UMS Teacher Resource Guide - Martha Graham Dance Company

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.

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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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9

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?

www.ums.org

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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