CELEBRATING DANCE Through Black History Month

RESIDENCY GUIDE FEBRUARY 3-21, 2020 CONTENTS

Directors Notes ...... 1 Teaching Artist...... 2 Teaching Artist...... 3 Black History Month...... 4 Social Dance...... 6 Activity – Social Dance Then and Now...... 7 Alvin Ailey...... 8 Activity – Name the Influencers Back in the Day...... 9 Alvin Ailey and Lester Horton...... 10 Alvin Ailey and his Accomplishments...... 11 The Future - Ailey II...... 12 Activity – Dance Journal ...... 14 Revelations...... 15 Credits / Source...... 17 Standards Addressed...... 18

LEADERSHIP SUPPORT PROVIDED BY:

UNDERWRITING SUPPORT PROVIDED BY: THOMAS A. KOOYUMJIAN FAMILY FOUNDATION

ADDITIONAL SUPPORT PROVIDED BY: Ameren Cares Centene Charitable Foundation Cardinals Care Lodging Hospitality Management Missouri Arts Councill National Endowment for the Arts Regional Arts Commission Wells Fargo Advisors Woodcock Foundation for the Appreciation of the Arts 2020 SPRING RESIDENCY GUIDE 1

A LETTER FROM THE PROGRAM DIRECTOR

Welcome to Dance St . Louis’ 2020 Winter Education Residency! This residency is presented as part of Dance St . Louis 2019-2020 54th Performance Season . This year has gone by so quickly and we at Dance St . Louis have been busy creating, engaging, inspiring and leading . Creating opportunities for the community to experience international and high-quality dance in our city; engaging our partners and funders in making sure that performing arts has a consistent presence in our day to day lives; inspiring the next generation through innovative and life-changing arts education; and leading the way in making St . Louis a major destination for world class performing arts! We at Dance St . Louis led by Managing Director Rich Dee and together with our dedicated Board of Directors are committed in continuing our mission of bringing world-class dance that the city will otherwise not have an opportunity to see . Be it through live performances on stage or active in-classroom residencies, we continue to work hard to keep dance a vital component for our city as it was when Dance St . Louis was founded 54 years ago . We couldn’t have done any of this without the generous support and encouragement of all of our funders and sponsors led by Bayer who has provided leadership support for our education residency year after year .

Dance St . Louis for its Winter Education Residency is celebrating dance during Black History Month . From February 3 – 21, 2020, Dance St . Louis brings two visiting teaching artists to our 6 partner public schools and 2 community outreach partners to experience, engage and celebrate black excellence in dance for 3 weeks as part of DSL’s Bayer Education Residency Program . Teaching artists will lead each class with an understanding of the Horton Technique . The Horton Technique is long considered to be the core and basis of what we know of modern dance today . Lester Horton is one of the first choreographers in the country to insist on racial integration in dance companies . Perhaps the most famous of his students and one that continued his legacy is Alvin Ailey – father of African-American dance . Led by New York based teaching artists Korey Phillips and Marlayna Locklear, who are certified “Horton Babies,” each student will get to learn more about Alvin Ailey’s legacy and experience the very same foundation and technique that helped shape his career, his works and the creation of National Medal of Arts recipient Alvin Ailey American Dance Theater . At the end of the 3 weeks, students will have an opportunity to see his seminal work “Revelations” when DSL presents the sold-out, one night only performance of Ailey II at the Touhill Performing Art Center .

Welcome and I wish you another productive and rewarding residency!

Christopher Mohnani 2 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

KOREY PHILLIPS TEACHING ARTIST

Korey Phillips, originally from Los Angeles, California, began dancing at age 5 and received her training from the Westside School of Ballet, the Dance Theater of Harlem School and the Alvin Ailey School . In 2003, she received her BFA degree in dance from the Fordham University/Alvin Ailey Dance Program . She is currently a resident member of the Hattie Mae Williams and the Tattooed Ballerinas Dance Company, performing in dozens of artistic venues, dance festivals and showcases throughout NYC and Miami . She has also performed with Avila/Weeks Dance at the Guggenheim Museum, Ronald K. Brown/EVIDENCE, a dance companyss community dance performance at BRIC, Wake Up, You’re Dead! By Aaron Haskell in the La MaMa Puppet Series, Veronica Apodaca-Mendoncass Dance Electric in Los Angeles, The Westside School of Balletss annual Nutcracker and Spring performances and the Ailey/Fordham BFA Ensemble during which time she performed the works of choreographers Alvin Ailey, Paul Taylor, Edisa Weeks, Iyun Ashani Harrison, Kevin Wynn, Hattie Mae Williams, Troy Powell, NathanTrice & Kevin Jackson .

In addition to an eclectic performance career, Korey has taught dance in New York for seventeen years, instructing students of all ages in Ballet, Pointe, Modern, Jazz, West African and Hip Hop in NYC schools, dance companies, conservatories and community organizations . From preparing students for a career in dance, to teaching movement for the sake of self-awareness and exercise or to overcome a physical or emotional challenge, Korey emphasizes using dance and movement to increase artistic aptitude, for a rich and robust quality of life . 2020 SPRING RESIDENCY GUIDE 3

MARLAYNA LOCKLEAR TEACHING ARTIST

Marlayna Locklear hails from Milwaukee,WI . She began her training at the age of 12 at City Ballet Theatre and went on to graduate from Milwaukee High School of the Arts and University of the Arts In Philadelphia, PA with a BFA in Ballet and Jazz . Marlayna was one of the founding members of The Milwaukee Dance Connection and has gone on to dance with Eleone Dance Theatre, Cleo Parker Robinson Dance Ensemble, Dallas Black Dance Theatre II, Deeply Rooted Dance theatre and Dayton Contemporary Dance company where she served as the company jazz and contemporary instructor as well as resident choreographer for DCDC II . She has performed works by Christopher Huggins, Dwight Rhoden, Ron Brown, Donald Byrd, Ronen Koresh, Diane McIntyre and Ray Mercer to name a few .

Marlayna is a freelance artist and teaches and choreographs at Universities around the nation . She is also the founder and director of Indurance Dance Intensive . She most recently finished filming the James Franco Film “Blood Heist”,studying abroad in Italy with VIVO Ballet, working with South African choreographer Fana Tshabalala on the INDUMBA project In Bulgaria and dancing with Owen Cox Dance Group . 4 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

CELEBRATING BLACK HISTORY MONTH

It is officiallyBlack History Month and a time to appreciate and celebrate the achievements of African Americans throughout U .S . history . The story of Black History Month begins in 1915, half a century after the Thirteenth Amendment abolished slavery in the United States .

That September, the Harvard-trained historian Carter G . Woodson and the prominent minister Jesse E . Moorland founded the Association for the Study of Negro Life and History (ASNLH), an organization dedicated to researching and promoting achievements by black Americans and other peoples of African descent .

Known today as the Association for the Study of African American Life and History (ASALH), the group sponsored a national Negro History week in 1926, choosing the second week of February to coincide with the birthdays of Abraham Lincoln and Frederick Douglass . The event inspired schools and communities nationwide to organize local celebrations, establish history clubs and host performances and lectures .

DID YOU KNOW?

Other countries outside of the U.S. celebrate Black History Month and there are other months dedicated outside of February. Black History Month isn’t confined to the United States . In 1995, Canada began to observe Black History Month during the month of February also . In 2008 a bill came to officially recognize Black History Month in Canada . It was unanimously approved . The United Kingdom also celebrates Black History Month, but the month designated is October, not February .

The NAACP has been around for 111 years. On February 12, 1909, a group of African American leaders joined to form a new permanent civil rights organization, the National Association for the Advancement of Colored People (NAACP) . February 12, 1909 was chosen because it was the centennial anniversary of the birth of Abraham Lincoln .

Jazz dance and jazz music were influenced from African American culture. In the late 1800s and the early 1900s, fads such as the Charleston, Jitterbug, Cakewalk, Black Bottom, Boogie Woogie, Swing, and Lindy Hop were quite popular . Jazz music borrowed rhythms from African music, especially drumming, and transformed to new forms . New Orleans was the epicenter of invention with blues, spirituals, ragtime, and marches . Later, we see jazz dance migrating to vaudeville, then to Broadway, along the way inspiring tap and transforming ballet and early modern dance developments as well . 2020 SPRING RESIDENCY GUIDE 5

BLACK HISTORY MONTH 2020 THEME: AFRICAN AMERICANS AND THE VOTE

Since 1976, every American president has designated February as Black History Month and endorsed a specific theme .

The Black History Month 2020 theme, “African Americans and the Vote,” is in honor of the centennial anniversary of the Nineteenth Amendment (1920) granting women’s suffrage and the sesquicentennial of the Fifteenth Amendment (1870) giving black men the right to vote .

President Lyndon Johnson signed the Voting Rights Act in 1965, guaranteeing African Americans the right to vote. The bill made it illegal to impose restrictions on federal, state and local elections that were designed to deny the vote to blacks. 6 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

THEN NOW

WHAT IS SOCIAL DANCE?

Social dance is a category of dances that have a social These two styles of Black Dance—the smooth partner function and context . Social dances are intended for coordination and intricate turns of “hand dancing” participation rather than performance and can be led performed to Motown classics, and the rhythmic steps and followed with relative ease . They are often danced and weight shifts with elaborate, syncopated arm and merely to socialize and for entertainment, though they torso gestures done to the rhythmic polyphony of may have ceremonial and competitive functions . hip-hop music— each serve as a generation’s prime marker of identity and vehicle for artistic expression . In the African American community, social dances started as a way for enslaved Africans to keep Nowadays when thinking Social Dance, we think of cultural traditions alive and retain a sense of inner the Whip & Nae-Nae, the Jerk, the Running Man, and freedom . They remain an affirmation of identity and the newest one - Flossing . independence . Before that there was: The Charleston (a type of What does Motown and Hip-Hop music have in swing dance), along with the Lindy Hop, the Twist, the common? Electric Slide — most everyone understands the basic Each is the musical inspiration for a vital dance steps, though dancers tend to add their own personal tradition that thrives in the African American flair; but together considered social dance, each community . dance move and style originated in black communities before becoming pop culture . 2020 SPRING RESIDENCY GUIDE 7

ACTIVITY

After reading & looking at the pictures, do you know or recognize any of these dance moves?

As a fun exercise, put on your favorite song (a semi-new one from 2010+), and try out some dance moves you’re already familiar with that you would do at a party, maybe a wedding, maybe just dancing in your kitchen or living room with a group of friends or family members .

Notice how these dance moves are usually pretty simple and make you laugh and smile . It is meant to be danced for entertainment purposes with a group of people .

Now the REAL fun part . . have your teacher demonstrate a social dance from his or her generation . Have them put on their favorite song from back in the day and notice how the sense of community and heartfelt laughter has not changed in the form of social dance . 8 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

WHO IS ALVIN AILEY?

Alvin Ailey was a great choreographer, dancer, and teacher . He was born in Rogers, Texas in 1931 . During the Depression, many people lost their jobs . Alvin and his mother moved often so that she could find work . In Wharton, Texas, Mrs . Ailey carried Alvin while she picked cotton and he listened to her talk and sing as she worked . As a child, he loved to observe everything around him, and would often write in his journal about it . This was a practice he continued throughout his life . In 1936, he and his mother moved to Navasota, Texas where they attended the Baptist Church . The spirituals and gospel music, filled with words of hope, faith and belief in a better life served as a spiritual foundation throughout his life, as well as an inspiration for his choreography later .

“MAKING DANCE IS AN ACT OF PROGRESS; IT IS AN ACT OF GROWTH, AN ACT OF MUSIC, AN ACT OF TEACHING, AN ACT OF CELEBRATION, AN ACT OF JOY.”

- Alvin Ailey 2020 SPRING RESIDENCY GUIDE 9

AILEY’S INSPIRATIONS

Alvin experienced concert dance for the first time on a school trip to the Ballet Russe de Monte Carlo . He discovered there were other theaters in downtown Los Angeles, and throughout his teenage years, continued to see performances by such entertainers as Pearl Bailey, Billie Holiday and Duke Ellington .

One of the most exciting programs that Alvin attended was Tropical Review, choreographed by Katherine Dunham, an anthropologist who had studied African and Caribbean people and culture . Alvin was impressed by the theatricality of her company of dancers and musicians . He loved the pounding rhythms, powerful movements, colorful costumes, and exotic makeup of this all African American company . Alvin returned to see the show many times .

ACTIVITY:

Test your knowledge to see if you know who these famous and influential artists are and what they are known for . Write your answers in

the boxes .

Dunham, Duke Ellington Duke Dunham, Pearl Bailey, Billie Holiday, Katherine Katherine Holiday, Billie Bailey, Pearl 10 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

AILEY AS A CHOREOGRAPHER

Ailey’s true inspiration had to be Lester Horton . He was impressed by the tremendous physical strength and coordination Mr . Horton’s movements demanded of the dancers . He learned that the classes were structured in a sequence known as the Horton Technique . Dance was not the only thing taught at Mr . Horton’s legendary studio . The dancers also studied music, history of the arts, choreography, makeup, costumes, lighting, speech, and set design and construction . After watching several times, Alvin began taking the dance classes . He studied intensively and was asked to perform with the Horton Company .

Lester Horton Alvin Ailey as a performer

Although Ailey was a striking performer, he discovered that he enjoyed putting his ideas into movement, making movement his own, and teaching it to others . His vision began to take shape in 1958 with the forming of “Alvin Ailey and Company” and the first performances of his choreography . Alvin got ideas for choreography in many ways – poetry, music, novels, his feelings, his family, friends, and stories of what was happening in the world around him . He called the stories he used for inspiration “blood memories”—memories so intense and personal they were in his blood .

Alvin Ailey choreography: Revelations (1960). Night Creature (1975) 2020 SPRING RESIDENCY GUIDE 11

AILEY’S ACCOMPLISHMENTS

In 1962, Alvin Ailey’s company became cultural ambassadors for the United States when they were chosen by President JFK’s Special International Program for Cultural Presentations .

In 31 years, Ailey choreographed many landmark works, led his company on national and foreign tours, and created dances for leading ballet companies around the world .

Although he created 79 works over his lifetime, Alvin Ailey made sure that his company was not only a place for his own work . In all, more than 200 works by 70 choreographers have been performed by the Ailey company .

Recognizing the need to train young dancers in a variety of styles such as modern, ballet, jazz, West African, tap, and more, Ailey formed his school, the American Dance Center (now called The Ailey School), in 1969 . With a gifted group of scholarship students from the school, he organized the Alvin Ailey Repertory Ensemble .

Ailey received many honors during his lifetime, including the Dance Magazine Award (1975), the Springarn Medal awarded by the NAACP (1979), the Capezio Award (1979), the United Nations Peace Medal (1982), Modern Dances’ Most Prestigious Award, the Samuel H . Scripps American Dance Festival Award (1987), and the Kennedy Center Award (1988), presented by President Ronald Reagan himself .

Alvin Ailey receiving the Kennedy Center Award from President Ronald Reagan. 12 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

AILEY AND THE FUTURE - AILEY II

For forty-five years, Ailey II has merged the spirit and energy of the country’s best young dance talent with the passion and creative vision of today’s most outstanding emerging choreographers . Started in 1974 as the Alvin Ailey Repertory Ensemble, Ailey II embodies Alvin Ailey’s pioneering mission to establish an extended cultural community that provides dance performances, training and community programs for all people . Mr . Ailey personally selected the veteran dancer Sylvia Waters to lead this junior company, and as its Artistic Director for 38 years, she developed Ailey II into one of America’s most popular dance companies . In June 2012, Ms . Waters retired and named her longtime associate Troy Powell as the new Artistic Director . With Mr . Powell at the helm, Ailey II continues to thrive as he brings a fresh dimension to this beloved company .

“AILEY’S LEGACY CARRIES ON BY USING DANCE AS A MEDIUM FOR HONORING THE PAST, CELEBRATING THE PRESENT, AND FEARLESSLY REACHING FOR THE FUTURE.”

- Sylvia Waters 2020 SPRING RESIDENCY GUIDE 13

The critically-acclaimed Ailey II has a distinctive repertory that has included works by dance masters Alvin Ailey, Talley Beatty, Donald Byrd, Ulysses Dove, George W . Faison, Lar Lubovitch, Alvin Ailey American Dance Theater Artistic Director Robert Battle and Artistic Director Emerita Judith Jamison . The company has also performed innovative works by rising choreographers such as Jae Man Joo, Juel D . Lane, and Renee I . McDonald . Touring throughout the United States and abroad, Ailey II will reach dozens of cities during its 2019-2020 tour .

(Left) As a member of Alvin Ailey American Dance Theater, Sylvia Waters toured the globe as a Principal Dancer before shifting her focus to Ailey II when Alvin Ailey chose her to become the Artistic Director.

(Top) On July 1, 2012, Troy Powell became only the second person to lead Ailey II since its inception in 1974. 14 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

REVELATIONS ACTIVITY

Look up in class with your teacher & peers: Ailey II performs Alvin Ailey’s ‘Revelations’ - at the Palladium Oct. 30, 2015 (www youtube. com/watch?v=M02-i1EH0lk).

Topics for discussion as a class:

1 . What are some original thoughts that come to mind when viewing Revelations?

2 . What do you think of the music choice? What does it signify? How does it vary from other music that we generally dance to?

3 . What do you think of their costumes?

4 . What is a general feeling or emotion you get from watching Ailey dancers?

Talk with your classmates & discuss with your teacher, then please journal below your conclusion on what you think Revelations is about & what it means to you .

______

______

______

______

______

______

______

______

______

______

______

______

______

______

______2020 SPRING RESIDENCY GUIDE 15

ALVIN AILEY AND HIS “REVELATIONS”

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul.

More than just a popular dance work, it has become According to Ailey, Revelations began with the music . a cultural treasure, beloved by generations of fans . This piece was about his early memories; being in Seeing Revelations for the first time or the hundredth church, singing in Glee club in junior high school, and can be a transcendent experience, with audiences listening to his mother hum songs around the house . cheering, singing along and dancing in their seats from Revelations is considered Ailey’s signature work, and the opening notes of the plaintive “I Been ’Buked” to although it is viewed as a dance drama of elegance the rousing “Wade in the Water” and the triumphant and sophistication framing African American motifs finale, “Rocka My Soul in the Bosom of Abraham ”. in an artistic mode, the ballet is an icon that stands as a sign post of the victorious thoughts and survival “This suite explores motivations and emotions of mechanisms that enabled enslaved Africans to keep African American religious music which, like its heir their minds on freedom . The songs are truthful and to the Blues, takes many forms - “true spirituals” with bring a sense of community to dance . The songs also their sustained melodies, ring shouts, song-sermons, represent a youthful energy and enthusiasm, and gospel songs, and holy blues – songs of trouble, love Ailey’s concern about projecting the Black image and deliverance,” (Alvin Ailey wrote for the premiere properly . They reflect his feelings about being pressed of Revelations on January 31, 1960, at the Kaufmann into the ground of Texas and how to rise above Concert Hall) through Baptismal joy and church celebration .

REVELATIONS IS DIVIDED INTO 3 SECTIONS: PILGRIMS OF SORROW; TAKE ME TO THE WATER; AND MOVE, MEMBERS, MOVE

SECTION 1: PILGRIMS OF SORROW The opening section of Revelations is about trying to get up out of the ground, and the music from this section is a medley of spirituals reflecting oppression and expressing protest . The costumes and set are colored brown, an earth color, for coming out of the earth, and for going into the earth . Section one begins with a group dance by the company and it is a sculptural dance influenced by “Rodin’s The Burger of Calais” and various works by sculptor Henry Moore . It is a statement about escape and there are bursts of anger, rage, and fear; there are also gestures of reaching and aspiration . 16 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

ALVIN AILEY AND HIS “REVELATIONS”

SECTION 2: TAKE ME TO THE WATER The second section was very special to Alvin Ailey—it is very baptismal . Its colors are white and pale blue which symbolize purification . The main ritual is the idea of self-cleansing . Not only are the worshippers wading in the water, they are becoming one with the natural elements of water . You can clearly see Martha Graham and Lester Horton technique in this piece and the dance symbolizes the precarious balance involved in maintaining a state of grace . Choreographically, it is an etude based on Lester Horton’s theories of rising, falling and balancing .

SECTION 3: MOVE, MEMBERS, MOVE The final section is about the gospel church, the holy rollers, and church happiness . Its colors are earth tones (yellow, and black,) and it is affectionately called the “yellow” section; the colors symbolize the celestial majesty of the sun . There is an elegance to this piece in terms of the costumes and the dance consists of ecstatic movements—stomping, hand clapping, and shouting; rejoicing .

““REVELATIONS IS A CELEBRATION OF THE HUMAN SPIRIT”

- New York Times 2020 SPRING RESIDENCY GUIDE 17

MY DANCE JOURNAL

______

______

______

______

______

______

______

______

______

______

______

______

______

PUBLICATION CREDITS

https://www .history com/topics/black-history/black-history-month. (Black History Month, pages 4 & 5)

https://folklife .si edu/talkstory/2016/generations-of-african-american-social-. dance-in-dc-hand-dancing-hip-hop-and-go-go (Social Dance & Activity 1, pages 6 & 7)

https://www thefamouspeople. com/profiles/alvin-ailey-3258. .php (Alvin Ailey, pages 8, 9, 10, & 11) Education Residency Program 3310 Samuel Shepard Dr ., https://www .alvinailey org/alvin-ailey-american-dance-theater/sylvia-waters. (Ailey II –Sylvia Waters, page 12) St . Louis, MO 63104 314-534-5000 https://www theaileyschool. edu/ailey-ii/troy-powell. (Ailey II – Troy Powell, page 13) For more information about https://www .bing com/videos/search?q=revelations+ailey+ii&&view=. detail&mid=6E2246D8492A8E6969096E2246D8492A8E696909&& the Dance St . Louis Education FORM=VRDGAR&ru=%2Fvideos%2Fsearch%3Fq%3Drevelations%2B Residency Program, please email ailey%2Bii%26FORM%3DHDRSC3 (Revelations YouTube Link for Activity 2, aroberson@dancestlouis org. page 14)

(Referenced Alvin Ailey American Dance Theatre Residency Guide 2014 – from pages 16, 17, 18, 19) (Revelations Background & Sections, pages 15 & 16) 18 DANCE ST. LOUIS | CELEBRATING DANCE THROUGH BLACK HISTORY MONTH

RESIDENCY GUIDE STANDARDS ADDRESSED CELEBRATING National Standards for Dance Education Missouri Show-Me Knowledge Standards National Standards for Dance Education Communication Arts (Consortium of National Arts Education) (1994) CA4 writing formally (such as reports, narratives, essays) and informally (such as outlines, notes, Content Standard 1: Identifying and demonstrating etc .) dance techniques and skills in performance dance DANCE CA6 participating in formal and informal discussions Content Standard 2: Identifying choreographic Through Black History Month of issues and ideas principles, processes, and structures Fine Arts Content Standard 3: Understanding dance to communicate meaning FA1 execute original or existing artistic dance movement or works of art using skills of dance Content Standard 4: Applying and demonstrating critical and creative thinking in dance and musical FA2 know the principles and elements of different art theatre forms; applying those principles, structures, and processes of dance Content Standard 5: Demonstrating and understanding dance in various cultures and FA3 demonstrate critical and analytical thinking historical time periods skills in the artistic response to dance, using the correct vocabulary and terminology to explain Content Standard 6: Making connections between perceptions and evaluations of works in dance, dance and healthful living music, and theatre Content Standard 7: Making connections between FA4 relate and transfer dance and movement dance and other disciplines experience to other disciplines and knowledge Missouri Show-Me Performance Proceess Standards FA5 connect and compare dance from different Students in Missouri public schools will acquire the cultures and historical periods knowledge and skills to: Health/Physical Education 1 .5 comprehend and evaluate written, visual, and oral HP2 practice principles of physical and mental health presentations and works HP4 practice personal fitness and a healthy active 1 10. apply acquired information, ideas and skills to living different contexts as students, workers, citizens, Social Studies and consumers SS2 understanding continuity and change in the history 2 1. plan and make written, oral, and visual of the United States and the world presentations for a variety of purposes and SS6 relationships of the individual and groups to audiences institutions and cultural traditions 2 .4 present perceptions and ideas regarding works of the arts and humanities 2 .5 perform and/or produce works in the fine and practical arts RESIDENCY GUIDE FEBRUARY 3-21, 2020