006l076l07 YYouth Educationouth Education

06l0706l07 Youth EducationYouth EducationCreative Teachers...Intelligent Students...Real LearningCreative Teachers...Intelligent Students...Real Learning

Hubbard Street Dance ChicagoHubbard Street Dance ChicagoTeacher Resource GuideTeacher Resource Guide

About UMSOne of the oldest performing arts presenters in the coun-try, UMS serves diverse audiences through multi-disciplinary performing arts programs in three distinct but interrelated areas: presentation, creation, and education.

With a program steeped in music, dance, theater, and education, UMS hosts approximately 80 performances and 150 free educational activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national as well as many international partners.

While proudly affiliated with the University of Michigan and housed on the Ann Arbor campus, UMS is a separate not-for-profit organization that supports itself from ticket sales, grants, contributions, and endowment income.

UMS Education and Audience Development DepartmentUMS’s Education and Audience Development Department seeks to deepen the relationship between audiences and art, as well as to increase the impact that the perform-ing arts can have on schools and community. The pro-gram seeks to create and present the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.

The department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehensive program encompassing workshops, in-school visits, master classes, lectures, youth and family programming, teacher professional development workshops, and “meet the artist” opportunities, cultivating new audiences while engaging existing ones.

For advance notice of Youth Education events, join the UMS Teachers email list by emailing [email protected] or visit www.ums.org/education.

Cover Photo: Hubbard Street Dance Chicgao performs Strokes Through The Tail (Photo by Todd Rosenberg)

This Teacher Resource Guide is a product of the University Musical Society’s Youth Education Program. Researched and written by Bree Juarez. Edited by Ben Johnson and Bree Juarez. All photos are courtesy of the artist unless otherwise noted.

UMS greatefuly acknowleges the following corporation, foundations, and government agenies for their generous support of the UMS Youth Education Program:

Michigan Council for Arts and Cultural Affairs

University of Michigan

Arts at MichiganArts Midwest Performing Arts FundKathy Benton and Robert BrownBank of Ann ArborChamber Music AmericaPat and Dave ClydeDoris Duke Charitable FoundationDTE Energy FoundationDykema Gossett, PLLCThe Esperance Family FoundaionDr. Toni Hoover, in memory of Dr. Issac Thomas IIIJazzNet EndowmentJames A. & Faith Knight FoundationMasco Corporation FoundationTHE MOSAIC FOUDATION (of R. & P. Heydon)National Dance Project of the New England Foundation for the ArtsNEA Jazz Masters on TourPfizer Global Research and Development, Ann Arbor LaboratoriesRandall and Mary PittmanProQuest CompanyPrudence and Amnon Rosenthal K-12 Education Endowment FundTCF BankUMS Advisory CommitteeUniversity of Michigan Credit UnionU-M Office of the Senior Vice Provost for Academic AffairsU-M Office of the Vice President for ResearchWallace Endowment FundWhitney Fund at the Community Foundation for Southeastern Michigan

Hubbard Street Dance ChicagoWednesday, February 7, 11 AM

Power Center, Ann Arbor

TEACHER RESOURCE GUIDE

06/07UMS Youth Education

4 | www.ums.org/education

About the Performance* 6 Coming to the Show* 7 The Performance at a Glance

Repertoire for the Youth Performance 10 Strokes Through The Tail 12 Gnawa 13 Minus 16 (excerpt) 14 Watching a Dance Performance Hubbard Street Dance Chicago 16 History of the Company* 18 Key Figures at HSDC 19 HSDC Dancers Modern Dance 26 About Early Modern Dance 27 Two Early Moderns* 29 The Elements of Dance

Lesson Plans 33 Curriculum Connections 34 Meeting Michigan Standards 35 Lesson One: Time, Space and Energy 36 Lesson Two: Gestures 37 Lesson Three: Textures and Environments 38 Lesson Four: Sculptures 39 Lesson Five: Connections 40 Lesson Six: Directed Improvisation 41 The Vocabulary of Dance 45 Dance Vocabulary Word-O 46 Modern Dance Word Search Puzzle 47 Word Search Puzzle Solution

Resources* 49 UMS Permission Slip 50 Bibliography/Videography 51 Internet Resources 52 Recommended Reading 53 Community Resources 54 National Resources 55 Evening Performance/ Teen Ticket 56 How to Contact UMS

Table of Contents

Short on Time?

We’ve starred the most important

pages.

Only Have15 Minutes?

Try pages 7, 18, or 29

About the Performance

Gna

wa

(Pho

to b

y To

dd R

osen

berg

)


We want you to enjoy your time in the theater, so here are some tips to make your Youth Performance experience successful and fun! Please review this page prior to attending the performance.

What should I do during the show?Everyone is expected to be a good audience member. This keeps the show fun for everyone. Good audience members... • Are good listeners • Keep their hands and feet to themselves • Do not talk or whisper during the performance • Laugh only at the parts that are funny • Do not eat gum, candy, food or drink in the theater • Stay in their seats during the performance • Do not disturb the people sitting nearby or other schools in attendance

Who will meet us when we arrive? After you exit the bus, UMS Education staff and greeters will be outside to meet you. They might have special directions for you, so be listening and follow their directions. They will take you to the theater door where ushers will meet your group. The greeters know that your group is coming, so there’s no need for you to have tickets.

Who will show us where to sit? The ushers will walk your group to its seats. Please take the first seat available. (When everybody’s seated, your teacher will decide if you can rearrange yourselves.) If you need to make a trip to the restroom before the show starts, ask your teacher.

How will I know that the show is starting? You will know the show is starting because the lights in the auditorium will get dim, and a member of the UMS Education staff will come out on stage to introduce the performance.

What if I get lost? Please ask an usher or a UMS staff member for help. You will recognize these adults because they have name tag stickers or a name tag hanging around their neck.

How do I show that I liked what I saw and heard? The audience shows appreciation during a performance by clapping. In a musical perfor-mance, the musicians and dancers are often greeted with applause when they first appear. It is traditional to applaud at the end of each musical selection and sometimes after impressive solos. At the end of the show, the performers will bow and be rewarded with your applause. If you really enjoyed the show, give the performers a standing ovation by standing up and clapping during the bows. For this particular show, it will be most appropriate to applaud at the beginning and the ending.

What do I do after the show ends? Please stay in your seats after the performance ends, even if there are just a few of you in your group. Someone from UMS will come onstage and announce the names of all the schools. When you hear your school’s name called, follow your teachers out of the auditorium, out of the theater and back to your buses.

How can I let the performers know what I thought? We want to know what you thought of your experience at a UMS Youth Performance. After the performance, we hope that you will be able to discuss what you saw with your class. Tell us about your experiences in a letter or drawing. Please send your opinions, letters or artwork to: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.

Coming to the Show (For Students)


The Performance at a GlanceWhat is Hubbard Street Dance Chicago?Under the leadership of Artistic Director Jim Vincent, Hubbard Street Dance Chi-cago performs contemporary dance. It was founded in 1977 by dancer and cho-reographer Lou Conte. For the next 23 years, Conte served as artistic director until his retirement from HSDC in 2000. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists.

Today, HSDC performs in downtown Chicago and the metropolitan area and also tours throughout the year. The company has appeared in 44 states and 19 coun-tries at celebrated dance venues including the American Dance Festival, DanceAs-pen, the Holland Dance Festival, and Jacob’s Pillow Dance Festival.

What does a choreographer do?Choreography (also known as dance composition) is the “art of making visual structures in which movement occurs.” People who make these compositions are called choreographers. A choreographer creates a dance by having a vision and then arranging or directing the movements of the dancers. The choreographer must work closely with the dancers, the stage manager and musicians during rehearsals. Although mainly used in relation to dance, choreographers also work in various settings including fencing, gymnastics and ice skating.

What is a repertory company?Hubbard Steet Dance Chicago is a repertory company meaning they commission and dance pieces by other choreographers. For example, at this youth performance you will see pieces by Marguerite Donlon, Nacho Duato, and Ohad Narahin (for complete biographies see pages 10 -13).

What is Hubbard Street 2?Under the leadership of Artistic Director Julie Nakagawa Böttcher, Hubbard Street 2 is a company of six dancers between the ages of 17 and 25 who perform a repertoire of works by some of the nation’s most promising choreographers. HS2 reaches as many as 35,000 people annually through performances in schools, community centers and theaters. Some of the dancers you will see at the Youth Performance started at Hubbard Street 2 before moving to Hubbard Street Dance Chicago.

What is Modern Dance?Modern dance is a phenomenon that started in the early 20th century, when indi-vidual dancers felt the need to break away and create a form of dance based on more natural motions of the human body. There is no specific definition for what makes something modern dance, as the concept of “modern” was simply applied to the dancers of the time who had begun a rebellion against the strict discipline of classical ballet. Today we perceive modern dance as a discipline defined by the people who began this movement and their individual traditions and followings. Now a widely appreciated style of performance, modern dance began as, and con-tinues to be, an experiment in new ways of moving.

“Dance

is the

hidden

language

of the soul.”

-Martha Graham

What is the difference between modern dance and classical ballet?Ballet relies on an illusion of lightness and effortlessness, while modern dance relies on weight—dancers often fall all the way to the floor. While a ballet dancer must remain almost perfectly balanced, a modern dancer must be able to fall and slide safely. The ballet of the early 20th century relied on ornate costumes and scenery, but early modern dance was often performed on a bare stage in bare feet and a simple tunic.

What will I see at the performance?During the performance of the Hubbard Street Dance Chicago you will see three different pieces of repertoire being performed. They are: Strokes Through The TailChoreography: Marguerite DonlonMusic: W. A. Mozart- Symphony No. 40 Marguerite Donlon found inspiration in Mozart’s Symphony No. 40 and the danc-ers’ personalities to create a work that combines virtuosic dancing with a delight-ful hint of irreverence. Intrigued by Mozart’s style of musical notation, Donlon reveals a tightly knit work in which the dancers personify the structural patterns of musical notes on a page and balletic details to capture the composer’s ingenious wit and humor.

Gnawa [nah-wah]Choreography: Nacho DuatoThe celebrated Spanish choreographer Nacho Duato created this world premiere expressly for HSDC. Set to evocative Spanish and North African sounds, Gnawa captivates with its percussive power and sensual grace, combining the spirituality and organic rhythms from the Mediterranean.

Minus 16 (excerpt)Choreography: Ohad NarahinAn audience favorite, Israeli choreographer Ohad Naharin’s clever and humorous full-company piece breaks down the barrier between audience and performer. Set to music ranging from Dean Martin to cha-cha, mambo, techno and traditional Israeli music, the piece’s audio track includes interviews with HSDC dancers.

“American dance

is not merely a

style or idiom.

It is a potent

idea. When its

contemporary

personalities

retire, the idea

will persist”

-José Limón


Repertoire for the Youth Performance

Strokes Through The Tail (Photo by Todd Rosenberg)


TitleYouth Performance RepetoireI. Strokes through the TailChoreography by Marguerite DonlonCostume Design by BranimiraLighting Design by Ryan J. O’Gara

DescriptionMarguerite Donlon found inspiration in Mozart’s Symphony No. 40 and the danc-ers’ personalities to create a work that combines virtuosic dancing with a delight-ful hint of irreverence. Intrigued by Mozart’s style of musical notation, Donlon reveals a tightly knit work in which the dancers personify the structural patterns of musical notes on a page and balletic details to capture the composer’s ingenious wit and humor.

What the critics said...

Seeing such gifted dancers in exquisite choreography performed to timeless music played by some of the world’s finest instrumentalists was thrilling. The dancers seemed to be borne aloft and swept across the stage by the sheer physical pres-ence of such magnificent live music. -Wynne Delacoma, Chicago Sun-Times, December 2005

The whinnying Mozart depicting in “Amadeus” would have enjoyed a good horse-laugh at Donlon’s piece…for certain the rest of us did… Donlon is unafraid to go against the grain of the music, creating a counterpoint of delicious, never mali-cious, irony. The sight gags whiz by so fast you really need multiple viewings to appreciate their subtlet.

-John von Rhein, Chicago Tribune, December 2005

Choreographer: Marguerite DonlonMarguerite Donlon was born in County Longford, Ireland and worked as a solo dancer and choreographer with the Deutsche Oper Berlin since 1990. Prior to that she danced with the English National Ballet with Peter Schaufuss, and has worked with leading international choreographers Jirí Kylián, William Forsythe, Meg Stuart, Sir Kenneth MacMillan, Bill T Jones and Maurice Béjart. Ms. Donlon has choreographed several works, includ-ing Celtic Touch and Patch of Grass, for Deutsche Oper Berlin and Taboo or Not for Vienna State Ballet. She has also created pieces for Nederlands Dans Theater II, Stuttgart Ballet and Komische Oper Berlin. Ms. Donlon’s installa-tion works and dance films have been shown in museums and films festivals in Europe and the USA. In 2001, she was appointed Artistic Director of the

Saarlaendisches Staatstheater Ballet Saarbrücken in Germany (now named Donlon Dance Company), where she has created a considerable body of new work includ-ing full length ballets Carmen-Privat and Midsummer Night’s Dream, and her forthcoming Giselle Reloaded. Collaborative work with composers such as Claas Willeke and Sam Auniger, video artists and live musicians have become a regular occurrence and key to the uniqueness of the Donlon Dance Company. 2001 also marked her first collaboration with Hubbard Street Dance Chicago for the creation of Reverse Deconstruct. Blind Date, for Donlon Dance Company, earned her com-pany a wards from Ballettanz for “Best Premiere for 2004” and “Best Male

Marguerite Donlon

Photo courtesy of Hubbard Street Dance

Chicago

What is counterpoint?

Counterpoint is the relationship between two or more voices

that are independent in countour and

rhythm, and interdependent

in harmony.


Dancer.” In 2005, Donlon was recognized by the magazine Die Zeit for the “Most significant development in politics and the art” as well as by Arnd Wesemann of Ballettanz as “One of the thirty-seven artists who carry hope and can move the future of dance.”

The Music of Strokes Through The Tail: Wolfgang Amadeus MozartWolfgang Amadeus Mozart (1756-1791) was born in Salzburg, which is now in modern-day Austria. Mozart’s musical ability became apparent when he was about three- years-old. Mozart received intensive musical training from his father, including instruction in both the piano and violin. He developed very rapidly and was already composing at the age of six.

During his formative years, Mozart completed several journeys through-out Europe. A highlight of the Italian journey, which is now an almost legendary tale, occurred when he heard Gregorio Allegri’s Miserere once in performance in the Sistine Chapel, then wrote it out in its entirety from memory, only returning a second time to correct minor errors: he thus pro-duced the first illegal copy of this closely-guarded property of the Vatican.

Mozart wrote a variety of different types of music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertory and are widely recognized as masterpieces of the classical style. Mozart died on December 5, 1791 while he was working on his final composition, the Requiem. A younger composer, Franz Xaver Süss-mayr, was engaged to complete the Requiem after Mozart’s death.

Symphony No. 40 in g minor (K.550)The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, bas-soon, 2 horns, and a string section containing the usual first and second violins, violas, cellos, and double basses. Notably missing are trumpets and timpani.

The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony.

The first movement begins darkly, not with its first theme but with accompani-ment, played by the lower strings with divided violas. The second movement is a lyrical work in 6/8 time, in E flat major. The third movement or “minuet” begins with an angry rhythm; it is often commented that this “minuet” would hardly be suitable for dancing. The contrasting gentle trio section, in G major, alternates the playing of the string section with that of the woodwinds. Finally, the fourth move-ment is written largely in eight-bar phrases, following the general tendency toward rhythmic squareness in the finales of classical-era symphonies.

Of Mozart’s three last symphonies, Symphony No. 40 is the best-known. Some believe the reason for this piece’s popularity is Mozart’s choice of key. The sym-phony was written in the key of g minor, a rare choice for Mozart, who showed a strong preference for cheerier major keys. In fact, of his forty-one symphonies, only two use minor keys; similarly, of twenty-seven piano concertos, all but two use major keys.

Wolfgang Amadeus Mozart


II. Gnawa [nah-wah]Choreography by Nacho DuatoMusic by Hassan Hakmoun, Adam Rudolph, Juan Arteche, Xavier Paxadiño, Abou-Khalil, Velez, Kusur and SarkissianCostume Design by Modesto LombaLighting Design by Nicholas FischtelSet Design by Nacho Duato

DescriptionThe celebrated Spanish choreographer Nacho Duato created this world premiere expressly for HSDC. Set to evocative Spanish and North African sounds, Gnawa captivates with its percussive power and sensual grace, combining the spirituality and organic rhythms from the Mediterranean.

What the critics said...

…both fearsome in its drive and seductively hypnotic in its use of patterning, design and gesture. -Hedy Weiss, Chicago Sun-Times, April 2005

It is beautiful and arresting, as hypnotic, befuddling, sensual and wildly intoxicat-ing…Duato’s gifts include a seemingly unlimited ability to blend tradition and nov-elty, the familiar and the unpredictable, in works that glide along on their smooth, almost inevitable course, just as they startle and mystify.

-Sid Smith, Chicago Tribune, April 2005

Choreographer: Nacho DuatoNacho Duato was born in Valencia, Spain, in 1957 and trained with the Rambert School in London, Maurice Béjart’s Mundra School in Brussels and the Alvin Ailey American Dance Center in New York. In 1980 Duato joined the Cullberg Ballet in Stockholm, and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was named resident choreographer in 1988. Since June 1990, Duato has been artistic director of Compañía Nacional de Danza (Spain), where he has created several works, including Concierto Madrigal, Opus Piat, Empty, Coming Together, Mediter-rania, Cautiva and Tabulae. In 1998, the Spanish government awarded Duato the Golden Medal for Merit in Fine Arts.

Who are the Gnawa?Gnawa is a term that has two important meanings. It is used to define both a reli-gious/spiritual order of a traditionally Moroccan Black Muslim group and a music style connected to this order.

Over 900 years ago, during the Almoravid dynasty in the 11th century, slavery, conscription and trade brought people from West Africa (present-day Mali, Burkina Fasso and Senegal-area) to the Maghreb (Morocco, Algeria and Tunisia). Since it was believed that large groups of enslaved people came from Ancient Ghana (a kingdom north of Mali) in the 11th and the 13th centuries, these enslaved groups

Nacho Duato


Chicago


were called Gnawa. The descendents of these enslaved groups are the present-day Gnawa, Morocco’s most colorful Muslim ethnic group. While they have retained many of the customs, rituals and beliefs of their ancestors, their music is the most preserved trait.

The Gnawa originally used their music and dance to heal the pain of their captivity. Gnawa lyrics contain many references to the privations of exile and slavery. There are also songs dealing with the Gnawa’s assimilation in their new environment where they sing and dance to ease the pain just as Black Americans did when they sang as a way to deal with their plight. In this regard, Gnawa is very similar to the Blues that is rooted in Black American slave songs, which were widespread in the southern United States by the late 19th century. There are also patterns that are similar with many spiritual black groups in Africa such as the Bori in Nigeria and the Stambouli in Tunisia.

Excerpted from Gnawa, Moroccan Blues: A Historical Background by Chouki El Hamel of Duke University. Accessed at http://www.ptwmusic.com/gnawa.htm on January 10, 2007.

III. Minus 16 (excerpt)Choreography by Ohad Naharin

DescriptionAn audience favorite, Israeli choreographer Ohad Naharin’s clever and humorous full-company piece breaks down the barrier between audience and performer. Set to music ranging from Dean Martin to cha-cha, mambo, techno and traditional Israeli music, the piece’s audio track includes interviews with HSDC dancers.

It has been described as a freewheeling suite of choreographic sketches, most of them comic. One moment, dancers sway and shake, hypnotized by bossa nova rhythms. Another, they sit in a semicircle of chairs looking like people at a conference as they wave thie rarms as if in an argument. In one meditative sequence, dancers perform solos while recordings of their thoughts on personal and family problems are played in addition to the music. Joy returns when the cast runs up the aisles and involves the audience in their carefree covorting.

Choreographer: Ohad NaharinOhad Naharin was born in Israel and began his dance training with the Batsheva Dance Company, where he has been artistic director since 1990. He continued his studies at Juilliard School of Music and the School of American Ballet in New York and performed with the Martha Graham Company and Maurice Béjart. In 1980, Naharin made his choreographic debut in Kazuko Hirabayashi studio in New York, where he studied and worked with Maggie Black, David Gordon, Gina Buntz and Billy Siegenfeld. His works have been staged by many companies around the world including the Pittsburgh Ballet Theatre, Nederlands Dans Theater, Frankfurt Ballet, Rambert Dance Company, Ballet Nacional Madrid, Cullberg Ballet and Opèra National de Paris.

Ohad Naharin


Chicago


TitleWatching a Dance Performance Suggestions for Watching the PerformanceYou don’t have to have any special training or experience to watch dance. You will be taking in information with all of your senses: eyes, ears, even your muscles. You may be fascinated with the physical activity you see, the music, the production elements (lighting, costumes and props) or with a “story” the dancers tell you. Your muscles may even react to the action with a kinetic response as you empathize with the movements on stage; tensing when the dancers leap or bracing as they perform a daring fall or a remarkable lift. It is very natural to want to get up and dance after watching an inspiring performance. Open your mind to the moment; concentrate and and raise your awareness to the immediate moment in front of you. The members of the audience are as much a part of the performance as the dancers are!

As the lights lower and the music begins, take a deep breath and relax in your seat. You are beginning to watch motion, movement, shape, line, rhythm, tempo, color, space, time and energy...dance. Allow yourself to let go of any notion that you already know what dance means, or has to mean. Release the notion that you have to look at dance as if you were reading a book. If you watch dance with this type of open mind, you may experience an emotion, an image or a feeling that you may not be able to describe. You may not know why or where these reactions come from, but don’t worry. This is all a part of the magic of dance.

You may want to ask yourself some questions as you watch the performance:

What are the sensory properties in the dance?What do you see? What do you hear? What are the dancers actually doing on the stage?

What are the technical properties in the dance?What kind of space is being used? What are the shapes and designs being created? What kinds of energy, dynamics or motions are being used?

What are the emotional properties in the dance?How does the movement on stage make you feel? How does the music make you feel? Do you think the music and movements work well together?

Every piece of choreography has a reason for being. Dances may be celebra-tions, tell stories, define moods, interpet poems, express emotions, carve designs or even help you to visualize music. As you watch a dance, a story may occur to you because of your past experiences. However, not all dances relate to stories. The sequences do not have to make literal sense. Allow images and personal feelings to come to the surface of your consciousness.

Following the PerformanceAfter the performance, feel free to discuss your thoughts with others. Please don’t be disturbed if others had a different reaction to the dance than yours. Take time to think about your personal images and thoughts. Was it enjoyable to watch? Did the dance remind you of experiences in your own life? Did the choreography inspire you to express yourself by writing a poem, drawing a picture or even creating your own dance?

Min

us 1

6 (P

hoto

by

Todd

Ros

enbe

rg)

Hubbard Street Dance Chicago


History of the CompanyHubbard Street Dance Chicago (HSDC) was founded in 1977 by dancer and cho-reographer Lou Conte. For the next 23 years, Conte served as artistic director until his retirement from HSDC in 2000. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists. These relationships transformed HSDC into the internationally acclaimed repertory com-pany it is today. In the 1980s, Conte commissioned several works by Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow. He continued to build HSDC’s repertoire by forging a key partnership with Twyla Tharp in the 1990s, acquiring seven of her works, including an original work for the company. Conte further expanded the company’s repertoire to include European choreographers Jirí Kylián and Nacho Duato. These long-term relationships, along with Conte’s participation in selecting Jim Vincent as the company’s new artistic director, have paved the way for HSDC’s future. Through a relationship cultivated by both Conte and Vincent, HSDC further expanded its repertoire with the works of Israeli choreographer Ohad Naharin, including Minus 16, Passomezzo, Queens, Black Milk and Tabula Rasa.

Today, under the dynamic leadership of Artistic Director Jim Vincent, 21 culturally diverse dancers represent Hubbard Street Dance Chicago throughout the world, performing annually for more than 100,000 people. Critically acclaimed for its exuberant, athletic and innovative repertoire, HSDC’s dancers display unparalleled versatility and virtuosity in performances that inspire, challenge and engage audi-ences worldwide. Continually expanding its eclectic repertoire with work by lead-ing national and international choreographers, the company also contributes to the art form’s evolution by developing new choreographic talent and collaborating with artists in music, visual art and theatre.

HSDC performs in downtown Chicago and the metropolitan area and also tours throughout the year. The company has appeared in 44 states and 19 countries at celebrated dance venues including the American Dance Festival, DanceAspen, the Holland Dance Festival, Jacob’s Pillow Dance Festival, Joyce Theater, Kennedy Center, Ravinia Festival, Wolf Trap Festival, Spoleto Festival of Two Worlds (Italy), Spoleto Festival U.S.A. (Charleston, SC), Casals Festival (San Juan, PR), England’s Sadler’s Wells Theatre and The Brighton Festival and most recently, the Galway Arts Festival (Ireland) and the Sintra Festival (Portugal).

From its inception, HSDC has captured public attention and garnered local, national and international critical acclaim. With four public television specials, including two that aired nationally and in Canada, HSDC has engaged audiences of all ages and backgrounds. After viewing the company’s television debut in 1981, Fred Astaire called the performance “some of the greatest dancing I’ve seen in years.”

In March 1998, Hubbard Street Dance Chicago merged with the Lou Conte Dance Studio (LCDS) and relocated to a permanent facility in Chicago’s West Loop neigh-borhood. HSDC and LCDS, along with Hubbard Street 2 and HSDC’s Education & Community Programs, now serve as one institution dedicated to performance, dance training and community education.


August 1, 2000 marked a major turning point in the history of HSDC as Founder and Artistic Director Lou Conte retired and Jim Vincent, respected dancer, teacher, ballet master and choreographer, became the new artistic director. Vincent’s rela-tionships with Kylián, Duato, Naharin, Forsythe and other distinguished choreogra-phers will continue to build on HSDC’s illustrious history as a contemporary reper-tory company.

Under Vincent’s direction, HSDC has embarked on a variety of projects utilizing live music. Coming from a tradition of performing to live music with Nederlands Dans Theater (where he danced and choreographed for 12 years), Vincent set this as a company goal from the moment he joined HSDC. In January 2004, HSDC joined forces with the Chicago Symphony Orchestra (CSO) for an engagement conducted by Pinchas Zukerman, bringing one of Vincent’s goals to fruition: having the com-pany perform his piece, counter/part, to live music. Since that time, Vincent has forged an ongoing relationship, including annual engagements with the CSO, which has created far-reaching artistic and institutional opportunities. Other recent and unique orchestral collaborations have included performances in Canada with Ottawa’s National Arts Centre Orchestra and at the Hollywood Bowl with the Los Angeles Philharmonic. Vincent also has begun working on projects involving live music spanning a broad spectrum of musical styles and genres, such as contempo-rary chamber music and jazz.

Source: Hubbard Street Dance Chicgao <http://www.hubbardstreetdance.com/hsdc_company_history.asp>

Two dancers in Strokes Through The Tail (Photo by Todd Rosenberg)


Key Figures at HSDCLou Conte, HSDC Founder; Director, Lou Conte Dance StudioAfter a performing career including Broadway musicals, Conte established the

Lou Conte Dance Studio in Chicago in 1974. In 1977, he founded what is now Hubbard Street Dance Chicago with four dancers performing at senior citizens homes in Chicago. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists. These relationships transformed HSDC into the internationally acclaimed repertoire company it is today. In the 1980s, Conte commissioned several works by Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow. He continued to build HSDC’s repertoire by forging a key partnership with Twyla Tharp in the 1990s, acquiring seven of her works, including an original work for the company. Conte further expanded the company’s repertoire to include European choreographers Jirí Kylián and Nacho Duato and Israeli choreographer Ohad Naharin.

These long-term relationships along with Conte’s participation in selecting Jim Vincent as the company’s new Artistic Director have paved the way for HSDC’s future. Throughout his 23 years as the company’s Artistic Director, Conte received numerous awards, including the Chicago Dance Coalition’s inaugural Ruth Page Artistic Achievement Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995 and the Chicagoan of the Year award from Chicago magazine in 1999. In 2002, he was one of six individuals named Laureates of The Lincoln Academy of Illinois, the highest honor the state bestows upon Illinois residents. He has been credited by many for helping raise Chicago’s international cultural profile and for creating a climate for dance in the city, where the art form now thrives.

Jim Vincent, Artistic DirectorVincent joined HSDC in August 2000 following an extensive career as a dancer,

teacher, ballet master and choreographer. Vincent’s dance training began at the age of five and continued through his childhood with Mercer, Burlington and Princeton Ballets in New Jersey. He studied on scholarship at the Washington School of Ballet in Washington, D.C., Harkness House of Ballet in New York City and North Carolina School of the Arts at the University of North Carolina. Vincent’s distinguished career as a professional dancer includes a 12-year tenure with Jirí Kylián’s Nederlands Dans Theater, a guest appearance with Lar Lubovitch and two years with Nacho Duato’s Compañía Nacional de Danza in Spain. As a dancer, he worked with many choreographers, including Kylián, Duato, Lubovitch, William Forsythe, Mats Ek, Hans van Manen, Christopher Bruce and Ohad Naharin.

Vincent served as ballet master for Nederlands Dans Theater II and Opéra National de Lyon, where he rehearsed repertory by renowned choreographers

Kylián, Duato, Forsythe, Ek, George Balanchine, Angelin Prejlocaj and Bill T. Jones, among others. Vincent also served as the assistant artistic director for Compañía Nacional de Danza. Vincent has choreographed a number of works for Nederlands Dans Theater I and II, Quebec’s Bande à Part and Switzerland’s Stadt Theater Bern. In 2002, during his second season with HSDC, Vincent choreographed counter/part for the company, his first work as artistic director, which he has dedicated to the HSDC Board of Directors. In 2005, Vincent premiered his newest work Uniformity at the Joyce Theater in New York.

Source: Hubbard Street Dance Chicgao <http://www.hubbardstreetdance.com/hsdc_key_bios.asp>

Title


HSDC DancersShannon AlvisIndianapolis, INAlvis trained at Jordan Academy of Dance at Butler University and at the University of Utah. She has performed with the Utah Ballet, Indianapolis Ballet Theatre and the Chautauqua Ballet Company and has attended numerous summer programs including Boston Ballet, Pennsylvania Ballet, School of American Ballet, Royal Win-nipeg Ballet and American Ballet Theatre. Alvis joined Hubbard Street 2 in June 1998 and moved to the full company in June 2000.

Alejandro CerrudoMadrid, SpainCerrudo received his training at the Real Conservatorio professional de danza de Madrid and in 1998 joined the Victor Ullate Company where he danced for one year. From 1999 to 2002, Cerrudo danced with the Stuttgart Ballet, and in 2002 he joined Nederlands Dans Theater 2 under the direction of Gerald Tibbs, where he performed works by Jirí Kylián, Lightfoot-Leon, Ohad Naharin, Johan Inger, Hans Van Manen, Ayman Harper and many others. Cerrudo danced with NDT 2 for three years before becoming an HSDC company member in August 2005.

Prince CredellBronx, NYCredell began dancing at age eight. His formal training began at The Ailey School as a Judith Jamison Scholar. While completing his studies at the New York City High School of the Performing Arts, Credell danced with the Metropolitan Opera Ballet. After concluding his training at the San Francisco Ballet School, he joined Ailey II in 2001. Credell has also danced for Complexions and as

a guest artist under the direction of Donald Byrd. In 2002, he joined Lines Ballet under the direction of Alonzo King, and he also assisted in setting King’s works. In 2003 he became a Princess Grace Honoree. Credell became an HSDC company member in August 2006.

Tobin Del CuoreNorway, MEDel Cuore began dancing at the age of 12. In 1995 he was invited to begin his ballet training at the Walnut Hill School in Natick, Mas-sachusetts. He attended The Juilliard School, New York, graduating in 2001 with a B.F.A. He joined Hubbard Street 2 in June 2001 and was promoted to the main company in January 2003.


Meredith DincoloIndianapolis, INDincolo began dancing at age 7 in Indianapolis before moving to Michi-gan to study under Iacob Lascu. She graduated from University of Notre Dame in 1993 and moved to Chicago to pursue dance. In 1996, after completing numerous independent projects, Dincolo joined Hubbard Street Dance Chicago where she spent four years under the direction of Lou Conte. In 2000, she joined Lyon Opera Ballet and performed works by Forsythe, Duato, Marin, Jasperse, Saarinen, Boivin, and Prej-locaj. Dincolo joined Nationaltheater Mannheim in 2003 before her return to HSDC in November 2004.

Brian EnosCotati, CAEnos began his dance training at age 14 and has studied with the Hous-ton Ballet Academy, Maria Vegh, the Santa Rosa Junior College and Sara Stuber. At age 18, he joined the Houston Ballet where he performed works by Trey McIntyre, David Par-sons, Lila York, Ben Stevenson, Domi-nic Walsh, Priscilla Nathan-Murphy, James Kudelka and Fredrick Ashton. Enos performed with the Houston Ballet for two years before joining HSDC in July 2002. He was commissioned to create work for Houston Ballet in fall 2005, departing HSDC in August and rejoining the company in January 2006.

Kellie EpperheimerLos Osos, CAEppeerheimer began her dance training in 1988 with the Academy of Dance and Civic Ballet of San Luis Obispo. She has participated in summer programs with the Joffrey Ballet and The Juilliard School. In 2002, she had the opportunity to tour Russia with the Deyo Dancers. Epperheimer joined Hub-bard Street 2 in January 2005 before becoming an apprentice with the main company in December 2006.

Title


Sarah Cullen FullerSanta Cruz, CACullen Fuller began her formal dance training at age 9 at The Academy of Movement and Music in Oak Park and the schools of the Boston and Joffrey Ballets. She graduated from the Uni-versity of Illinois, Champaign/Urbana with degrees in dance and psychology. Fuller was the recipient of the Lisa Carducci award for outstanding performance and a Ford Foundation grant to study dance in Madrid, Spain. She has studied with Paul Taylor Dance Company and Dance Space NYC and performed with The 58 Group in Chicago. Fuller joined Hubbard Street 2 in January 2002 before becoming an apprentice with the main company in November 2004 and a full company member in January 2006. .

Laura HalmBaltimore, MDHalm began her dance training at age four and has studied at Central Pennsylvania Youth Ballet, Boston Ballet School, San Francisco Ballet School and the Baltimore School for the Arts. She received her B.F.A. in dance from The Juilliard School in May 2002 where she performed works by José Limón, Ohad Naharin and Robert Battle. She also had the privilege of performing with El Ballet Moderno y Folklorico de Gua-temala as a guest artist before joining Hub-

bard Street 2 in January 2004. Halm became an apprentice with Hubbard Street Dance Chicago in August 2006.

Martin LindingerMunich, GermanyLindinger trained at the Royal Ballet School, England, where he grad-uated in 1995 with the prestigious Dame Alicia Markova Award. He then joined City Ballet of London as a soloist before joining Ram-bert Dance Company in 2000. Lindinger has performed works by Jirí Kylián, Mats Ek, Glen Tetley, Christopher Bruce, Merce Cunningham, Hans van Manen, Javier De Frutos and Twyla Tharp. In January 2003 he won the “Critics Circle National Dance Award for Outstanding Young Male Artist” in the UK. Lindinger joined HSDC in November 2004.


Cheryl MannOrlando, FLMann graduated from Point Park College in Pittsburgh and has performed with the Pittsburgh’s Civic Light Opera, Southern Ballet Theater in Orlando and at Florida’s Walt Disney World. Mann danced with River North Chicago Dance Company for three years before joining HSDC in 1997. In 2003, she received the Artist Achievement Award from the Chicago Dance and Music Alliance for her performance in HSDC’s Cor Perdut by Nacho Duato.

Terence Marling Chicago, ILMarling began his ballet training in 1982 at the Ruth Page School of Dance under the direction of Larry Long. In 1994, he joined the Pittsburgh Ballet Theater directed by Patricia Wilde, where he per-formed leading roles in Don Quix-ote, Glen Tetley’s Le Sacre du Print-emps, Balanchine’s Rubies, Ohad Naharin’s Tabula Rasa, Paul Taylor’s Airs and Jirí Kilián’s Return to the Strange Land, among others. In 2003, Marling joined the Nationaltheater Mannheim in Germany, where he partici-pated in the creation of 10 works. Marling joined HSDC in April 2006 and continues to choreograph and teach in his spare time.

Jamy MeekLubbock, TXMeek received a bachelor of arts degree in performing arts from Oklahoma City University. He danced with Ballet Lubbock, Willis Ballet and the San Antonio Metropolis Ballet, joining HSDC in June 1996.


Pablo Piantino Mendoza, ArgentinaPiantino began dancing at the age of 14. His training includes private seminars with Hector Zaraspe and stud-ies at both the Colón Theatre School and The Juilliard School where he received his BFA. Having danced with both the Colón Theatre Ballet Company and The Juil-liard School Dance Ensemble, Piantino joined the San Francisco Ballet in 1999 and then became and HSDC company member in August of 2005.

Yarden Ronen Tel-Aviv, IsraelRonen trained at the Jerusalem Acad-emy of Music and Dance and later at the Bat-Dor School of Dance in Tel Aviv on a full scholarship. In 1996, he joined Bat-Dor Dance Company as a company member and soloist. In 2001 Ronen relocated to New York City and became a member with Ballet Hispanico of New York and Buglisi/Foreman Dance before joining HSDC in August 2004.

Penny SaundersWest Palm Beach, FLSaunders received her formal dance training at, and graduated from, The Harid Conservatory in Boca Raton. She also participated in summer programs with the School of American Ballet and Central Pennsylvania Youth Ballet. While furthering her training under Elisabeth Carroll, she joined The American Repertory Ballet in New Jersey. Saunders has also danced with Ballet Arizona, toured extensively with MOMIX, and was a member of Cedar Lake Ensemble in New York before joining HSDC in November 2004.


Larry TriceKansas City, MOTrice began dancing at age nine at various schools including Monica School of Dance, the Kansas City Ballet and The Center Dance with Tyrone Aiken. A three-time scholarship recipient of the summer fellowship at the Ailey School, he then received a scholarship to attend the Boston Conservatory where he received his B.F.A. in 2005 under the direction of Yasuko Toku-naga. Trice is the 2003 recipient of the Ruth S. Ambrose Award and the Jan Veen Scholarship. He has performed works by Sean Curran, Donald Byrd, Martha Graham, José Limón, Daniel Per-lzig and Paul Taylor. He joined HSDC as an apprentice in July 2005 and became a full company member in January 2007.

Jessica TongBinghamton, NYTong grew up in Salt Lake City, where she was lucky enough to train with the ballet department at the University of Utah. Upon graduating from high school, Jessica joined BalletMet in Columbus, Ohio under the artistic leadership of David Nixon. Tong then moved to New York City and danced works by Eliot Feld at Ballet Tech. Prior to joining Hubbard Street Dance Chicago as an apprentice, Jessica spent over two years with Hubbard Street 2, lead by Julie Nakagawa Bottcher.

Robyn Mineko WilliamsLombard, ILWilliams began dancing at age five under the direction of Yvonne Brown Collodi with whom she toured Germany, Switzerland and Austria. She continued studying dance at the Lou Conte Dance Studio where she was on full scholarship from 1993 to 1995. Williams danced with River North Chicago Dance Company for four years before becoming an apprentice with HSDC in June 2000 and a full company member in September 2001.

Source: Hubbard Street Dance Chicgao <http://www.hubbardstreetdance.com/hsdc_dancers.asp>

Modern Dance

Pain

ting

of Is

ador

a D

unca

n by

Frit

z A

ugus

t vo

n K

aulb

ach

from

Isad

ora

Dun

can,

The

Art

of

the

Dan

ce.

cour

tesy

of

Thea

tre

Art

s Bo

oks.


About Early Modern DanceModern dance, now practiced and performed throughout the world, originated in the United States and Germany. Launched as a deliberate rejection of the heritage of classical ballet and popular spectacle, this new form of dance was intended to provoke and to inform. Early modern dance borrowed heavily from other cultures, incorporated new technologies and used the body to reveal the psyche. Modern dance was pioneered predominantly by female artists such as Isadora Duncan, Loie Fuller, and Ruth St. Denis in the United States, Rudolf von Laban and Mary Wigman in Germany. It became widely identified as a unique art form within just two generations.

Isadora Duncan shocked or delighted audiences by baring her body and soul in what she called “free dance.” She weaved and whirled in flowing natural movements that emanated, she said, from the solar plexus. She aimed to idealize abstractly the emotions induced by the music that was her motivating force, daringly chosen from the works of serious composers including Beethoven, Wagner, and Gluck. Although Duncan established schools and had many imitators, her improvisational technique was too personalized to be carried on by direct successors.

The work of the two other American pioneers was far less abstract although no less free. Loie Fuller used dance to imitate and illustrate natural phenomena: the flame, the flower, the butterfly. Experimenting with stage lighting and costume, she created illusionistic effects that remained unique in the history of dance theater until the works of Alwin Nikolais in the 1960s.

The pictorial effects achieved by Ruth St. Denis had a different source: the ritualistic dance of Asian religion. She relied on elaborate costumes and sinuous improvised movements to suggest the dances of India and Egypt and to evoke mystical feelings. With Ted Shawn, who became her partner and husband in 1914, St. Denis enlarged her repertoire to include dances of Native Americans and other ethnic groups. In 1915 St. Denis and Shawn formed the Denishawn company, which increased the popularity of modern dance throughout the United States and abroad and nurtured the leaders of the second generation of modern dance: Martha Graham, Doris Humphrey, and Charles Weidman.

At the end of the 1920s those who rebelled against the commercialism of Den-ishawn devised their own choreography and launched their own companies. Their dances were based on new techniques developed as vehicles for the expression of human passions and universal social themes. Martha Graham found the breath pulse the primary source of dance; exaggerating the contractions and expansions of the torso and flexing of the spine caused by breathing, she devised a basis for movement that for her represented the human being’s inner conflicts.

To Doris Humphrey, gravity was the source of the dynamic instability of move-ment; the arc between balance and imbalance of the moving human body, fall and recovery, represented one’s conflicts with the surrounding world. Forsaking lyrical and imitative movement and all but the most austere costumes and simplest stage effects, Graham and Humphrey composed dances so stark, intellectual, and harshly dramatic as to shock and anger audiences accustomed to being pleased by graceful dancers. José Limón was deeply afftected by their work would later carry on this aesthtic when he and Doris Humphrey established the José Limón Dance Company in 1947.

“...the one artform

other than jazz

that can be called

truly American,”

- Robert Coe,Historian


Ruth St. Denis: 1879-1968Ruth Dennis was born in 1879 on a New Jersey farm. The daughter of a strong-willed and highly educated woman who was a physician by training, St. Denis was encouraged to study dance from an early age. Her early training included Delsarte Technique, ballet lessons with the Italian ballerina Maria Bonfante and social dance forms. Ruth began her professional career in New York City in 1892, where she worked in vaudeville houses.

In 1898, the young vaudeville dancer was noticed by David Belasco, a well-known and highly successful Broadway producer and director. He hired her to perform with his large company as a featured dancer, and was also responsible for giving her the stage name “St. Denis.” Under Belasco’s influence, Ruthie Dennis became Ruth St. Denis, toured with his production of Zaza around the United States and in Europe, and was exposed to the work of Japanese and European artists.

St. Denis’ artistic imagination was ignited by these artists. She became very inter-ested in the dance/drama of Eastern cultures including those of Japan, India and Egypt. After 1900, St. Denis began formulating her own theory of dance/drama based on the dance and drama techniques of her early training, her readings into philosophy, scientology and the history of ancient cultures. In 1904, during one of her tours with Belasco, she saw a poster of the goddess Isis in an advertise-ment. The image of the goddess sparked her imagination and she began reading about Egypt, and then India. In 1906, after studying Hindu art and philosophy, she offered a public performance. She had designed an elaborate and exotic costume and a series of steps telling the story of a mortal maid who was loved by the god Krishna. Entitled Radha, this solo dance was first performed in Proctor’s Vaudeville House in New York City. Radha was an attempt to translate St. Denis’ understand-ing of Indian culture and mythology to the American dance stage. She began per-forming Radha in respectable Broadway theaters.

In 1914 St. Denis married Ted Shawn, her dance partner, and the next year they founded the Denishawn School and Company in Los Angeles. During this time, St. Denis’ choreographic style broadened. She had a profound influence on the course of modern dance in America, particularly through Denishawn, which was

the first major organized center of dance experiment and instruc-tion in the country and whose students included Martha Graham and Doris Humphrey. Prompted by a belief that dance should be spiri-tual instead of simply entertaining or technically skillful, St. Denis brought to American dance a new emphasis on meaning and commu-nication of ideas by using themes previously considered too philosophical for theatrical dance. Ruth St. Denis as Radha, circa 1908.

Courtesy of Culver Pictures.

Two Early Moderns “Society has

discovered some-

thing new under

the limelight. Out of

the jaws of

vaudeville a group

of New York women

who still keep a

weary eye out for

up-to-date

novelties, have

snatched a turn

which they hope to

make more or less

an artistic

sensation.”

-The New York Times, March 25, 1906


TitleIsadora Duncan: 1878-1927Dancer, adventurer, revolutionist, ardent defender of the poetic spirit, Isadora Duncan has been one of the most enduring influences on 20th century culture. Isadora Duncan is regarded as the founder of modern dance.

Angela Isadora Duncan was born in California in 1877. Her mother was an accomplished pianist who introduced her to the great composers, whose music later inspired Isadora’s creation of a new dance form. As a child she studied ballet, Delsarte technique and burlesque forms. Isadora’s genius was appreciated by her family when she was very young, but her revolutionary ideas on dance were not well accepted in America. She began her professional career in Chicago in 1896, where she met the theatrical producer Augustin Daly. Soon after, Duncan joined his his touring company, appearing in roles ranging from one of the fairies in a Midsummer Night’s Dream to one of the quartet girls in The Giesha. Duncan traveled to England with the Daly Company in 1897. During this time she also danced as a solo performer in and around London.

Isadora’s dream was to teach children who would then continue to teach others. This was more important to her than performances,

although performing was valuable as a motivating force and also to help finance her school. One of her objectives was to obtain government support for the school. The first and only government

to sponsor her work was the Soviet Union, and this support lasted approximately ten years. Even so, raising money was always difficult, but with financial support, she founded Schools of Duncan Dance in France and Germany. Eventually, Isadora gained great fame in both Europe and America; in fact, in the entire world.

Isadora Duncan was influenced by the Greeks and Romans where dance was regarded as a sacred art form. She felt that dance was meant to be an expression of the natural movements of the human body, and her graceful flowing dance style was revolutionary. She developed within this idea, free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing.

She was a theorist of dance, a critic of modern society, culture, education and a champion of the struggles for women’s rights, social revolution and the realization of poetry in everyday life. Dancing in long tunics with bare feet and loose hair, Duncan awed audiences with her grace and expression. She inspired a new way of looking at dance and began a movement into a new exploration of the potential of the human body, encouraging many of her contemporaries to do the same, and beginning what we know today as Modern Dance.

Isadora Duncan in Revolutionary; circa 1903.

Title


The Elements of DanceEvery art form has its instruments, artistic medium, and design el e ments. For dance, they are summed up in the sentence, “Dancers move with energy through time and space.” This statement includes the basic com po nents that dancers work and play with. People danc ing are themselves their own in stru ments, ex press ing themselves through their bodies. Their body states and movement are char ac ter ized by varia-tions in the use of energy, time and space.

Dance InstrumentThe art of dance takes place through the dancer. Human beings are both the cre-ators and the instruments. The physical manifestation of the danc er’s ideas and feelings is the living, breathing human body.

In dance, the body is the mobile figure or shape: felt by the dancer, seen by others. The body shape is sometimes relatively still and sometimes chang ing as the dancer moves in place or travels through the dance area. Wheth er mov ing or pausing, dancers are alive with inner movement, feel ings and thoughts.

Artistic Medium of DanceMovement is the artistic medium of dance, just as sound is the ar tis tic medium of music. The movement of human beings includes a wide range, from large and obvious to so small and subtle that it appears to be stillness. Periods of relative still-ness are as effective and es sen tial in dance as are silences or rests within music.

The movement vocabulary of modern dance is made up of human actions. A few of many possible actions are run, hop, crawl, stop, rise, jump, fall, bend, hold, shake, stand, walk, twist., turn, balance, roll, stretch, slide, leap, jiggle, pull, push, kick, hover, reach and hang.

Dance Design Elements: Energy, Time and SpaceDancers make choices as to how, when, and where to do each action. In other words, dancers apply the variables of energy, time and space to their actions.

While elements of dance design may be categorized and described in a va ri ety of different ways, they are used, whether consciously or not, by all dancers, from beginning explorers to seasoned prac ti tio ners.

Together, they provide a broad menu from which to make dance choic es. Choic es about any of the three elements tend to affect the others, but an a lyz ing them sepa-rately can help dancers understand and use them.

Energy“How?” is a question about the energy, force, or dynamic quality of an action. Choices about energy include variations in movement flow and use of force, ten-sion and weight.

Here are some examples of action driven by different energy choices: a run might be free flowing or easily stopped, and it may be powerful or gentle, tight or loose, heavy or light. A skip might have a sprightly, listless, rollicking, smooth or other quality of energy. A person might roll heavily across the floor or use explosive energy to jump. Push ing might be done with gentle or pow er ful en er gy.


TitleEnergy choices may also reveal emotional states. For example, a powerful push might imply aggression or confidence depending of the intent and sit u a tion. A deli-cate touch might reflect affection and timidity or perhaps pre cision and skill.

Some types of energy can be described in words; other spring from the move ment itself and are difficult to label with language. Some times dif fer enc es in the use of energy are easy to perceive; other times these dif fer enc es can be quite subtle. Varia-tions in movement flow, force, tension, and weight can be combined in many ways and may communicate a wide spec trum of human emotional states.

Time“When?” is a question about time or timing. Choices about time include such things as duration, speed, divisions of time (e.g., beats and intervals), timing of accents, and rhythmic patterns.

Timing choices are applied to actions. Here are some examples: a twist could be gradual or quick. A stop might be sudden followed by a pause. Leaping might speed up, slow down, or be paced by even beats. A series of sitting, standing, and stretching actions could occur with an even pace taking a short or a long time. Such actions could be accented with pauses at reg u lar intervals or occur sporadically. Bending jumping, and shaking actions might be ar ranged in a rhyth mi cal ly pat-terned sequence. Rising and curling might ride on the rhythm of breathing.

There are endless possibilities for timing one’s movements because timing variables such as speed, duration, accents and rhythmic patterns, simple to complex, can be applied to actions in many dif fer ent combinations.

Space“Where?” is a question about space and spacing. Choices about use of space include such variables as position or place, size, or range, level, direction and path-ways.

Here are some examples of space choices applied to actions: the dancer might choose to move or pause at any specific place in the dancing area. A skip could be in any direction such as diagonally forward and toward one side of the room. A twist might be high in the air or low to the ground or in between. A run or turning action could be in place or perhaps travel a certain dis tance along a particular path-way. The pathway might be curved, straight, zigzagging, me an der ing. The dancer’s movements can also trace path ways in the air as in an elbow drawing loops, a hip jutting out straight to the side, the head swoop ing down and up through an arc. The range of these move ments can vary from so small as to be almost invisible, to as large as the reach of the dancer or the size of the dance area. There are countless variations and combinations of ways that move ment can occur in space.

Is All Movement Dance?The dancer moves with energy through time and space. But then, who doesn’t? Are we always dancing every moment we are alive? Or are there some spe cial features that lead us to call some of our movement experiences dance? It does seem that in dance, people tend to be more consciously in volved in their movement, taking particular enjoyment or interest in their body.

Visit UMS Online

www.ums.org/education

Title


LanguageDance is a language. It is spoken through the movement of the human body. It tell stories, expresses emotions and creates images. All dance is based upon a universal experience: the rhythms and movement of the human body. At a party, at home, or even on the street, most of us have felt the urge to dance. Whether it is hip-hop, swing, salsa, meringue, foxtrot, waltz, or twist, we all know a style of dance.

In dance we take in, synthesize and transmit our ideas and feelings about life through our bodies. Dance is a medium for learning about oneself and one’s world. It is truly a universal art since all humans relate body movement and the need to communicate with each other.

As we dance, we sense our bodies and the world around us. We learn how and where our bodies can move, expanding our move ment possibilities and enjoying our sense experience as we dance.

Dance is a vehicle for understanding life experience. Through dance, we give form to our experience of self and world. Dance is a way to generate and give dynamic form to our thoughts and feelings. It symbolizes our thoughts and feelings kines-thetically.

Dance is a unique form for communicating. As we manifest our ex pe ri ence of life in dance, we send out messages through our bod ies. We can ap pre ci ate these mes-sages ourselves, and others can receive them. Dance com mu ni cates in ways that words cannot.

PracticeSometimes, dance is designed to be performed and seen by an audience. In those cases, no matter what the style, dancers must train their bodies and their imaginations to be more expressive. Dance artists extend the vocabulary of their movement language through classes, rehearsals, and performances. What they practice are the basic building blocks of dance.

Stud

ent

busi

ly w

orki

ng d

urin

g a

UM

S in

-sch

ool v

isit.

Lesson Plans


Are you interestedin more lesson

plans?

Visit the KennedyCenter’s ArtsEdge

web site, the nation’s most

comprehensive source of arts-based lesson

plans.

www.artsedge.kennedy-center.

org

Curriculum ConnectionsIntroduction

The following lessons and activities offer suggestions intended to be used

in preparation for the UMS Youth Performance. These lessons are meant

to be both fun and educational, and should be used to create anticipation

for the performance. Use them as a guide to further exploration of the art

form. Teachers may pick and choose from the cross-disciplinary activities

and can coordinate with other subject area teachers. You may wish to use

several activities, a single plan, or pursue a single activity in greater depth,

depending on your subject area, the skill level or maturity of your students

and the intended learner outcomes.

Learner Outcomes

• Each student will develop a feeling of self-worth, pride in work, respect,

appreciation and understanding of other people and cultures, and a desire

for learning now and in the future in a multicultural, gender-fair, and ability-

sensitive environment.

• Each student will develop appropriately to that individual’s potential, skill

in reading, writing, mathematics, speaking, listening, problem solving, and

examining and utilizing information using multicultural, gender-fair and

ability-sensitive materials.

• Each student will become literate through the acquisition and use

of knowledge appropriate to that individual’s potential, through a

comprehensive, coordinated curriculum, including computer literacy in a

multicultural, gender-fair, and ability-sensitive environment.


Meeting Michigan StandardsUMS can help you meet Michigan’s

Curricular Standards!

The activities in this study guide,

combined with the live performance, are aligned with Michigan

Standards and Benchmarks.

For a complete list of Standards and

Benchmarks, visit the Michigan Department of Education online:

www.michigan.gov/mde

ARTS EDUCATIONStandard 1: Performing All students will apply skills and knowledge to perform in the arts.Standard 2: Creating All students will apply skills and knowledge to create in the arts.Standard 3: Analyzing in Context All students will analyze, describe, and evaluate works of art.Standard 4: Arts in Context All students will understand, analyze and describe the arts in their

historical, social, and cultural contexts.Standard 5: Connecting to other Arts, other Disciplines, and Life All students will recognize,

analyze and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life.

ENGLISH LANGUAGE ARTSStandard 3: Meaning and Communication All students will focus on meaning and communication as they listen, speak, view, read, and write in personal, social, occupational, and civic

contexts.Standard 6: Voice All students will learn to communicate information accurately and effectively and demonstrate their expressive abilities by creating oral, written and visual texts that enlighten and engage an audience.

MATHStandard I-1: Patterns Students recognize similarities and generalize patterns, use patterns to create models and make predictions, describe the nature of patterns and relationships and

construct representations of mathematical relationships.Standard I-2: Variability and Change Students describe the relationships among variables, predict

what will happen to one variable as another variable is changed, analyze natural variation and sources of variability and compare patterns of change.

CAREER & EMPLOYABILITYStandard 7: Teamwork All students will work cooperatively with people of diverse backgrounds and abilities, identify with the group’s goals and values, learn to exercise leadership, teach others new skills, serve clients or customers and contribute to a group process with ideas,

suggestions and efforts.

TECHNOLOGYStandard 2: Using Information Technologies All students will use technologies to input, retrieve, organize, manipulate, evaluate and communicate information.

WORLD LANGUAGESStandard 2: Using Strategies All students will use a varietry of strategies to communicate in a non-English language.


ObjectiveFor students to explore the three elements of dance: time, space and energy.

Curriculum ConnectionsARTS STANDARD CONTENT STANDARD

Arts Education 2: Creating Career & Employability 7: Teamwork

MaterialsOpen space for movementsIndex cardsPencils

Activity1. Review the three major elements of dance: time, space and energy. Give examples of each on the board. You may wish for students to add to this list.

• TIME (How do you move in time? fast, slow) • SPACE (do you take up a lot of space or a little? Tall, thin, high, low, wide) • ENERGY (How do you carry out the movement? Happy, sad, bouncing, stomping, angry, frustrated, heavy-stepped, flowing, sharp, light- stepped)

2. Ask the students to act out the following activities. The correlating dance element is included in pa ren the ses:

walking happily (energy - bouncing) walking angrily (energy – stomping, scowling, crossed arms) walking while scared (energy – fear, choppy or nervous energy) crawling (space - low) reaching up to grab something on a high shelf (space – high, thin) fast jumping jacks (time – fast) wading through a deep pool of maple syrup (time – slow) hands out like an airplane (space – wide) walk like an elephant (space – wide; time – slow) move like a bee (time – fast; space – small)

3. Now ask students to write down one “time” example (i.e., fast or slow), one “space” example (high, low, wide, narrow, etc.) and one “energy” ex am ple (flowing, sharp, happy, sad) on an index card.

4. Students can trade cards with a partner and have the partner carry out the same

procedures as before.

Time, Space and Energy

LES

SO

N O

NE

Grade Levels:5-12

Title

LES

SO

N O

NE


ObjectiveStudents will use body language for communication.


Arts Education 3: Analyzing in Con-text

Career & Employability 7: Teamwork

Arts Education 5: Connecting to Life World Languages 2: Using Strategies

MaterialsNone

Opening DiscussionPeople use gestures and movement to help share ideas and emotions every day. We wave our hands, smile, roll our eyes and tap our feet. These common actions are so universal that anyone can understand how we feel by observing them.

Activity1. Pair the students into partners and have them sit beside each other.

2. Direct the students to start a conversation with their partners, beginning with simple questions such as “How are you today?” or “What have you been doing lately?”

3. Instruct each pair of students to incorporate movement, facial expressions and gestures into their conversation to correspond with what they are discussing.

4. As the partners become comfortable with the exaggerated movements, have them stop talking but continue their conversation by interpreting each other’s actions.

5. Have the students talk with one another to see if they were “reading” their partner’s mannerisms correctly.

Discussion/Follow-upDancers often exaggerate common actions or gestures to help the audience understand what they are acting out. How easy or diffi cult was it for the students to do that with one another? What actions were the simplest to understand? The hardest? Some people who are unable to hear or speak use sign language to communicate every day. Do any of the students know anyone like this? Do any of the students know any sign language?

Gestures Grade Levels:

5-12LE

SS

ON

TW

O

Title


LES

SO

N T

HR

EE

Grade Levels:5-12

Textures and EnvironmentsObjectiveThis activity allows the students to explore how different creatures and objects move in different environments.


Arts Education 4-1: Arts in Context World Languages 2: Using Strategies

Arts Education 4-2: Arts in Context Career & Employability 7: Teamwork

MaterialsTape player or stereoA variety of musical excerpts such as classical, jazz, Celtic, Indian, swing, Latin, pop, etc.

Activity1. Clear the room of desks, chairs and other furniture. Have the students fi nd some personal space.

2. Teacher leads with such questions as: Imagine you are in water. How would you move? Explore different ways of moving in water. What does it feel like?

3. Explore different texture environments such as clouds, peanut butter or jello.

4. Have the students emphasize different parts of their bodies as they walk, such as leading with the head, the toes or the knees.

5. Instruct the students to walk like animals. Try a wide variety of creatures such as elephants, whales, crickets, snakes or penguins.

6. Have the students act out the motions of objects. Try popcorn popping, pancakes fl ipping or an avalanche.

7. Play musical excerpts from several genres and allow the students to move in a style implied by the piece they’re listening to.

Discussion/Follow-upHow did it feel to mimic walking through different textures?How did leading with different parts of the body affect the students’ balance and coordination? Did it take a little practice to remain steady? How was walking like animals or objects similar to acting? Did the students use facial expressions or sounds as well as their walk to help?How did the music’s beat or dynamic level affect the way the students walked or danced? Did they coordinate their movement with the musical phrase? Do choreographers select movement to correspond with their music, music to correspond with their planned movement, or a little of both?

Title

LES

SO

N O

NE


LES

SO

N F

OU

R Grade Levels:

5-12

SculpturesObjectiveBeing expressive while remaining perfectly still is oftentimes just as important to a dancer as being able to move effectively.



Arts Education 4-4: Arts in Context

MaterialsNone

Opening DiscussionBeing expressive while remaining perfectly still is often times just as important to a dancer as being able to move effectively.

Activity1. Divide the class into pairs. One member will be the “sculptor;” the other will be the “clay.”

2. The sculptor has to think of a statue position he/she wants to mold the clay person into.

3. The sculptor is allowed 5 moves to mold the clay into the statue of his/her choice and must move only one body part at a time.

4. The “sculptor” begins molding the “clay” when the teacher says to begin.

5. The objective of the “clay” is to hold whatever position the sculptor places the body part in.

6. Variations: a) Have one sculptor and several clay people create a scene. b) Have other students guess what the sculpture is or is doing. c) Provide a variety of costumes or props for the students to incorporate into their sculpture. You may also have the students “sculpt” to music.

Discussion/Follow-up How diffi cult was it for the “clay” to maintain balance? How important do you imagine it is for dancers to practice in order to have complete control over their balance and coordination? How does it feel when a car you are riding in stops very suddenly? What feelings go through your mind? What types of feelings go through your body? How are your feelings different when you are moving and when you are still?

Title


LES

SO

N F

IVE

Grade Levels:5-12

ConnectionsObjectiveIn this activity, everyone can do different things and express their individuality, but they are still a small part of a bigger presentation.



Math I-2: Variability and Change

MaterialsNone

Opening DiscussionDance companies work very hard to make each individual’s part in the performance connect smoothly to the others. This makes each dancer’s role look like a smaller part of the whole work.

Activity

1. Arrange the students into medium-sized groups.

2. One person starts with a shape/pose.

3. The 2nd person connects him/herself to the 1st person’s shape and freezes in a different pose.

4. The 3rd person connects him/herself to one or both of the other people and so on.

5. Each member of the group continues to attach themselves to the human sculpture, placing themselves in poses connected to at least one other person.

6. When everyone in the group is attached, the fi rst person untangles themselves and reconnects someplace else.

7. Next level: Employ musical cues to initiate when each person will move. Challenge them to smooth out the transition from one person’s pose to the other person’s.

Discussion/Follow-upWhat happened to your group’s pose if one person dropped out or didn’t follow the directions? How is a group’s pose different from an individual’s? Did you fi nd yourselves acting with each other? Did some people choose poses for themselves that were humorous or interesting when placed in relationship to the others?

Title

LES

SO

N O

NE


LES

SO

N S

IX Grade Levels:

5-12

Directed ImprovisationObjectiveStudents will be introduced to the elements of dance and become comfortable with improvisation in the classroom. They will also focus on personal space, group dynam-ics and working as a team.



Arts Education 4-4: Arts in Context World Languages 2: Using Strategies

MaterialsMusic of your choice

Activity

1. Have students divide into pairs and ask students to stand in a circle. One of the partners must be the “driver” and the other the “car.” The car must keep his or her eyes closed at all times, completely putting trust in the other partner. The “driver” must stand behind the partner, hands on shoulders, and direct them around the other cars and drivers in the room.

2. Direct them to begin milling about in the center of the circle, with two rules: they must not bump into another car and driver and they must not speak to one another or give verbal directions.

3. As the cars and drivers begin to settle into a pace, ask them to do one of the following at various times:

a. Travel alternately walking and then freezing b. Travel only in a backwards fashion c. Travel in slow motion or speed it up d. Travel in a type of pattern by creating a rhythm (Encourage students to use hands or expressions to create the rhythm or pattern.) e. Travel by varying the levels (Some may choose walking on tiptoes, some may crawl or even move on their bellies.) 4. Switch car and driver roles and try the exercise with the other partner. This time, the driver does not place his or her hands on the shoulders of the other partner. The two rules for this portion of the activity are: they must not bump into another car and driver, they may only use voices to direct the car by giving verbal directions.

Extension Activity Direct students to play the game again, only this time without a partner. Instruct them to keep their eyes closed, move slowly, and they must not speak or make noise. Focus only on where others are around you by using your senses.

Discussion/Follow-up How did working as a team make you feel? Did the feeling of trust come into

play for anyone? Which activity did you like the best? Which activity did you like the least? Which role did you prefer playing?

The Vocabulary of DanceArt The production of some thing beautiful that shows a level of skill (or specific intention) in the chosen medium and an intent to communicate meaning. Art may be clas si fied as architecture, dance, music, theater, vi su al, lit er ary, tech no log i cal, etc.

Audience People who have gathered together to hear or watch some thing. They may gather formally in a hall designed to sponsor professional performances, or they may gather in a class room to observe each other’s work.

Body Shapes The design of the body in stillness; shapes may be curved, angular, twisted or straight.

Choreography The process of creating a dance; orig i nat ing from the Greek word choros (meaning “to dance”) and graphos (meaning “to write”). This pro cess in cludes an understanding of form and move-ment de vel op ment in dance.

Choreographer A person who creates a dance work and decides how, when and where the dancers should move.

Concentration The ability to focus on the task at hand. This may include listening, following directions and com-pleting assigned tasks or combinations in a dance class.

Concert A formal performance of music or dance for an audience.

Costumes Specific clothes designed for a dance or theater pro duc tion.

Dance Many sequences of move ment that combine to pro duce a whole; a dance has organization, pro- gres sion and development, including a be gin ning, middle and end.

Dance Technique The specific vocabulary of dance and the physical principles for producing efficient and cor rect body movement are called technique.

Dance Elements Dance is an art form com prised of the elements of time, space, energy and the body; each of these el e ments has its own knowledge base which is in ter pret ed uniquely by each dance whether it be folk, ballet, modern, jazz or ethnic dance.

Element Any one of the three basic components of movement: space, time and energy. (Body is some times in clud ed as a fourth element.)

Energy One of the elements of movement; energy propels or initiates movement or causes changes in move ment or body position.

Ensemble A group of dancers who perform together.

Expression A manner of speaking, playing music, dancing, writing or visually pro duc ing something that shows feeling and meaning.

General Space The area of space through which a dancer travels or takes his/her personal space; it may include a dance studio, a stage, a classroom or the gym na si um; pathways and directions are defined in this space.

Gesture A movement of the body or part of the body that a dancer makes in order or express an idea or an emotion; everyday gestures include a hand shake, a wave or a fist; abstract gestures in dance are those move ments given special emo tion al or content meaning by a cho re og ra pher.

ImprovisationMovement that is created spontaneously rang ing from free-form to highly struc tured environ-ments.

Isolation Movements restricted to one area of the body such as the shoulders, rib cage or hips; iso la tions are particularly prom i nent in jazz dance.

Jazz A uniquely American dance form that evolved with jazz music. Jazz dance is identified by its high level of energy, modern themes, costumes and wide variety of approaches and improvisation.

Kinesthetic SenseThe sense of movement and bodily awareness of oneself, others and the en vi ron ment; this sense provides feedback about speed, height, tension/relaxation, force, exertion, direction, etc.; acces-sible to audience and performers alike.

Levels The height of the dancer in relation to the floor: high, medium, or low. When a dancer is low, a part of his/her torso is touching the floor; when a danc er is mid dle level the feet are flat on the floor; when a danc er is on high lev el, he/she is in the air or on the toes.

Literal choreography Choreography that com mu ni cates a story or message to the audience.

The Vocabulary of Dance

Title The Vocabulary of DanceLocomotor Movement that occurs in general space when a dancer moves place to place; basic locomotor movements are walk, run, skip, jump, hop, leap, slide and gallop. Low level locomotor move-ments may be rolling, crawl ing or creeping.

Modern Ballet A choreography that main tains elements of tra di tion al ballet but that was created during the 20th century; many modern ballets are abstract and nonliteral.

Modern Dance A performance movement form that evolved at the beginning of the 20th century, modern dance can be contrasted with ballet, tap or jazz. Creative work on choreography is an im por tant part of the learn ing ex pe ri ence in mod ern dance.

Motion Moving; a change of position. It may be in one place or through space.

Nonliteral choreography Choreography that em pha siz es movement ma nip u la tion and design without the intent of telling a story; nonliteral works communicate directly through move ment and need no translation.

Non-locomotor A teacher may refer to non-locomotor move ment as axial movement, re fer ring to movement that occurs in person’s pace with one body part an chored to one spot; movement is organized around the spine or axis of the body. Basic non-lo co mo tor movements are bending, stretching, twisting, rising, falling, opening, closing, swinging and shaking.

Percussive Use of energy that is pow er ful, staccato and ex plo sive.

Personal Space The kinesphere that one occupies that is defined by the reach space around the body; it includes all levels, planes and directions both near and far from the body’s center.

Phrase The smallest and simplest unit of dance form; usually part of a larger, more com plex passage. A phrase is frequently repeated throughout a work in order to give it continuity.

Prop An object that is separate from the dancer’s costume but that is a part of the action or spatial design in the cho re og ra phy or that contributes to the meaning of a dance. Common dance props include flowers and swords.

Repertoire Movement phrases or full sections from completed dance works that are taught in order to fa mil -iar ize danc ers with a specific choreographer’s style and movement vocabulary. Repertoire can also mean the dance pieces a dance company is pre pared to perform.

Rhythm The organization of sound in time; rhythm is a pattern of pulses/beats with se lect ed accents that can be re peat ed or joined with other patterns to form long er phrases. Rhythm is one of the basic elements of music.

Section A smaller division of a whole work that contains many phrases in and of itself.

Shape An interesting and in ter re lat ed arrangement of body parts of one dancer; the visible makeup or molding of the body parts of a single dancer; the overall visible appearance of a group of dancers; also the overall development or form of a dance.

Space One of the elements of movement. Direction, level, size, focus and pathway are the aspects of space. An altered use of the aspects allows the cho re og ra pher to use space in dif fer ent ways.

Style A distinctive manner of moving.

Suite A choreographic form with a moderate first section, second slow section and a lively third section.

SymmetricalA visually-balanced body shape or grouping of dancers.

Technique The learning of movement skills; the ability to use specific methods to create a dance.

Tempo The speed of movement as it progresses faster, more slowly or on a pulse beat.

Unity A principle of cho reo graph ic form in which phrases fit together, with each phrase important to the whole.

Vibratory Use of energy that involves shaking or trembling ac tions.

The Vocabulary of Dance

FREE SPACE

Before the game begins, fill in each box with one of the vocabulary words or phrases below. Your teacher will call out the definition for one of the words below. If you’ve got the matching word on your board, cover the space with your chip. When you’ve got a horizontal, vertical, or diagonal row of five chips, call out WORD-O!

audience expression percussive vibratory concentrationconcert call & response phrase costumes propschoreography isolation improvisation rhythm shapedance ensemble section suite jazzenergy levels technique motion gesture

Dance Vocabulary Word-o

All of the words from the left column can be found in the puzzle. These words relate to the Hubbard Street Dance Chicago performance. Look in all directions for the words!

audience People who have gathered together to hear or watch some thing. concert A formal performance of music or dance for an audience.

element Any one of the three basic components of movement: space, time and energy. (Body is some times in clud ed as a fourth element.)choreographer A person who creates a dance work and decides how, when and where the dancers should move. improvisation Movement that is created spontaneously, rang ing from free-form to highly struc tured environments. dance Many sequences of move ment that combine to pro duce a whole; a dance has organization, pro gres sion and development, including a be gin ning, middle and end.ensemble A group of dancers who perform together.isolation Movements restricted to one area of the body such as the shoulders, rib cage or hips; iso la tions are particularly prom i nent in jazz dance.motion Moving; a change of position. It may be in one place or through space. suite A choreographic form with a moderate fi rst section, second slow section and a lively third section.costumes Specific clothes designed for a dance or theater pro duc tion.

i v e d f e j i t q a a i o us m l l a u c k i a u b s a my e p e p n x n o d k z o t zj s d r t v c n i o f s l r mo k a f o z s e o m b u a e fz z l i v v n e a y k i t c hb v d k a c i c m y g t i n ww d g g e u j s x u t e o o ue l b m e s n e a n t w n c em o t i o n p j e t j s g w og j o r o x t m q f i r o m la t x r b q e r k z v o q c ex l r k l l h w y z x w n u ab p k g e n z v g a j j x j pc h o r e o g r a p h e r j a

Modern Dance Word Search

Here are the answers to the word search:

audience costumes ensemble motion choreographer dance improvisation suite concert element isolation

Word Search Solution

i v e d f e j i t q a a i o us m l l a u c k i a u b s a my e p e p n x n o d k z o t zj s d r t v c n i o f s l r mo k a f o z s e o m b u a e fz z l i v v n e a y k i t c hb v d k a c i c m y g t i n ww d g g e u j s x u t e o o ue l b m e s n e a n t w n c em o t i o n p j e t j s g w og j o r o x t m q f i r o m la t x r b q e r k z v o q c ex l r k l l h w y z x w n u ab p k g e n z v g a j j x j pc h o r e o g r a p h e r j a

Resources

Gnawa (Photo by Todd Rosenberg)

Title Dear Parents and Guardians,We will be taking a field trip to see a University Musical Society (UMS) Youth Performance of the Hubbard Street Dance Chicago on Wednesday, February 7, from 11am-12noon at the Power Center in Ann Arbor.

We will travel (please circle one) • by car • by school bus • by private bus • by footLeaving school at approximately ________am and returning at approximately ________pm.

The UMS Youth Performance Series brings the world’s finest performers in music, dance, theater, opera, and world cultures to Ann Arbor. This performance features the modern dance company Hubbard Street Dance Chicago.

We (circle one) • need • do not need additional chaperones for this event. (See below to sign up as a chaperone.)

Please (circle one) • send • do not send lunch along with your child on this day.

If your child requires medication to be taken while we are on the trip, please contact us to make arrangements.

If you would like more information about this Youth Performance, please visit the Education section of www.ums.org/education. Copies of the Teacher Resource Guide for this performance are available for you to download.

If you have any questions, please don’t hesitate to call me at ____________________________________ or send email to _________________________________________________________________________. Please return this form to the teacher no later than ________________._____________________________

Sincerely,

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - -

My son/daughter, __________________________________, has permission to attend the UMS Youth Performance on Wednesday, February 7, 2007. I understand that transportation will be by ___________.I am interested in chaperoning if needed (circle one). • YES • NO

Parent/Guardian Signature________________________________________ Date_____________________

Relationship to student ____________________________________________

Daytime phone number__________________________________________

Emergency contact person________________________________________

Emergency contact phone number_________________________________

UMS FIELD TRIP PERMISSION SLIP


TitleBibliography/VideographySome of the textual information as well as some of the graphics included in this guide were derived from the following sources:

Bibliography

Anderson, Jack. The American Dance Festival. Durham, NC: DukeUniversity Press, 1987.

Cohen-Straytner, Barbara Naomi. Biographical Dictionary of Dance. New York: G. Schirmer, Inc., 1982.

de Mille, Agnes. America Dances. New York: The Macmillan Company, 1980.

El Hamel, Chouki. Gnawa, Moroccan Blues: A Historical Background. Accessed at http://www.ptwmusic.com/gnawa.htm on January 10, 2007.

Jamison, Judith. Dancing Spirit. Garden City, NY: Double Day, 1992.

Lewis, Daniel. The Illustrated Dance Technique of José Limón. New York: Harper & Row Publishers., 1984.

Maynard, Olga. Judith Jamison: Aspects of a Dancer. New York: Doubleday & Company, Inc., 1976.

McDonagh, Don. The Complete Guide to Modern Dance. Garden City, NY: Doubleday & Company, Inc., 1976.

Robertson, Allen & Donald Hutera. The Dance Handbook. New York: G.K. Hall & Co., 1988.

Terry, Walter. The Dance in America. New York: Harper & Row, Publisher, 1956.

Videos and DVDs of American Modern Dance

Denishawn; The Birth of Modern Dance, Kultur, 1991.

Martha Graham: The Dancer Revealed, Kultur, 1994.

Martha Graham: An American Legend in Performance, Kultur, 1988.

Merce Cunningham; A Lifetime in Dance, Winstar Home Entertainment, 2000.

Paul Taylor: Dancemaker, New Video Group, 2000.

There are more study guides

like this one, on a variety of

topics online! Just visit...

www.ums.org/education

Title


Arts Resources

www.ums.org/educationThe official website of UMS. Visit the Education section (www.ums.org/education) for study guides, information about community and family events and more infor-mation about the UMS Youth Education Program.

www.artsedge.kennedy-center.orgThe nation’s most comprehensive web site for arts education, including lesson plans, arts education news, grant information, etc.

Hubbard Street Dance Chicago and Modern Dance

www.hubbardstreetdance.org - Hubbard Street Dance Chicago’s home page

www.donlon.de/ - Choreographer Marguerite Donlon’s home page

www.alhma.com/nacho/nacho.htm - Choreographer Nacho Duato’s home page in both English and Spanish

www.voiceofdance.com - provides an international outlook on the world of dance including reviews, news and discussion forums.

www.pbs.org - offers program schedules and arts-related lesson suggestions based on the PBS catalog.

http://www.url.co.nz/resources/dance.php- a gateway to an extensive range of dance resources on the internet.

www.criticaldance.com - offers both professional dancers and dance enthusiasts forums for conversation and information on current dance events.

Although UMS previewed each web site, we recommend that teachers check all web sites before introducing them to students, as content may have changed since this guide was published.

Internet Resources


TitlePRIMARY & ELEMENTARY GRADES

Baylor, Byrd. (1973). Sometimes I Dance Mountains. Scribner. Text and Photo graphs capture of a young girl’s feelings about dance.

Freedman, Russell. Martha Graham, a Dancer’s Life. New York: Clarion Books, 1998. This is a photo-biography of Martha Graham.

Haskell, Arnold L. The Wonderful World of Dance (El maravilloso mundo de la danza). Garden City: NY Doubleday, 1969. (Madrid: Aguilar) Describes the development of dance from Stone Age ritual to modern ballet and twist.

Martin, John Joseph. John Marin’s Book of the Dance. New York: Tudor Pub Co., 1963.

Maynard, Olga. American Modern Dancers. Boston: Little Brown, 1965. An introduction to modern dance through the biographical studies of the first creative dancers of that art.

Reich, Susanna & Raul Colon (Illustrator). José! Born to Dance : The Story of José Limón. Simon & Schuster/Paula Wiseman Books: 2005. This picture-book biography tells the story of José Limón, who became a legendary figure in the history of American dance.

Sorine, Stephanie Riva. Imagine That! It’s Modern Dance. New York: Knopf, 1981. Three young dancers present some modern dance vocabulary… including objects, actions, directions, sizes, shapes, feeling, and ideas.

Van Zandt, Eleanor. Dance. Austin, Texas: Steck-Vaughn Co., 1990. Surveys dance as an art form, examining such categories as folk dance, ballet dance, modern dance, ballroom dancing, and contemporary dance and dis cussing the creation and recording of dance. UPPER MIDDLE & SECONDARY GRADES

Anderson, Jack. Ballet and Modern Dance. Pennington, NJ: Princeton Book Company, 1992.

Au, Susan. Ballet and Modern Dance (World of Art). London: Thames and Hudson, 2000.

Coe, Robert. Dance in America. New York: E.P. Dutton, 1985.

Ford, Carin T. Legends of American Dance and Choreography. Berkeley Heights, NJ: Enslow Publishing, Inc., 2000.

Mazo, Joseph H. Prime Movers: The Makers of Modern Dance in America, 2nd Edition. Princeton: Princeton Book Co., 2000.

There are many more

books available about modern

dance

Just visit www.amazon.com

Recommended Reading

Title


University Musical Society University of Michigan Burton Memorial Tower 881 N. University Ave Ann Arbor, MI 48109-1101 734.615.0122 [email protected] www.ums.org/education

University of Michigan Department of Dance 3501 Dance Building Ann Arbor, MI 48109-2217 734.763.5460 www.music.umich.edu/departments/dance/index.htm

Michigan Dance Council P.O. Box 381103 Clinton Twp., MI 48038 www.michigandance.org

Detroit Dance Collective 23 E. Adams Detroit, MI 48226 313.965.3544

Michigan Theater and Dance Troupe 24333 Southfi eld Road Southfi eld, MI 48705 248.552.5501

Swing City Dance Studio Susan Filipiak, Director 1960 S. Industrial Ann Arbor, MI 48104 734.668.7782 www.swingcitydance.com

Wayne State University Dance Department 4841 Cass Avenue Detroit, MI 48202 313.577.4273 www.dance.wayne.edu

Dance Gallery Studio 815 Wildt Street Ann Arbor, MI 48103 734.747.8885 www.dancegalleryfoundation.org

Community Resources


TitleAmerican Dance Festival 1697 Broadway, Room 900 New York, NY 10019 212.586.1925 [email protected] www.americandancefestival.org

Jacob’s Pillow P.O. Box 287 Lee, MA 01238 413.243.0745 [email protected] www.jacobspillow.org

The Joyce Theater 175 Eighth Avenue New York, NY 10011 212.242.0800 www.joyce.org/

New York City Center 130 West 56th Street New York, NY 10019 212.247.0430 [email protected] www.nycitycenter.org/

Dance Theater Workshop 219 West 19th Street New York, NY 10011 212.691.6500 www.dtw.org/

Danspace Project 131 East 10th Street New York, NY 10003 212.674.8112 [email protected] www.danspaceproject.org/

National Resources

Title


Hubbard Street Dance ChicagoJim Vincent, artistic directorTuesday, February 6, 8pmPower Center

Jim Vincent, who worked closely with Jirí Kylián at the revered Nederlands Dans Theater, leads this innovative and exciting American dance company that presents sophisticated work by both American and international choreographers with an energy that literally jumps off the stage and into the audience. The company’s unconventional and innovative repertory by choreographers such as Kylián, Nacho Duato, Lar Lubovitch, and William Forsythe breaks down preconceptions about dance by juxtaposing pieces based on a variety of dance traditions and genres. The result? An engaging, seductive, human, and often edgy performance that inspires audiences to think — but also to have fun.

PROGRAM Lickety-Split (Choreography by Alejandro Cerrudo)From All Sides (Choreography by Jorma Elo)Strokes Through The Tail (Choreography by Marguerite Donlon)Gnawa (Choreography by Nacho Duato)

Evening Performance InfoTo purchase UMS

tickets:

Onlinewww.ums.org

By Phone734.764.2538

TEEN TicketIn response to the needs of our teen audience members, the University Musical Society has implemented the TEEN Ticket. All teens can attend UMS events at a significant discount. Tickets are available for $10 the day of the performance at the Michigan League Ticket Office, or for 50% off the published price at the venue 90 minutes before the performance begins. One ticket per student ID.

Send Us Your Feedback!UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters or reviews.

UMS Youth Education ProgramBurton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011

734.615.0122 phone • 734.998.7526 fax • [email protected]/education

Documents

006l076l07 YYouth Educationouth Education