UMS Teacher Resource Guide - Hubbard Street Dance Chicago

HUB B AR D S T R E E T D A N CE CH ICA G O

TEACHER RESOURCE GUIDE 2009 - 2010 UMS 09-10

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SUPPORTERS

Michigan Council for Arts & Cultural Affairs University of Michigan

Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund Bank of Ann Arbor Bustan al-Funun Foundation for Arab Arts The Dan Cameron Family Foundation/Alan and Swanna Saltiel Community Foundation for Southeast Michigan Consulate General of the Netherlands in New York Doris Duke Charitable Foundation Doris Duke Foundation for Islamic Art DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig Endowment Fund Honigman Miller Schwartz and Cohn LLP JazzNet Endowment W.K. Kellogg Foundation Masco Corporation Foundation Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION (of R. and P. Heydon) The Mosaic Foundation [Washington, DC] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund Rick and Sue Snyder Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund

This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched, written, and edited by Emily Barkakati and Mark Johnson.

Special thanks to Hubbard Street Dance Chicago, Erika Nelson, Farrah Malik, Meredith Dincolo, Pablo Piantino, Sue Budin, Michael Kondziolka, and Omari Rush for their contributions, feedback, and support in developing this guide.

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HUBBARD STREET DANCE CHICAGO GLENN EDGERTON artistic director

11AM - 12 NOON

FRIDAY APRIL 23

2010

POWER CENTER

TEACHER RESOURCE GUIDE 2009 - 2010 U M S Y O U T H E D U C AT I O N P R O G R A M

TA B L E O F C O N T E N T S

Short on time?

If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents.

Those pages will provide the most important information about this performance.

ATTENDING THE CONCERT 6 Attending the Show 8 Map + Directions 9 The Power Center

THE ART-MAKERS 18 Dancers 22 Dancer Interviews 25 Artistic Staff

HUBBARD STREET DANCE CHICAGO (HSDC) 11 Contemporary v. Modern 12 Lou Conte + His Repertory Company 14 Timeline 15 UMS + HSDC

REPERTOIRE 28 At’em (Atem) Adam 29 Bitter Suite 30 Rehearsals

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ABOUT DANCE 32 Modern + Contemporary Dance 35 How to Watch Dance 37 Movement 38 Elements

RESOURCES 40 Vocabulary 42 Lesson Plans 43 Bibliography + Photo Credits 44 Organizations 45 Suggested Readings ABOUT UMS 47 What is UMS? 48 Youth Education Program 50 Contacting UMS

AT T E N D I N G T H E C O N C E R T UMS 09-10

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D E TA I L S

AT T E N D I N G T H E S H O W We want you to enjoy your time with UMS! PLEASE review the important information below about attending the Youth Performance:

TICKETS TICKETS We do not use paper tickets for

DOOR ENTRY A UMS Youth Performance

DURING THE PERFORMANCE At the

Youth Performances. We hold school reserva-

staff person will greet your group at your bus

start of the performance, the lights well

tions at the door and seat groups upon arrival.

as you unload. You will enter through the

dim and an onstage UMS staff member will

front doors of the Power Center, which faces

welcome you to the performance and provide

Fletcher Street.

important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior

ARRIVAL TIME Please arrive at the Power

USHER

of surrounding groups) please IMMEDIATELY report the situation to an usher or staff member in the lobby.

Center between 10:30-10:50 AM to allow you time to get seated and comfortable before the

SEATING & USHERS When you arrive at

show starts.

the front doors, tell the Head Usher at the door the name of your school group and he/ she will have ushers escort you to your block of seats. All UMS Youth Performance ushers

PERFORMANCE LENGTH 60 minutes with

wear large, black laminated badges with their

no intermission

names in white letters.

DROP OFF Have buses, vans, or cars drop off students on Fletcher Street in front of the Power Center. If there is no space in the drop off zone, circle the block until space becomes

AFTER THE PERFORMANCE When the

available. Cars may park at curbside metered

performance ends, remain seated. A UMS

spots or in the visitor parking lot behind the power Center. Buses should wait/park at

BEFORE THE START Please allow the usher

staff member will come to the stage and

Briarwood Mall.

to seat individuals in your group in the order

release each group individually based on the

that they arrive in the theater. Once everyone

location of your seats.

is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.

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BUS PICK UP When your group is released,

SENDING FEEDBACK We LOVE feedback

ACCESSIBILITY The following services are

please exit the performance hall through the

from students, so after the performance please

available to audience members:

same door you entered. A UMS Youth Perfor-

send us any letters, artwork, or academic

mance staff member will be outside to direct

papers that your students create in response

• Wheelchair, companion, or other special

you to your bus.

to the performance: UMS Youth Education

seating

Program, 881 N. University Ave., Ann Arbor,

• Courtesy wheelchairs

MI 48109-1011.

• Hearing Impaired Support Systems

AAPS

PARKING There is handicapped parking very close to the Power Center on Fletcher Street

AAPS EDUCATORS You will likely not get

and in the parking structure behind the Power

on the bus you arrived on; a UMS staff mem-

Center on Palmer Drive. The first three levels of

ber or AAPS Transportation Staff person will put you on the first available bus.

NO FOOD No Food or drink is allowed in the theater.

the Palmer Drive structure have 5 parking spots on each level next to each elevator. There are a total of 15 parking spaces in the garage.

WHEELCHAIR ACCESSIBILITY The Power Center is wheelchair accessible and has 12 seats for audience members with special needs.

LOST STUDENTS A small army of volunteers staff Youth Performances and will be

PATIENCE Thank you in advance for your

ready to help or direct lost and wandering

patience; in 20 minutes we aim to get 1,300

students.

people from buses into seats and will work as efficiently as possible to make that happen.

BATHROOMS ADA compliant toilets are available in the green room (east corner) of the Power Center for both men and women.

ENTRY The front doors are not powered, however, there will be an usher at that door opening it for all patrons.

LOST ITEMS If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich. edu) to attempt to help recover the item.

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E. H U R ON S T

D RO P - O FF Z O N E

S TAT E S T

RA C KHA M

P OWER PA L M ER D R IVE

PA R K

drop-off zone.

WA S H TEN AW AVEN U E

a spot is free in the

F L ETC H ER S T

TH AYER S T

Circle this block until

E . LIB ERTY ST

HIL L M A L L PA R KIN G &

WILLIA M ST

N . U N IVER S ITY AVEN U E

CHURCH ST

MAP + DIRECTIONS This map, with driving directions to the Power Center, will be mailed to all attending educators three weeks before the performance.

VENUE

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VENUE

THE POWER CENTER THE POWER CENTER for the Performing

was built to supply this missing link in

a new theater, realizing that state and

Arts grew out of a realization that the

design and seating capacity.

federal governments were unlikely to

University of Michigan had no adequate

provide financial support for the con-

proscenium-stage theater for the per-

In 1963, Eugene and Sadye Power,

forming arts. Hill Auditorium was too

together with their son Philip, wished to

struction of a theater.

massive and technically limited for most

make a major gift to the University. The

Opening in 1971, the Power Center

productions and the Lydia Mendelssohn

Powers were immediately interested in

achieved the seemingly contradictory

Theatre was too small. The Power Center

supporting the University’s desire to build

combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.

The Power Center seats approximately 1,300 people.

POWER CENTER 121 Fletcher St Ann Arbor, MI 48109 Emergency Contact Number: (734) 764-2538 (Call this number to reach a UMS staff person or audience member at the performance.)

University of Michigan, Power Center

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HUBB ARD STREET DANCE CHICAGO (HSDC)

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UMS A R T I S T I C S TAT E M E N T

C O N T E M P O R A R Y V. M O D E R N THE MISSION OF THE MAIN COMPANY of Hubbard Street Dance Chicago is “to be America’s leading contemporary dance company, presenting eclectic, innovative and razor-sharp repertoire; promoting appreciation for contemporary dance; and contributing to the evolution of the art form.”

As a repertory company, HSDC does not have just one resident choreographer whose artistic style and dance vocabulary shape the company. Rather, HSDC is driven by the creation of new choreography by many different dance-makers, often of national and international repute. This signature characteristic of a contemporary dance company is a distinguishing factor in HSDC not being labeled as a modern dance company.

wide, that keeps the company’s aesthetic

27’ 52” (2010)

fresh, and that generally moves dance

Choreography by Jirí Kylián [Netherlands]

forward as an art form. These qualities

Music by Dirk Haubrich

Ambiguity surrounds the phrase “modern

solidly classify HSDC as a contemporary

dance company” (with a basis in modern

group and the ensemble’s visit to Ann

Tabula Rasa (2005)

and contemporary being synonyms in the

Arbor provides a special opportunity for

Choreography by Ohad Naharin [Israel]

dictionary). One standard connotation of

UMS Youth Performance audience members to see work difficult to experience

Music by Arvo Pärt

“modern dance companies” is that they are ensembles founded and flourishing

without, for instance, going to a dance

Walking Mad (2008)

in the late 19th to late 20th centuries:

festival that presents the dance companies of different choreographers.

Choreography by Johan Inger [Sweden]

companies that, if still in existence today, continue to promote and create within the framework of their founding choreographer’s movement legacy.

What follows are the five works in HSDC’s repertoire that they will perform during their run of 4 shows in Ann Arbor

HSDC pursues what’s current in art-

from April 22-24. The choreographers on

making, using an array of contemporary

this list are some of the company’s most

choreographers to set work on them that

frequent collaborators and are from all

engages and challenges audiences world-

over the world:

Music by Maurice Ravel

At’em (Atem) Adam (2010) Choreography by Terence Marling [USA]

Bitter Suite (2009) Choreography by Jorma Elo [Finland] Music by Felix Mendelssohn and Claudio Monteverdi

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ABOUT

LOU CONTE + HIS R E P E R T O R Y C O M PA N Y

AFTER A PERFORMING CAREER includ-

In the 1980s, Conte commissioned

Conte’s 23 years as the company’s Artistic

ing Broadway musicals, in 1974 Conte

several works by Lynne Taylor-Corbett,

Director, he received numerous awards,

established the Lou Conte Dance Studio

Margo Sappington, and Daniel Ezralow.

including the Chicago Dance Coalition’s

in Chicago. In 1977, he founded what

He continued to build HSDC’s repertoire

inaugural Ruth Page Artistic Achievement

is now Hubbard Street Dance Chicago

by forging a key partnership with Twyla

Award in 1986, the Sidney R. Yates Arts

with four dancers performing at senior

Tharp in the 1990s, acquiring seven of

Advocacy Award in 1995, and the Chi-

citizens homes in Chicago. Originally

her works, including an original work for

cagoan of the Year award from Chicago

the company’s sole choreographer, he

the company. Conte further expanded

magazine in 1999. In 2002, he was one

developed relationships with emerging

the company’s repertoire to include the

of six individuals named Laureates of The

and world-renowned choreographers

work of Dutch choreographer Jirí Kylián,

Lincoln Academy of Illinois, the highest

as the company began to grow, adding

Spanish choreographer Nacho Duato,

honor the state bestows upon Illinois

their work to the company’s repertoire.

and Israeli choreographer Ohad Naharin.

residents. He has been credited by many

These relationships transformed HSDC into the internationally acclaimed repertory company it is today (for dancers, these opportunities to collaborate with a wide variety of artists are one of the signature joys of performing with HSDC).

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These long-term relationships with choreographers, 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

for helping raise Chicago’s international cultural profile and for creating a climate for dance in the city, where the art form now thrives.

Lou Conte Dance Studio

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ABOUT

C O M PA N Y H I S T O R Y: T I M E L I N E 1974

1990

2008

The Lou Conte Dance Studio opens in Chicago,

HSDC launches education and community

HSDC begins performing at the Harris Theater

where young aspiring dancers were able to take

programs in order to offer movement-based

in Millennium Park, furthering its role as a

tap lessons with Mr. Conte.

arts experiences to students, teachers, and the

cultural destination in Chicago.

1977 Hubbard Street Dance Chicago (HSDC) is created under the direction of Lou Conte.

This marks the beginning of collaborations between HSDC dancers and nationally recognized choreographers. While many peer contemporary dance companies are single choreographer organizations, HSDC has al-

general public.

2010 1998

Hubbard Street 2 is created to give younger gain professional experience.

2000 Jim Vincent replaces Lou Conte, who retires

numerous choreographers and styles.

as Artistic Director after 36 years with HSDC. Under Vincent’s tenure as Artistic Director, Hubbard Street creates new and exciting partnerships with the Chicago Symphony Orchestra, the Art Institute of Chicago, the Illinois Institute of Technology School of Architecture, and the Rush University Medical Center, offering HSDC’s Dance for Parkinson’s program.

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Director: Glenn Edgerton.

dancers an opportunity refine dance skills and

ways been a repertory company, representing

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Hubbard Street announces its third Artistic

Internet Resource Hubbard Street Dance Chicago http://hubbardstreetdance.com/home.asp For more information on Hubbard Street Dance Chicago check out their website, which includes current repertoire, company information, reviews, and other resources.

ABOUT

UMS + HSDC HUBBARD STREET DANCE CHICAGO and the University Musical Society have a long history together. Their collaboration began back in 1988 when founder Lou Conte brought his established dance company to Michigan for a set of two performances. Before this season’s presentation of HSDC, they last visited Ann Arbor back in 2007, performing their signature brand of original and newly created works: two even represented collaborations with the Chicago Symphony Orchestra (From All Sides and Strokes Through The Tail). These works were well received. In total, Hubbard Street Dance Chicago has been presented by UMS eleven times.

PAST UMS/HSDC COLLABORATION

Upper Left February 2007 UMS Youth Performance by HSDC. Former Artistic Director Jim Vincent welcomes the full audience from the stage.

Lower Left HSDC master class with University of Michigan students in February 2007.

Upper Right HSDC master class with University of Michigan during their September 2002 Ann Arbor residency.

Lower Right Dance Gallery Studio partnered with UMS to host a master class open to the public (any interested dancer) led by HSDC in 2002.

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HUBBARD STREET DANCE CHICAGO has been presented by UMS eleven times. Pulled from the UMS archives, the image on the far right is a page from the program book when HSDC first visited in 1988. The other two images are of postcards distributed to patrons that describe the performances (the upper piece is from 2007 and the lower is from 2001).

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T H E A R T- M A K E R S

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PEOPLE

DANCERS C H R I S T I A N B R O O M H A L L Columbus, Ohio Broomhall received classical training from Ballet Met Columbus under the direction of David Nixon and Yoko Ichino.

From 1999 to 2001 he danced professionally with the Ballet Met Columbus. He then performed with the Northern Ballet Theatre until 2005, when he returned to dance with Ballet Met Columbus until 2008. Broomhall joined HSDC in August of 2008.

J A C Q U E L I N E B U R N E T T Pocatello, Idaho Jacqueline received her classical ballet training in Pocatello, Idaho from Romanian Ballet Master Marius Zirra, with additional summer training at Ballet Idaho, Brindusa-Moore Ballet Academy, Universal (Kirov) Ballet Academy, The Juilliard School and the San Francisco Conservatory of Dance. She received a B.F.A. in Dance Performance from The Ailey School/ Fordham University joint program in New York City in May 2009, graduating magna cum laude and with departmental honors. Jacqueline joined HSDC as a Center Apprentice in January, 2008, while concurrently completing her B.F.A. degree, and became a member of the main company in August, 2009.

A L E J A N D R O C E R R U D O Madrid, Spain Originally from Madrid, Spain, Alejandro Cerrudo 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 (NDT) II under the direction of Gerald Tibbs. Cerrudo danced with NDT II for three years before becoming a HSDC member in August 2005. In 2008, he was named an HSDC choreographic fellow and created three works for the company. Cerrudo is the first ever HSDC resident choreographer.

M E R E D I T H D I N C O L O Indianapolis, Ind. Dincolo began dancing at age seven in Indianapolis before moving to Michigan 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 HSDC 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 Prejlocaj.

Dincolo joined Nationaltheater Mannheim in 2003 before her return to HSDC in November 2004.

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B R I A N E N O S Cotati, Calif.

Enos began his dance training at age 14 and has studied with the Houston 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 Parsons, Lila York, Ben Stevenson, Dominic 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.

K E L L I E E P P E R H E I M E R Los Osos, Calif.

Epperheimer 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 Hubbard Street 2 in January 2005 before becoming an apprentice with the main company in December 2006.

L A U R A H A L M Baltimore, Md. Halm 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 Guatemala as a guest artist before joining Hubbard Street 2 in January 2004. Halm became an apprentice with HSDC in August 2006.

J A S O N H O R T I N Olympia, Wash.

Hortin graduated from the University of Nevada, Las Vegas with a B.F.A. in dance under the direction of Louis Kavouras and has danced with Moving People Dance Theatre, the Erick Hawkins Dance Company, and River North Dance Chicago.

Hortin joined HSDC as a Hubbard Street Dance Center Apprentice in August 2007 and was promoted into the main company in July 2008.

A N A L O P E Z A Coruña, Spain Lopez began her formal training at Conservatorio de Danza Disputacion de A Coruña. Upon graduating Isaac Diaz Pardo high school, she continued her training at Centro Internacional de Danza Carmen Roche. Lopez danced with Joven Ballet Carmen Roche, Compañía Nacional de Danza 2, and Ballet Theater Munich before joining HSDC in January 2008.

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PA B L O P I A N T I N O Mendoza, Argentina Piantino began dancing at the age of 14. His training includes private seminars with Hector Zaraspe and studies at both the Colón Theatre School and The Juilliard School where he received his B.F.A. Having danced with both the Colón Theatre Ballet Company and The Juilliard School Dance Ensemble, Piantino joined the San Francisco Ballet in 1999 and then became an HSDC company member in August of 2005.

A L E J A N D R O P I R I S - N I Ñ O Madrid, Spain Niño began his ballet studies at the age of ten when he joined the Victor Ullate School of Dance on scholarship, later becoming a company member in 1995. While with the Victor Ullate Company, Alejandro performed all over Europe as well as at many major events in Spain. In 1999, Piris-Niño moved to New York to dance with ABT II and was promoted to American Ballet Theatre’s main company in 2000. Piris-Niño joined HSDC in August of 2008. He would like to thank his brothers and sisters for being unconditionally helpful and supportive.

P E N N Y S A U N D E R S West Palm Beach, Fla. Saunders 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.

K E V I N S H A N N O N Baltimore, Md. Shannon began his formal dancing under the guidance of Lester Holmes. He graduated from The Baltimore School for the Arts, receiving additional summer training at the School of American Ballet, Miami City Ballet, Paul Taylor, and David Parsons. He received his B.F.A. in 2007 from The Juilliard School, where he performed works by Susan Marshall, Mark Morris, William Forsythe, and Jirí Kylián. He has toured nationally with The Juilliard School Ensemble and performed in the nationally-broadcast special “Live From Lincoln Center, The Juilliard School: Celebrating 100 Years.” He is a co-founder of BØRDERLINE DANCE CIRCLE—a troupe under the choreographic direction of Michelle Mola—for which he danced professionally and developed concepts since 2005. Shannon joined HSDC in November 2007.

J E S S I C A T O N G Binghamton, N.Y. Tong received a full scholarship to the Ballet Department at the University of Utah and became a member of Utah Ballet as a junior in high school. She attended summer programs at American Ballet Theatre, San Francisco Ballet, Kaatsbaan, and Lou Conte Dance Studio, among others. Jessica danced with BalletMet in Columbus, Ohio; Eliot Feld’s Ballet Tech in NYC; and Hubbard Street 2 before joining the main company as an apprentice in January 2007.

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B E N J A M I N W A R D E L L Memphis, Tenn.

Wardell began dancing at age ten. After completing his training at Classical Ballet Memphis School, under the tutelage of Pat Gillespie, he danced with Cincinnati Ballet for five seasons, achieving the rank of soloist. In 2006, Ben moved to San Francisco to join Alonzo King’s Lines Ballet, where he was given the opportunity to explore mind-opening philosophies and physicalities of movement while traveling extensively through the United States and Europe. In addition to being a dancer, Ben is a photographer and writer. He joined HSDC in January 2008.

R O B Y N M I N E K O W I L L I A M S Lombard, Ill. Williams 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.

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PEOPLE

GETTING TO KNOW YOU: DANCER INTERVIEWS All dancers don’t come from the same background. Pablo and Meredith are two dancers with Hubbard Street, and while Pablo is a great example of someone who has always planned on becoming a dancer, Meredith shows that it is also possible to make the decision later in life.

PABLO PIANTINO How long have you been dancing?

MEREDITH DINCOLO

I started about 20 years ago.

I started when I was about seven,

Professionally about 17 years.

in the typical way of a child trying out things. I danced seriously in high school, but instead majored in English and French while at Notre Dame. But I decided halfway through college that I wanted to dance, so when I was 21 I moved to Chicago and have been dancing in some capacity ever since. I’m 38 now, so that was a long time ago.

How long do you practice every day?

What made you want to be a dancer?

From 10am – 6pm Monday through

A basic rehearsal day is 10am – 6pm.

Friday. Regularly weekends would be

It’s different when we’re in the theater:

rest.

then we start later and end later.

My parents were dancers, and that’s

I had tried a few things, such as

pretty much it. They were a huge

gymnastics, and it was something

inspiration.

that I enjoyed and was good at growing up. I think that when I took the break from it in college, I really missed that kind of physical expression and creative outlet. The other things that I was getting into were not nearly as freely creative. That’s what I really enjoy about it now.

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PABLO PIANTINO

MEREDITH DINCOLO

What kinds of things do you do in a

I went to regular high school and

I didn’t actually go to school for

school for dance?

then went to Juilliard. We had two

dance, but I can tell you more about

classes a day, usually modern and

our daily schedule here. If we have

ballet. We also had to study things

someone who has been invited in,

like music history, anatomy, and other

sometimes we devote the entire day

classes. We also did acting classes or

to their creation. We may spend

other types of dance, and at the end

an entire day working on the same

of the day we’d have a rehearsal for

thing, which can be really helpful to

pieces. There were concerts three or

make progress. Otherwise, we often

four times a year.

alternate repertoire throughout the day and break up our day into different rehearsal periods. We don’t always have set partnerships, so there is a lot of discussion between dancers trying to solve problems. It’s a pretty collaborative effort. Even in a creation, sometimes you need to wait for direction, but also sometimes they allow you to work things out differently from how they originally proposed. In this company there’s a lot of involvement with the dancers.

Did you ever have trouble with nerves

There’s always some nervousness, but

I usually get a nervous excitement,

or stage fright? If so, how did you deal

not stage fright. Maybe when I was

but it doesn’t inhibit the steps.

with it?

16 or 17, things would go wrong and

I’ve had moments right before the

I’d kind of freak out, but you just learn

curtain goes up where I’ll forget the

to keep going. The idea is that you’ve

piece, but once it begins it all comes

practiced the moves enough that your

back to you. You’ve just rehearsed it

body can keep going even when things

so much that you can do it on auto-

happen. It’s mostly only afterward that I

pilot if you have to. Personally, I like

worry, but during I don’t get nervous.

that energy.

How do you stay motivated? What do

I just try to stay positive. My parents

I think the physical nature of our

you do when you don’t feel inspired to

and my teachers have been great

work is such that you can always

work hard?

mentors to me. Every day I try to enjoy

get something out of it, and it can

myself and remind myself that I’m

be really cathartic because of the

lucky to live what I love.

pure physicality of it, even if you’re not feeling expressive. We’re a little spoiled in that what we’re doing is what we love to do, and it’s something that we would choose to do anyway. And when it’s not something that you want to do it can feel like work, but it is still satisfying.

PABLO PIANTINO

MEREDITH DINCOLO

What do you like about working with

The repertoire that Hubbard has is

I’ve been here for a while, and the

the HSDC? What do you think makes it

definitely an attractive thing. It’s one

fact that it’s a repertory company

a unique company?

of the few American companies with

means that things are always chang-

a strong European repertoire. It’s a bit

ing. It’s not like a Broadway show

like a family. It’s not that huge and

where the program is the same every

we tour a lot, so we’re recognized

night. People are constantly chang-

all over the company and the world.

ing, and also I think the nature of

Plus, Chicago is a pretty cool town.

our group not being a huge com-

Right now it’s appealing because the

pany means that you have a strong

new director is an awesome human

relationship with your colleagues and

being, plus the dancers that we work

we’re always in different situations

with are really amazing.

of mixing up partnerships in the group. You can’t get stuck in a routine, and we have a real versatility.

Do you get to interact much with non-

Not too much because they’re always

Everyone is here together except for

dancers on the HSDC staff?

busy and we’re always busy, but here

when we’re on tour. We have very

and there we do get together when

different schedules, but we do get

we have things like donor parties and

to interact when we’re organizing

receptions. They always come to our

things through the Education or

shows though, so they know who we

Programming departments. We’ll

are and what we do, but unfortunately

work together when meeting donors

we often, as dancers, get so caught up

or new members.

in our routine that at the end of the day we just want to go home and rest.

But, we all know each other and are still all friendly with each other.

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PEOPLE

A R T I S T I C S TA F F It takes more than just dancers to run a dance company.

These are some of the behind-the-scenes members of Hubbard Street.

G L E N N E D G E R T O N Artistic Director Edgerton joined HSDC after an international career as a dancer and director. He began his dancing career at The Joffrey Ballet where, mentored by Robert Joffrey, he performed leading roles in the company’s contemporary and classical repertoire for 11 years. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater, and after dancing for five years retired from performing to become artistic director of the main company, leading NDT1 for a decade and presenting the works of Jirí Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot, and Sol Leon, among others. From 2006 to 2008, he directed The Colburn Dance Institute at The Colburn School of Performing Arts in Los Angeles. In 2007, Edgerton initiated a series of collaborations between The Colburn School and Hubbard Street Dance Chicago. Glenn joined HSDC’s artistic leadership team full-time as associate artistic director in 2008 and now, as artistic director of Hubbard Street Dance Chicago, will guide the company forward, building on more than three decades of artistic leadership from both Lou Conte and Jim Vincent, whose extraordinary work has established the company as a leader in dance performance, education and appreciation.

J A S O N D . PA L M Q U I S T Executive Director Palmquist joined Hubbard Street Dance Chicago in May 2007, after serving the arts community in Washington D.C. for nearly fifteen years. Palmquist began his career at the John F. Kennedy Center for the Performing Arts, most recently serving as Vice President of Dance Administration. During his tenure, he oversaw multiple worldpremiere engagements of commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet, and the inception in 1997 of the Millennium Stage—an award-winning, free daily performance series that has to date served over three million patrons. Deeply enriching the Kennedy Center’s artistic programming, he successfully presented engagements with many of the world’s most important dance companies including the Royal Ballet, Alvin Ailey American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre, and New York City Ballet. Palmquist also managed television initiatives of the Kennedy Center including the creation of the Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary of the September 11 attacks. In 2004, he accepted the position of executive director of the Washington Ballet. Under his leadership, the company presented full performance seasons annually at the Kennedy Center and the Warner Theater, as well as nurtured its world-renowned school and extensive education and outreach programs. Raised in Iowa, Palmquist is a graduate of the University of Northern Iowa.

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25

TA R Y N K A S C H O C K R U S S E L L Director, HS2 and Artistic Associate Kaschock Russell was born in Harrisburg, Pennsylvania. She joined the Joffrey Ballet in 1995 and spent seven years performing and touring extensively with the company. During that time, she expanded her artistry by dancing the principal roles in classic works by Agnes DeMille, George Balanchine, Martha Graham, and John Cranko. She was also the first woman outside of David Parsons company to dance his signature solo Caught. Kaschock joined Hubbard Street Dance Chicago in 2002 and the following January was named one of Dance Magazine’s “25 to Watch.” Her repertoire, while dancing with HSDC, included master works by Jirí Kylián, Nacho Duato, William Forsythe and Ohad Naharin. Kaschock also found much growth and inspiration participating in numerous original creations while a member of the company.

In 2007, Kaschock became a member of HSDC’s artistic staff and began teaching company class, conducting rehearsals and re-setting choreography. Recently named the Director of Hubbard Street 2, she also now coordinates HSDC’s National Choreographic Competition, as well as nurtures the growth of promising young artists.

T E R E N C E M A R L I N G Rehearsal Director and Artistic Associate From Chicago, Marling 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, performing works by George Balanchine, Glen Tetley, Paul Taylor, Jirˇ í Kylián, Ohad Naharin, Kevin O’Day, and Dwight Rhoden as well as many full length classical ballets. In 2003 Marling was invited to join the Nationaltheater Mannheim in Germany under the direction of Kevin O’Day where he participated in the creation of many new works. Marling joined HSDC in April of 2006 and danced with the company until December of 2009. At HSDC Marling participated in the creation of new works with Jorma Elo, Toru Shimazaki, Jim Vincent, Lucas Crandall, and Alejandro Cerrudo, and danced works by Susan Marshall, Nacho Duato, Ohad Naharin, Margarite Donlon, Jirˇ í Kylián, and others. Marling began as artistic associate and rehearsal director for HSDC in January of 2010.

C L A I R E B ATA I L L E Director, Lou Conte Dance Studio Bataille was a founding member of HSDC and, during her 15 years at HSDC, she served as an artistic assistant, ballet mistress, and choreographed five works for the company. Claire oversees the nationally recognized LCDS Scholarship Program and manages day-to-day operations of the Lou Conte Dance Studio, which offers over 60 classes per week in several dance disciplines.

26

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REPERTOIRE

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27

REPERTOIRE

AT ’ E M ( AT E M ) A D A M

CHOREOGRAPHER Terence Marling (see

MARLING “I usually don’t turn on the

an honor and a joy to share a studio

his bio on page 26)

music for the piece of choreography right

with them, back to the mirror or sweat-

away. We started by working with a per-

ing on the dance floor.”

MUSIC Gerald Marks’ “All of Me” performed by Billie Holiday, George Gershwin’s “But Not For Me” performed by Ella Fitzgerald and music by Edgar Meyer, Moondog and Luciano Berio LENGTH 20 minutes PREMIERE March 18, 2010

petually changing soundtrack. We made phrases of movement together until we

Casting

had a language to work from. Then we

Jacqueline Burnett

took that language and applied it to the

Robyn Mineko Williams

actual music for the piece. The dancers

Jessica Tong

have made (and will continue to make) many of the musical and movement decisions in the piece. I want the dancers to have the freedom to make choices

Kellie Epperheimer Laura Halm Pablo Piantino

TITLE The title takes inspiration from the

about their movement and delivery on

Brian Enos

colloquial expression “Up and at ‘em;”

stage to keep the piece solidly in the

Christian Broomhall

“atem,” the German word for “breath;”

present. The artists in this company are

Jason Hortin

and the biblical story of Adam.

some of the best in the world. It is both

Kevin Shannon

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REPERTOIRE

BITTER SUITE

CHOREOGRAPHER Jorma Elo BIO In just a few short years, Finnishborn Jorma Elo has become one of the most sought-after choreographers in the United States and Europe. Elo trained with the Finnish National Ballet School

ous works in the U.S. and internationally,

REPERTOIRE In Bitter Suite, Jorma Elo

including works for the New York City

has created a wonderfully tender and

Ballet, American Ballet Theatre, Boston

spirited work with the special stamp of his

Ballet, Royal Danish Ballet, Finnish Na-

Scandinavian sense of humor. The piece

tional Ballet, Aspen Santa Fe Ballet, and

is built on imagery, at its base, and blends

From All Sides for Hubbard Street Dance

humanity with fierce ballet technique.

Chicago. The 2005 Helsinki International Ballet Competition awarded Elo a cho-

Casting

reographic prize and he was the recipient

Robyn Mineko Williams

of the Prince Charitable Trust Prize and

Ana Lopez

the Choo-San Goh Choreographic Award

Meredith Dincolo

in 2006.

Jessica Tong

of Boston Ballet in 2005, was singled

MUSIC Felix Mendelssohn and

Benjamin Wardell

out as a “talent to follow” by Anna

Claudio Monteverdi

Alejandro Cerrudo

and the Kirov Ballet School in Leningrad.

Prior to joining Netherlands Dans Theater in 1990, he danced with Finnish National Ballet from 1978 through 1984, and with Cullberg Ballet from 1984 to 1990. Elo, who was named resident choreographer

Kisselgoff in her 2004 Year in Review for The New York Times; it was an astute observation. He has since created numer-

PREMIERE October 1, 2009

Pablo Piantino Christian Broomhall

LENGTH 26 minutes

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29

ABOUT

REHEARSALS I think there is no company like HSDC in the whole United States—the creativity, the freedom in exploring different dance styles.

Both the way the dancers excel at different types of choreography and the creativity level that HSDC is privileged to enjoy are really unique and produce a special atmosphere when one has the chance to work with them. ­ — Jorma Elo, from Footnotes September 2009

Jorma Elo (far right) working with HSDC dancers for his world premiere, Bitter Suite. With Ana Lopez, Robyn Mineko Williams, Alejandro Cerrudo, Terence Marling. Photo by Cheryl Mann.

30

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ABOUT DANCE

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31

H I S T O RY

M O D E R N + C O N T E M P O R A R Y D A N C E : K E Y P L AY E R S *NOTE: Hubbard Street Dance Chicago is a contemporary dance company; however, modern dance influenced the movement styles and dance-making of many, if not most American and European artists in the 20th and 21st centuries.

MODERN DANCE DEVELOPED in the U.S. and Europe in the 20th century as a reaction against the rigidity of classical ballet. Whereas classical ballet restricted expression because choreography had to adhere to a specific form, modern dance focused more on expression. It is difficult to capture the developments of modern dance without seeing actual pieces, but one way to trace its history is to trace through a few of its key movements and choreographers. The stories of these choreographers show how they pushed the limits of the question of what is dance, and illustrate the fact that it is okay to have many different points of view on the subject of dance. Keep in mind that this only represents a small fraction of the numerous choreographers involved in modern and contemporary dance.

THE FOUNDERS The founders of modern dance were all influenced by the idea that dance did not just have to be a momentary diversion of entertainment, and that it could move audiences in a deep and serious way. In the beginning, they often compromised their artistic beliefs to gain a following; the later founders rebelled much more strongly against their traditional ballet roots.

LOIE FULLER (1862 – 1928)

ISADORA DUNCAN (1877 – 1927)

MAUDE ALLEN (1873 – 1956)

Loie Fuller was a self-taught dancer,

Heavily inspired by Loie Fuller, Isadora

Just like Isadora Duncan, many of Maude

noted for improvisatory performances in

Duncan choreographed dance that grew

Allen’s works were the result of her

which she would manipulate a filmy silk

out of her personal responses to great

appreciation of music. The two actually

dress into shapes through her dance. Her

music. She also loved the civilizations of

engaged in brief conflict during which

lighting techniques and her airy sculp-

ancient Greece and often danced in a tu-

Duncan accused Allen of imitating her

tural style of dance were also viewed as

nic. Duncan founded schools in Germany,

art, but the problems were resolved

innovative.

France, and Russia.

quickly. Allen liked to call her style “dramatic dancing.”

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POST-WWII DEVELOPMENTS The choreographers of the 1940’s and 1950’s respected the struggles faced by the founding generation of modern dance, but also wanted to branch out into their own creative paths. These dancers acknowledged the usefulness of ballet and began to incorporate it back into their choreography. This meant that much of their dances were more lyrical than the previous modern dances.

NEW FREEDOM In the 1950’s and 1960’s choreographers began to rebel against the previous traditions of modern dance; a more appropriate label for this work is contemporary dance. These dancers promoted the idea that any movement could be considered dance if used by a choreographer. Many did not use music, elaborate costumes, and makeup. They also sought out alternative performance venues outside of the traditional stage.

Internet Resource The Guardian’s Step-By-Step Guides to Dance: http.guardian.co.uk/stage/dance+series/stepbyspepguidetodance These guides break down the works of current choreographers in a humorous and accessible format. They cover biographies, elements of style, and quotes. Many well known choreographers are included, such as George Balanchine and Merce Cunningham.

TED SHAWN (1891 – 1972)

MARTHA GRAHAM (1894 – 1991)

JOSÉ LIMÓN (1908 – 1972)

Although the modern dance movement

To this day, Martha Graham remains one

An impressive dancer with an extensive

was initially female-dominated, the

of the most well-known modern danc-

legacy, José Limón’s dance company was

introduction of Ted Shawn began to close

ers. Her theory of dance technique was

the first to successfully survive after its

the gender divide. He was a husband and

that all motion stemmed from the pelvis,

creator’s death. His dance possessed a

dance partner to Ruth St. Denis, another

an idea that has resulted in a system of

unique lyricism due to a technique of

largely influential contributor of the time.

teaching that is still used today. Graham

fall and recovery, in which one gives in

The two created the Denishawn Compa-

mostly choreographed dances with music

to gravity and then rebounds off the

ny in Los Angeles, which trained many of

that was specially commissioned.

ground. This technique is often taught

the later generation of modern dancers.

as a counterbalance to Martha Graham’s pelvis technique.

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33

ALVIN AILEY (1931 – 1989)

MERCE CUNNINGHAM (1919 – 2009)

TWYLA THARP (1941 – )

Showcasing his versatility of style, Alvin

As one of the first to challenge the

The choreography of Twyla Tharp has

Ailey choreographed for Broadway

founding principles of modern dance,

had strong, rhythmical use of the lower-

in addition to his work in both ballet

Merce Cunningham initially worked with

half of the body, while the upper-half

and modern dance, the last two of

the Martha Graham dance company, only

possesses a throwaway and rambling

which he tried to find a middle ground

the second male to do so. He formed his

look. She is classicist in structure, yet

between. Since, at the time there was

own company after leaving Graham and

her dance utilizes the body language of

no modern dance repertory company,

increasingly used an approach which fo-

a graceful athlete. Tharp has choreo-

he instituted a revival program within

cused on pure movement without a story,

graphed for numerous styles of music

his company to showcase the roots of

character, or dramatic mood. He also

ranging from jazz to popular to classical.

modern dance.

frequently used chance determination, in which parts of choreography would be determined by random methods, such as a coin toss.

Twyla Tharp leads a UMS Lecture Demonstration in April 2002.

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ENGAGE

H O W T O WAT C H D A N C E : BEFORE, DURING, AFTER There are many different ways to watch a dance performance.

Here are some things to think about before, during, and after the show.

BEFORE: ASSESS PRIOR KNOWLEDGE You have probably have experienced dance in your everyday life, as dance exists in many forms beyond the formal stage. Before attending the performance, answer these questions to explore your feelings about dance.

•

•

What is dance?

Have you ever attended a performance before? If so, what type of performance and what was your experience? If not, what do you think this performance will be like?

•

What do you think are the differences between going to sports events and attending the theatre; or listening to the radio and going to concerts? What do they think the differences will be between going to a dance performance and attending a play?

•

Discuss the various jobs associated with creating the dance performance: wardrobe supervisor, dancer, artistic director, lighting designer, etc. If you could work in a dance company, what would you do?

•

Where have you seen or experienced dance (for example, at school dances, in their neighborhoods, MTV, movies, etc.)?

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35

DURING: SUGGESTIONS FOR WATCHING You don’t have to have any special training or previous experience to watch dance. You will be taking in information with all your senses – your eyes, your ears, even your muscles. You may be fascinated with the physical activity you see, the music, the production elements (lighting, costumes, props), or with a “story” the dancers tell you.

Every piece of choreography has a reason for being. Dances may be celebrations, tell stories, define moods, interpret poems, express emotions, carve designs, or visualize music. As you watch a dance, a story may occur to you because of a past experience. 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. Open your mind to the moment; you are as much a part of the performance as the dancers.

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

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

•

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

•

What are the emotional properties in the dance? How does the movement make you feel?

AFTER: SHARING YOUR INTERPRETATION After the performance, feel free to discuss your thoughts with others, but do not be disturbed if you find that others have a different reaction than yours. Think these questions to organize your personal images and thoughts.

36

•

Was it fun to watch?

•

Did the dance remind you of experiences in your own life?

•

Did the choreography inspire you to express yourself – write a poem, draw a picture or make up your own dance?

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ABOUT

MOVEMENT Dance is made up of different types of movement.

Here are some options to explore as you think about dance.

T YPE

DEFINITION

An even release of energy that stays constant, either fast or slow but not both.

SUSTA IN ED

Usually sustained movement feels best when it uses a large range of space and a slow time. But changing any one element changes the quality, so experimenting is fun. Try doing a very fast and strong sustained movement.

PERCU SSIVE

SWIN GIN G

SUSPEN D

Sudden short bursts of energy that start and stop quickly.

A drop of energy into gravity that sustains and follows through.

This is the movement at the end of a swing, before gravity takes over. It is a euphoric quality.

A sudden and complete release of energy, like fainting. You can have partial col-

COLL A PSE

lapse of the body like head, shoulders, arms, etc. Try collapsing in slow motion.

Now collapse quickly. What changes did you notice? What stayed the same?

The opposite of collapse. To explode, gather all your energy then let it burst

EXPLOD E

forth in one huge sudden action with the whole body. Now experiment with smaller explosive movements – can you explode just your finger or your leg?

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37

ABOUT

ELEMENTS One way to analyze dance is to break it down into its key elements, which can easily be remembered with the acronym BEST: Body, Energy, Space, and Time.

Here are aspects of each element to consider when watching or thinking about a dance performance.

BODY

PAR TS SHAPES ACTION S LO COMOTOR

head, neck, torso (hips, abdomen, shoulders, back), arms and elbows, hands and wrists, fingers, legs, knees and feet (ankles and toes) curved, twisted, angular, small/large, flat/rounded non-locomotor: stretch, bend, twist, rise, fall, circle, shake, suspend, sway, swing, collapse walk, run, leap, hop, jump, gallop, skip, slide

ENERGY

FORC E WE IGH T STRE N GTH FLOW

smooth or sharp heavy or light tight or relaxed sudden or sustained, bound or free

SPACE

LEVEL DI REC TION SIZE DESTIN ATION PATH WAYS FOC U S

low, middle, high forward, backward, up, down, sideways large or small where we move patterns we make with the body on the floor and in the air where you look

TIME

RHY TH M SPEED ACC EN T DUR ATION PHRA SES 38

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pulse, beat time or tempo light or strong emphasis length dance sentences, patterns and combinations

RESOURCES

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39

LANGUAGE

VOCABULARY The following words appear throughout the guide.

ARTISTIC DIRECTOR The person who

GESTURE A movement of the body or

LOCOMOTOR Movement that occurs

makes the artistic choices and decisions

part of the body that a dancer makes in

in general space when a dancer moves

for a company, such as deciding which

order to express an idea or an emotion;

place to place; basic locomotor move-

dancers to hire, which choreographers to

everyday gestures include a hand shake,

ments are walk, run, skip, jump, hop,

use, and which dances from the reper-

a wave, or a fist; abstract gestures in

leap, slide, and gallop. Low level locomo-

toire (collection of dances) to perform on

dance are those movements given special

tor movements may be rolling, crawling

each program.

emotional or content meaning by a

or creeping.

AUDIENCE People who have gathered

choreographer.

MODERN BALLET A choreography that

together to hear or watch something.

IMPROVISATION Movement that is cre-

maintains elements of traditional ballet

They may gather formally in a hall de-

ated spontaneously.

but that was created during the 20th cen-

signed to host professional performances or they may gather in a classroom to

ISOLATION Movements restricted to one

tury; many modern ballets are abstract and nonliteral.

observe each other’s work.

area of the body such as the shoulders, rib cage or hips; isolations are particularly

MODERN DANCE A performance move-

CHOREOGRAPHY The process of creat-

prominent in jazz dance.

ment form that evolved at the beginning

ing a dance. The word “choreography” originates from the Greek word choros

LEVELS The height of the dancer in rela-

of the 20th century.

tion to the floor: high, medium, or low.

NON-LOCOMOTOR Movement that

(meaning “to write”).

When a dancer is at a low level, a part

occurs in a person’s space with one

of his torso is touching the floor; when

body part anchored to one spot and is

CHOREOGRAPHER The person who cre-

a dancer is at a middle level, his feet are

organized around the spine or axis of the

ates, arranges, and/or directs the move-

flat on the floor; and when a dancer is at

body. Basic non-locomotor movements

ments of the dancers.

a high level, he is in the air or on his toes.

are bending, stretching, twisting, rising,

GENERAL SPACE The area of space

LIGHTING DESIGNER The person who

through which a dancer travels or takes

decides which lights will help create the

his personal space; it may include a

desired mood of the dance. Mood is

PERSONAL SPACE The kinesphere that

dance studio, a stage, a classroom, or the

created through the use of light, shadow,

one occupies that is defined by the reach

gymnasium; pathways and directions are

and color.

space around the body; it includes all

(meaning “to dance”) and graphos

defined in this space.

falling, opening, closing, swinging, and shaking.

levels, planes, and directions both near and far from the body’s center.

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PRODUCTION MANAGER This person

STAGEHANDS The crew who sets the

has a variety of responsibilities including

scenery on stage or “flies it in” using a

overseeing set and costume construc-

pulley system. The crew also helps dress,

tion and lighting and sound set-up and

launder and iron costumes, and run the

operation before each performance. The

light board (a computer with all of the

production manager coordinates and

different lighting “looks” or cues in it).

supervises all aspects of touring, including transporting the equipment and planning with each theater manager the lighting and special needs required for each dance.

REPERTOIRE Pronounced, “REP-ehtwar”; this is a word of French origin that means the dance pieces a company

STAGE MANAGER The person who conducts the flow of each performance: she supervises the lighting and sound and calls the dancers to their places before the curtain rises.

WARDROBE SUPERVISOR The person who maintains the costumes and shoes,

performs.

making sure they are always in good

REPERTORY Pronounced “REP-eh-tor-

comfortably while wearing them. He

ee”; this is the American English version

also oversees the construction of new

of “repertoire” and means the same

costumes for the dancers.

condition and that the dancers can move

thing (see above). However, use of the word repertory in this phrase, “Hubbard Street is a repertory company” implies a company that performs the works of many different choreographers.

SOUND ENGINEER This person is responsible for music and/or its amplification during the performance.

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41

EXPLORE

LESSON PLANS Artsedge.org and PBS.org offer a wide range of arts-infused lesson plans and materials for educators to use.

Below are a few that relate to this Youth Performance.

The Innovative Voice

Merce Cunningham:

ELEMENTS OF DANCE

(based on Martha Graham)

A lifetime of dance

http://artsedge.kennedy-center.org/con-

http://artsedge.kennedy-center.org/con-

http://www.pbs.org/teachers/connect/

tent/2338/

tent/3778/

resources/1257/preview

This lesson helps students build a frame

As Merce Cunningham describes it,

Students will explore and discover the

of reference that will enable them to bet-

he doesn’t choreograph dance pieces

elements of dance by demonstrating vari-

ter understand the innovative structures

based upon an idea or story, but begins

ous simple movements. This exercise will

and provocative themes of key Martha

simply with an exploration of movements

help the teacher assess the students’ level

Graham choreographies. It also illustrates

observed or experienced in life. In this

of experience and ability with respect to

specific ways that Graham’s work was

lesson plan, students get a chance to

dance. Students will create simple dances

a “new voice” that expressed dramatic

observe movement by creating a “move-

in small groups and perform them for the

20th century cultural change.

ment journal”, and then they experiment

class. Students will manipulate task cards

with what they have observed to create a

to comprehend the elements of dance

unique “movement vocabulary.”

and then they will be tested on their knowledge.

Systems of the Body: Choreography and Movement http://artsedge.kenedy-center.org/con-

DANCING THROUGH POETRY

tent/2012/

http://artsedge.kennedy-center.org/con-

In this lesson, students will create move-

tent/3534/

ment patterns that express information

In this lesson students will look at poetry

about the basic systems, organs, and

as a way to express the art of dance

processes of the human body. They will

metaphorically. Students will read two

work in pairs and in groups to make

different poems about break dancing in

movement choices that communicate

which one will show dance visually in the

scientific concepts in creative movement,

way the words are placed on paper and

and make inquiries, through research

the other using its content to represent

and movement experimentation, into the

dance.

ways in which the body’s systems work and how those systems interact.

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UMS 09-10

How many ways can a person move?

SOURCES BIBLIOGRAPHY Anderson, Jack. Ballet & Modern Dance: A Concise History. New Jersey: Princeton Book Company, 1986.

Cheney, Gay. Basic Concepts in Modern Dance: A Creative Approach. New Jersey: Princeton Book Company, 1989.

McDonagh, Don. The Complete Guide to Modern Dance. New York: Doubleday & Company, 1976.

PHOTOGRAPHY CREDITS Page

Credit

1

27’ 52” with Benjamin Wardell. Photo by Todd Rosenberg.

3

Bitter Suite with Terence Marling and Robyn Mineko Williams. Photo by Todd Rosenberg.

5

Bitter Suite with Jessica Tong, Robyn Mineko Williams, Alejandro Cerrudo, and Ana Lopez. Photo by Todd Rosenberg.

10

Off Screen with Ana Lopez and Benjamin Wardell. Photo by Todd Rosenberg.

11

Walking Mad with Jason Hortin. Photo by Todd Rosenberg.

12

Lou Conte, Founder of HSDC Photo by Cheryl Mann.

13

(Top) Hip-Hop. Photo by Cheryl Mann.

13

(Lower Left) Modern

13

(Upper Right) Ballet. Photo by Todd Rosenberg.

13

(Lower Right) Jazz 1

17

Gnawa. Photo by Todd Rosenberg

18

Christian Broomhall. Photo by Cheryl Mann.

18

Jacqueline Burnett. Photo by Cheryl Mann.

18

Alejandro Cerrudo. Photo by Cheryl Mann.

18/22

Meredith Dincolo. Photo by Cheryl Mann.

19

Brian Enos. Photo by Cheryl Mann.

19

Kellie Epperheimer. Photo by Cheryl Mann.

19

Laura Halm. Photo by Cheryl Mann.

19

Jason Hortin. Photo by Cheryl Mann.

19

Ana Lopez. Photo by Cheryl Mann.

20/22

Pablo Piantino. Photo by Cheryl Mann.

20

Alejandro Piris- Niño. Photo by Cheryl Mann.

20

Penny Saunders. Photo by Cheryl Mann.

20

Kevin Shannon. Photo by Cheryl Mann.

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43

20

Jessica Tong. Photo by Cheryl Mann.

21

Benjamin Wardell. Photo by Cheryl Mann.

21

Robyn Mineko Williams. Photo by Cheryl Mann.

25

Glenn Edgerton, Artistic Director, HSCD. Photo by Karen Knauer.

25

Jason D. Palmquist, Executive Director. Photo by Cheryl Mann.

26

Taryn Kaschock Russell, Director, HS2 and Artistic Associate. Photo by Cheryl Mann.

26

Terence Marling, Rehearsal Director and Artistic Associate. Photo by Cheryl Mann.

26

Claire Bataille. Director, Lou Conte Studio. Photo by Cheryl Mann.

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(Right) Tabula Rasa with Kevin Shannong, Robyn Mineko Williams and Benjamin Wardell. Photo by Cheryl Mann.

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At ‘em (Atem) Adam with Kellie Epperheimer and Jason Hortin. Photo by Todd Rosenberg.

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Bitter Suite with Terence Marling and Robyn Mineko Williams. Photo by Todd Rosenberg.

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Jorma Elo (far right) working with HSDC dancers for his world premiere, Bitter Suite. With Ana Lopez, Robyn Mineko Williams, Alejandro Cerrudo, Terence Marling. Photo by Cheryl Mann.Â

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Gnawa with Pablo Piantino. Photo by Todd Rosenberg.

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Walking Madwith Walking Mad with Meredith Dincolo. Photo by Todd Rosenberg.

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EXPLORE

O R G A N I Z AT I O N S Local

non-LOCAL

UMS 09|10 Dance Season

University Musical Society 881 N University Avenue Ann Arbor, MI 48109-1011 (734) 615-0122 umsyouth@umich.edu

American Dance Festival 715 Broad Street Durham, NC 27705 (919) 684-6402 www.americandancefestival.org

The Suzanne Farrell Ballet The John F. Kennedy Center for the Performing Arts 2700 F Street, NW

www.ums.org Swing City Dance Studio 1960 S Industrial E & F Ann Arbor, MI 48104 (734) 668-7782 www.swingcitydance.com University of Michigan Department of Dance 3501 Dance Building Ann Arbor, MI 48109-2217 (734) 763-5460 www.music.umich.edu/departments/ dance Michigan Dance Council P.O. Box 381103 Clinton Twp., MI 48038 www.michigandance.org Wayne State University Dance Department 4841 Cass Avenue Detroit, MI 48202 313.577.4273 www.dance.wayne.edu

Jacob’s Pillow P.O. Box 287 Lee, MA 01238 413.243.0745 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 www.nycitycenter.org/

Washington, DC 20566 (202) 416-8044 www.kennedy-center.org/programs/bal let/farrell Bill T. Jones/Arnie Zane Dance Company 27 W 120th Street, #1 New York, NY 10027 (212) 426-6655 www.billtjones.org Hubbard Street Dance Chicago 1147 W Jackson Boulevard Chicago, IL 60607 (312) 850-9744 www.hubbardstreetdance.com

Danspace Project 131 East 10th Street New York, NY 10003 212.674.8112 www.danspaceproject.org/ Dance/USA 1111 16th Street NW, Suite 300 Washington, DC 20036 (202) 833-1717 www.danceusa.org

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EXPLORE

SUGGESTED READINGS Below is a list of books related to this performance that the Ann Arbor District Library helped create.

Elementary + Middle School: Non-Fiction • Dance!: No Matter What Kind of Dance You like to do, this Book is for You by Apryl Lundsten • José!: Born to Dance: The Story of José Limón by Susanna Reich • Imagine That! It’s Modern Dance, Sorine by Stephanie Riva • How Can You Dance? by Rick Walton • Legends of American Dance and Choreography by Carin T. Ford • Edgar Degas: Paintings that Dance by Maryann Cocca-Leffler • Martha Graham, a Dancer’s Life by Russell Freedman Elementary + Middle School: Fiction • Can you Dance, Dalila? by Virginia L Kroll • Dancing Shoes by Noel Streatfeild • Tanya and the Red Shoes by Patricia Lee Gauch • Ballet Magic by Nancy Robison • Rosie’s Ballet Slippers by Susan Hampshire • Presenting Tanya, the Ugly Duckling by Patricia Lee Gauch • Belinda, the Ballerina by Amy Young Adult Books (with Teen Appeal): Non-Fiction • The Erick Hawkins Modern Dance Technique by Renata Celichowska • Ailey Spirit: the Journey of an American Dance Company by Robert Tracy • African-American Concert Dance: The Harlem Renaissance and Beyond by John O. Perpener • Appreciating Dance: A Guide to the World’s Liveliest Art by Harriet R. Lihs • Deep Song: The Dance Story of Martha Graham by Ernestine Stodelle • Prime Movers: The Makers of Modern Dance in America by Joseph H. Mazo • Conditioning for Dance by Eric N. Franklin

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ABOUT UMS

UMS 09-10

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UMS

W H AT I S U M S ?

THE UNIVERSITY MUSICAL SOCIETY (UMS) is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences.

One of the oldest performing arts presenters in the country, the University Musical Society is now in its 131st season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season.

UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.

STAFF

INTERNS

DEPARTMENT MAILING ADDRESS

Kenneth C. Fischer

Emily Barkakati

100 Burton Memorial Tower

Claire C. Rice

881 North University Ave

Interim Director

Neal Kelley

Mary Roeder

Emily Michels

UMS EDUCATION & AUDIENCE DEVELOPMENT

UMS President

Mark Johnson

Ann Arbor, MI 48109-1011

Residency Coordinator

Leonard Navarro Omari Rush Education Manager

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UMS

U M S Y O U T H E D U C AT I O N P R O G R A M 10 THINGS TO KNOW

QUALITY Every student deserves access to

ACCESSIBILITY Eliminating participation barriers

“the best” experiences of world arts

Working directly with schools to align our programs with classroom

• UMS subsidizes Youth Performance

and culture

K-12 SCHOOL PARTNERSHIPS

goals and objectives

tickets to $6/student (average subsidy: • UMS presents the finest international

$25/ticket)

performing and cultural artists.

Ann Arbor Public Schools and the Washt• When possible, UMS reimburses bus-

• Performances are often exclusive to

• Superintendent of Ann Arbor Public • UMS Youth Education offers person-

Schools is an ex officio member of the

alized customer service to teachers in

UMS Board of Directors.

• UMS Youth Performances aim to

order to respond to each school’s unique

present to students the same perfor-

needs.

mance that the public audiences see (no watered-down content).

enaw Intermediate School District.

sing costs.

Ann Arbor or touring to a small number of cities.

• 13-year official partnerships with the

• UMS has significant relationships with Detroit Public Schools’ dance and world

• UMS actively seeks out schools with

language programs and is developing

economic and geographic challenges to

relationships with other regional districts.

ensure and facilitate participation.

• UMS is building partnerships with or of-

DIVERSITY Highlighting the cultural, artistic,

fering specialized services to the region’s ARTS EDUCATION LEADER

independent and home schools.

and geographic diversity of the world One of the premier arts education • Programs represent world cultures and

programs in the country

mirror school/community demographics.

• UMS’s peer arts education programs: Car• Students see a variety of art forms:

negie Hall, Lincoln Center, Kennedy Center.

classical music, dance, theater, jazz, choral, global arts.

• UMS has the largest youth education

UNIVERSITY EDUCATION PARTNERSHIPS Affecting educators’ teaching practices at the developmental stage

program of its type in the four-state region

• UMS Youth Education is developing

• UMS’s Global Arts program focuses

and has consistent school/teacher participa-

a partnership with the U-M School of

on 4 distinct regions of the world—

tion throughout southeastern Michigan.

Education, which keeps UMS informed

Africa, the Americas, Asia, and the Arab World—with a annual festival featuring

• 20,000 students are engaged each sea-

the arts of one region.

son by daytime performances, workshops and in-school visits.

• UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).

of current research in educational theory and practice.

• University professors and staff are active program advisors and workshop presenters.

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KENNEDY CENTER PARTNERSHIP

TEACHER ADVISORY COMMITTEE

• UMS Youth Education has been a

Meeting the actual needs of today’s

member of the prestigious Kennedy

educators in real time

Center Partners in Education Program since 1997.

• Partners in Education is a national consortium of arts organization and public school partnerships.

• UMS Youth Education works with a 50-teacher committee that guides program decision-making.

• The Committee meets throughout the season in large and small groups

• The program networks over 100 na-

regarding issues that affect teachers and

tional partner teams and helps UMS stay

their participation: ticket/bussing costs,

on top of best practices in education and

programming, future goals, etc.

arts nationwide.

IN-SCHOOL VISITS & CURRICULUM PROFESSIONAL DEVELOPMENT “I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!”

–AAPS Teacher

DEVELOPMENT Supporting teachers in the classroom • UMS Youth Education places international artists and local arts educators/ teaching artists in classes to help educa-

• UMS Youth Education provides some

tors teach a particular art form or model

of the region’s most vital and responsive

new/innovative teaching practices.

professional development training.

• UMS develops nationally-recognized

• Over 300 teachers participate in our

teacher curriculum materials to help

educator workshops each season.

teachers incorporate upcoming youth performances immediately in their daily

• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists.

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classroom instruction.

UMS Youth Education Program umsyouth@umich.edu | 734-615-0122 www.ums.org/education

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 PROGRAM Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu www.ums.org/education

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