2018/19 SEASON KYBELE DANCE THEATER
The Broad Stage presents
KYBELE DANCE THEATER
STUDENT MATINEE
FRI SEP 14, 2018 11 AM GRADES 9-12 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 KYBELE DANCE THEATER
Jane Deknatel Director, Performing Arts Center EDUCATION & COMMUNITY PROGRAMS STAFF
Ilaan E. Mazzini, Director of Education & Community Programs
Alisa De Los Santos, Education & Community Programs Manager Mandy Matthews, Education & Community Programs Associate Olivia Murray, Education & Community Programs Assistant Letxia Cordova, Education Summer Intern Rosaisela Lomeli, Resident Educator 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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2018/19 SEASON KYBELE DANCE THEATER
GREETINGS FROM THE BROAD STAGE! Dear Educators, We are excited to present Kybele Dance Theater at The Broad Stage! Kybele Dance Theater is a local modern, contemporary dance company led by Artistic Director, Seda Aybay. Seda is a modern dance professor at Santa Monica College and is originally from Turkey. She uses her Turkish heritage and classical ballet and modern training infused with her background in a variety of cultural dance forms to create her own unique movement style. Kybele Dance Theater’s performance will capture young audiences with their innovative works that showcase the power of storytelling and stretch the boundaries of modern dance. Arts integration, individuality, self-identity and collaboration are at the core of the Kybele Dance Theater 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 makes connections to Seda’s choreographic process of taking concepts or stories from her culture to create movement. Students will listen to what Seda has to say about her Turkish heritage and how she self identifies today, and then be asked to reflect on their own identity and heritage. Kybele Dance Theater’s piece, Sonsuz is inspired by Mary Oliver’s poem, “When Death Comes.” Lesson Three will challenge students to analyze and discuss the meaning of the poem and the elements that inspire them to call to action or create movement. Lesson Four is a post-show lesson that asks students to participate in partner movement exercises and create a culminating movement piece with a group. The Study Guide also includes a research prompt for students to research and learn about other modern dance leaders nationally and locally in Los Angeles. 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 multiple conversations with Seda herself and each lesson was consulted with The Broad Stage’s Resident Educator, Rosaisela Lomeli of University High School in Los Angeles. In addition to the four lessons, we created an 18 minute curriculum video where we interviewed Seda about her dance experience, career as an Artistic Director, movement style, heritage and her definition of modern dance. Please use this video to introduce your students to Seda before 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. 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 Kybele Dance Theater! Sincerely, Education & Community Programs at The Broad Stage
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2018/19 SEASON KYBELE DANCE THEATER
CONTENTS LESSONS LESSON 1: An Introduction to Modern Dance............................. 5 HANDOUT 1: Curriculum Video Worksheet - Part 1........................ 11 HANDOUT 2: Modern Dance.................................................................. 12 HANDOUT 3: Elements of Dance........................................................... 13 LESSON 2: Heritage and Identity..................................................... 14 HANDOUT 4: Culture and Identity........................................................ 18 HANDOUT 5: Gestural Activity Reflection.......................................... 20 LESSON 3: Poetry and Choreography............................................ 21 HANDOUT 6: “When Death Comes”..................................................... 24 LESSON 4: Post-Show Lesson - Explore Trust and Teamwork through Movement .......................................................... 25 HANDOUT 7: How to Write a Dance Review..................................... 29 RESEARCH PROMPT: Learn about Dancers and Choreographers....................................................................................... 30
ADDITIONAL RESOURCES GLOSSARY.................................................................................................. 32
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LESSON 1: AN INTRODUCTION TO MODERN DANCE LESSON AT A GLANCE LESSON OBJECTIVE: Introduce students to modern dance, learn the elements of dance and understand how to watch a modern dance piece. DURATION: This lesson is meant to be completed in two class periods. MATERIALS: Internet to view Kybele Curriculum Video, Handout 1: Curriculum Video Worksheet, Handout 2: Modern Dance, Handout 3: Elements of Dance STANDARDS: Common Core State Standards, Writing Nine thru Twelve: 2 Write informative/explanatory texts to examine and convey ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. Common Core State Standards, Writing Nine thru Twelve: 2.b. Develop the topic thoroughly by selecting the most significant and relevant facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic. VAPA Dance Grade Eight: 1.5 Identify and analyze the variety of ways in which a dancer can move, using space, time, and force/energy vocabulary. VAPA Dance Grades Nine-Twelve Proficient: 1.5 Apply knowledge of dance vocabulary to distinguish how movement looks physically in space, time, and force/energy. VAPA Dance Grades Nine-Twelve Proficient: 5.5 Examine the training, education, and experience needed to pursue dance career options 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 clues 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: What are the different ways that your body can move? How do you define dance for yourself?
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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, 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: Watch Curriculum Video: An Interview with Kybele Dance Theater’s Artistic Director, Seda Aybay Explain that students will be coming to The Broad Stage to see a modern dance performance by local dance company, Kybele Dance Theater. Kybele’s Artistic Director and choreographer, Seda Aybay, uses her classical ballet and modern training infused with her training in a variety of cultural and social dance forms to create a unique movement style that showcases the power of storytelling. Introduce the vocabulary word, choreographer to the class. A choreographer is a person who creates dance compositions and pieces. Watch Part 1 (10 minutes) of the Kybele curriculum video to learn more about Seda, her company, role as Artistic Director and her definition of modern dance. While watching, ask students to take notes on words or quotes that spark their interest on Handout 1: Curriculum Video Worksheet. After viewing, reflect on the video together as a class. Kybele Curriculum Video: https://www.youtube.com/watch?v=eloduCmc0_s&t=7s YouTube Channel: ED & COM TBS
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2018/19 SEASON KYBELE DANCE THEATER
MAIN LESSON Define Modern Dance Distribute Handout 2: Modern Dance and review the definition of modern dance as a class. Modern dance is a free, expressive style of dancing started in the early twentieth century as a reaction to classical ballet. Read and review Seda’s definition of modern dance together: “Modern dance started as a revolution against ballet. The ballet is always about the story and very precise characters and very linear line of telling a story. Isadora Duncan came out and decided to go against it. She wanted to bring more emotions as an importance not necessarily the story, so today’s perspective of modern is shaped so much more as an expression of one’s self; thoughts for maybe an idea, maybe a full story. In general, even if it’s a full story, you may not see it as a linear line. It might become something more abstract. But, the cool thing about modern dance is that there is nothing wrong or right about it. When you’re watching it, it’s like looking at a painting. You feel something about it and find your own story with it.” Discuss the definition and creation of modern dance together. From Seda’s definition, in what ways do ballet and modern dance differ? Why do you think dancers or movers were attracted to modern dance during the 20th century? What is an example of expressing abstract ideas through movement? What do you think that means? NOTE: Later in the Study Guide, students will research influential local and national choreographers and dancers who have made a lasting impact on the way dance and modern dance is viewed, experienced and practiced. Learn the Elements of Dance The next 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 of dance 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 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.
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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. Student Reflection Ask students to reflect on their experience with movement and the elements of dance. Have students answer these questions in a timed free write. 1. Describe how you felt when asked to move lightly around the space. How was that a different feeling than moving heavily? 2. How do you think choreographers like Seda use the elements of dance when creating movement? 3. 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? DAY 2: THEME AND VARIATION IN CHOREOGRAPHY: HOW TO WATCH MODERN DANCE Seda Aybay’s choreography is influenced from her Turkish heritage, dance training and life experiences. The pieces being performed at the Student Matinee reflect Seda’s influences, but similar to the definition of modern dance, 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.
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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. 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)
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2018/19 SEASON KYBELE DANCE THEATER
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. (examples: 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. To best prepare your students for the Kybele Dance Theater 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 CHOREOGRAPHY 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? 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 KYBELE DANCE THEATER
HANDOUT 1: CURRICULUM VIDEO WORKSHEET - PART 1 1. What is modern dance as Seda defines it?
2. List some of the dance styles that have influenced Seda’s personal choreographic style.
3. What does Seda’s choreographic process look like?
Notes:
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HANDOUT 2: MODERN DANCE Modern Dance: A free, expressive style of dancing started in the early twentieth century as a reaction to classical ballet.
Seda’s Definition of Modern Dance: “Modern dance started as a revolution against ballet. The ballet is always about the story and very precise characters and very linear line of telling a story. Isadora Duncan came out and decided to go against it. She wanted to bring more emotions as an importance not necessarily the story, so today’s perspective of modern is shaped so much more as an expression of one’s self; thoughts for maybe an idea, maybe a full story. In general, even if it’s a full story, you may not see it as a linear line. It might become something more abstract. But, the cool thing about modern dance is that there is nothing wrong or right about it. When you’re watching it, it’s like looking at a painting. You feel something about it and find your own story with it.”
Isadora Duncan “A 1904 photograph of Isadora Duncan. The costumes she wore, inspired by classical drapery, were considered shocking at the time for the way they revealed her body. (Photograph by Hof-Atelier Elvira; from the Dance Division, New York Public Library for the Performing Arts, Astor, Lenox, and Tilden Foundations.)” http://www.danceheritage.org/duncan.html
Discussion Questions: In what ways do ballet and modern dance differ? Why do you think dancers or movers were attracted to modern dance during the 20th century? What is an example of expressing abstract ideas through movement? What do you think that means?
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HANDOUT 3: 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 KYBELE DANCE THEATER
LESSON 2: HERITAGE AND IDENTITY LESSON AT A GLANCE LESSON OBJECTIVE: Learn about Seda Aybay, artistic director of Kybele Dance Theater, her Turkish heritage and how it influences her movement as a choreographer. Students will reflect on their own culture in relation to their identity through Seda Aybay’s experience with her Turkish culture in dance. DURATION: 1 class period MATERIALS: Internet access to view Part 2 of Kybele Curriculum Video, Handout 4: Culture and Identity, Handout 5: Gestural Exercise Reflection STANDARDS: Common Core State Standards, Writing, Grades Nine-Twelve: 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 tasks, purposes, and audiences. Common Core State Standards, Speaking and Listening, Grades Nine-Twelve: 1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners, on topics...texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. VAPA Dance Grades Nine- Twelve Proficient: 1.5 Apply knowledge of dance vocabulary to distinguish how movement looks physically in space, time, and force/energy). VAPA Dance Grades Nine- Twelve Proficient: 2.2 Identify and apply basic music elements (e.g., rhythm, meter, tempo, timbre) to construct and perform dances. VAPA Dance Grades Nine- Twelve Proficient: 2.3 Design a dance that utilizes an established dance style or genre. Social Emotional Learning competencies: listen with attention, respond appropriately, understanding others CONCEPTS/VOCABULARY: Choreographer - a person who creates dance compositions and pieces. Choreographic process - the translation from a concept for a piece, to the execution and completion of the piece. Count - one unit or accent in the recurring rhythm of a phrase. Culture - the customary, collective characteristics of a group of people, defined by their religious, social, and artistic accomplishments, as well as their behaviors and practices. Gesture - a movement that does not involve carrying the weight of the whole body and can express emotion, ideas or attitudes. Heritage - valued cultural traditions, ideas, or objects that have been customarily handed down from generation to generation. Phrase - a brief sequence of related movements that has a sense of rhythmic completion. Piece - a complete sequence of related movements that has an overarching theme and concept. Rhythm - a strong, regular, repeated pattern of movement or sound. GUIDING QUESTIONS: How do you define culture for yourself? How is that different than heritage? What does identity mean to you? How do you express your identity? 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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LESSON PLAN Students will watch Part 2 of Seda Aybay’s interview, which will address her cultural influences in dance. Students will be able to relate to Seda’s expression of her culture to their expression of their own culture. They will consequently explore how culture defines their own movement and identity, and after reflecting, students will create a short movement phrase that represents their identity. Mini Lesson: Watch Part 2 of Curriculum Video: An Interview with Kybele Dance Theater’s Artistic Director, Seda Aybay Before watching Part 2 of the curriculum video, raise the question of personal identity to your class: What is identity? What elements of a person make up their identity? In Part 2 of the video, Seda Aybay elaborates on her experience with her culture and how it connects to the choreography she develops. Have students fill out Handout 4: Culture and Identity and take notes as they watch the interview. Start the video at 10:22. After watching the video, have students share with a partner. After sharing, ask for student volunteers to share their thoughts on Seda’s interview. MAIN LESSON Part 1: Watch Video on 8-Counts Part 1 encourages students to explore their identity physically through an 8-count phrase and gesture. This is an introduction to choreography and will motivate students to practice self-exploration and expression through movement. A location with an open space including theater, gym, outside or a classroom with desks pushed to the wall would be ideal for the locomotion in this activity. Warm-Up Questions: Has anyone taken a dance class? Music class? Does anyone know what an 8-count is? Begin the activity by watching this video from minutes 0:22-1:07 to better understand how dancers count rhythm when choreographing. https://youtu.be/5zX7mOYjooM After watching the video, ask students to repeat the 8 count rhythm together with a partner.
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Part 2: Review of Lesson One First, ask students to gather in a circle. Have students close their eyes, and guide them through a grounding, meditative breathing activity. Next, review modern dance terms, concepts and the elements of dance from the previous lesson: what modern dance is, theme and variation, and BASTE with students briefly demonstrating via movement. • Modern Dance - a free, expressive style of dancing started in the early twentieth century as a reaction to classical ballet. • 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. • BASTE - five categories within the elements: body, action, space, time and energy Part 3: Identify Word with 8-Count Rhythm
1. In the circle, instruct students to think about a word that represents them. 2. Review what an 8 count is, and demonstrate by pointing rhythmically to each student, emphasizing the “1” in each round. 3. Have students say their word out loud one by one, in order around the circle in this rhythmic pattern. Part 4: Define Gesture Review the term gesture with students and ask for examples. A gesture can be a wave, a leg shake, or a shoulder shrug. • Gesture - a movement that does not involve carrying the weight of the whole body and can express emotion, ideas or attitudes. Recall the way Seda uses gesture in the curriculum video and have students discuss what gestures meant for her throughout the choreographic process. Part 5: Connect Gesture & Identity Ask students to create a gesture that represents their word. Have them face the outside of the circle and prompt them to design and practice their gesture individually. Have students face back to the center of the circle, and go around the room and have each student demonstrate their gesture one by one. Other students in the circle respond by repeating the word and gesture after the student demonstrates. Do this two times, and on the 3rd round, integrate the rhythm of the 8 count pattern. Explain that everyone in the circle will do their gesture consecutively to the rhythm of the 8 counts. Slowly introduce the 8 count pattern to their movement. Quicken the rhythm gradually to go around a 4th time.
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Do approximately eight 8 counts this way, or more if time permits. You may also ask them to think of another gesture that represents them and repeat the process. Task: Create a gesture that best represents their identity word. Assessment Criteria: • Students’ gestures connect with their chosen word. • Students’ clearly and respectively respond to peers’ word and gestures. • Students’ stay in beat with the 8-count rhythm. Purpose: Reflect on the relationship between identity and culture and how it applies to artistic engagement. Student Reflection For reflection, have students fill out Handout 5: Culture and Identity - Gestural Exercise. Upon completion, ask students to share with a partner.
TAKE IT FURTHER! As an added activity, have students develop their gesture further into an 8 count phrase for homework. Present the phrases at the beginning of the next class period, and have them share with a partner why they chose the movement they did- whether it be heavy or soft, or the themes in the variations they executed.
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HANDOUT 4: CULTURE AND IDENTITY Answer these questions while watching the curriculum video. 1. Which schools did Seda Aybay attend in Los Angeles?
2. What experience(s) influenced Seda’s perception of culture?
3. How has Seda’s acceptance and rejection of her culture influenced her choreography?
4. What are some gestural movements ubiquitous in Seda’s choreography? What Turkish phrases or themes inspired the movement?
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HANDOUT 4: CULTURE AND IDENTITY, CONT’D Answer these questions after watching the video. 1. How do you relate to Seda when she speaks about her culture?
2. By what elements of your culture are you influenced? Are you influenced by other cultures that are different from yours? How?
3. Seda mentions that there is the “beauty and the beast” in every tradition, and we should use education to take our society to the next level. What do you think she means by this? Do you agree?
4. Is heritage worth preserving? Why or why not?
5. What are some examples of phrases or sayings in your culture? Do you identify with them?
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HANDOUT 5: GESTURAL ACTIVITY REFLECTION 1. Describe your gesture using BASTE vocabulary.
2. Why did you choose the gesture that you did? How does it relate to your identity and/or culture?
3. How did you feel performing this exercise? Did this shape your perception of dance?
4. What did you enjoy about this exercise?
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LESSON 3: POETRY AND CHOREOGRAPHY LESSON AT A GLANCE LESSON OBJECTIVE: Students will analyze Mary Oliver’s poem, “When Death Comes”, discuss and reflect on what it means to live a worthwhile life for themselves and choreograph a movement phrase inspired from a stanza in the poem. DURATION: 1 class period MATERIALS: Handout 6: “When Death Comes” Poem STANDARDS: CA State English Standards, Grades Eleven thru Twelve: 2.2 Analyze the way in which clarity of meaning is affected by the patterns of organization, hierarchical structures, repetition of the main ideas, syntax, and word choice in the text. CA State English Standards, Grades Eleven thru Twelve: 2.4 Make warranted and reasonable assertions about the author’s arguments by using elements of the text to defend and clarify interpretations. CA State English Standards, Grades Eleven thru Twelve: 2.5 Analyze an author’s implicit and explicit philosophical assumptions and beliefs about a subject. Common Core State Standards, Writing Nine thru Twelve: 2.d Use precise language, domain-specific vocabulary, and techniques such as metaphor, simile, and analogy to manage the complexity of a topic. VAPA Dance Grades Nine-Twelve Proficient: 2.4 Perform original works that employ personal artistic intent and communicate effectively. CONCEPTS/VOCABULARY: Choreographer - a person who creates dance compositions and pieces. Choreographic Process - the individual process that a person 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. Phrase - a brief sequence of related movements that has a sense of rhythmic completion. 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 do you want to live a fulfilling life? Where is theme and variation in a poem? How can you use theme and variation when choreographing a phrase? 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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LESSON PLAN This lesson connects to Seda Aybay’s dance piece, Sonsuz, that will be performed at the Kybele Dance Theater Student Matinee. Sonsuz, meaning “infinite” in Turkish, is inspired by Mary Oliver’s poem “When Death Comes”. After reading Oliver’s poem, Seda was inspired to create movement based on the themes and ideas within the poem. Students will go on a similar choreographic journey as Seda. First, they will read and analyze “When Death Comes” and discuss the themes and ideas that they noticed as a class. Then they will be asked to make connections to their own life and choreograph a short phrase of movement inspired by one of their favorite stanzas. This lesson will challenge students on their literary skills and help them to discover their own creative, choreographic process and what they have learned about movement in the first two lessons. Optional Mini Lesson: Who is Mary Oliver? Before reading Mary Oliver’s poem, “When Death Comes” you have the option to introduce students to the author. Students can research their own about Mary Oliver, or read this article from the New Yorker published on November 27, 2017. Mary Oliver Article from New Yorker Magazine https://www.newyorker.com/magazine/2017/11/27/what-mary-olivers-critics-dont-understand MAIN LESSON Part 1: Read Mary Oliver’s Poem, “When Death Comes” Distribute Handout 6: “When Death Comes” and ask students to read and analyze the poem. Give students 10-15 minutes to decipher the themes and ideas that Mary Oliver is alluding to in the poem. Encourage students to research any words that are new to their vocabulary and to write ideas or connections they make on the poem. After reading, ask students to pair share their initial thoughts to one another. Come back together as a class and lead a larger class discussion about the themes in the poem and how it connects to the students’ lives. Some discussion questions can include: What do you think Mary Oliver means by the phrase, “simply having visited this world”? What imagery are you drawn to in the poem? How does the punctuation in the poem contribute to the feeling of movement? What is the theme and variation in the poem? Are there any similes in the poem? What are some examples of personification in the poem? Part 2: Choreography 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. After picking 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: 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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“When it’s over, I want to say: all my life
Communicate - direct movement
I was a bride married to amazement. Committed to curiosity - being committed to the movement I was the bridegroom, taking the world into my arms.” Embracive - circular movement with reaching Task: Create a short phrase with original movement and choreography inspired by a stanza from the poem, “When Death Comes”. Have each student 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, similar to how Seda started with a gestural movement inspired from water in her shower, and grow the movement from there. Ask students to make their phrases at least one count of 8. Aassessment Criteria: • Phrase is at least one count of 8. • Phrase is an interpretation of a stanza from the poem, “When Death Comes”. • 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 and explore one’s own artistic expression. Part 3: Perform Divide the class into two large groups. One group will act as the audience, and the other will perform all together. 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 Students will write a paragraph explaining their choreographic process and what it felt to perform their original work to their peers.
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HANDOUT 6: “WHEN DEATH COMES” BY MARY OLIVER When death comes like a hungry bear in autumn; when death comes and takes all the bright coins from his purse to buy me, and snaps the purse shut; when death comes like the measle-pox; when death comes likes an iceberg between shoulder blades, I want to step through the door full of curiosity, wondering: What is it going to be like, that cottage of darkness? And therefore I look upon everything as a brotherhood and a sisterhood and I look upon time as no more than an idea, and I consider eternity as another possibility, and I think of each life as a flower, as common as a field daisy, and as singular, and each name a comfortable music in the mouth, tending, as all music does, toward silence, and each body a lion of courage, and something precious to the earth, When it’s over, I want to say: all my life I was a bride married to amazement. I was the bridegroom, taking the world into my arms. When it’s over, I don’t want to wonder if I have made of my life something particular, and real. I don’t want to find myself sighing and frightened, or full of argument. I don’t want to end up simply having visited this world.
http://www.phys.unm.edu/~tw/fas/yits/archive/oliver_whendeathcomes.html
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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 Kybele Dance Theater 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 7: How to Write a Dance Review STANDARDS: Common Core State Standards, Writing, Grades Six-Twelve: 3.d Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters. Common Core State Standards, English Language, Grades Nine-Twelve: 1 Demonstrate command of the conventions of standard English grammar and usage when writing and speaking. VAPA Dance Grades Nine-Twelve Proficient: 2.4 Perform original works that employ personal artistic intent and communicate effectively. VAPA Dance Grades Nine-Twelve Proficient: 2.6 Collaborate with peers in the development of choreography in groups (e.g., duets, trios, small ensembles). Social Emotional Learning competencies: trust, collaboration, risk-taking 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. Teamwork - the collective effort of a group of people. Trust - confidence and trust in the reliability of someone. 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 Kybele Dance Theater Student Matinee After seeing the Student Matinee of Kybele Dance Theater, have a class discussion about the performance and experience of watching a professional dance company. Make connections to topics explored in previous lessons (theme and variation, elements of dance, identity, choreography, movement quality, etc.) Some sample questions include: • What was your most memorable moment from the performance? • Which theme and variation in the choreography did you notice? Explain. • Did you have a physical, emotional or spiritual response to any of the pieces or movement? • Were there any technical moments that surprised you or that enjoyed you? Explain. As an optional homework or in-class assignment, have students write a review of the performance using Handout 7: How to Write a Dance Review. MAIN LESSON Partnering and collaboration are important elements to 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. 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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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. 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 get in a group of 6 (preferably the pairs stay together in the larger group). 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. 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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Before starting the activity, assign a number 1-6 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 placinng their body (positive space) within the existing negative space of the group. After all six students strike a pose, the group will end in one large picture or pose and hold it for 8 counts. 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 Ask the same group of 6 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. Discuss the assessment criteria as a class. Task: In a group, create a movement piece using the concepts explored from the past lessons. 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 7: 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 structures? 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. 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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RESEARCH PROMPT: LEARN ABOUT DANCERS AND CHOREOGRAPHERS LESSON AT A GLANCE OBJECTIVE: Research different dance careers to learn about important dance leaders in this field. Write brief biography of their figure to share with the class. DURATION: 1 class period or homework assignment MATERIALS: Internet access (if permissible) to research, paper, pen STANDARDS: Common Core State Standards, Writing, Grades Nine-Twelve: 12.7. Conduct short as well as more sustained research projects to answer a question or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation. Common Core State Standards, Writing, Grades Nine-Twelve: 12.2e. Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing. Common Core State Standards, Writing, Grades Nine-Twelve: 12.9. Draw evidence from informational texts to support analysis, reflection, and research. Common Core State Standards, Language, Grades Nine-Twelve: 12.1. Demonstrate command of the conventions of standard English grammar and usage when writing and speaking. VAPA Dance Grades Nine-Twelfth Proficient: 4.4 Research and identify dances from different historical periods or cultures and make connections between social change and artistic expression in dance. CONCEPTS/VOCABULARY: Artist Statement - an introduction to an artist’s work, piece, or project. Choreographer- a person who creates dance compositions and pieces. Composer - a person who writes music. Director - a person who is responsible for a department or organization. GUIDING QUESTIONS: What impact does dance have on our culture? Why is dance so essential to enhancing our culture? How can one person enhance an art form? How is dance used as another way to make social commentary on issues?
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RESEARCH PROMPT Who are the dance leaders? Explain how throughout the unit, students have enhanced their vocabulary regarding dance movement and concepts. In particular, students have learned about modern dance and focused on one particular artist and career connection, Seda Aybay, Artistic Director of Kybele Dance Theater. After watching the performance of Kybele Dance Theater, students witnessed how one’s heritage, environment and identity can influence an art form. As a final extension of this unit and in their assigned group, research another individual who has had a profound influence on dance. Assign each group a dance leader to research. Tell students to visit the website http://www.danceheritage.org. The Dance Heritage Coalition is a nonprofit organization that aims to preserve the history of dance and seeks to celebrate those individuals who have made an impact on dance. In 1999, it sought nominations for those who showed “great artistic excellence, enriched the nation’s cultural heritage” to compile a list of the First 100. Instruct students to be prepared to share with the class the individual contributions of their particular dance leader. How did the dance leader change and enrich his or her particular field? In the presentation to the class, the groups should include the background, hardships, and achievements of the dance figure. Submit short, formal biography and cite evidence from the source, following MLA conventions. If some students prefer to explore and learn about local dance leaders in Los Angeles, then they can refer to the second list titled “Local (Los Angeles) Dance Leaders”. These students will need to visit the websites of these particular community dance leaders. National Dance Leaders Dancer Composer Artistic Director Choreographer Isadora Duncan Aaron Copland Alvin Ailey Busby Berkeley Katherine Dunham Trisha Brown Bob Fosse José Greco Camille A. Brown Hanya Holm Savion Glover Bill T. Jones Lester Horton Gregory Hines Martha Graham Pearl Primus Loïe Fuller José Limón Anna Sokolow Misty Copeland Michelle Dorrance Local (Los Angeles) Dance Leaders Dance Companies Artistic Director Contra-Tiempo, Urban Latin Jackie Lopez, Versa-Style Dance Company Dance Theater Lula Washington, Lula Washington Dance Co. Heidi Duckler Dance Theatre Lillian Barbeito, BODYTRAFFIC Kyle Abraham, Abraham.In.Motion 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 KYBELE DANCE THEATER
GLOSSARY Artist Statement - an introduction to an artist’s work, piece, or project. Asymmetry - absence of symmetry; lack of equivalence within the aspects of something. Choreographer - a person who creates dance compositions and pieces. Choreographic Process - the individual process that a person goes through when creating a new piece of work and movement; the translation from a concept for a piece, to the execution and completion of the piece. Choreography - a succession of movement for a piece. Collaboration - the action of working with someone to create or produce something. Composer - a person who writes music. Count - one unit or accent in the recurring rhythm of a phrase. Counterbalance - a weight that balances another weight. Culture - the customary, collective characteristics of a group of people, defined by their religious, social, and artistic accomplishments, as well as their behaviors and practices. Director - a person who is responsible for a department or organization. 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. Heritage - valued cultural traditions, ideas, or objects that have been customarily handed down from generation to generation. Improvisation (in dance) - process of spontaneously creating movement. 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 clues 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 - a brief sequence of related movements that has a sense of rhythmic completion. Piece - a complete sequence of related movements that has an overarching theme and concept. Positive Space - where the dancer’s body is when dancing. It is the space where people mostly look when watching dancers. Rhythm - a strong, regular, repeated pattern of movement or sound. 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. Teamwork - the collective effort of a group of people. Theme - a topic; the subject of a talk, a piece of writing, a person’s thoughts, dance or an exhibition. Trust - confidence and trust in the reliability of someone. Variation - change or slight difference in level, amount or quantity.
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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