Artsource
DANCE/MUSIC MUSIC ®
The Music Center’s Study Guide to the Performing Arts
TRANSFORMATION
ENDURING VALUES
CLASSICAL
1. CREATING (Cr)
CONTEMPORARY
2. PERFORMING, PRESENTING, PRODUCING (Pr)
EXPERIMENTAL
3. RESPONDING (Re)
MULTI-MEDIA
4. CONNECTING (Cn)
FREEDOM & OPPRESSION
Title of Work: Eagle Dance and Hoop Dance
ARTISTIC PROCESSES
TRADITIONAL
THE POWER OF NATURE
THE HUMAN FAMILY
About the Artwork: The eagle is sacred to all tribes and is a symbol of wisdom,
Creators:
strength and vision. The Eagle Dance varies from region
Company: American Indian Dance Theatre - Founded 1987 Artistic Director: Hanay Geiogamah b. 1945 Founder/Producer: Barbara Schwei
to region, but this interpretation is a blending of two styles: one from the Northern Plains and the other from the Zuñi Pueblo. The dances reflect the life cycle of the
Background Information:
eagle from its first steps and attempts to fly, through
Hanay Geiogamah was born in Anadarko, Oklahoma,
maturity and into the spirit world. The Hoop Dance is
and was raised with the traditions of the Kiowa Tribe, a
based on a legend of a dying man who wished to leave
principal group of the Southern Plains. The Kiowas have
something on earth. The Creator gave him a hoop of
a strong tradition of music and dance, and have produced
wood and told him that for each natural form he could
some of the leading Native American composers. One of
recreate, one more hoop would be added. He grew
Hanay’s most comforting memories as a child is of his
stronger, for each additional hoop allowed him to create
father getting up before dawn and performing his morning
other designs.
ritual of preparing for work. He would fix himself coffee, turn on the radio to country western music, and whistle ancient tribal songs. This gave Hanay a sense that he was an American Indian - even though his modern world was in such contrast to the traditional ways of his culture. As he grew to maturity, Hanay’s interest in his traditional culture increased; he sought ways to express
Creative Process of the Artist or Culture: Dance and music serve as a framework to which American Indian philosophy and tradition are attached. Mr. Geiogamah developed a system for categorizing American Indian dance: seasonal/functional; spiritual/ ceremonial/religious; and celebrational/bravura. Each has its own musical support system -
himself and communicate about his culture through
a musical catalogue that evolved
drama. In 1972 he formed the Native American Theatre
from the 430 tribes in the United
Ensemble, writing, directing and producing many
States. He researches and collects
works. In 1987, he and Barbara Schwei formed the
traditional dances from many tribes
American Indian Dance Theatre to present American Indian dance and music professionally and remedy the frustrating lack of experienced traditional performers. Mr. Geiogamah is a Professor in the school of Theatre, Film and Television at UCLA and has served as the Director of the American Indian Studies program there for many years. He is also is recognized as the most important
and puts this material together in new “Music and dance are imbued in me. I have full respect for the traditions and I’m grateful for them, for they have helped me make my way through a difficult world.” - Hanay Geiogamah
ways without altering the original intent of the dances.
Native American playwright of the late 20th and early 21st centuries.
California
Oklahoma
Background on the Eagle Dance:
Multidisciplinary Options:
It is believed that eagles are messengers between man and the Creator. The dancers mime the movements of this creature in order to take the thoughts and messages of humans to the ‘higher above.’ The eagle maintains itself and keeps its dignity, while respecting the balance of nature within which it lives. It is thought that the eagle reigns with fairness and compassion.
• See Sample Lesson III. Study the elements which comprise various cultures. Make a list of the universal needs of mankind which are met and expressed through each individual culture. Discuss what makes all people the same and what creates the unique differences.
Audio-Visual Materials: • Artsource® video excerpt: Eagle Dance and Hoop Dance from Finding the Circle, Dance in America, courtesy WNET/THIRTEEN and American Indian Dance Theatre. • Michael Lacapa illustrations from the book The Mouse Couple, courtesy of Kathleen Lacapa-Boehl and Kiva Publishing, Santa Fe, New Mexico. • Photos: courtesy of American Indian Dance Theatre.
Background on the Hoop Dance: The Hoop Dance was originally designed to teach and tell stories of creation. The dancer manipulates up to 40 reed hoops to show how all natural things are connected, yet grow and change. The hoop dancer explains that “When I was a boy I saw trees and butterflies, eagles and squirrels, and I saw how they were all connected and that they were related and even a part of me. As I got older I began to understand that life is a continual flow of creation being born and changing and growing and passing on to become something new. When I started dancing, I discovered that my hoops had stories in them and the shapes I made could reflect and teach and honor the forces in life that connect all of us to each other.” The dancer forms these shapes: a butterfly, a turtle, an eagle, flowers and a snake.
Discussion Questions: After the video has been viewed: • What feelings did you have after watching the Eagle Dance? • What movement words would you use to describe the Eagle Dance? List them on the board. • Using Mr. Geiogamah’s system of categorizing traditional dance (see “Creative Process”), what type of dance do you think the Eagle Dance is? The Hoop Dance? Give reasons to support your answers. • What were some of the natural images recreated by the hoop dancer? Why did he create them? • What did oyu notice about the movements of the hoop dancer? Describe them. • Compare the two dances in terms of use of space, tempo, energy, costume, purpose, feeling, etc. How were they alike? How were they different?
Additional References: • Cohlene, Terri. Dancing Drum: A Cherokee Legend. Troll Communications, 1998. • McGrath, James. Dance With Indian Children. Center for Arts of Indian America. 2nd edition 1974. • Goble, Paul. Beyond the Ridge. Bradbury Press, NY: 1989.
Sample Experiences: LEVEL I * • Learn the Apache Changing Ceremony poem, In Beauty I Walk. Interpret the ideas in the poem through chosen gestures and creative movement. • Select a traditional song of one of the Native American cultural groups from your music book. Learn to sing it. • Make rattles of shells or seeds and create chants to honor selected animals, telling a characteristic of each. LEVEL II * • Select a Creation Story from one of the Native American cultural groups and express the different characters and ideas, making a group dance which shows the story. • Research and learn American Indian sign language and use it to communicate words, ideas and feelings. Refer to the Artsource® Unit, Geri Keams, Addendum. LEVEL III * • Create a mythical culture, based on the elements of which cultures are composed. Choreograph a dance which expresses one or more aspects of this culture. • Read a book, such as Beyond the Ridge, by Paul Goble. Follow it with a discussion of views on life and death. *
Indicates sample lessons
2
DANCE
IN BEAUTY I WALK POWER OF NATURE
LEVEL I Sample Lesson INTRODUCTION: One of the most admirable aspects of Native American philosophy is the value that is placed on respecting nature. This Apache poem illustrates an aesthetic appreciation for the natural world and is part of a changing ceremony that takes place when an adolescent girl makes the transition into womanhood. OBJECTIVES: (Student Outcomes) Students will be able to: • Have an increased appreciation for respecting the beauty of nature. (Connecting) • Create movement to an Apache Changing Ceremony poem. (Creating & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Native American traditional music (optional). Suggestions: In Beauty, We Return by R. Carlos Nakai. Canyon Records, 2004. He has many other recordings. • Drum and beater. PROGRESSION: • Talk about nature and ask the students what specific things in nature they find beautiful. • Introduce the poem, In Beauty I Walk. Explain that it is a poem/song which is sung at the time when an Apache girl makes the transition into womanhood. Although it is specifically used for this purpose in this tribe, it has a universal theme of appreciation for nature to which all can relate. • Read aloud the following poem:
Black and white copy of an illustration by Michael Lacapa from The Mouse Couple
3
IN BEAUTY I WALK An Apache Changing Ceremony IN BEAUTY, I WALK WITH BEAUTY BEFORE ME. I WALK WITH BEAUTY BEHIND ME. I WALK WITH BEAUTY BESIDE ME. I WALK WITH BEAUTY ABOVE ME. I WALK WITH BEAUTY BELOW ME. WITH BEAUTY ALL AROUND ME, I WALK. WITH BEAUTY WITHIN ME, I WALK. IT IS FINISHED IN BEAUTY. • Ask the students what they think the poem means. Briefly discuss this. • This poem can be interpreted in movement by having the students walk freely in space as the words are spoken, using their eyes to imagine the beauty they remember from being in nature or from seeing movies or photos of nature (some students have been deprived of opportunities to be in nature). • Another possibility is to have the students perform a simple gesture which shows each idea in the poem as it is said. These gestures can be done in individual ways, or the class can select specific gestures which they do in unison.
Black and white copy of an illustration by Michael Lacapa from The Mouse Couple
4
• This poem can also be simply structured in the following manner: Position: Have students stand facing the same direction in different parts of the available space (even between desks or tables if there is not an empty space). If you feel comfortable, play a steady beat on the drum (use a clean wastebasket turned upside down). IN BEAUTY, I WALK WITH BEAUTY BEFORE ME. I WALK WITH BEAUTY BEHIND ME. Have one student or the group (in unison) say these two lines. Following the spoken words, the group walks forward for four steps as each person slowly raises both arms upward, following the motion with their focus. Still facing forward, they walk backward four steps as they lower their arms to their sides and gaze downward. (This motion can be done once or repeated in each of the four directions of North, East, South and West.) I WALK WITH BEAUTY BESIDE ME. This line is spoken as the group stands still. Then, using four step-together steps, travel sideways to the right and then sideways to the left. The arms complete one full circle to the right as they travel right and one full circle to the left as they travel left. I WALK WITH BEAUTY ABOVE ME. I WALK WITH BEAUTY BELOW ME. After the lines are spoken, the group takes two steps forward, arms reaching upward. Take two steps back, ending up in a position with one knee on the ground; both arms and focus are down, fingertips touching the floor. WITH BEAUTY ALL AROUND ME, I WALK. Each person walks in a circular path around his or her own space. WITH BEAUTY WITHIN ME, I WALK. Students cross both arms across their chest, hands on shoulders, elbows down, and walk freely in the space for eight counts, ending near a group of three to six other people. As the last line is spoken, these small groups of people combine body shapes to create a group landscape design depicting some aspect of nature (mountains, tree, river, etc). IT IS FINISHED IN BEAUTY. (Last line is spoken as the groups form their landscape sculptures.) • Have the class practice reciting this poem with the corresponding movement several times so they can get a sense of satisfaction and expressiveness between the words and movement.
5
EXTENSIONS: • Give students the opportunity to draw or paint a picture of a scene in nature that they consider beautiful. Photos in magazines and books may be used as references. • Find one of the following books, illustrated by the late Native American artist, Michael LaCapa. Observe and study the way in which he has represented symbols from his culture within his illustrations for the stories. • Retold by Ekkehart Malotki and illustrated by Michael Lacapa, The Mouse Couple, a Hopi Folktale. Northland Publishing, P.O. Box N, Flagstaff, AZ 86002: 1988. • Retold and illustrated by Michael Lacapa. The Flute Player, an Apache Folktale. Northland Publishing, P.O. Box N, Flagstaff, AZ 86002: 1990. • Write your own poem about something specific in nature which you can describe. VOCABULARY: Apache, changing ceremony ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe your feelings about the poem, In Beauty I Walk. DISCUSS: Discuss what you think the poem is about. What do you think it means? ANALYZE: Discuss what is beautiful from your point of view. Does beauty have the same meaning for everyone? Discuss why or why not. CONNECT: Discuss how beauty inside a person can differ from beauty on the outside of a person. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
6
ABOUT MICHAEL LACAPA
Michael Lacapa (1955-2005) trained both as an illustrator and as a fine artist and earned his MFA from Northern Arizona University in Flagstaff. Of Apache/Hopi/Tewa descent, he worked with the Apache tribe, developing educational materials and was an artist-in-residence for several Arizona schools. Not only was he a gifted artist but an accomplished storyteller and educator as well. His hours in the classroom were spent enchanting children with stories from the Apache and Hopi tradition and helping them develop their own cultural sources and creative potential. He was dedicated to preserving the stories he learned from Tribal elders. Lacapa’s work combined references from his cultural background with sophisticated and stylized line and color into a distinctive artistic statement, and he also played Native American flutes.
7
DANCE
A PAPAGO CREATION MYTH TRANSFORMATION
LEVEL II Sample Lesson INTRODUCTION: Myths, legends and creation stories are a part of every culture. They provide a way for mankind to explain some of the mysteries of creation and to see a relationship between humans and the natural world. Stories provide us with simple, clear metaphors which make our world feel safe. This lesson is based on a Papago Creation story. This type of story is particularly appealing to students in the third and fourth grades. This lesson provides an example of a ‘story structure’ and how it can be used to elicit movement and frame dance interpretations. OBJECTIVES: (Student Outcomes) Students will be able to: • Interpret Native American Creation Myths through original expressive movement. (Creating & Performing) • Work within a ‘story structure’ in a creative way. (Creating) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Native American flute music or a drum (shakers are optional). PROGRESSION: • Introduce the concept of Creation Myths. Emphasize that while it may appear to be a myth to some people, it is believed as truth by other people. Differences in beliefs must always be honored.
Eddie Swimmer Hoop Dance American Indian Dance Theatre Photo: Don Perdue
• Tell your students the Papago story that follows, or a similar creation myth. • The students will be full of ideas for interpretations on the different parts within the story structure. Give them the opportunity to be original. Several variations might be done for each section. • The story structure is most successful when only a few (5-7) students improvise each part at any one moment. Define a specific space, even if it is small, within which the performance will take place. When the students are not being the performers, they are part of the audience. 8
A PAPAGO CREATION MYTH retold by Paul Tracey
• Long, long ago, before time had even started Earthmaker molded a dollop of dirt - and there was Earth • But the Earth was not firmly fixed in the firmament, so the spider people stopped its wobblings with a web which wove the earth to the sky - as you see it today • Yellow buzzard’s wide wingspan fanned the flat earth - and mighty mountains arose • Coyote spread the seeds of the saguaro, and they sprang up - for the land was a desert • Desertlands need special people, so gopher dug deep down, down, down to the underworld, and led the Papago up, up, up to the dazzling daylight • Elder brother showed the people how to live with so much sun - but he also shared the ceremonies that can bring the rain • And he taught them songs to sing, to harmonize with all living creatures and to respect the forces of their mother - Mother Earth
ADDITIONAL REFERENCES: • Baylor, Byrd (Text) and Parnell, Peter (Illustrations). The Desert is Theirs. Charles Scribner’s Sons. NY: 1975.
9
• The most successful way to work with a book or story is to select the main concepts rather than attempting to present every thought and detail. The story structure gives a simple sequence for the students to follow. • Take one part of the story at a time. These are marked in the poem on page 10 with a bullet (•). Select several students to interpret each section. Ask the other students to sit in a group as an audience until their turn.
Example #1 (Earthmaker) Have one student (or several students) dance the part of Earthmaker. Other students can be lying flat in different areas of the room. When Earthmaker comes near doing a rhythmic gesture of ‘molding the dollops of dirt,’ the students lying down can begin to evolve into different shapes which represent desert bushes and trees.
Example #2 (Coyote) One student can dance the role of Coyote and several students can travel behind him/her as ‘seeds.’ Suggest that Coyote stop at one point and using a large throwing gesture, toss the various students representing seeds into different areas. In slow motion, each of them grows (transforms) into a saguaro cactus shape. Encourage them to face different directions and use different levels.
Example #3 (Spider people) It is a good technique to give students space and time limitations, providing challenges that will make their movements richer. For example, ask the spider people to begin at the corners of the performing area. They may only travel along the path of an X. They may switch directions, but only at the middle point of the X. Each student finds his/her own way to move like a spider and alternates this traveling movement with big, slow, sewing and weaving gestures, pulling their silken thread to bind the earth and sky together. Their movements will be more spider-like if they are encouraged to move on hands and feet, rather than knees and hands. Also suggest that they may travel with feet only and use their hands and arms in spider-like movements above the ground. • Continue taking each section of the story, giving all the students an opportunity to interpret the ideas. • There are some sections where interested students can create a special dance, such as a rain ceremony. • Ask your students to brainstorm until they can think of a way to end the dance which involves all of them. Ideas might include singing a Native American song or forming a circle to represent Mother Earth. Give the students opportunities to provide the ideas for the dance rather than giving your ideas. If you ask them problem solving questions, they will be able to think in terms of movement and envision many different possibilities. 10
Task: Select one part of the poem and interpret it through expressive movement as a solo, duet or group work. Suggested Criteria for Dance: • Strong focus • Original movement, shapes or patterns • Cooperation with partner or group • Clear beginning, middle and ending • Use of elements of dance, such as rhythmic patterns, variations in shape, spacial arrangement and design, contrast in energy • Fulfillment of the movement EXTENSION: • Find a Creation Myth from another Native American culture. Using the story structure technique, interpret it through dance movement. VOCABULARY: metaphor, myth, culture, creation stories (refer to Theatre Glossary), story structure ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe in detail your favorite part of the story. DISCUSS: Discuss what you liked best about the part or character you danced. ANALYZE: Discuss why you think that all groups of people have a story to describe “creation.” What kind of answers can a creation story provide? CONNECT: Identify and discuss other myths you know? Discuss what the purpose of the myth might be. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
11
DANCE
CREATE A MYTHICAL CULTURE ENDURING VALUES
LEVEL III Sample Lesson INTRODUCTION: Wherever humans have collected together into groups, a distinct culture has formed. In order to function as a collective group, people develop a way of life which reflects their beliefs, values, customs, traditions and system of laws and government. These are often influenced and shaped by their environment, territorial boundaries, relationships with other cultural groups, language and history. Their outlook on life, beliefs and values are expressed through their music, dance and art. These are the aspects of culture which travel with any group through time and change of environment. When different groups of people immigrated to America, the things that they brought with them were their music, dance, song, stories, symbols, styles, food, language, traditions, religion, experience and memories. The Native Americans, who migrated to America long before the Europeans, also had cultural differences which gave them separate identities. They, like the Africans, have often been thought of as one cultural group, but this is inaccurate. Native Americans each have their own culture which includes differences in environment, food, style of clothing and costuming, dance, music, musical instruments, beliefs, language, customs and interests. Today many of these groups have maintained their cultural identity while also sharing their cultural differences with each other. This series of lessons is especially workable with fifth grade and above. It is worth the planning and effort involved, for the group gains an expanded and meaningful understanding of the elements of culture. OBJECTIVES: (Student Outcomes) Students will be able to: • Take the elements which shape a cultural group and incorporate them into the cultural dance study. (Responding & Connecting) • Create a dance which communicates the essence of one or more aspects of a specific culture. (Creating & Connecting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® videos and Unit materials: the Eagle Dance and the Hoop Dance from the American Indian Dance Theatre; Lai Haraoba and Vasanta Rasa Lila Dances from Ranganiketan; African Roots in American Soil
Eddie Swimmer Hoop Dance American Indian Dance Theatre Photo: Don Perdue
12
from Chuck Davis; The Flying Goddess and The Fan Dance from Lily Cai; Suite of Appalachian Music and Dance and Suite of French Canadian Music and Dance from AMAN; Los Mitos from Ballet Folklorico de Mexico; Brother Sun and Sister Moon from Chuna McIntyre (These are helpful, but optional.) • Varied styles of music for student selection to accompany their dances (traditional folk, classical, environmental sounds, rock, rap, New Age, etc.). PROGRESSION: • This idea is accomplished through a series of lessons which tie in with social studies themes and concepts. This lesson will be more successful if the students have some basic background in both music and dance. • Discuss the elements of culture with your students. Give examples of two or three different kinds of cultures, including one of the American Indian cultural groups. Compare and contrast the aspects of culture between the selected groups. • Divide the class into groups of three to five students (boys and girls in each group). Give them the problem of creating a culture and choreographing a dance which expresses one or more aspects of the culture. Use the following points of departure: • Is the culture ancient, traditional, modern, futuristic? How will this be communicated through the movement? • What does the music of the culture sound like? What kind of instruments are used? • What are the cultural traits of the people (e.g. open and friendly or more reserved)? What kind of movements and postures would tell something about them (e.g. strong, relaxed, energetic, formal, royal, open, closed, proud, fearful, peaceful, aggressive)? • Are animals symbolic in the culture? If so, which? How do these animals move? Do you want to portray any of them in your dance? How can you abstract or change their natural movements into dance movements (e.g., change the size, repetition, select a few specific gestures or motions and exaggerate them, etc.). • Should the movements be done in unison (e.g., all together, call/response - some move, others respond) or be individually expressed?
* Refer to the Artsource® Unit, Chuck Davis,“Ghananian Personal Names.” (optional) 13
• What kind of work is done by people in your culture (e.g., fish, hunt, farm, mine, use computers, etc.)? Do you want to have your dance show these work movements? How can you use rhythm and repetition to achieve this? • Pick a theme for your dance. What is the purpose of your dance (e.g., social, ceremonial, hunt preparation, celebration of a birth* or marriage, seasonal, planting or harvest festival)? • Think of 5-7 action words which you want to use in your dance. • After these ideas have served as points for discussion and clarity, have the students use the “Check List for Your Dance” and begin their creative process. Stress that this is a group process and the goals are for cooperation, mutual respect, participation on the part of all, and collective planning. To successfully achieve the goal, each group must complete the task in an imaginative way, consider all aspects of culture and reflect some of them in dance. “Failure” exists only when the group members are unable to clarify their ideas and work cooperatively and productively toward their goals. It might also be helpful to look at the seven principles of Kwanzaa in the Artsource® Unit, Chuck Davis Addendum. • It is helpful to have several types of music available for student selection. However, if the group has some musical background, you might wish to expand the project to include original musical compositions, as well. If there is a music teacher, you may wish to collaborate on this. The music should be recorded so that it can be used in the dance rehearsal process and for performance. • Perform the dances for each other. Some classes prefer to keep their culture a secret and then reveal it through their dance and music performance. However, this may be difficult to do when the students are working simultaneously in the same space.
Eagle Dance American Indian Dance Theatre Photo: Don Perdue
14
• Discuss each dance in terms of what it communicated about the culture. Have students assume the role of a cultural anthropologist. They can record their observations or use the “Observation Sheet.” Task: Create an original cultural dance and accompaniment based on your research of cultural groups. Suggested Criteria for Dance: • Group cooperation and contributions • Clear purpose for the dance • Clear beginning, middle and end • Represents some aspect of the selected culture • Conveys a specific time frame for the culture • Original movement and fulfilled expression • Incorporates several of the elements of dance EXTENSIONS: • Have the students design art objects. These might include the symbols, designs and tools as well as other aspects of the culture. A painting of the envisioned environment, costumes, etc. can also be added. • Have each group create an archeological ‘treasure box.’ Have them make notes on their culture and put this in the box along with other objects which give additional clues to life in that society. Hide these treasure boxes in various places around the school. Send each group on an archaeological ‘dig’ to uncover the ‘evidence’ of a different culture and then have them interpret what they have found. You might want to create a check list for this. • Videotape the dances and show them to the class. VOCABULARY: culture, archaeological dig, spiritual/ceremonial, seasonal/functional, celebration/bravura ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the culture you designed. DISCUSS: Discuss how and why you made the choices you selected for your dance and music. ANALYZE: Discuss what your dance and music expressed about the culture you designed. Did your dance tell something about the environment, time period, values or beliefs? Explain your answers. CONNECT: Discuss what you learned or discovered about all cultures in the process of designing your own cultural group. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
15