res o u rc e g ui de 2012-2013
Martha Graham Dance Company Friday, January 25, 2013 11 am – 12 Noon Power Center School Day Performance
UMS Yo uth Ed ucation Pro g ra m
TA BL E OF CO NT ENT S
04 ATTENDING THE PERFORMANCE 05 Being an Audience Member 06 The Details 08 Venue 1 1 Accessibility
12 THE ARTISTS 13 Martha Graham Dance Company 14 Who was Martha Graham?
17 THE ART FORM: MODERN DANCE 18 Modern Dance 19 A Brief History of Modern Dance 23 Types of Movement 24 Dimensions of Movement
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26 Elements of Performance
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27 ON STAGE 28 How to Watch Dance: Before, During, and After 29 Repertoire: Appalachian Spring
30 RESOURCES 31 Lesson Plans 32 Recommended Readings
33 UMS: BE PRESENT 34 About UMS 35 Thank You!
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ATT END I NG T HE PERFO RM ANC E
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ATTENDING THE PER FOR MANCE
BEING AN AUD I ENCE M E M B E R When preparing students for a live performing arts event, it is important to address the concept of “concert etiquette.” Aside from helping prevent disruptive behavior, a discussion of concert etiquette can also help students fully enjoy the unique and exciting live performance experience. The following considerations are listed to promote an ideal environment for all audience members.
Your Surroundings • Concert halls and performing arts venues are some of the most grand and beautiful buildings you might ever visit, so be sure to look around while you follow an usher to your group’s seats or once you are in your seat. • UMS Ushers will be stationed throughout the building and are identifiable by their big name badges. They are there to help you be as comfortable as possible and if you have a question (about the performance, about where to go, or about what something is), please ask them, and don’t feel shy, embarrassed, or hesitant in doing so. Sharing the Performance HaLl with Other Audience Members
• As an audience member, you are also part of the performance. Any enthusiasm you might have for the performance may make the performers perform better. So, if you like what you are seeing make sure they know it! Maybe clap, hoot and holler, or stand up and cheer. However, when expressing your own personal enjoyment of the performance, consider whether your fellow audience members will be able to see or hear what’s happening on stage or whether they will miss something because of the sound and movement you are making. Given this consideration, it’s often best to wait until a pause in the performance (a pause of sound, movement, or energy) or to wait until the performer(s) bow to the audience to share your enthusiasm with them. • Out of respect for the performer(s), if you do not like some part of the performance, please do not boo or shout anything
• Consider whether any talking you do during the performance
derogatory. Remember, a lot of hard work went in to creating
will prevent your seat neighbors or other audience members
the performance you are watching and it takes great courage
from hearing. Often in large rock concerts or in movie
for the performer to share his or her art with you.
theaters, the sound is turned up so loud that you can talk and not disturb anyone’s listening experience. However, in other concerts and live theater experiences, the sound is unamplified (or just quiet), and the smallest noise could cause your seat neighbor to miss an important line of dialogue or musical phrase. Movements or lights (from cell phones) may also distract your audience neighbors’ attention away from the stage, again, causing them to miss important action...and there’s no instant replay in live performance!
Share your Experience with Others • An important part of any performing arts experience is sharing it with others. This can include whispering to your seat neighbor during the performance, talking to your friends about what you liked and didn’t like on the bus back to school, or telling your family about the performance when you get home.
• At a performance, you are sharing the physical components of the performance space with other audience members. So, room in such a way that both you and your seat neighbors are comfortable.
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consider whether you are sharing the arm rest and the leg
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ATTENDING THE PER FOR MANCE
T HE D ETA I L S VENUE Power Center, 121 Fletcher St., Ann Arbor, MI 48109
TICKETS We do not use paper tickets for School Day Performances. We hold school reservations at the door and seat groups upon arrival.
ARRIVAL TI M E Please arrive at the Power Center between 10:30-10:50am to allow you time to get seated and comfortable before the show starts.
SEATING & USHERS When you arrive at the auditorium, 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 School Day Performance ushers wear large, blue laminated badges with their names in white letters.
BEFORE THE START Please allow the usher to seat individuals in your group in the order that they arrive in the auditorium. Once everyone 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.
DURING THE PERFORMANCE At the start of the performance, the lights wIll dim and an onstage UMS staff member will welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior of surrounding groups) please IMMEDIATELY report the
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situation to an usher or staff member in the lobby.
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PERFORM ANCE LENGTH One hour with no intermission.
AF TER THE PERFORMANCE When the performance ends, remain seated. A UMS staff member will come to the stage and release each group individually based on the location of your seats.
BUS PICK UP When your group is released, please exit the performance hall through the same door you entered. A UMS School Day Performance staff member will be outside to direct you to your bus.
LOST STUDENTS A small army of volunteers staff School Day Performances and will be ready to help or direct lost and wandering students.
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.
SENDING F EEDBACK We LOVE feedback from students, so after the performance please send us any letters, artwork, or academic papers that your students create in response to the performance: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.
NO FOOD No food or drink is allowed in the theater.
PATIENCE Thank you in advance for your patience; in 20 minutes we aim to get 1,000 people from buses into seats and will work as efficiently as possible to make that happen. w w w. u m s .o r g 7
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ATTENDING THE PER FOR MANCE
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VEN U E: POWER CENT E R
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POWER CENTER
The Power Center for the Performing Arts grew out of a realization that the University
121 Fletcher St
of Michigan had no adequate proscenium-stage theater for the performing arts. Hill
Ann Arbor, MI 48109
Auditorium was too massive and technically limited for most productions and the
Emergency
Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this
Contact Number:
missing link in design and seating capacity.
734.764.2538 Call this number to reach a UMS staff person or
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University. The Powers were immediately interested in supporting
audience member at the
the University’s desire to build a new theater, realizing that state and federal
performance.
governments were unlikely to provide financial support for the construction of a theater. Opening in 1971, the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. 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
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Center seats approximately 1,300 people.
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Architectural features include two large spiral staircases leading from the orchestra
ATTENDING THE PER FOR MANCE
MA PS + D IRECT I O NS
121 Fletcher St., Ann Arbor, 48109
B u ss ing / Tr a n s po rtat i o n Directions Martha Graham School Day Performance
Drop-Off Zone is on the East side of Fletcher from Huron to University. If no space is available in the Drop-Off Zone, circle the block (see above) until space becomes available. Please arrive between 10:30am-10:50am.
Friday, January 25, 2013 11:00am-12:00pm
Power Center and Mall Bus Parking driving directions on the next page.
Power Center
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The best visitor parking: Palmer Dr. Parking Structure behind Power Center: $1.10/hr
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Need Day-of Help? Call Omari on his cell phone: 734-730-9202.
ATTENDING THE PER FOR MANCE
MA PS + D IRECT I O NS From I-94:
From US-23 South
Take State Street Exit 177. Head north. Continue on State Street
Take US-23 North to the Washtenaw Exit and go West (towards
approximately 2 miles to the main campus area. From State,
Ann Arbor) on Washtenaw. Take Washtenaw to Observatory and
turn right on N. University. From N. University, turn Left onto
turn left. Observatory becomes N. University. From N. University,
Fletcher, where you can drop-off your students on the right.
turn Right onto Fletcher, where you can drop your students off on the right, as shown on the map.
From US-23 North Take US-23 South to M-14 West. Take Downtown Ann Arbor exit
From I-96 East (& US-23)
(exit 3) which puts you on Main Street. From Main Street, turn
Take I-96 East to US-23 South. Follow the directions from
left on Huron St. Turn right on State. Turn Left on N. University.
US-23 South.
From N. University, turn Left onto Fletcher, where you can drop your students off on the right, as shown on the map.
From I-96 West (& M-14) Take I-96 to M-14 West. Take Downtown Ann Arbor exit (exit 3) which puts you on Main Street. From Main Street, turn left on Huron St. Turn right on State. Turn Left on N. University. From N. University, turn Left onto Fletcher, where you can drop your students off on the right, as shown on the map.
Accessibilit y The following services are available
WHEELCHAIR ACCESSIBILITY
to audience members:
The Power Center is wheelchair accessible and has 12 seats for
• Wheelchair, companion, or other special seating
audience members with special needs.
• Courtesy wheelchairs • Hearing Impaired Support Systems
BATHROOMS ADA Compliant toilets are available in the green room (east corner)
PARKING
of the Power Center for both men and women.
There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power
ENTRY
Center on Palmer Drive. The first three levels of the Palmer
The front doors are not powered; however, there will be an
Drive structure have 5 parking spots on each level next to each
usher at that door opening it for all patrons.
elevator. There are a total of 15 parking spaces in the garage.
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T HE ART IST Martha Graham was a dancer, a choreographer, and a teacher. How has her involvement in all three fields influenced the trajectory of the company?
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THE ARTIST
MA RT HA GR A H A M DANCE CO M PA N Y Informed by the expansive vision of pioneering choreographer Martha Graham, the Company brings to life a timeless and uniquely American style of dance that has influenced generations of artists and continues to captivate audiences. Graham and her Company have expanded contemporary dance’s vocabulary of movement and forever altered the scope of the art form by rooting works in contemporary social, political, psychological, and sexual contexts, deepening their impact and resonance. Always a fertile ground for experimentation, Martha Graham Dance Company has been an unparalleled resource in nurturing
The Martha Graham Dance Company has been a leader in the development of contemporary dance since its founding in 1926.
many of the leading choreographers and dancers of the 20th and 21st centuries, including Merce Cunningham, Erick Hawkins, Pearl Lang, Pascal Rioult, and Paul Taylor. Graham’s repertoire of 181 works has also engaged noted performers such as Mikhail Baryshnikov, Claire Bloom, Margot Fonteyn, Liza Minnelli, Rudolf Nureyev, Maya Plisetskaya, and Kathleen Turner. Her groundbreaking techniques and unmistakable style have earned the Company acclaim from audiences in more than 50 countries throughout North and South America, Europe, Africa, Asia, and the Middle East. Today, the Company continues to foster Graham’s spirit of ingenuity. It is embracing a new programming vision that showcases masterpieces by Graham, her contemporaries, and their successors alongside newly commissioned works by contemporary artists inspired by Graham’s legacy. With programs that unite the work of choreographers across time is actively working to create new platforms for contemporary dance and multiple points of access for audiences.
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within a rich historical and thematic narrative, the Company
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THE ARTIST
WHO WAS MA RT HA GR A H A M ? Martha Graham: 20th Century Warrior by Peter Sparling Presented in the late 1990’s as a pre-performance lecture for the Martha Graham Dance Company’s appearances in the Midwest.
Her influence on the world of dance has been so profound that choreographers following in her wake have considered it both a blessing and a curse.
Martha Graham’s powerful legacy as artistic innovator, choreographer and dancer bridges the threshold of a new century. Her influence on the world of dance has been so profound that choreographers following in her wake have considered it both a blessing and a curse. Born in 1894 and continuing to create until her death in 1991, Graham spanned a century of enormous cultural and artistic transition. Her w w w. u m s .o r g
first performances were with the California-based Denishawn Company in the teens and early 20’s; she moved to New York in the mid-
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twenties to appear in the Greenwich Follies, then broke away from any outside affiliation to present radically sparse, fiercely angular works on small, bare stages. Whether she was appearing on the vaudeville stage or at Carnegie Hall in a production of The Rite of Spring under the baton of Stokowski, Graham always made an indelible impression on her audiences. Over the next 65 years, her repertory of dance works was forged on a loyal, ever-evolving group of dancers. During that time, audiences worshipped or scorned her sharp-edged drama, her goddess-like intensity on stage and the dense psychological depths she invested in modern dance. She could not be ignored nor thwarted in her tenacity and pioneering efforts to promote the new 20th century art form.
THE ARTIST
WHO WAS MA RT HA GR A H A M ? Graham broke with the traditions of classical ballet and more
We can be haunted by her dances, or illuminated by the full-
ornamental, exotic or entertainment-oriented dance to place
out, gutsy dancing and exciting imagery of the movement,
her work at the center of early 20th century modernist esthetics
costumes, sets, lighting and music. Graham revolutionized all of
and social transition. She cast womanhood in a modern urban
these aspects and championed a new order of dance/theater.
context, and radically rejected the image of the dancing female
Her costumes were form-fitted, draped onto the dancer and
as diaphanously clad or ephemeral object of the male gaze.
designed to reveal the origin of the movement in the hips and
Her embodiment of a new kind of woman, feminine not in
pelvis up through the torso and back. The fashion designer
her fragility or grace but rather in her strength and will, helped
Halston later became her disciple, admiring her inventive and
to turn the trend in a fledgling art movement towards dances
pioneering use of stretch fabrics and cuts following the line of
that revealed aspects of inner character and the soul’s darker
the body’s movement. Graham collaborated with extraordinary
interior. Over a period of decades, she moved from dances of
visual artists and sculptors on set designs. The greatest of these
contemporary social commentary to works that defined our
was the Japanese/American artist Isamu Noguchi, whose sets
American past and further back to the primal stuff of legend
for Appalachian Spring, Seraphic Dialogue and countless
and mythology. Her archetypal heroines—from Clytemnestra,
others brought a stripped-down purity and modernist poetry
Medea, Jocasta, Ariadne, Judith, and Joan of Arc, and forward in
to the overall production. Jean Rosenthal worked closely with
time to Emily Brontë, Emily Dickinson, or the optimistic bride of
Graham to invent a means of accenting the 3-dimensionality of
Appalachian Spring—all radiate a feminine persona struggling
the body in a 3-D space, painting with the light and creating an
against a male-dominated world, or a world of subtle forces
architecture of spwace on an empty stage. More than any other
and inner fears against which she does fierce battle.
20th century choreographer, Martha commissioned American composers to create new musical scores for her dances. Some
This battle is shown in the way she trained her own and her
of these dance scores rival those of Tchaikovsky or Stravinsky
dancers’ bodies to rise, contract, spiral, and implode within
and are now considered among the greatest examples of 20th
their own skins, but always with a calculated technique and
century American music. Who hasn’t heard Aaron Copland’s
ruthless focus. The Graham Technique is famous throughout
Appalachian Spring on the car radio while driving west across
the world as a method for training the body to be expressive,
I-96 into a setting sun, and not thought wistfully of a perfect
visceral and poetic. Always motivated from the center of gravity,
time or place somewhere in the American past, present or
the pelvis and hips, the movement grows upwards through
future? Yes, and we even hear it as background for automobile
the torso to cut directional planes into the space and etch
commercials: Our culture has so totally absorbed its subliminal
curvilinear and angular shapes that remain indelibly printed
meanings and resonances, its evocation of vast spaces.
in the observer’s memory. Graham talked about this memory, Watching Graham’s company perform her greatest works
“blood memory”, or our ancestral memory. When we witness
takes us on a turbulent, gut-wrenching inner voyage. We see
her dances, we are given an opportunity to free our own
the human body transformed into the ultimate expressive
bodies and spirits to remember things about what it means
instrument. Gravity weighs down on her dancers from without,
to be human and greater than human...or what we all share
but something else pulls at them from within. A typical Graham
in our collective memories. Our hopes, fears are often greater
heroine wages a battle to the end with her own overpowering
than life, and greater than we can handle at any moment.
emotions; forces greater than her are so internalized that her
Yet they reside in our own bone, nerve and muscle. Graham
inner emotional response becomes the greater force. She
gave her audiences the permission to recognize and share
paints an inner landscape with the whiplash brushstrokes of her
these heightened experiences in the form of carefully plotted
body. No words, no colors, no canvas – only the human body.
dance/ dramas and in the disciplined, expressive bodies of her
There is a mastery and a transcendence – from one body on
company’s dancers.
stage to its many witnesses, from the specific to the universal.
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the body’s memory, and the dancer’s memory. She called it
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THE ARTIST
WHO WAS MA RT HA GR A H A M ? Are Graham’s dances intended as a feminist statement against
American Modern Dance was always made possible not
a world of male domination? Often times, men appear in her
only through the near-poverty ingenuity and devotion of its
danced scenarios as pawns or catalysts for radical conflict
choreographers and dancers but also through the generosity of
and change within the female protagonist. And many say that
dance-lovers and those who recognized the arts and dance as
Graham’s company is a woman’s company, giving the male
a precious natural and national resource. Unlike a football team,
persona little opportunity to express a broad range of character
a company of dancers cannot depend upon the sponsorship of
development. Placed in a cultural context, Graham’s dances
huge soft drink empires or athletics-wear companies, nor can it
reflect the 20th century’s changing gender landscape, one in
fill 100,000 seat stadiums with screaming fans. The competition
which new boundaries and roles were rapidly being transformed
is not between teams but in the quest to tell the truth and
and re-defined. Graham always insisted upon the universal; her
create something of exquisite beauty, expressivity and bold
embodiments of fear, joy, doubt, betrayal, envy or ecstasy are
elegance. The dance in our country sometimes get lost in the
without gender. Nevertheless, Graham’s depictions of women
culture’s hunger for an accessible and accepted outlet of mass
and her twists on ancient myths mirrored the turbulence of
expression and adulation, supported by the Olympian ideal
her own life, as well as of the century she lived and created in.
for perfection and the ultimate competitive edge. Witness the
They look far back to a mythical time when women’s roles in
present dance reality show/competition craze on television.
culture were reflected in the immense influence of its religion’s goddesses, whom were worshipped by men and women alike. They look ahead to the demands by 20th and 21st century women for equal space, equal voice, equal rights and roles
Dancers
Contributors to dance companies,
find every
recognize something of deeper value in
in the broader social dialogue. The pelvis—with its signature
moment
the human body and its ability to dance
Graham contraction and release— as temple, as rightful domain,
on stage,
out its passions, its joys, and the images
under the
find every moment on stage, under the
as threshold, as cite of protest, affirmation, and rallying cry. Radical stuff, not for the squeamish or easy to ruffle.
lights, in I had the great opportunity to dance in Graham’s company and work closely under Martha over a 15-year period. I called
costume,
of its mind and imagination. Dancers lights, in costume, the most precious gift imaginable. They take nothing for granted and are infinitely grateful
Graham by her first name, as did everyone in the dance
the most
for their audiences’ support. Modern
world. It was both affectionate and in deep reverence of the
precious
Dance is a rarified art form in danger of
personal meaning of her role in our lives and our art form. For me, Martha’s dances are about momentum, pulse and
gift
determination – Martha the 20th century warrior. They are
imaginable.
extinction. Its survival depends upon its ability to awaken the desire for beauty of design, rhythm, and musicality inherent in the human body, while also bringing
about compelling music, bridging passages of rhythmic propulsion with lyrical melody. The music in her dances mirrors
to life the primal impulses and stories that make us human. It
both the obsessive emotional drive of her characters, whom
is called modern because it boldly confronted a new century,
she liked to call “doom-eager,” and the sweet relief of freedom
and struggled to make sense of a new set of realities in a rapidly
from that relentless momentum. They are about finding the
changing world. As 20th century warrior, Martha Graham led
most direct and expressive gesture and body language to
that charge during her seven decades of creative evolution, and
express the maximum meaning and power. They are about
made possible all that we now call contemporary in dance. She
a universal movement language that can be understood and
provoked and encouraged countless other choreographers to
felt by audiences of any culture. Indeed, as I toured all over the
stage their own artistic revolts, to blaze new trails and challenge
world with the Graham Company in the 70’s and 80’s, I learned
new audiences to reconsider what the dancing body was
to take it for granted that our dancing would, and could instantly
capable of expressing—both for that moment in time and for the
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translate to any culture, jumping across most political and social
body’s ancestral time.
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boards of directors, and audiences
barriers with ease.
T HE ART FO RM: MOD ER N DAN C E Martha Graham revolutionized Modern Dance. Can you think of any similar revolutionary in another field? List as many as you can.
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THE ART FORM: MODERN DANCE
Moder n Dance WHAT IS DANCE? Dance is a type of dynamic social expression that, over time, has taken many forms. Sometimes dance is a mode of community communication, marking significant community events, such as births, marriages, or funerals. Other times dance is employed as a means of spiritual expression, used in ritualistic events like those that are used for healing or ancestor worship. Dance is also a mode of entertainment that can bring people together in an entirely different way. In this form dance can be used to demonstrate social status, as it did in the royal courts of late 16th and 17th century Europe. It can also be used to challenge social norms, in the way that provocative dance crazes like the Twist have. Last, but not least, dance is an art form that shows its audience the inherent beauty of bodies in motion. Be it in classical modes of “theatrical dance,� like ballet, stylized forms of everyday movements, or bold new ways of movement that challenge our preconceived notions of what dance represents, dance can both celebrate and critique the nature of our human experience. CONTEMPORARY VS. MODERN DANCE
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Distinguishing between modern dance companies and contemporary dance companies can be difficult. Modern dance companies are typically companies whose legacies are associated with the late 19th and 20th centuries. These companies promote and create within the framework of their founding choreographer’s movement legacy. Contemporary dance companies, on the other hand, become adept in a number of different styles of choreography, exploring both modern and classical styles of dance.
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While this distinction explains the variation in repertoire that exists among modern and contemporary companies that are still active.
THE ART FORM: MODERN DANCE
A Brief histo ry of to Mode r n Dance
As with all history, particularly in the case of such an enduring and dynamic art form as dance, it would be impossible to go through the entire history of modern dance in one sitting. The following outline highlights certain key concepts and events in the history of modern dance, with the hope of enhancing appreciation of the type of dance performances on the UMS Youth Performance Series. Developed in the U.S and Europe in the 20th century as a reaction to the restrained, technical style employed by classical ballet, modern dance choreographers continually experiment with new styles of movement, often developing their own unique dance techniques. Whereas classical ballet restricted expression because choreography had to adhere to a specific form, modern dance focused more on expression.
Please note: this only represents a small fraction of the numerous choreographers involved in modern dance.
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This new form of dance “did not simply appear at the turn of the century.� Instead, this new trend in dance represented the synthesis of a number of different events that occurred in the years leading up to the start of the new century. 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.
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THE ART FORM: MODERN DANCE
A Brief histo ry of to Mode r n Dance 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.
Loïe Fuller (1862-1928)
the early 1930s
Loie Fuller was a self-taught dancer, noted for improvisatory
In the early 1930’s, schools like the Denishawn School and the
performances in which she would manipulate a filmy silk
Duncan dance school were incubators for the development
dress into shapes through her dance. Fuller was also a major
of the first generation of American modern dance artists and
innovator with interest in all aspects of theater using material and
choreographers, which included dancers like Martha Graham and
lighting effects to enhance her choreography. 1 Her works were
Doris Humphrey. “This first generation of dance artists ushered
forerunners of mixed media performances.
in a new era of experiments that were to emerge as modern dance.” 4 The uncertain political climate led choreographers to
Isadora Duncan (1878-1927)
comment on events in contemporary society, hoping to convince
Heavily inspired by Loie Fuller, Isadora Duncan choreographed
audiences and critics that their work was a legitimate dance
dance that grew out of her personal responses to music
form.” 5 The inspiration for these choreographers came from folk
emphasizing flow, symmetry, and the realization of the beauty
legends, social protests, and theatrical expressions of culture
of simple movements in her choreography. She sought a new
and ethnicity. These choreographers made artistic statements
kind of movement language, extending the role and range of the
through American modern dance that were both individual
dynamic elements in movement, making it organic rather than
and collective. 6
merely decorative. 2 The Federal Theatre Project (FTP) was the largest Maude Allen (1873-1956)
and most ambitious effort mounted by the Federal
Just like Isadora Duncan, many of Maude Allen’s works were the
Government to organize and produce theater events. It
result of her appreciation of music. The two actually engaged in
was an effort of the administration of President Franklin
brief conflict during which Duncan accused Allen of imitating her
Delano Roosevelt to provide work for unemployed
art, but the problems were resolved quickly. Allen liked to call her
professionals in the theater during the Great Depression.
style “dramatic dancing.”
The FTP was administered from Washington, D. C., but
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its many companies stretched the full breadth of the
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Ruth St. Denis (1880-1968)
nation. It functioned from 1935 to 1939 when its funding
Ruth St. Denis formed the Denishawn Company (1915) with her
was terminated. In that brief period, it was responsible for
pupil and husband, Ted Shawn. Denis’s use of exoticism coupled
some of the most innovative staging of its time. While the
with her ability to make dance widely appealing to the American
primary aim of the FTP was the re-employment of theater
public made St. Denis and Denishawn successful. The dominant
workers on public relief rolls, including actors, directors,
dance company of the 1920s, Denishawn was the training ground
playwrights, designers, vaudeville artists, and stage
for Graham, Humphrey, and Weidman, among other important
technicians, it was also hoped that the project would result
figures in the history of modern dance.
in the establishment of theater so vital to community life that it would continue to function after the FTP program
Ted Shawn (1891-1972)
was completed. 7
Shawn’s emphasis on the male dancer and establishment of one of the first all male companies in the early 20th century was a significant development in the early years of modern dance. 3
1
Kassing, 184
2
Kassing, 185.
3
Kassing, 187
4
Kassing, 204
5
Kassing, 204
6
Kassing, 205
7
http://lcweb2.loc.gov/ammem/fedtp/fthome.html
THE ART FORM: MODERN DANCE
A Brief histo ry of to Mode r n Dance Mary Wigman (1886-1973)
the 1940s and 1950s
Mary Wigman is an mportant figure in the history of German
In the 1940s and 1950s modern dancers and their companies
expressionist dance. She used mythical subjects that
saw their reputation and notoriety grown within outside of the
emphasized a bond with nature while developing a style that
U.S. borders. 9 “In the postwar period, the earlier simple, stark,
evolved from muscular tension and release.
group modern dance performances became more elaborate, produced with costumes, commissioned music, and set décor.
Martha Graham (1894-1991)
Most modern dance companies were small; they rehearsed
To this day, Martha Graham remains one of the most well-known
quickly, performed, and then dissolved until it was time to
modern dancers. Her contraction-and-release technique has
prepare for the next year’s performance. New choreographic
become one of the most widely taught modern styles in the
approaches, techniques, themes, and styles branched out
U.S. Developing a company as she built a repertory, Graham
from this generation of choreographers who took their places
has explored a number of different themes, “evaluating their
alongside the pioneers. Meanwhile, as the Cold War grew
personal relevance but also their universal significance.”
colder, the U.S. government used modern dance to create a national awareness of American arts by sending artists around the world. 10
To perform the role of a character in Graham’s dances, the dancer must
José Limón (1908-72) Born in Mexico and brought up in the U.S., Limón joined the
find the experience of that character
Humphrey-Weidman company (1930-40) and organized his
in his or her own psychological
own troupe after World War II. His dance possessed a unique
life, grow into that experience, and become completely identified with the character. 8
lyricism due to a technique of fall and recovery, in which one gives in to gravity and then rebounds off the ground. This technique is often taught as a counterbalance to Martha Graham’s technique.
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Foster, 30
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Kassing, 224
10
Kassing, 224
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THE ART FORM: MODERN DANCE
A Brief histo ry of to Mode r n Dance the 1960s
Twyla Tharp (b. 1941)
Modern dance in the 1960s was an abrupt change from what
The choreography of Twyla Tharp has used a strong, rhythmical
had been established by previous generations. Choreographers
use of the lower half of the body, while the upper half possesses
began to explore what was happening in other contemporary
a throwaway and rambling look. She is classicist in structure, yet
arts: the use of chance, serial, and electronic music; “happenings;”
her dance utilizes the body language of a graceful athlete. Tharp
and theatrical experiments. These choreographers were
has choreographed for numerous styles of music ranging from
more concerned with movement and its performance than
jazz to popular to classical.
communicating emotional themes or narratives. The 1960s and 1970s These new dance forms were also presented in new, outdoor and
The 1960s and 1970s both American culture and American
indoor, environmental performing spaces like museums, parks,
dance were experiencing radical shifts that challenged norms
gymnasiums, rooftops, and other cityscapes. Because rents for
and traditions as well as conventional modes of expression. The
theaters and other performance venues continued to escalate,
Balanchine-Graham collaboration, Episodes, though not an
dance was often presented in lofts, warehouses, and garages.
enduring work, was a fuse for the changes that began in the 1960s and continued through the 1970s. American ballet and modern
Merce Cunningham (1919-2009)
dance underwent changes that shook their foundations. Societal
As one of the first to challenge the founding principles of modern
issues and arts movements exploded, and ballet acquired a
dance, Merce Cunningham initially worked with the Martha
thirst for contemporary subjects and passing fads, along with
Graham dance company, only the second male to do so. He
an awareness of what was happening in modern dance. These
formed his own company after leaving Graham and increasingly
changes brought new audiences to ballet, as did touring and
used an approach which focused on pure movement without
television exposure. 11
a story, character, or dramatic mood. He also frequently used chance determination, in which parts of choreography would be
The 1980s and 1990s
determined by random methods, such as a coin toss.
The 1980s and 1990s a second generation of postmodern choreographers set upon exploring the possibilities of dance
Paul Taylor (b. 1930)
and the lens through which it is created. Mathematics grew as
Paul Taylor has created an outstanding repertory of antic wit
an artistic tool, some performances moved to non-traditional
and hard reality. Taylor scrutinizes the epic and the everyday
outdoor spaces, and pedestrian, folk, and highly repetitive
with tough innocence and athletic vigor. His company has served
movements were incorporated in to work. 12
as a training ground for notable choreographers such as David Parsons and Twyla Tharp.
Garth Fagan (1940 - ) Fagan studied with Primus, Limon, Ailey, and Graham, among
Alvin Ailey (1931-89)
other famous dance greats. “After founding and dancing with
Showcasing his versatility of style, Alvin Ailey choreographed
several companies in Detroit, in 1970 he joined the faculty at the
for Broadway in addition to his work in both ballet and modern
State University of New York and began teaching dance classes
dance. As a choreographer, Ailey was known for his exploration of
for youths from the streets of nearby Rochester.” 13 “Fagan’s style
the Black experience in America in his work.
is a unique blend of modern dance, jazz, and Afro-Caribbean
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forms with some subtle ballet influences.” 14
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11
Kassing, 254
12
Kassing, 267
13
Kassing, 268
14
Kassing, 268
THE ART FORM: MODERN DANCE
T ypes of Movement While, over time, dance has taken a number of different forms in a number of different social and artistic contexts, the “patterns in time and space” created by the dancer or dancers involved are essential to the artistic impact of the dance on its audience. Choreography is the series or combination of movements that creates these fundamental patterns. Like words in a sentence, the individual movements are just as important as the product of their combination. In dance there are many different types of movement. Here are some options to explore as you think about dance.
PERCUSSIVE
SWINGING
An even release of energy that stays constant, either fast or slow but not both. 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.
Sudden short bursts of energy that start and stop quickly.
A drop of energy into gravity that sustains and follows through.
SUSPEND
CO LLAPSE
EX PLODE
This is the movement at the end of a swing, before gravity takes over.
A sudden and complete release of energy, like fainting. You can have partial collapse of the body like head, shoulders, arms, etc.
The opposite of collapse. Exploding requires gathering all of one’s energy then letting it burst forth in one huge sudden action with the whole body.
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S u s ta i n ed
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THE ART FORM: MODERN DANCE
D im ensions of Move ment
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The visual appearance of the dancer’s body is what determines the artistic impact of each movement. Even everyday movements, like walking or running, can become vehicles for artistic expression when stylized by a choreographer. When creating a dance work, choreographers consider and manipulate the lines or angles a dancer’s body creates when he or she moves. When watching dance, one can analyze these movement by breaking them down into the following key elements, easily remembered with the acronym BEST: Body, Energy, Space, and Time.
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THE ART FORM: MODERN DANCE
D im ensions of Move ment BODY
S PACE
Parts:
Level:
Head, neck, torso (hips, abdomen, shoulders, back), arms and
Low, middle, high
elbows, hands and wrists, fingers, legs, knees, and feet
Levels:
Isolation:
The height of the dancer in relation to the floor. When a dancer
Movements restricted to one area of the body such as
is at a low level, a part of his torso is touching the floor; when
the shoulders, rib cage or hips; isolations are particularly
a dancer is at a middle level, his feet are flat on the floor; and
prominent in jazz dance
when a dancer is at a high level, he is in the air or on his toes
Shapes:
Direction:
Curved, twisted, angular, small/large, flat/rounded
Forward, backward, up, down, sideways
Actions:
Size:
(Non-locomotor) Stretch, bend, twist, rise, fall, circle, shake,
Large or small
suspend, sway, swing, collapse or (Locomotor) walk, run, leap, hop, jump, gallop, skip, slide Locomotor: Movements that occur in general space when a dancer moves place to place Non-locomotor: Movements that occur in a person’s space with one body part
Destination: Where a dancer moves Pathways: Patterns we make with the body on the floor and in the air Focus: Where a dancer looks
anchored to one spot and that are organized around the spine or axis of the body
ENERGY
ti m e Rhythm:
Smooth or sharp
Pulse, beat
Weight:
Speed:
Heavy or light
Time or tempo
Strength:
Accent:
Tight or relaxed
Light or strong emphasis
Flow:
Duration:
Sudden or sustained, bound or free
Length Phrases: Dance sentences, patterns and combinations
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Force:
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THE ART FORM: MODERN DANCE
Elements of P e rfo r m ance CHOREOGRAPHY
SETTING
Different dance styles, or genres, use different styles of
Any sort of set, from the realistic to the abstract, sets up a
movement, sometimes called dance vocabularies. Ballet, for
restraint on the space, confining or controlling the dancer’s ability
example, uses a dance vocabulary that is very different from the
to move. As a result, a choreographer’s decision to use a set is
dance vocabulary used in tap. Individual choreographers can use
deliberate. Choreographers can use sets to define the larger
their own signature style of pre-existing dance vocabularies or
setting of their dance or they can use a set more like a prop,
invent their own dance vocabulary.
using it to define an obstacle for the dancer to overcome. As a result, the set of a dance can be as complex recreating the inside
It is important to remember that choreographers have different
of a house onstage or as simple as a stool that a dancer might
motivations for creating a dance, which can include any of
dance on, with, or around.
the following: LIGHTING • to tell a story through their movement
In addition to sets, lighting plays an important role in creating the
• to design beautiful “dance images”
larger setting for a dance performance; often choreographers
• to explore larger abstract themes, such as love, or relationship
use lighting primarily to guide what the audience is looking at. In
• to create a physical expression of sound
addition to this fundamental purpose, they can also use lighting to create shadows and achieve other effects that contribute
SPACE
to characterization and/or create certain moods. For example,
The space in which a dance is performed is almost as important
depending on how it is used, low lighting can signify a dark or evil
as the choreography used to create it. Depending on the intent
character, or it can set a generally dark or sinister mood.
of the choreographer, a dancer’s position in the dance space can define the relationship between characters or define the
MUSIC
dancer’s relationship to the dances plot or overall message.
Depending on the type of dance and individual choreographer, music can define the form and structure of the dance, exist as an
Symbolic Hotspots: Certain positions on stage can carry symbolic
entirely separate entity independent of the dancer’s movement,
meaning. This can be as simple as taking advantage of where
or fall somewhere in between.
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people naturally look to emphasize certain events or movements
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over others. It can also be as complex as assigning different
Choreographers of modern and contemporary dance
meanings to different parts of the stage. The different sides of
also experiment with different types of music when they
the stage can represent good or evil for example, characterizing
choreograph: some use the art music of composers like Johann
the action that occurs in those places or assigning certain traits to
Sebastian Bach or John Adams, popular music of Michael
the dancers that enter and exit from these respective sides.
Jackson, or just pure sound effects.
ON S TAG E How do the elements on stage (lighting, set, etc.) influence how you perceive the action?
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ON STAGE
How to Watch Dance: Befo r e , D ur ing, and A fte r There are many different ways to watch a dance performance. Here are some things to think about before, during, and after the show.
BEFORE: THINK ABOUT WHAT YOU ALREADY KNOW
Every piece of choreography has a reason for being. Dances
You have probably have experienced dance in your everyday life,
may be celebrations, tell stories, define moods, interpret poems,
as dance exists in many forms beyond the formal stage. Before
express emotions, carve designs, visualize music, or simply
attending the performance, answer these questions to explore
explore movement. As you watch a dance, a story may occur to
your feelings about dance—and there are no “right” answers:
you because of a past experience. However, not all dances relate to stories. The sequences do not have to make literal sense.
• What is dance?
Allow any images and personal feelings to pop into your mind.
• Have you ever attended a performance before? If so, what
You may want to ask yourself some questions
type of performance and what was your experience? If not,
as you watch:
what do you think this performance will be like? • How are each of your senses experiencing the dance? • What do you think are the differences between going to sports events and attending a play; or listening to the radio
What do you see? What do you hear? What are the dancers actually doing?
and going to concerts? What do they think the differences will be between going to a dance performance and attending a play?
• 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
• Where have you seen or experienced dance (for example,
are being used?
at school dances, in their neighborhoods, MTV, movies, etc.)? What was the experience like?
• How does the movement make you feel?
DURING: SUGGESTIONS FOR WATCHING DANCE
AFTER: SHARING YOUR INTERPRETATION
You don’t have to have any special training or previous
After the performance, feel free to discuss your thoughts with
experience to watch dance. You will be taking in information
others, but do not be disturbed if you find that others have a
with all your senses – your eyes, your ears, even your muscles.
different reaction than yours. Think about these questions to
You may be fascinated with the physical activity you see, the
reflect on your experience watching dance:
music, the production elements (lighting, costumes, props), or with a “story” the dancers convey (or at least that you think
• Was it fun to watch?
they are conveying). • Did the dance remind you of experiences in your own life?
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• Did the choreography inspire you to express yourself – write
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a poem, draw a picture or make up your own dance?
ON STAGE
Repertoi r e : Appalachian S p r ing Copland wrote that “the music of the ballet takes as its point of departure the personality of Martha Graham,” and the subtitle of Appalachian Spring is actually “Ballet for Martha,” which had been the working title for the piece until Graham herself found the phrase “Appalachian Spring” in a poem by Hart Crane. The basic plot of the piece is a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the 19th century.
The characters in the piece are as follows:
the
the
the
the
the
Wife
husband
preacher
pioneer woman
worshippers
The original ballet score called for only 13 instruments (flute, clarinet, bassoon, piano and strings), and the suite’s eight sections — played without pause — were described as follows by the composer in his note for the 1945 premiere:
1. VERY SLOWLY.
6. VERY SLOWLY.
Introduction of the characters, one by one, in a suffused light.
(at at first). Transition scenes reminiscent of the introduction.
2. FAST.
7. CALM AND FLOWING.
Sudden burst of unison strings in A major arpeggios stars the
Scenes of daily activity for the Bride and her farmer-husband.
action. A sentiment both elated and religious gives the keynote
There are five variations on a Shaker theme . . . sung by a solo
to this scene.
clarinet . . .
3. MODERATE.
8. MODERATE. CODA.
Duo for the Bride and her Intended—scene of tenderness and
The Bride takes her place among her neighbors. At the end the
passion.
couple are left “quiet and strong in their new house.” Muted strings intone a hushed, prayerlike passage. The close is
4. QUITE FAST.
reminiscent of the opening music.
The Revivalist and his flock. Folksy feelings—suggestions of square dances and country fiddlers.
Solo dance of the Bride—presentiment of motherhood. Extremes of joy and fear and wonder.
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5. STILL FASTER.
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RES O URCES
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RESOURCES
LESSO N 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 School Day Performance.
PBS.org
ArtEdge.org
Exploring the Roots of Modern Dance in America http://www.pbs.org/wnet/freetodance/lessonplans.html
Steps of a Giant: Martha Graham (Unit Plan) http://artsedge.kennedy-center.org/content/3782/
Dance is an expression of culture, yet at the same time it is constrained by culture. The purpose of this lesson is to explore the role of African culture in modern dance in America. The lesson will focus on three key areas. The first area will examine the Afro-Caribbean slave roots that were a part of modern dance and the ways that modern dance movements and themes reflected daily life activities. The second area will focus on how modern dance reflected issues of Black pride, self-expression, and identity. The third area will explore how modern dance themes of social justice and activism evolved in response to a racist American society.
This unit is dedicated to exploring the work of Martha Graham, one of the most innovative and celebrated dance artists of the 20th century.
Modern Dance and the Harlem Renaissance http://www.pbs.org/wnet/freetodance/lessonplans_2.html The Harlem Renaissance was a time when Black culture flourished. This lesson explores how modern dance developed during this era by focusing on the lives of important choreographers and dancers whose work was impacted by the constraints and possibilities of the time. Merce Cunningham: A lifetime of dance http://www.pbs.org/teachers/connect/resources/1257/preview/ As Merce Cunningham describes it, he doesn’t choreograph dance pieces based upon an idea or story, but begins simply with an exploration of movements observed or experienced in life. In this lesson plan, students get a chance to observe movement by creating a “movement journal”, and then they experiment with what they have observed to create a unique “movement vocabulary.”
Systems of the Body: Choreography and Movement http://artsedge.kennedy-center.org/content/2012/ In this lesson, students create movement patterns that express information about the basic systems, organs, and processes of the human body. They work in pairs and in groups to make movement choices that communicate scientific concepts in creative movement, and make inquiries, through research and movement experimentation, into the ways in which the body’s systems work and how those systems interact. Dancing through Poetry http://artsedge.kennedy-center.org/content/3534/ In this lesson, students look at poetry as a way to express the art of dance metaphorically. Students read two different poems about break dancing in which one will show dance visually in the way the words are placed on paper and the other using its content to represent dance. Elements of Dance http://artsedge.kennedy-center.org/content/2338/
Telling a Story Through Dance http://artsedge.kennedy-center.org/content/2347/
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This lesson introduces students to the concept of emotionally and physically telling a story through dance and pantomime. Students learn that in ballet the dancer is trained to act out the story/character with movement instead of words. The Nutcracker serves as the foundation for the lesson and activities.
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How many ways can a person move? Students explore and discover the elements of dance by demonstrating various simple movements. This exercise helps the teacher assess the students’ level of experience and ability with respect to dance. Students create simple dances in small groups and perform them for the class. Students manipulate task cards to comprehend the elements of dance and then they will be tested on their knowledge.
RESOURCES
RECO MM END E D RE AD I NG S 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
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Conditioning for Dance by Eric N. Franklin
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BE PRESENT
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B E PRESENT
ABOU T UMS
One of the oldest performing arts presenters in the country, UMS is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences. With a program steeped in music, dance, and theater, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners. Learning is core to UMS’s mission, and it is our joy to provide creative learning experiences for our entire community. Every season, we offer a spectrum of Education and Community Engagement activities focusing on K-12 students, teachers, teens, university students, families, adults, and cultural and ethnic communities. We exist to create a spark in each person, young and old alike, exposing them to things they haven’t before seen, and leaving them with an ongoing and lifelong passion for creativity and the performing arts.
UMS Education and Community Engagement Department Mailing Address
Staff
100 Burton Memorial Tower
Ken Fischer
881 North University Ave
UMS President Jim Leija Director
Interns Emily Barkakati
Mary Roeder
Indira Bhattacharjee
Associate Manager of Community Engagement
Sigal Hemy
Omari Rush
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Charlie Reischl
Education Manager
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Ann Arbor, MI 48109-1011
B E PRESENT
T HANK YOU!
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Thank you for your interest in learning about or attending one of our UMS School Day Performances.
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These performances are made possible through the generous support of individuals, corporations, and foundations, including the following UMS Education and Community Engagement Supporters:
The Andrew W. Mellon Foundation
Bernard and Raquel Agranoff Barbara A. Anderson and John H. Romani Ann Arbor Public Schools Educational Foundation Anonymous Arts at Michigan Arts Midwest Touring Fund Association of Performing Arts Presenters John and Linda Axe Bank of Ann Arbor Rachel Bendit and Mark Bernstein Kathy Benton and Robert Brown Richard S. Berger Mary Ellen Brademas David and Valerie Canter Center for Plastic and Reconstructive Surgery Charles Reinhart Company, Realtors, Nancy Bishop, Associate Broker Clark Hill PLC Community Foundation for Southeast Michigan Confucius Institute at the University of Michigan Dallas and Sharon Dort Doris Duke Charitable Foundation Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation Kenneth and Frances Eisenberg David and Jo-Anna Featherman Maxine and Stuart Frankel Foundation Anne and Paul Glendon Fred and Barbara Goldberg Kathy and Tom Goldberg Drs. Patricia and Stephen Green Robert and Ann Greenstone Debbie and Norman Herbert David and Phyllis Herzig Endowment Fund Honigman Miller Schwartz and Cohn LLP Hooper Hathaway, P.C., Charles W. Borgsdorf & William Stapleton, attorneys
University of Michigan
JazzNet Endowment Mark and Janice Kielb Jean and Arnold Kluge John S. and James L. Knight Foundation Leo and Kathy Legatski Mardi Gras Fund Masco Corporation Foundation Ernest and Adele McCarus Merrill Lynch Michigan Council for Arts and Cultural Affairs Michigan Humanities Council Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION [of R. & P. Heydon] National Endowment for the Arts NEA Jazz Masters Live Quincy and Rob Northrup Lisa A. Payne PNC Foundation The Power Foundation Prudence and Amnon Rosenthal K-12 Education Endowment Fund Ren and Susan Snyder John W. and Gail Ferguson Stout Stout Systems Karen and David Stutz Robert S. and Julia Reyes Taubman Toyota UMS Advisory Committee University of Michigan (U-M) Center for Chinese Studies U-M Credit Union U-M 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 Max Wicha and Sheila Crowley
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This Teacher Resource Guide is the product of the UMS Youth Education Program.
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R es earc h e d and wri tten by
Edi ted by
Emily Barkakati and Sigal Hemy
Omari Rush
Additionally, we appreciate Peter Sparling for his contribution to this guide.
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