Ballet Hispánico (Grades 6-8)

2018/19 SEASON BALLET HISPÁNICO

The Broad Stage presents

BALLET HISPÁNICO

STUDENT MATINEE

FRI MAR 22, 2019 11 AM GRADES 6-8 THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2018/19 SEASON BALLET HISPĂ NICO

Jane Deknatel Director, Performing Arts Center EDUCATION & COMMUNITY PROGRAMS STAFF

Ilaan E. Mazzini, Director of Education & Community Programs Mandy Matthews, Education & Community Programs Manager Olivia Murray, Education & Community Programs Assistant EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education@thebroadstage.org thebroadstage.org/education THE BROAD STAGE 1310 11th Street Santa Monica, CA 90401 Box Office 310.434.3200 Fax 310.434.3439 info@thebroadstage.org thebroadstage.org

Education and Community Programs at The Broad Stage is supported in part by The Herb Alpert Foundation Barbara Herman, in honor of Virginia Blywise Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission The Ralph M. Parsons Foundation Sidney Stern Memorial Trust Dwight Stuart Youth Fund

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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GREETINGS FROM THE BROAD STAGE! Dear Educators, We are so excited to present Ballet Hispánico at The Broad Stage! Ballet Hispánico was founded in 1970 by dancer, Tina Ramirez who wanted to create new opportunities for Latino dancers. Today, under the artistic direction of Eduardo Vilaro, Ballet Hispánico continues to bring communities together to celebrate and explore Latino cultures through innovative productions, pieces, and community engagement. Students will be witnessing three pieces from Ballet Hispánico that each draw from elements of Latin music and dance. Ballet Hispánico’s performance will capture young audiences with their innovative works that showcase community and Latino culture.

Arts integration, individuality, self-identity and collaboration are at the core of the Ballet Hispánico Study Guide. In Lesson One, students will be introduced to modern dance, participate in movement through a variety of exercises and learn how to watch modern dance. Lesson Two asks students to analyze Maria Billini’s poem, “Con Brazos Abiertos”, and create a short movement phrase inspired by her words. Lesson Three will encourage students to collaborate on a group research project centered on a Latin dance that they are assigned. Students will research the origins of the dance and describe the country and culture that it comes from. Lesson Four is a post-show lesson that asks students to participate in partner movement exercises and create a culminating group movement piece.

Please take some time to work through some or all of the lessons with your students prior to the Student Matinee performance. Concepts and topics explored in the guide emerged from discussions with Ballet Hispánico’s Education team and the dance pieces. In addition to the four lessons, there are many links to YouTube videos created by Ballet Hispánico that create more context for the company and the pieces. Please use these videos to introduce your students to the company prior to the performance and to make meaningful connections with the content.

As always, this guide supports the California State and the VAPA Standards with arts integration as the focus. Students will also work on a few Social Emotional Competencies and Social Justice Standards. We hope that this guide proves to be helpful in preparing your students for the presentation. Please don’t hesitate to contact us with questions or ideas.

We’ll see you at Ballet Hispánico!

Sincerely, Education & Community Programs at The Broad Stage

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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CONTENTS LESSONS LESSON 1: An Introduction to Dance.............................................. 5 HANDOUT 1: Elements of Dance............................................................... 12 HANDOUT 2: Create a Phrase..................................................................... 13 LESSON 2: Poetry and Choreography............................................ 14 HANDOUT 3: “Con Brazos Abiertos” Poem............................................... 17 LESSON 3: Latin Dance and History................................................ 18 HANDOUT 4: Research Guide..................................................................... 21 LESSON 4: Post-Show Lesson - Explore Trust and Teamwork through Movement .......................................................... 22 HANDOUT 5: Performance Reflection Form............................................. 26 HANDOUT 6: How to Write a Dance Review............................................. 27

ADDITIONAL RESOURCES GLOSSARY.................................................................................................. 28 BALLET HISPÁNICO TIMELINE............................................................ 29

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LESSON 1: AN INTRODUCTION TO MOVEMENT, DANCE, & BALLET HISPÁNICO LESSON AT A GLANCE LESSON OBJECTIVE: Introduce students to movement and dance through discussion, movement activities, and research.

DURATION: 1 hr. 30 min.

MATERIALS: Handout 1: Elements of Dance, Handout 2: Create a Phrase STANDARDS: CCSS Grade Seven, SL.1.c.: Pose questions that elicit elaboration and respond to others’ questions and comments with relevant observations and ideas that bring the discussion back on topic as needed.

CCSS Grade Six, W.10.: Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

CA VAPA, Dance Grade Six: 2.5 Use the elements of dance to create short studies that demonstrate the development of ideas and thematic material.

CA VAPA, Dance Grade Seven: 3.2 Explain the function of dance in daily life during specific time periods and in countries being studied in history–social science (e.g., North African, Middle Eastern, and Central American dance in ceremonies, social events, traditional settings, and theatrical performances).

SEL Competencies: Openness to risks, teamwork, take on new challenges.

CONCEPTS/VOCABULARY: Choreographer - a person who creates dance compositions and pieces.

Elements of dance - foundational concepts and vocabulary that help develop movement skills and discuss movement: body, action, space, time and energy, etc.

Gesture - a movement that does not involve carrying the weight of the whole body and can express emotion, ideas or attitudes.

Improvisation (in dance) - process of spontaneously creating movement.

Modern Dance - a free, expressive style of dancing started in the early twentieth century as a reaction to classical ballet.

Nonverbal communication - communication through visual and wordless cues such as body language, gestures, facial expressions, eye movements and touch.

Phrase (in dance) - a brief sequence of related movements that has a sense of rhythmic completion.

Sequence (in dance) - set of movements placed in a particular order.

Theme - a topic; the subject of a talk, a piece of writing, a person’s thoughts, dance or an exhibition.

Variation - change or slight difference in level, amount or quantity.

GUIDING QUESTIONS: When have you experienced dance or movement?

What are the different ways that your body can move?

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LESSON PLAN DAY 1: DEFINING MODERN DANCE AND EXPLORING THE ELEMENTS OF DANCE Warm-Up Conversation: What is dance?

Begin the unit with your students by having them define dance for themselves. First, ask students to identify an experience that they had with dance (dancing at a party or wedding, watching a music video, watching their mother/father dance in the kitchen, etc.) When reflecting on the experience, have students answer these questions on a piece of paper: Where were you?

Were you dancing or watching someone else dance?

What type of dance genre was the movement (social dance, cultural dance, Hip-Hop)?

How did you feel when experiencing or watching the movement?

Have students share their dance experience with a partner. After pair sharing, come back together as a class and ask for a few examples from the students.

Explain that dance is movement that can be shared in a social setting, as an art form on the stage, digitally in a film or music video and can be performed anywhere. In these four lessons, students will have an opportunity to experience dance through movement individually and collaboratively in a group, by devising choreography and viewing movement both digitally online and live at The Broad Stage.

Continue the discussion by asking students to brainstorm the different reasons people have danced.

Write their answers on the board. Examples include: • Tell stories • Form of celebration • Connect to heritage • Express emotions • Communicate nonverbally Mini Lesson: An Introduction to Ballet Hispánico Explain that students will come to The Broad Stage to see New York based dance company, Ballet Hispánico. Students will witness three dance pieces choreographed by Latino choreographers and inspired by flamenco music and dance, Latino identity, and the number Pi. Read this description of Ballet Hispánico together and watch this short video about the company. While watching, ask students to take notes on what the dancers and the Artistic Director, Eduardo Vilaro, say about the company.

Ballet Hispánico was founded in 1970 by Tina Ramirez, a National Medal of Arts recipient and the daughter of a Mexican bullfighter from Venezuela. Ramirez recognized a need to provide access, training, and performance opportunities for Latino Dancers and founded Ballet Hispánico. Today, the company is led by Eduardo Vilaro, an acclaimed choreographer and former member of the company, who aspires to bring social equity, cultural identity and quality arts education for all in Ballet Hispánico’s programs. Ballet Hispánico is a role model in and for the Latino community and is inspiring creativity and social awareness in many neighborhoods across the country.

Meet the Dance Company: Ballet Hispánico: https://www.youtube.com/watch?v=uxvEuJPjIvc THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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Ask students to write a short paragraph as a response to the following quote said by Artistic Director, Eduardo Vilaro during the video. What does he mean when he says, “culture is not static?” What are some examples of dualities in culture?

“Culture is not static. Culture, especially immigrant culture infuses with the American culture and adds to the fabric of our nation. We are Americanos and Latinos at the same time and we have braced values that are different than our grandparents. So I wanted to start playing around with dualities in culture. Some things are dark and some things are light and both sides sometimes don’t understand each other.”

Have students share their thoughts with a partner. Come back together as a class and have a short discussion about culture. Make connections to the cultures, more specifically Latin cultures, that they have studied so far this year.

MAIN LESSON DAY 1 Part 1: Learn the Elements of Dance This activity will require some space for students to walk around the room. You can either create a space in your classroom, reserve an open space on your school campus or go outside.

The elements of dance is the universal language that defines the foundational concepts and vocabulary that help develop movement skills and to discuss and analyze movement. Dancers and choreographers utilize the elements of dance when describing or teaching movement.

Ask students to form a circle and pass out Handout 3: Elements of Dance. Review the definition of the elements of dance as a class while facing outside of the circle. There are five categories within the elements: body, action, space, time and energy (BASTE). Review each “element” and the different components in each element together with students facing the outside of the circle. As you review and define each concept, ask students to move in the way that the element describes. For example, for “slow” students would do a movement in their place slowly.

NOTE: The intent of facing outside of the circle is to help students feel more comfortable with movement without others watching them move.

After students feel comfortable moving and can describe and identify body, action, space, time and energy, lead a larger activity with the elements of dance. First, have students walk around the space in the way that they usually walk down the street or to class. As they walk, start to name different ways that students can move from the Elements of Dance handout. Encourage students to move freely and without judgement of their movement creation. Read an example for each element below: Body: Let your elbow initiate your movement around the space.

Action: Travel around the room using a locomotor movement (hop, slide, skip, crawl, etc.)

Space: Travel around the room in a straight pathway. Now travel in a curved pathway.

Time: Walk around the room with a steady beat. Now walk with an uneven or syncopated beat.

Energy: Move lightly around the room as if you are walking on the clouds.

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Reflect on the elements of dance and the students’ experience with movement through a class discussion.

Describe how you felt when asked to move lightly around the space. How was that a different feeling than moving heavily?

How do you think choreographers use the elements of dance when creating movement?

Why did you decide to move the way you did? Do you connect to one type of movement more than another? Why do you think that is?

Part 2: Create a Movement Phrase in a Group After experiencing the elements of dance in their bodies, ask students to create a short movement phrase in a small group. A phrase is a brief sequence of related movements that has a sense of rhythmic completion. Pass out Handout 2: Create a Phrase and review the directions.

Ask student groups to find a space in the room to work together. Encourage students to fully embody the elements. Give students 15 minutes to create their phrase and practice a few times.

Part 3: Perform Task: To collaborate with a group and create a short movement phrase inspired by the elements of dance.

Break students into small groups of three or four people, and ask them to show their movement phrase to their group members. While watching their peers, encourage students to make mental notes about the way the performer used the elements of dance and which concepts they saw.

Assessment Criteria: • Students have a clear start and finish to the phrase.

• The elements of dance are clearly represented throughout the phrase.

• The phrase is 4 counts of eight.

After watching each phrase, ask students to share what elements they saw.

Part 4: Analysis and Student Reflection Have students write a reflection on their experience of creating movement, working in a group, and/or performing in front of peers.

Did you face any challenges while creating? How did you overcome those challenges?

What did you like about your phrase?

Which element of dance felt good to perform? Did you like to move fast or slow better? Sharp or smooth? High or low?

Were the phrases in your group similar? Or did each person move differently?

How did it feel to perform something you created for your classmates?

Purpose: To learn the Elements of Dance and to understand the creative process when choreographing, specifically how dancers or choreographers can choose many different ways to move.

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DAY 2: THEME AND VARIATION IN CHOREOGRAPHY: HOW TO WATCH MODERN DANCE Ballet Hispánico’s choreography is influenced from Latin cultures, dance training and life experiences.

The pieces being performed at the Student Matinee do not necessarily have a linear storyline. This lesson is designed to help new audience members practice viewing and understanding non-narrative and modern dance.

Mini Lesson: The Ingredients of Theme and Variation Divide the class in two equal groups and have students face each other, either standing or remaining seated at their desks. Ask students to make eye contact with someone in the opposite group; this person will be their counterpart.

Review the definitions of theme and variation with your class. Theme is a topic; the subject of a talk, a piece of writing, a person’s thoughts, dance or an exhibition. Variation is a change or slight difference in level, amount or quantity. Ask students to describe how theme and variation are related and explain to students that they will be using their bodies to explore theme and variation the way dancers do.

Use the following verbal prompts to guide students through the movement. The following six movements, performed in this way are our theme.

Note: Have students do each upper body movement sequence until the movement vocabulary is familiar.

Look to the right…. then the left, trying to move in the exact same way as your counterpart.

Tilt your head to the right…. then the left.

Look down to the floor…. then up to the ceiling.

Reach your right arm to the right…. then your left arm to the left.

Reach your arms up to the ceiling…. then touch the floor.

Be still.

Next, prompt each group separately so that students can observe their counterparts’ movement. Ask students to notice the ways their counterparts’ movements vary from the theme.

Group A: As if you are crossing the street, look to the right…. then the left.

Group B: True to the theme, look to the right…. then the left.

Group A: True to the theme, tilt your head to the right…. then the left.

Group B: As if you are getting water out of your ears, tilt your head to the right…. then the left.

Group A: As if gravity is 10 times stronger, look down to the floor…. then up to the ceiling.

Group B: True to the theme, look down to the floor…. then up to the ceiling.

Group A: True to the theme, reach your right arm to the right…. then your left arm to the left.

Group B: As if you are trying to catch something out of your reach, reach your right arm to the right…. then your left arm to the left.

Group A: As if your back hurts, reach your arms up to the ceiling…. then touch the floor.

Group B: True to the theme, reach your arms up to the ceiling…. then touch the floor.

This is theme and variation. Ask students to use words describing the differences in effort, shape, speed, etc. of what they performed and saw performed.

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MAIN LESSON Part 1: Watch and Identify Theme and Variation in Movement Watch these clips of two dance pieces illustrating the development of choreography through establishing a theme, then using repetition and variation to build the vocabulary of movement.

Link #1: Mark Morris Dance Group: https://www.youtube.com/watch?v=v89BcXz8pBE Link #2: Contra Tiempo Dance Company: https://vimeo.com/106057824 Discuss the theme and variations that students observed while watching the two clips. Address the following questions with your students: Can you identify one movement that is repeated, altered or transformed in the movement?

How do you see the choreographer change the movement over time?

What is achieved by this augmentation and how does it capture your attention?

What words would you use to describe the “variation” in terms of effort, shape, speed, direction etc.

What other tools do the companies use to change the focus of the audience within the pieces? (ex: movement with the eyes, gestural phrases that use either the hands or legs to direct attention)

Part 2: Create Theme and Variation in Movement Ask students to return to their counterparts, and join two other pairs to make a group of six people.

In groups, students will revisit the six warm-up exercises. Sitting or standing, have students do the THEME in order (1-5). Repeat a few times until everyone is comfortable with the movement vocabulary.

Next, give groups 5 minutes to experiment with theme movements and develop 3-5 VARIATIONS using just the head, upper torso or arms. (ex: crossing arms in front of head, head roll, shoulder shrug, rotate torso to the right etc.) The THEME (warm-up movement) and VARIATION (student created movement) are now the vocabulary of their dance.

Each group will share and improvise using only their group’s THEME and VARIATION for 1 minute and 30 seconds. The teacher can call out the transitions below to keep students on track. Adding music is also an option.

16 counts (2 counts of 8) - THEME 32 counts (4 counts of 8) - VARIATION 16 counts (2 counts of 8) - IMPROVISATION (varying timing, speed, level, effort, etc.)

Task: Student groups will work together to choreograph theme movements and create a variation to each theme.

Assessment Criteria: • Identify movements that are repeated or altered in a dance work.

• Articulate the effort, shape, speed, size and direction of movement.

• Collaborate with peers to observe and perform theme and variation in movement.

• Increase comfort with viewing and understanding non-narrative dance.

Purpose: Explore and experience creating movement themes and variations.

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To best prepare your students for the Ballet Hispánico Student Matinee, continue to reference the elements of dance and to have students identify the theme and variation when viewing or choreographing a dance piece throughout this Study Guide.

Student Reflection Questions How did the variation differ with each group?

What were you thinking as you developed your improvised variation?

Were variations clear once you understood the theme?

Where else do we see theme and variation besides dance?

How did performing make you feel?

TAKE IT FURTHER: THEME AND VARIATION IN WRITING Discuss the theme of a novel or short story the students are currently reading. How do students see that theme reflected in different characters, situations or symbolism throughout the work? How do these variations work together to inform the author’s point of view or theme?

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HANDOUT 1: ELEMENTS OF DANCE The Elements of Dance WHO?

DOES WHAT?

WHERE?

WHEN?

HOW?

Answer:

Ask:

A dancer

moves

through space

and time

with energy

B.A.S.T.E.

BODY

ACTION

SPACE

TIME

ENERGY

Concepts

Parts of the Body

Axial

Place

Duration

Attack

(in bold font) with some suggestions for word lists and descriptors under each concept.

Head, eyes, torso, shoulders, fingers, legs, feet, etc.

(in place) Open - - - - - - - - - - - - Close

In Place - - - - - - - Traveling

Brief - - - - - - - - - - - - Long

Sharp - - - - - - - - - - Smooth

Rise - - - - - - - - - Sink or Fall

Size

Speed

Stretch - - - - - - - - - - - Bend

Small - - - - - - - - - - - -Large

Fast - - - - - - - - - - - - - Slow

Whole Body Design and use of the entire body

Twist - - - - - - - - - - - - -Turn

Laban Effort Actions

Initiation Core Distal Mid-limb Body Parts

Press

Body Shapes Symmetrical/Asymmetrical Rounded Twisted Angular Arabesque

Body Systems Muscles Bones Organs Breath Balance Reflexes

Level

Beat

High- - - - - - - - - - - - - - Low

Steady - - - - - - - - - Uneven

Force Strong - - - - - - - - - - Gentle

Wring

Dab

Direction

Tempo

Slash

Glide

Forward - - - - - - Backward

Quick - - - - - - - - - - - - Slow

Punch

Float

Upward - - - - - - Downward Sideward - - - - - Diagonally

Accent

Traveling

Liner - - - - - - - - - Rotating

Single - - - - - - - - - Multiple

(locomotor) Crawl, creep, roll. scoot, walk. run, leap, jump, gallop. slide. hop, skip, do-si-do, chainé turns .... and many more!

Pathway

This is just a starting list of movements. Many techniques have specific names for similar actions. “Sauté” is a ballet term for “jump.”

Tension Tight - - - - - - - - - - - Loose

Flick

Patterns Upper/lower body, homologous, contralateral, midline, etc.

Sudden - - - - - - -Sustained

On Beat - - - - - Syncopated Traveling, traced in air curved, straight,angular, zig-zag, etc.

Plane Sagittal (Wheel) Vertical (Door) Horizontal (Table)

Focus Inward - - - - - - - - Outward Direct - - - - - - - - - Indirect

Inner Self

Relationships

Senses Perceptions Emotions Thoughts Intention Imagination

In Front - - - Behind/Beside

Predictable- -Unpredictable

Rhythmic Pattern Patterned - - - - - - - - - -Free Metric 2/4, 6/8, etc Polyrhythms Cross-rhythm Tala

Breath, waves, word cues, event cues, felt time

Timing Relationships Before After Unison Sooner Than Faster Than

Over - - - - - - - - - - - Under Alone - - - - - - - - Connected Near - - - - - - - - - - - - - Far Individual & group proximity to object

© 2011 Perpich Center for Arts Education May be reproduced for professional development and classroom use by teachers

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Weight Heavy - - - - - - - - - - - Light Strength: push, horizontal, impacted Lightness: resist the down, initiate up Resiliency: rebound, even up and down

Flow Bound (Controlled) - - -Free

Energy Qualities Vigorous, languid, furious, melting, droopy, wild, lightly, jerkily, sneakily, timidly, proudly, sharp, smooth, sudden, sustained etc.

2018/19 SEASON BALLET HISPĂ NICO

HANDOUT 2: CREATE A PHRASE Now that you have had a chance to become familiar with the elements of dance, create an original movement phrase that uses the dance elements and is 4 counts of eight. Create a dance by using the following guidelines. (NOTE: Music is not used in this activity)

1. Choose one locomotor or traveling movement (walk, run, leap, jump, hop, slide, etc.). This will be your primary action movement that will be repeated in your phrase.

2. Start your phrase with a frozen pose that uses one of the body shapes (symmetrical/ asymmetrical, rounded, twisted, angular). Hold this pose for 4 counts. (4 counts) 3. Choose a time (slow, medium, or fast) then move, using your primary action movement. (4 counts) 4. Come back to your frozen pose and hold for 4 counts. (4 counts) 5. From your frozen pose, create 8 gestures that uses different parts of the body and ends in a new pose. The energy of each gesture should be clear. (8 counts) 6. Hold the new frozen pose for another 4 counts. (4 counts) 7. Travel to a new space in the room using the same time and primary action movement as before, but include a clear pathway (curved, straight, angular, zig-zag, etc.) (8 counts) 8. Choose a speed (fast or slow) to come back to your starting frozen pose.

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LESSON 2: POETRY AND CHOREOGRAPHY LESSON AT A GLANCE LESSON OBJECTIVE: Students will analyze Maria Billini’s poem,“Con Brazos Abiertos,” discuss the literary devices, reflect on their own heritage, and then choreograph a movement phrase inspired from a stanza in the poem.

DURATION: 1 r. 30 min.

MATERIALS: Handout 3: “Con Brazos Abiertos” Poem STANDARDS: Common Core State Standards.ELA-Literacy.RL.6.4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone.

Common Core State Standards, ELA-Literacy.RL.6.5: Analyze how a particular sentence, chapter, scene, or stanza fits into the overall structure of a text and contributes to the development of the theme, setting, or plot.

CA VAPA, Dance Grade Seven: 5.1 Identify and use different sources to generate ideas for dance compositions (e.g., poetry, photographs, political/social issues).

Social Justice Anchor Standards, ID.6-8.1 I know and like who I am and can comfortably talk about my family and myself and describe our various group identities.

SEL Competencies: Openness to risks, self-awareness.

CONCEPTS/VOCABULARY: Choreographer - a person who creates dance compositions and pieces.

Choreographic Process - the process that an individual person or group goes through when creating a new piece of work and movement.

Choreography - the sequence of steps or movements in dance or figure skating.

Metaphor - a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.

Personification - a figure of speech where human qualities are given to objects or ideas.

Sequence (in dance) - set of movements placed in a particular order.

Simile - a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid.

Theme - a topic; the subject of a talk, a piece of writing, a person’s thoughts, dance or an exhibition.

Variation - change or slight difference in level, amount or quantity.

GUIDING QUESTIONS: How can theme and variation be used to choreograph a phrase?

How can I better understand my family’s history and cultural values?

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LESSON PLAN This lesson connects with the piece Con Brazos Abiertos, performed by Ballet Hispánico and choreographed by Michelle Manzanales. This piece is inspired by Manzanales’ conflict inherent in being a Mexican-American living in America. Her choreography within the piece brings nostalgia and humors the iconic Mexican symbols she was reluctant to embrace. Have students watch this short one minute video of the piece and discuss what Manzanales’ comment about being caught between two distinct cultures. https://www.youtube.com/watch?v=tQ4T6Fc-HLk Students will go through a similar process to that of a choreographer throughout these activities. They will first find inspiration from either their own experience or from reading “Con Brazos Abiertos.” Next, they will individually choreograph a short phrase drawing from that inspiration. Students will perform their phrase and write an artist statement for their piece.

Part 1: Read Maria Billini’s Poem, “Con Brazos Abiertos” Distribute Handout 3: “Con Brazos Abiertos” and ask students to read and analyze the poem for literary devices or themes. Give students 5-10 minutes to work individually and encourage them to write their notes on the handout as they read.

Ask the class to share what they observed in the poem. Write down any key words or ideas as the discussion progresses. Ask students these questions throughout the discussion: What do you think Maria Billini means by the phrase, “Gliding in and out of two worlds that collide and combine and will never fully be mine.”

What imagery are you drawn to in the poem?

What is the theme and variation in the poem?

Does the poem make any connections to current events?

Ask students to journal about the poem and to reflect on their own heritage and culture.

What holidays do you celebrate in their family? Does your family practice both American holidays and traditions from your culture?

Where does your family come from? Have you interviewed a grandparent about their childhood?

What is something that you enjoy doing with your family?

Part 2: Choreograph Ask students to re-read the poem individually and choose a stanza that is interesting to them. The stanza can incite curiosity, self-discovery or inspire them for specific movement.

After selecting their stanza, have students circle the words that they are drawn to and write down their reason for selecting this part of the poem. Also, ask students to write down the type of movement they think would best communicate the meaning of this stanza. An example of one’s process is below:

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“A moving mountain.

Slow, bound movement

A breathing testament.

Inhalation with a lifted chest

I am here

Quick gesture with a quick ending

Con brazos abiertos.”

Go back to the theme gesture for “con brazos abiertos” Task: Create a short phrase individually with original movement and choreography inspired by a stanza from the poem, “Con Brazos Abiertos.”

Have students find a space in the room to work on developing a movement vocabulary for their stanza.

Explain to students that they are delving into the beginnings of the choreographic process. Suggest that students first develop a gestural movement, and grow the movement from there. Ask students to make their phrase at least one count of 8.

Assessment Criteria: • Phrase is at least one count of 8.

• Phrase is an interpretation of a stanza from the poem, “Con Brazos Abiertos.”

• Movement is original and incorporates the Elements of Dance.

After choreographing their phrase, ask students to practice and rehearse their movement. Challenge students to make clear choices on their movement and to refine their choreography as they rehearse.

Purpose: To experience the choreographic process, explore one’s artistic expression and creative outlet for self discover and reflection.

Part 3: Perform Divide the class into two large groups. One group will act as the audience, and the other as performers.

Designate a space in the room for the “stage” and where audience members sit. Explain the roles of each group and that you will say “curtain up” for when performers should begin, and “blackout” when the performers can release their ending position.

• Audience: Quietly watch and observe the movement of the performers. Have students look for elements of dance, choreographic choices and influence from the poem.

• Performers: Perform your short phrase to the audience. Be mindful of other performers around you. Find a clear ending position and hold until the teacher says “blackout.”

Have the first group of performers perform their phrases to the audience. After they perform, ask for student volunteers from the performer group to share about their experience performing and choreographing. Then, ask the audience to share what elements of dance, message or choreographic choices they saw in their peers’ performance.

Switch roles and repeat the reflection process.

Student Reflection Ask students to write a paragraph that explains their choreographic process and connection to the poem. Explain that this is their artist statement for their original work.

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HANDOUT 3: “CON BRAZOS ABIERTOS” POEM “Con Brazos Abiertos”

By Maria Billini Que es ahora?

Estoy aquí…

Con brazos abiertos con brazos abiertos, I bring myself to you without criminality or apologies, a bronzed goddess without the heat of shame, of native and foreign tongues. without chains, or borders, Mírame, or green paper work. una mujer with eyes Instead there are green pastures, black like distant galaxies. sombreros, tortillas, familia, maíz, arroz con frijoles, Lips abundant, newspapers, musicá, inventions, libros and blue prints. exploding stars, Engineers and painters, hips carved poets and lovers. from ancient pyramids.

I am her. Mírame…

I am here.

My hair long black strands of defiance, I am. of protest, of voters, of builders, of fighters, of mothers, of daughters.

Yo soy el presente, el pasado, Una Madona Bonita, y todo lo que te espera. peligrosa but sweet Are you listening? like piñas y mangos, Gliding in and out like apple pie and ice cream. of two worlds Pero linda en mi ropa, that collide and combine beautiful in my skin. and will never fully be mine.

A moving mountain.

A breathing testament.

Escúchame… I am here My language, con brazos this culture of Latin warriors, abiertos. these kisses of fire, these hot plates of jalapeño ecstacy.

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LESSON 3: LATIN DANCE AND HISTORY LESSON AT A GLANCE LESSON OBJECTIVE: Students will discuss what they know about the Spanish conquistadors in Latin America, research Latin dances and cultures, and make a group presentation on their findings.

DURATION: 1 class period, or across several periods to extend the research and preparation for group presentation.

MATERIALS: Handout 1: Elements of Dance, Handout 4: Research Guide STANDARDS: Common Core State Standards 6.W.7.: Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.

CA History, Social Science Content Standards 7.11.2.: Discuss the exchanges of plants, animals, technology, culture, and ideas among Europe, Africa, Asia, and the Americas in the fifteenth and sixteenth centuries and the major economic and social effects on each continent.

CA VAPA, Dance Grade Six: 3.3 Explain the various ways people have experienced dance in their daily lives (e.g., Roman entertainments, Asian religious ceremonies, baby naming in Ghana, Latin American celebrations).

Social Justice Anchor Standards, DI.6-8.8: I am curious and want to know more about other people’s histories and lived experiences, and I ask questions respectfully and listen carefully and non-judgmentally.

Social Emotional Learning competencies: Team capabilities, communication.

CONCEPTS/VOCABULARY: Bachata – style of dance and music that is from the Dominican Republic.

Cha Cha – type of dance and music that originates from Cuba. Cha Cha may be danced to either authentic Cuban music, Latin Pop, or Latin Rock.

Conquistador – a leader in the Spanish conquest of America.

Gesture - a movement that does not involve carrying the weight of the whole body and can express emotion, ideas or attitudes.

Mambo – type of dance and rhythm that originates from the African-derived chants of the late 1930’s in Cuba.

Merengue – type of dance and music that originates from the Dominican Republic. Partners hold each other in a closed position.

Salsa – style of social dance originating from Cuban folk dances.

Samba – type of dance and music style that originates from Brazil with movements originating in African and European roots.

Zapateado (Mexico) – a group of dance styles of Mexico, characterized by a lively rhythm by the striking of dancers shoes.

GUIDING QUESTIONS: How did the Spanish conquests effect the indigenous dances of the people they conquered?

What are the similarities and differences between Latin dances?

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LESSON PLAN Warm-Up: Review History on Spanish Conquistadors and the Spanish Influences in the Americas Ask students about what they know or remember when learning about the Spanish Conquistadors.

Who traveled to the Americas?

Who did the conquistadors interact with when they arrived to the Americas?

What happened after the Spanish conquistadors landed in the Americas?

How did their arrival affect the native peoples and their culture?

Mini-Lesson: Explore Latin Dances, Merengue Ballet Hispánico aims to educate and articulate the Latin American experience in the American cultural landscape through dance. Their dance repertoire includes influences from many different Latin American cultures, dances and music.

Tell students that they will be learning about various Latin dances. Introduce students to the genres associated with Latin dance.

• Bachata (Dominican Republic) • Cha Cha (Cuba) • Mambo (Haiti) • Merengue (Santo Domingo) • Rumba (Cuba) • Salsa (Cuba) • Samba (Brazil) • Zapateado (Mexico) First, conduct a short case study on the Latin dance, Merengue. Start by watching this clip of Merengue.

While watching, ask students to notice the different movement qualities as defined by the Elements of Dance. (NOTE: Ask students to have the Elements of Dance handout in front of them while watching the clip.) http://kennedyctr.vo.llnwd.net/o41/artsedge/videoclips/baila/bailando.m4v Have a class discussion about what elements of dance they noticed in the video.

Does it consist of mostly locomotor or non-locomotor movements?

Does there appear to be a leader and a follower?

How would you describe the tempo or pace of the dance? - fast, medium, or slow?

Are the dancers at a low, medium, or high level when dancing?

Discuss the brief history of Merengue and the geography of the countries that it originates from.

Merengue is a lively, festive dance originating from the island of Santo Domingo in the Caribbean Sea. Both the countries of Haiti and the Dominican Republic claim that Merengue originated in their countries. They both have legends that trace merengue steps to a war hero with a limp who danced in a stepping motion. In the 1930’s, Merengue became the national music and dance of the Dominican Republic.

Rewatch part of the Merengue video again, and have students learn the steps. You can ask students to learn the steps in pairs (assign a leader and a follower) or do the steps at their desk. Notice that the tempo and rhythm is similar to marching, and that the steps are all on one beat. It’s important for students to have bent knees and to drop the hip on the same knee that bends during the step.

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MAIN LESSON Task: In small groups, students will research the origin, history, and steps of a Latin dance and prepare an oral presentation to the class about their assigned dance.

Divide students into small groups of four and explain that they will be assigned a Latin dance to research and present to the class. Pass out Handout 4: Research Guide and walk students through the expectations and directions. Each group will present about the history of the Latin dance, country of origin, any influences from other groups (Spanish, African, etc.), and teach some basic steps to the dance.

Assign one of the following Latin dances to each group: Bachata (Dominican Republic), Cha Cha (Cuba), Mambo (Haiti), Merengue (Santo Domingo), Rumba (Cuba), Salsa (Cuba), Samba (Brazil), Zapateado (Mexico).

Give students class time to coordinate with their groups and research their respective dance.

Encourage students to divide the research amongst the group members. After researching and gathering content, have students prepare for their oral presentation. Remind students to be creative with their presentation and create or use any visuals (PPT, Prezi, poster board, pictures, etc.)

NOTE: Have students keep the research to one or two class periods, or assign for homework.

ADDITIONAL RESOURCES FOR RESEARCH BBC News: Country Profiles: http://news.bbc.co.uk/2/hi/country_profiles/ default.stm History of Dance: http://www.centralhome.com/ballroomcountry/history. htm Assessment Criteria (for Oral Presentation): • All group members present on their section of the research.

• The culture, geography, economy of the dance’s country of origin is accurate.

• Groups make cross-curricular connections with the history units they have studied this year.

• All groups teach the basic step of the assigned dance.

Ask each group to give their oral presentation to the class. Oral presentations can be anywhere between 5-10 minutes. Ask students to take notes while listening, and to participate when the presenters teach the dance steps.

Purpose: To learn about cultures other than your own, practice conducting research, and strengthen oral presentation skills.

After hearing from all of the groups, ask the class to compare and contrast the dances and countries they originate from. Make connections to the Spanish conquest and European influences on these countries. As a further assignment, students can write an individual report or essay on their dance.

Student Reflection Ask students to participate in a quick write that answers these questions: What did I learn about the country I studied through the lense of dance?

How can I learn more about my family’s origin and gather their shared experience and story?

How can I be a better listener when learning about a new culture or listening to someone’s lived experience?

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HANDOUT 4: RESEARCH GUIDE Instructions Your group is responsible for presenting information about a particular Latin Dance and its country of origin to the rest of the class. The oral presentation should be about five to ten minutes in length. You have been grouped into teams of four. Your group should decide together who will have each of the following roles during your presentation: • • • •

one person will report on the history of the dance, including traditional and contemporary costumes and venues (i.e., at clubs or on stage), and any Spanish or African influences. one person will report on the geography, economy, and government of the country of origin. one person will report on the people, lifestyle, and culture of the country of origin. one person will use the dance elements to escribe the basic steps of the dance and will lead the class in learning the steps. This person is also responsible for finding a CD or audiocassette of the appropriate music for the dance. (Your local library should have a variety of resources.)

Get creative with this presentation! Feel free to make posters or PowerPoint presentation. You are free to decide how you want to present the information, but remember that you want to keep your classmates interested in your topic. The more fun and the more visuals, the better the experience for the audience.

Even though only one person is responsible for teaching the class the steps, all four members of your group must help demonstrate the basic steps of the dance.

Research Guide When and where does this dance originate?

What is the origin story of the dance? Were there any influences from other groups of people including Spanish or African?

Describe the geography, economy, and government of the country that the dance originates.

Who participated in the dance? How was the music played? What is the lifestyle of the people who lived in this country?

What are the basic steps to this dance?

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LESSON 4: POST- SHOW LESSON - EXPLORE TRUST AND TEAMWORK THROUGH MOVEMENT LESSON AT A GLANCE OBJECTIVE: Students will reflect on the Ballet Hispánico Student Matinee and use the choreographic strategies and movement exercises from the past three lessons to create a dance piece in a group.

DURATION: 70 minutes for each part (2 class periods) MATERIALS: Handout 5: Performance Reflection Form, Handout 6: How to Write a Dance Review STANDARDS: Common Core State Standards 8.SL.1b Follow rules for collegial discussions and decision-making, track progress toward specific goals and deadlines, and define individual roles as needed.

CA VAPA, Dance Grade Eight: 1.1 Demonstrate increased ability and skill to apply the elements of space, time, and force/ energy in producing a wide range of dance sequences.

CA VAPA, Dance Grade Eight: 1.4 Analyze gestures and movements viewed in live or recorded professional dance performances and apply that knowledge to dance activities.

CONCEPTS/VOCABULARY: Asymmetry - absence of symmetry; lack of equivalence within the aspects of something.

Choreographic Process - the individual process that a person goes through when creating a new piece of work and movement.

Collaboration - the action of working with someone to create or produce something.

Counterbalance - a weight that balances another weight.

Negative Space - the empty air around the dancers.

Positive Space - where the dancer’s body is when dancing. It is the space where people mostly look when watching dancers.

GUIDING QUESTIONS: How can multiple people work together to clearly communicate their ideas in movement?

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LESSON PLAN Mini Lesson: Class Review of the Ballet Hispánico Student Matinee After seeing the Student Matinee of Ballet Hispánico, ask students to write their impressions on Handout 5: Performance Reflection Form. Let their answers generate a class discussion about the performance. Make connections to topics explored in previous lessons (theme and variation, elements of dance, identity, choreography, movement quality, etc.)

As an optional homework or in-class assignment, have students write a review of the performance using Handout 6: How to Write a Dance Review.

MAIN LESSON Partnering and collaboration are important elements to a modern dance performance. Within a dance piece, there are often many duets, trios and group sections where dancers have to work together and trust one another. This lesson is meant to have students experience partner exercises that explore trust and ultimately work together in a group to choreograph a short movement phrase that challenges students’ communication skills and ability to collaborate as a dance company does. The lesson is divided into two days. Day one focuses on building trust and giving students tools to use in their piece.

Day two allows students to choreograph, rehearse and perform for the entire period. Students will be exposed to the social emotional learning competencies of trustworthiness, listening to others perspectives, communication, adaptability, and risk-taking.

Day 1: Trust and Partner Work Before starting with partner work and trust exercises, lead students through a grounding or meditative exercise. Have students plant their feet and sit at the edge of their seat. Their hands can rest on their thighs and cue them to close their eyes. Encourage students to start to clear their mind and focus on their breath. Guide them through a few breaths together to feel more grounded.

Driver & Passenger Partner Exercise Ask students to find a partner that is of similar height. Explain the activity to students and lay down the ground rules. Students will be walking around the room with their partner with their eyes closed. Ask students to stand side by side with their partner, their hips will touch. Student A (person on the left) will be the driver, and Student B (person on the right) will be the passenger. Have Student A put their right arm around the upper back of Student B and place their hand on the side of their right shoulder. Ask Student A to extend their left arm out in front of them and Student B to extend their right arm in front of them and place their hand on top of Student A’s.

From this position, ask Student B to close their eyes and for Student A to start to guide them around the room or outside (if outside, define the parameters of the space). Encourage the pairs to refrain from talking or giggling as this is a nonverbal exercise.

As students get more comfortable, they can start to walk quicker, in different patterns and backwards.

Let Student A “drive” Student B for three and half minutes. After the time is complete, switch the partners and repeat the exercise.

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After both pairs have a chance experiencing the different roles, ask students to reflect and discuss their experience together.

Did you prefer to be the driver or the passenger, why?

What were some elements of trust that you experienced?

Were you able to relax when you were the passenger? Explain.

Ask students to stay in the same pair groups for the next exercise.

Mirroring Exercise NOTE: This exercise can be done in chairs or standing.

Ask the student pairs to face each other. Student A will be the leader, and Student B will be the follower. Have Student A start to move their head, arms, shoulders or torso slowly, with Student B following and copying their movement exactly. Let students create movement for 2 minutes each before switching roles.

Ask students to stay in the same pair groups for the next exercise.

Counterbalance Exercise Define counterbalance together as a class. Counterbalance is a weight that balances another weight.

Tell students that they will experience two different counterbalance poses with their partner, and then create their own counterbalance together.

1. Counterbalance 1: Students face each other, bring their feet together and walk their feet closer together to their partner’s feet. Have them extend their arms in front of them and grab the wrist or forearm of their partner for a stronger grip. Tell students to slowly start to lean back with a flat back and using the weight and leverage of their partner to create the counterbalance. They slowly pull each other up to get out of the position.

2. Counterbalance 2: Students face back to back and connect their backs. Instruct students to press into one another with equal amounts of pressure, and to slowly start to walk their feet out in front of them and bend their knees to form a 90 degree angle. Students can stay here, or they can start to turn in a circle with their partner, maintaining the position and pressure on their backs. Students slowly walk their feet in and press on each other’s backs to come up to standing.

Positive and Negative Space Exercise Ask students to find their group of 4 from the Latin Dance Research project in Lesson 3. Define positive and negative space as a class. Positive space is where the dancer’s body is when dancing. It is the space where people mostly look when watching dancers. Negative space is the empty air around the dancers.

When defining positive and negative space, give physical examples or have students demonstrate.

Before starting the activity, assign a number 1-4 to each student and have students stand in a circle.

Explain that each student will have an 8 count to go to the middle of the circle and strike a pose using the positive and negative space of the group. After all four students strike a pose, the group will end in one large picture or pose and hold it for 8 counts.

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Student Reflection After experiencing all four exercises, have students discuss their nonverbal communication and collaboration that they experienced as a class.

How can we communicate our movement ideas with clarity?

What are strategies to work effectively with others?

What have these exercises taught you about trust or working in a team?

DAY 2: CHOREOGRAPHY AND COLLABORATION Task: Choreograph a movement phrase that incorporates the choreographic elements from this lesson and previous lessons, and is influenced from the Latin dances explored in Lesson 3.

Ask the same group of 4 from the positive/negative space exercise work together to choreograph a movement piece involving the concepts explored throughout the four lessons including the elements of dance, theme and variation, gesture, mirroring, counterbalance, and positive and negative space.

Students are also encouraged to incorporate elements from the Latin dances they studied in Lesson 3.

Discuss the assessment criteria as a class.

Assessment Criteria: • Movement piece involves all 6 dancers (students).

• Movement piece incorporates 3 out of the 6 concepts learned in lessons.

• Movement piece is at least 5 counts of 8.

Allow students to collaborate and choreograph for half of the class period. After choreographing, ask the groups to rehearse their piece and make any adjustments to the choreography.

For the last 20 minutes of class, ask each group to present their movement piece to the class. Establish a “stage” and a place for audience members to sit in the room or outside. When watching other groups’ work, ask students to watch closely for any of the concepts learned.

After each group performs, leave some time for a quick reflection. Ask the performers to share about their choreographic process and experience performing for others. Have the audience share positive remarks on the performance and what they enjoyed about the choreography.

Purpose: To revisit concepts learned from previous lessons and to practice collaboration and team-work when choreographing a movement piece with a group.

Student Reflection Have students write a reflection essay or paragraph on their experiences with the trust and partnering activities and with choreographing.

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HANDOUT 5: PERFORMANCE REFLECTION FORM Capture your immediate thoughts after you watch Ballet Hispánico’s performance at The Broad Stage, while the images and reactions are still fresh in your mind.

Name of dance piece: What words would you use to describe the movement?

Describe the impact of the following on the piece: lighting, costumes, music, and props/set.

What was the most striking image you remember? What surprised you?

Did any questions come up while you were watching the piece?

Name of dance piece: What words would you use to describe the movement?

Describe the impact of the following on the piece: lighting, costumes, music, and props/set.

What was the most striking image you remember? What surprised you?

Did any questions come up while you were watching the piece?

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HANDOUT 6: HOW TO WRITE A DANCE REVIEW 1. Title of your review 2. Your name (by line) 3. Introduction: a. Title of the show b. What genre of dance is it? c. Name of the performing group d. Name of the Artistic Director 4. Theme: a. What was your interpretation of what the company was communicating?

5. Production Values: a. Describe the set and lighting b. Costumes c. Sound d. Does it all work together? What effect does it achieve?

6. The Performers: a. Did the company members deliver a strong performance? b. Were there any remarkable performances within the smaller roles? c. Were the dancers dedicated to the movement? d. Was there a performance that detracted from the show?

7. The Choreography: a. How was the piece structured? Was it made up of sections? Were there solos, duets, trios? b. How did the dancers interact with each other? c. Did the piece use theme and variation? d. Did you see any choreographic elements at work that you are familiar with: mirroring, counterbalance, partnering, elements of dance (body, action, space, time, energy)? e. Do you like the way that these elements/tools were used? Describe your opinion. f. What were the latin dance influences in the piece?

8. Personal Opinion (make sure to give reasons to back up your opinion): a. What did you think of the performance as a whole? b. Would you recommend the show? c. What did you particularly enjoy/not enjoy?

Based on “How to Write a Play Review.” Goodman Theater. http//www.goodmantheater.org/Education/Materials/HowTo.aspx

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GLOSSARY Asymmetry - absence of symmetry; lack of equivalence within the aspects of something.

Bachata – style of dance and music that is from the Dominican Republic.

Cha Cha – type of dance and music that originates from Cuba. Cha Cha may be danced to either authentic Cuban music, Latin Pop, or Latin Rock.

Choreographer - a person who creates dance compositions and pieces.

Choreographic Process - the process that an individual person or group goes through when creating a new piece of work and movement.

Choreography - the sequence of steps or movements in dance or figure skating.

Collaboration - the action of working with someone to create or produce something.

Conquistador – a leader in the Spanish conquest of America.

Counterbalance - a weight that balances another weight.

Elements of dance - foundational concepts and vocabulary that help develop movement skills and discuss movement: body, action, space, time and energy, etc.

Gesture - a movement that does not involve carrying the weight of the whole body and can express emotion, ideas or attitudes.

Improvisation (in dance) - process of spontaneously creating movement.

Mambo – type of dance and rhythm that originates from the African-derived chants of the late 1930’s in Cuba.

Merengue – type of dance and music that originates from the Dominican Republic. Partners hold each other in a closed position.

Metaphor - a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.

Modern Dance - a free, expressive style of dancing started in the early twentieth century as a reaction to classical ballet.

Negative Space - the empty air around the dancers.

Nonverbal communication - communication through visual and wordless cues such as body language, gestures, facial expressions, eye movements and touch.

Personification - a figure of speech where human qualities are given to objects or ideas.

Phrase (in dance) - a brief sequence of related movements that has a sense of rhythmic completion.

Positive Space - where the dancer’s body is when dancing. It is the space where people mostly look when watching dancers.

Salsa – style of social dance originating from Cuban folk dances.

Samba – type of dance and music style that originates from Brazil with movements originating in African and European roots.

Simile - a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid.

Sequence (in dance) - set of movements placed in a particular order.

Theme - a topic; the subject of a talk, a piece of writing, a person’s thoughts, dance or an exhibition.

Variation - change or slight difference in level, amount or quantity.

Zapateado (Mexico) – a group of dance styles of Mexico, characterized by a lively rhythm by the striking of dancers shoes.

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2018/19 SEASON BALLET HISPÁNICO

BALLET HISPANICO TIMELINE

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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