certainly and the Prince are greeted by the Snow Queen and her cavalier. The adapted to its American home. It’s become both an annual holiday song is unique because of the combined use of voices and instruments. tradition, and, with all of its variations, a reflection of the character of our country — that is, a mix of many ethnicities and ideologies. ACT II Top left: Pyotr Ilyich Tchaikovsky by Nikolay Kuznetsov, 1893 Divertissement (an amusement) – Clara and the Prince arrive in the Land of the Sweets and the Prince describes Clara’s brave deed. The Synopsis Sugarplum Fairy orders the inhabitants to celebrate. This section is The abbreviated version of The Nutcracker to be performed for made up of a group of dances, performed to some of the best-known the Popejoy Schooltime Series runs sixty 60 minutes, and features melodies from the ballet. highlights and on-stage narration for this introduction to ballet and Chocolate - Spanish Dance (Song 11) – “Chocolate” is a Spanish- classical music. flavored dance; listen for castanets. The Overture (Song 1) – A preview/summary of the music to be heard Coffee -A rabian Dance (Song 12) – An Arabian dance. throughout the performance. Tea - Chinese Dance (Song 13) – Oriental in flavor; listen for the ACT I glockenspiel. Decoration of the Christmas Tree (Song 2) – The energy and style of Trepak - Russian Dance (Song 14) – A trepak is a fieryR ussian this piece echoes the busy preparations for Christmas. The Stahlbaums dance set to a simple beat. In a trepak, the dancer squats on his or her prepare for the arrival of their guests, while Clara and Fritz play. Finally, haunches and kicks out each foot alternately. their guests arrive. Dance of the Flutes (Song 15) – Also called “The Dance of the Toy Flutes.” M arch (Song 3) – The children play and dance joyfully to some of the Mother Ginger & The GingerbreadC ookies (Song 16) – Mother famous and memorable melodies of The Nutcracker. Ginger greets Clara and her Prince, then has her little children, the Children’s Gallup and Entry of the Parents (Song 4) – The children Gingerbread Cookies, dance in their honor. play mischievously, which leads into a delightful dance. Waltz of the Flowers (Song 17) – In the Land of Sweets, even the A rrival of Drosselmeyer (Song 5) – An abrupt change in the music signals flowers dance for Clara and the Prince. the arrival of Fritz’s and Clara’s magical uncle. At first, he frightens Clara Dance of the Sugarplum Fairy (Song 18) – The Sugarplum Fairy and Fritz, but then delights them by making their toys dance. and her partner perform a series of dances, including a pas de deux, Grandfather’s Dance (Song 6) – Clara receives a beautiful Nutcracker a type of ballet duet. as a gift from her Uncle Drosselmeyer. After Fritz breaks it in a fit of Waltz Finale (Song 19) – The visit to the Land of the Sweets ends jealous rage, he is sent to bed. Drosselmeyer then magically fixes the with a grand waltz. The change in the music signals the end of Clara’s badly damaged Nutcracker. After the guests’ final dance, everyone dream, as the Sugarplum Fairy bids her farewell. Clara suddenly gets ready to say goodbye to their hosts, while Clara reluctantly bids awakens with a start and finds her Nutcracker back under the tree. farewell to her Uncle and goodnight to her beloved Nutcracker. She runs to hug her beloved Nutcracker, and is left to wonder if it Clara and the Nutcracker (Song 7) – After her parents insist that was all indeed a dream. Clara keep the Nutcracker downstairs, she creeps back down to check on it under the Christmas tree. Drosselmeyer appears to protect Clara Fun Facts from the evil Rat King, by bringing the Nutcracker and tin soldiers to (http://artsedge.kennedy-center.org life. The Christmas tree becomes gigantic and mice fill the room. and previous Dreamcatchers study guides) Many of the dance steps and terminology used in ballet come from the French language. That’s because ballet was popularized in France by King Louis XIV. He loved ballet so much that he took dance lessons every day. He also started the first school of ballet, and his , Pierre Beauchamps, created special steps for the king alone to perform. are never interactive with the audience. The storytelling is done through movement and music, and requires silent attention at all times.

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

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 3. Activities Interactive Nutcracker Grades: 3-12 Objectives: ž S tudents will gain familiarity with the music and story of The Nutcracker. ž S tudents will make predictions about what happens in selected scenes. ž S tudents 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. R ead the story of The Nutcracker to the class so that they are familiar with the plot. 2. Play selections from The Nutcracker 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 (tempo, increased volume or intensity, etc.). Responses should be detailed and should 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 should identify 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/Modifications: È H ave students create scripts of their scenes. Include any dialogue and stage directions used so that the scene could 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.

C OMMON CORE STATE STANDARDS NEW MEXICO CONTENT STANDARDS

E nglish Language Arts: F ine Arts: Music & Dance Reading Standards for Literature (CCSS.ELA-Literacy.RL) Content Standard II: Use dance, music, theatre/drama and visual Integration of Knowledge and Ideas: Integrate and evaluate arts to express ideas. content presented in diverse media and formats, including Content Standard III: Integrate understanding of visual and visually and quantitatively, as well as in words performing arts by seeking connections and parallels among arts Writing (CCSS.ELA-Literacy.W) disciplines as well as all other content areas. Text Types and Purposes: Write narratives to develop real or Content Standard VI: Show increased awareness of diverse imagined experiences or events using effective technique, peoples and cultures through visual and performing arts. well-chosen details, and well-structured event sequences. Production and Distribution of Writing: Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Speaking and Listening (CCSS.ELA-Literacy.SL) Comprehension and Collaboration: Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

4. POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet Show. Don’t Tell. Grades: 3-12 Objectives: ž S tudents will be able to communicate a specific emotion, task or story without using words or sound. ž S tudents will collaborate to create scenes that are performed without sound. Materials: q Large space to work in q Collection of short stories, preferably ones that are already familiar to the class. Fairy tales and fables would work especially well here. 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 every ballet tells a story without using words. Have students discuss how dancers tell a story without using words. They should come to the conclusion that dancers use physical movements and facial expressions to tell stories. 2. Have students practice at expressing themselves without words. Give students a variety of emotions to covey without making any sound, using their bodies and their faces. This can be done on an individual volunteer basis, with students making their attempts in front of the class or as a group with everyone practicing at the same time. Emotions to practice can include: joy, anger, sadness, surprise, fear, etc. Encourage students to engage their whole bodies and to exaggerate facial expressions. 3. Next have students practice performing a task without speaking or making noise. Tasks can be generated by the group or given by the instructor. Tasks can include: cooking dinner, fixing a car, playing a sport, etc. The point is to get students 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 3-4. 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 create a scene. 5. Have each group perform their stories for the class. Ask students to identify specific movements or facial expressions that group members used that helped 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 you can have students pantomime and guess at which tasks are being performed (step # 3) or at which story is being performed. Discuss specific actions that helped them make their guess. È F or 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 can divide into small groups where each group represents one character in the story. Assessment: Q S tudents effectively communicate basic elements of a story using only their bodies to communicate. Q Quality of participation

C OMMON CORE STATE STANDARDS NEW MEXICO CONTENT STANDARDS

E nglish Language Arts: F ine Arts: Theatre Reading Standards for Literature (CCSS.ELA-Literacy.RL) Content Standard I: Learn and develop skills and meet technical Integration of Knowledge and Ideas: Integrate and evaluate demands unique to dance, music, theatre/drama and visual arts. content presented in diverse media and formats, including Content Standard 2II: Use dance, music, theatre/drama and visual visually and quantitatively, as well as in words arts to express ideas. Speaking and Listening (CCSS.ELA-Literacy.SL) Content Standard III3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts Comprehension and Collaboration: Integrate and evaluate disciplines as well as all other content areas. information presented in diverse media and formats, including visually, quantitatively, and orally. Content Standard IV4: Demonstrate an understanding of the dynamics of the creative process. Content Standard V5: Observe, discuss, analyze, and make critical judgments about artistic works.

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 5. Nutcracker Finger Puppets (Adapted from an activity at http://familyfun.go.com/crafts/ballerina-puppets-665192/) Grades: 3-6 Objectives: ž S tudents will recall details from the performance of The Nutcracker, including costumes, sets, characters and plot. ž S tudents will create finger puppets that resemble characters from The Nutcracker. ž S tudents will improvise scenes based on the story of The Nutcracker. Materials: q Multiple copies of “Ballerina Finger Puppet Template” q S cissors q Paper q Glue q Markers, crayons, paint, etc. q A recording of Tchaikovsky’s Nutcracker Suite q F abric, ribbon, etc. (optional) Procedures: 1. After viewing the program, discuss how the characters, costumes, sets, and music 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? Etc. 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 think would work well 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 would like to try and recreate 5. Distribute several copies of “Finger Puppet Template” to each group. Give students time to color and decorate their dancers. Have additional craft supplies for the creation of scenery if desired. 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. They can add dialogue and sound effects if they wish. Remind them to make sure that their scenes make sense. Groups may use music from the ballet in their scenes if they wish. 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? Extensions/Modifications: È Perform your scenes for another class. You can choose 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.Y ou can also perform scenes for a class who did see The Nutcracker ballet. Ask them for feedback, comparing your version to The New MexicoB allet Company version. Assessment: Q S tudents are able to recall events and character from the performance. Q S tudents create finger puppets that resemble characters from the performance. Q S tudents create original scenes based on those from the performance. Q Quality of participation

C OMMON CORE STATE STANDARDS NEW MEXICO CONTENT STANDARDS

E nglish Language Arts: F ine Arts: Music & Dance Reading Standards for Literature (CCSS.ELA-Literacy.RL) Content Standard I1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama and visual arts. Integration of Knowledge and Ideas: Integrate and evaluate content presented in diverse media and formats, including Content Standard II: Use dance, music, theatre/drama and visual visually and quantitatively, as well as in words arts to express ideas. Content Standard III: Integrate understanding of visual and Speaking and Listening (CCSS.ELA-Literacy.SL) performing arts by seeking connections and parallels among arts Comprehension and Collaboration: Integrate and evaluate disciplines as well as all other content areas. information presented in diverse media and formats, including Content Standard IV: Demonstrate an understanding of the visually, quantitatively, and orally. dynamics of the creative process. Content Standard V: 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 S tudents will make observations of the movement of falling leaves. ž S tudents will collaborate to create unique movements that emulate their observations. ž S tudents will work collaboratively to create original dance performances. Materials: q A large variety of tree leaves. Different shapes and sizes would be best. (If leaves cannot be found, you can use scarves) Procedures: 1. R eview the story of The Nutcracker, as told in the ballet performance. Have students discuss their favorite scenes. Discuss the dances done by the snowflakes and the flowers. What did the dancers do with their bodies to represent their characters? 2. Tell students that they will have the opportunity to try to choreograph their own dance using an object from nature as their inspiration. 3. Divide students into groups of 4-6 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, making observations about the way the leaf falls. Encourage students to discuss their observations within their groups. 4. Give students approx. 5 min. to try and create their own interpretations of the leaf falling to the ground using their body. Encourage them to try to recreate how it falls, how it 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 must decide on one movement from each student’s original interpretation that everyone in the group will learn. The group should practice each movement a minimum of 3 times to be sure that everyone has it. 6. Instruct the group to decide on an order of all the steps to create an original dance. Example: Movement #1 followed by movement #4, followed by movement #2, followed by movement #2 again, etc. The dance should include every group member’s movement at least once. 7. Once groups have the body of their dance set, encourage them to create a beginning and end to the piece. They should make decisions about how they will enter and exit the stage, if they will start and end in frozen tableau, etc. 8. Once the dance is set, have each group perform their dance 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. Find music to fit your movements, create simple costume pieces give your dance a title. È Y ounger 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 S tudents create unique movements based on their observations of falling leaves. Q Quality of participation Q S tudents work collaboratively to combine movements in a meaningful way.

C OMMON CORE STATE STANDARDS NEW MEXICO CONTENT STANDARDS

E nglish Language Arts: F ine Arts: Theatre Reading Standards for Literature (CCSS.ELA-Literacy.RL) Content Standard I1: Learn and develop skills and meet technical Integration of Knowledge and Ideas: Integrate and evaluate demands unique to dance, music, theatre/drama and visual arts. content presented in diverse media and formats, including Content Standard II2: Use dance, music, theatre/drama and visual visually and quantitatively, as well as in words arts to express ideas. Speaking and Listening (CCSS.ELA-Literacy.SL) Content Standard IV4: Demonstrate an understanding of the Comprehension and Collaboration: Integrate and evaluate dynamics of the creative process. information presented in diverse media and formats, including Content Standard V5: Observe, discuss, analyze, and make visually, quantitatively, and orally. critical judgments about artistic works.

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 7. Outreach activities MAGAZINES RECOMMENDED BY THE NMBC Dance Magazine by Macfadden Performing Art Media The New Mexico Ballet Company Pointe Magazine Each year, the New Mexico Ballet Company provides 8,400 New Mexico school children with access to dance arts. The History Ballet News (back issues) of Dance and Discovery Workshops, now in their 15th year, brings Ballet Review, editor Francis Mason NMBC directly into 11 elementary schools within the Albuquerque Public Schools and Rio Rancho School Systems, giving the students Ballet 2000 - French Edition by Editions Ballet 2000-Magazine and their teachers the opportunity to learn about the history of Subscription dance, watch live performances by professional dancers, and participate in dance as an expressive art – all for free. Canada’s Royal Winnipeg Ballet by Royal Winnipeg Ballet-Magazine http://newmexicoballet.org/ Subscription BOOKS Minden, Eliza Gaynor. The Ballet Companion: A Dancer’s Guide National Dance Institute of New Mexico to the Technique, Traditions, and Joys of Ballet. New York: Fireside Partnering with public schools, NDI-New Mexico provides dance Book/Simon & Schuster, 2005. Print. classes, as well as numerous educational and outreach opportunities. Kostrovitskaya, Vera Sergeevna., and Oleg Briansky. 100 Lessons http://www.nationaldance.org/ in Classical Ballet [the Eight-year Program of Leningrad’s Vaganova Choreographic School]. Garden City, NY: Doubleday, 1981. Print. Homans, Jennifer. Apollo’s Angels: A History of Ballet. New York: Random House, 2010. Print. Dance Fiesta Grant, Gail. Technical Manual and Dictionary of Classical Ballet. The annual Dance Fiesta is a four-day event full of Albuquerque New York: Dover Publications, 1967. Print. competitions and events. The 2013 dates are September 26-29. http://www.dancefiesta.net/ Warren, Gretchen Ward., and Susan Cook. Classical Ballet Technique. Tampa: University of South , 1989. Print. Resources & Websites Lee, Laura, and Meredith Hamilton. A Child’s Introduction to Ballet: The Stories, Music and Magic of Classical Dance. New York: Black A tribute to Prima ballerinas (photo collection) Dog & Leventhal, 2007. Print. http://www.ballerinagallery.com Froman, Kyle. In the Wings: Behind the Scenes at the New York City The New York City Ballet is world-famous for its premium dance Ballet. New York: John Wiley & Sons, 2007. Print. performances. http://www.nycballet.org Critical Dance is an international non-profit entity, founded for Speck, Scott, and Evelyn Cisneros. Ballet for Dummies. Hoboken, NJ: the purpose of promoting and supporting the dance arts through Wiley Pub., 2003. Print. moderated public forums and events, periodicals, and financial and Balanchine, George, and Francis Mason. 101 Stories of the Great resource support. http://www.criticaldance.com Ballets. Garden City, NY: Dolphin, 1975. Print. Discover what’s new in dance news, with a New York Times section devoted to just that! http://www.nytimes.com/dance Mason, Francis. I Remember Balanchine: Recollections of the Ballet Master by Those Who Knew Him. New York: Doubleday, 1991. Print. The website is a great source for learning about professional dance, as well as their extensive school and Au, Susan. Ballet and Modern Dance. New York: Thames & Hudson, educational options. http://www.pnb.org/ 2002. Print. Learn about the history of Russian ballet, including more Duberman, Martin B. The Worlds of Lincoln Kirstein. information about renowned composer Tchaikovsky. New York: Alfred A. Knopf, 2007. Print. http://www.russianballethistory.com/ is recognized as one of the greatest dance Bentley, Toni. Winter Season: A Dancer’s Journal. Gainesville: companies in the world. A living national treasure since 1940, University of Florida, 2003. Print. ABT annually tours the United States, performing for more than Fisher, Barbara Milberg. In Balanchine’s Company: A Dancer’s 600,000 people; it is the only major cultural institution to do so. Memoir. Middletown, CT: Wesleyan UP, 2006. Print. http://www.abt.org School of Antwerp, Belgium tours the world and Kirstein, Lincoln. Dance: A Short History of Classic Theatrical educates some of the best ballet dancers. Don’t forget to set the Dancing. Princeton, NJ: Princeton Book, 1987. Print. website for English! http://www.royal-ballet-school.org/ Jowitt, Deborah. Time and the Dancing Image. New York: The School of American Ballet, the official training academy of the W. Morrow, 1988. Print. 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 VIDEOS Balanchine Library (6 volumes) Elusive Muse- 1998 Alice’s Adventures in Wonderland Starring Lauren Cuthbertson, Sergei Polunin, Edward Watson, et al. (Oct 25, 2011) The Nutcracker / Baryshnikov, Kirkland,C harmoli Starring , Gelsey Kirkland, Alexander Minz, et al. The Video Dictionary of Classical Ballet Starring Kevin McKenzie (Sep 28, 2004) and Georgina Parkinson (Aug 15, 1991) Ballerina Starring Alina Somova, Svetlana Zakharova, Diana Dancing for Mr B - Six Balanchine Ballerinas / Moylan, Tallchief, Vishneva, et al. (July 21, 2009) Ashley, Kistler, Hayden, Kent Starring Maria Tallchief (Sep 30, 2008) Ballet 101 - A Beginner’s Class, DVD Starring Jennifer Nunes THE BALLET: Six Ballets Starring Patrick Dupond, (Aug 21, 2004) Noella Pontois, , et al. (Aug 19, 2008) New York City Ballet: The Complete Workout, Vol. 1 and 2 Delibes: (Jan 29, 2008) (Nov 7, 2006) The Little Mermaid - featuring the San Francisco Ballet Tchaikovsky - Swan Lake / American Ballet Theatre, Murphy, Starring , LeraAuerbach, San Francisco Ballet, et al. Corella Starring Marcelo Gomes, Gillian Murphy and (Nov 15, 2011) Angel Corella (Oct 4, 2005) Starring , David Drew, Martin Harvey Ballet Class for Beginners Starring David Howard (Aug 31, 2004) and (Oct 28, 2008) - Starring Elisha Willis Ballets Russes Starring Irina Baronova, Yvonne Chouteau, (Apr 26, 2011) Yvonne Craig, et al. (Sep 12, 2006) Great Pas De Deux - Fonteyn, Nureyev, Makarova, Dowell, Backstage at the Kirov (Nov 28, 2011) Baryshnikov, Bessmertova, and more Starring Margot Fonteyn, Royal Ballet, , et al. (Feb 10, 2004) YOUTUBE SEARCHES / Baryshnikov, Harvey, American Ballet Theatre New York City Ballet, American Ballet Theatre, Pacific Northwest Starring Mikhail Baryshnikov, Cynthia Harvey, Richard Schafer, Ballet, San Francisco Ballet, Miami City Ballet, Aspen Santa Fe et al. (Apr 15, 2003) Ballet, Ballet Russe de Monte Carlo, Don Quixote Ballet, Sleeping The Royal Ballet: Tchaikovsky- The Sleeping Beauty Starring Beauty Ballet and Swan Lake Ballet Tchaikovsky, Cojocaru, Bonelli and Nunez (Aug 26, 2008)

About the 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.

POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet 9. Ballerina Finger Puppet Template (http://jas.familyfun.go.com/arts-and-crafts?page=CraftDisplay&craftid=10630)

10. POPEJOY SCHOOLTIME SERIES PRESENTS The Nutcracker Ballet Theatre Etiquette 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. • At the end of the show, after the applause, remain in your seats until you are dismissed from the theater. • 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. Wandering Children For the safety of our precious little ones, UNM requests school identifiers. When students are too scared to tell us their school name or teacher, school identifiers give us a quick and easy way to reunite them with their class groups. Examples of suitable identifiers include matching T-shirts, Adult homemade headbands, hats, scarves, lanyards, and school badges. Be creative! Supervision The kiosk in the lobby is our rendezvous point. Please immediately report a separated child to Required the usher at the kiosk. Staff will search for and bring lost children there first. Please visit our website at http://schooltimeseries.com/house-policies for detailed information about Etiquette, Safety, and House Policies.

The Schooltime Series is a proud member of International Performing Arts for Youth PRODUCE • PROMOTE • PRESENT

Popejoy Hall, New Mexico’s premier nonprofit venue for the performing arts and entertainment. “It is the supreme art of the teacher to awaken joy in creative expression and knowledge.” - Albert Einstein

The Popejoy Schooltime Series is supported in part by awards from: The Eugene and Marion Castiglia Thank Popejoy Children’s Schooltime Endowment Yo u ! The Popejoy Schooltime Education Endowment

T he Popejoy Mission: To provide access to the performing arts for all New Mexicans. 11.