Artsource - Amalia Hernández

Artsource The Music Center’s Study Guide to the Performing Arts

TRANSFORMATION

ENDURING VALUES

DANCE MUSIC ®

CLASSICAL

1. CREATING (Cr)

CONTEMPORARY

2. PERFORMING, PRESENTING, PRODUCING (Pr)

EXPERIMENTAL

3. RESPONDING (Re)

MULTI-MEDIA

4. CONNECTING (Cn)

FREEDOM & OPPRESSION

Title of Work: Los Mitos (from Los Concheros) Danza de la Reata & Jarabe del Amor Ranchero (from the Mexican state of Zacatecas)

Creator: Company: Ballet Folklórico de México Artistic Director and Founder: Amalia Hernández b.1917 d. 2000

Background Information: Amalia Hernández was fortunate to be born into a wealthy family in Mexico, for it allowed her to pursue her artistic vision. At the age of eight she decided to make dance her life's work. This presented a problem, for her culture considered dance an inappropriate profession for a young woman of her social stature. However, her parents supported her interest and designed a private course of study for Amalia and her two sisters. Her father built a dance studio near the family home and brought in the best teachers available. They included Mme. Sybine, a principal dancer in Anna Pavlova’s ballet company, and Mme. Dambre of the Paris Opera Ballet. Amalia also studied with La Argentinita, the brilliant flamenco artist. Studying these dance forms gave her a strong classical foundation and discipline, but her soul responded more to the folk music and dance of her own country. Growing up on a ranch, she had many opportunities to observe the dances done by the workers and their families. These impressions ignited within her an artistic vision encompassing this folklore.

Determined to develop as a dancer and impassioned by these folk forms, Amalia began to study with Luis Felipe Obregón, Mexico’s first folklorist, as well as with American m odern dancers, Anna Sokolow and José Limon. In 1952 she left her position as a dance teacher at the National Institute of Fine Arts in Mexico City to form the Ballet Folklórico de México with a repertoire that captures the heart and spirit of the Mexican people and their traditions.

ARTISTIC PROCESSES

TRADITIONAL

THE HUMAN FAMILY

THE POWER OF NATURE

About the Artwork: For more than three decades, the Ballet Folklórico de México has been hailed as one of the premiere folk dance companies in the world. In addition to presenting authentic folk dances from different ethnic groups within Mexico, Amalia Hernández creates exciting new dances based on ancient traditions as well as modern customs. Between the time of the Olmec Indians and the birth of Modern Mexico, more than thirty distinct cultures have flourished, each influencing Mexican culture before being supplanted by another. Los Mitos features the pageantry and ritual of indigenous cultures before the arrival of the Spaniards and Danza de la Reata and Jarabe de Amor Ranchero reflect the influence of the Spanish and European cultures on the indigenous groups, creating a distinctive Mexican style called ‘Mestizo.’

Creative Process of the Artist or Culture: Amalia Hernández says, “Folklore all over the world is alive and influenced by its changing surroundings.”

In researching a piece, she goes to the source of the folklore, then shapes the work to communicate her perception. Some of the music is inspired by ancient texts, while some is based on popular songs of and revolutionaries. lovers

Los Angeles

U.S.A. “I try to go to the most profound roots of folklore and tradition, but my intention is to create a show-a show with Mexican sources and Mexican blood.”

Amalia Hernández

MEXICO Mexico City

CUBA

Discussion Questions:

note that the male dancers are wearing boots and the women are wearing full skirts. The Spanish brought horses and the Catholic religion and taught the indigenous people a new way of life. The Mestizo is the unique blend of European and native cultures and races which represent the predominant Mexican people of today.

After the video has been viewed: • After watching the dance, Los Mitos, what words describe your impressions and feelings?

• How is this dance different from the Danza de la Reata and Jarabe de Amor Ranchero? What do the movements and the music of each tell you about the people? How are they similar? Different?

• In the dance of the Zacatecas, what does the lasso tell you about the type of work done by the people?

What is the lasso used for in their work? In the dance?

• What other work tools can you think of that could be used as a prop in a dance (machetes, brooms, etc.)

• Many of the Mestizo dances are choreographed to show romantic love between men and women. How did the choreographer use space to get this feeling?

Background on Los Mitos: Los Mitos (the myths) is part of a suite of dances called Los Concheros. It is based on the ancient rituals of some of the indigenous cultures, such as the Toltecs and the Aztecs. These rituals connect each dancer to life and the universe. The name, Los Concheros, is derived from the blowing of large conch shell trumpets. Although the Concheros still enact their rituals today, they now reflect the Spanish influence and have become a fusion of Christian and pre-Hispanic traditions.

Background on Danza de la Reata and Jarabe de Amor Ranchero: Located almost exactly in the center of Mexico is Zacatecas - a state of Mexico rich not only in gold and silver but also in historical importance and European influences. During the 19th Century the troops of French-appointed Emperor Maximilian of Hapsburg added a distinctly French and Austrian flavor to this region. During the Mexican Revolution, Francisco (“Pancho”) Villa defeated the federal government in a decisive fight in Zacatecas.

These two dances, Danza de la Reata and Jarabe de Amor Ranchero reflect the distinctively Mestizo life of the caballero and ranchero, as well as the Mexican attitude toward romantic love. It is important to

Audio-Visual Materials: • Artsource® video excerpts: Los Mitos, Danza de la Reata and Jarabe de Amor Ranchero courtesy of Ballet Folklórico de México de Amalia Hernández and Columbia Artist Music, LLC. © 1989.

• Artsource® audio recording: Baile de los Viejitos, Las Iguiris, Xochipitzohuatl. Recorded by: Saul Sanchez, Isaac de la Rocha and Lorenzo Martínez.

Sample Experiences: LEVEL I • Mexicans have a day in which they go to the graveyards of their friends and relatives to celebrate them by feasting and partying. Learn about “el Día de los Muertos.” Make skeleton puppets and create a parade. * • Explore how to portray old age in a humorous way through dance. Learn an adaptation of dance patterns from the dance, Los Viejitos, from the Mexican state of Michoacan. (Music is on the Artsource® audio recording) LEVEL II * • Learn Las Iguiris, a Mexican Folk dance performed at traditional weddings in Michoacan. (Music is on Artsource® audio recording.)

LEVEL III • Create a ceremonial dance based on an Aztec or Mayan myth. Refer to “Additional References.”

• Learn Xochipitzahuatl an ancient dance fused with modern ideas. Partners work with scarves or kerchiefs.

LEVELS I-III - MULTIDISCIPLINARY LESSON * • Study the life of Mexican painter and muralist, Diego Rivera and find examples of his paintings and murals that depict the daily life settings, work and social conditions of the common people. Learn the ‘scribble’ technique to create traditional scenes of dancers and musicians in costume.

*

Indicates sample lessons

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DANCE

BAILE DE LOS VIEJITOS (Dance of The Old Men) THE HUMAN FAMILY

LEVEL I Sample Lesson INTRODUCTION: In the state of Michoacan in Mexico there is a dance called Baile de los Viejitos, a traditional dance of the Tarascan people. This humorous dance, passed on through many generations, represents old men bent over with age. They lean on crooked canes and then surprise us with their energetic jumps, leaps and intricate footwork. It is a parody (a comic imitation) of aging, done with warmth and fun. But, its roots lie in religious ceremonial rituals. It is believed that the old men’s spirits and death are scared away by these vigorous little old men in costume. It is also thought that the Tarascans mimicked the Spaniards, whom they considered old because they had light colored hair and beards.

The men, or women dancers portraying men, wear ribboned hats of palm on their heads, serapes around their shoulders, canes and masks of carved wood or papier mâché. Under their serapes, they wear muslin shirts and pants with colorful embroidery. The handles of the wooden canes are carved in the images of animals to represent their affinity with the natural world. It is amazing that they are able to create intricate sound patterns with their huaraches (sandals), which one would normally associate with boots with nails.

OBJECTIVES: (Student Outcomes) Students will be able to: • Discuss the historical and cultural background of Los Viejitos. (Connecting) • Create different postures and movements of elderly people. (Responding & Creating) • Learn and perform an adaptation of the dance, Los Viejitos. (Responding & 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: • Artsource® audio recording of Los Viejitos.

• Chairs.

PROGRESSION: (This lesson can take several sessions. You may choose to teach either Part I, which is creative, or Part II, which is traditional, or both parts.)

PART I (Historical and Cultural background and creative exploration) • Present some background on Mexican folk dance and specifically introduce the concept of the dance Los Viejitos from the state of Michoacan.

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• Talk about the differences between a very old person and a young person. For example, how does each stand and move? What is the difference in energy levels? Have the class talk about some of the postures they might take if they were old and their spines were bent and their muscles and joints were stiff. Ask the class to explore different ways they might show an old person (standing, sitting, walking, etc.).

• In exploring a character for dance or drama, think of the weight of the person (heavy or light); think of whether the person is bent or upright; bound (tense) energy or free -flowing (easy) energy; jerky movements or smooth ones; slow or fast tempo; confined space or free use of space. By varying these elements of dance, different human characteristics can be communicated. It is the exaggeration of one or more of these elements which abstracts an ordinary idea and transforms it into a dance.

• Challenge students to find three to five different postures that depict an elderly character. Encourage them to find contrast through the use of level changes, body part placement, gestures, etc. Ask them to sequence their ideas, then take four counts to move from one to the other.

A CHAIR DANCE • Each person should take a chair and improvise a short sequence of sitting, standing and traveling around the chair in the character of a old person. Give each person a phrase of sixteen counts for their improvisation.

Have five to seven people simultaneously share their improvisation. Discuss their phrases in terms of the elements of dance stated above. Give suggestions on how these elements (timing, posture, energy, etc.) could be manipulated to make the character more believable or more humorous.

• Introduce the artistic principle of contrast. To make something humorous, serious or tragic moments are usually contrasted with a light moment.

EXAMPLES OF CONTRAST TO ACHIEVE HUMOR: • Do a movement or gesture three times one way and then look as if you are going to do the same again, but then surprise everyone by doing it differently. Timing is essential, so on the fourth one, hesitate, look at the audience and either do a new action, or don't do anything at all! Once a pattern of expectation has been established, almost any variation can be funny.

• Move as if you were old and unable to perform much more than a shuffle, then surprise the audience by clicking your heels in the air or do a somersault, then immediately go back into your original bent-over position.

• Walk in a hesitating, laborious way and then break into a graceful turn.

Immediately revert into your character by being old and hesitating, perhaps even looking suspicious or surprised at where the graceful movement came from. Look back at the spot where it occurred.

• Holding a cane, shake your knees and try several times to get off the ground. Then after many failed attempts, do a large leap or jump, landing as if you could barely stand again.

• Have students share their ideas with a partner, then combine the best of both their ideas.

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• Ask several sets of partners (about 4 groups) to perform their work simultaneously while others actively observe. Briefly discuss the ideas the observers found interesting and encourage them to discuss/analyze why certain parts or movements worked well.

PART II Learn the traditional dance, Los Viejitos, as adapted by Carola de la Rocha, former dancer with Ballet Folklórico de México. This is a simplified version.

• Give some background on the dance and what part of Mexico it is from.

PART A The dance begins by moving in a progression through three different tempos (speed). It starts very slowly, moves to medium tempo and ends in a very fast tempo.

• Entrance: 1. Very slow tempo: Have students form a single line and move, one behind the other, like very old people (bent over and shaking).

If they have canes, they should hold onto the tip of the cane of the one in front of them. If they do not have canes, they can hold onto the elbow of the person in front and place their left hand on the back of their left hip. The leader of the line takes the group in a curving pathway (like a snake line) until they break away from each other and spread individually throughout the space. It will occur for the first 9 measures of 8 counts of the music.

2. Medium tempo: When the music speeds up, the students speed up their walking movements, taking smaller steps (they are almost running). This lasts for 16 measures of 8 counts of the music.

3. Fast tempo: When the fastest tempo occurs, students speed up even more. This last for 16 measures of 8 counts.

4. Tempo gradually decreases until it is again very slow.

This lasts for 13 measures of 8 counts, followed by 2 faster measures. At the end of the last two measures, the students break from the snakeline formation, stamping their feet as they go, and spread out to fill up the space as individuals.

Students should stand, leaning forward with both hands on their cane.

PART B 1. Stamp right foot 3 times and left foot 1 time. Repeat.

2. Do 8 fast stamping steps in place with shaking knees.

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3. Jump, crossing feet across, outward, and fall to ground.

(Some can fall all the way and some can fall part of the way.) Both groups shake their legs and the group that is standing helps the ones on the floor to stand. (At this point the music will have four ascending notes to accompany this action.)

• Practice this a few times and then perform.

• Use the points of discussion below to extend the students’ knowledge.

• This dance is performed in festivals throughout certain regions within Michoacan including Patzcuaro, Tzintzuntzan and Ihuatzio.

EXTENSIONS: • Learn other traditional dances, such as the ones in Sample Lessons, Level II and III. • In the ‘Chair Dance’ have two or three people work with one chair, rather than have one chair for each person. This offers different challenges and more creative possibilities.

VOCABULARY: Los Viejitos (little old men), baile (dance), level, contrast, gesture ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the costumes worn in the traditional dance, Baile de los Viejitos. See if you can draw your version of these costumes from the description.

DISCUSS: Discuss the traits of old people that you chose to portray in your original ‘Chair Dance.’ What did you notice that was the same about the original dances and what were some big differences you observed?

ANALYZE: If you have done both parts of this lesson, make comparisons between your version of old people dancing and the adapted traditional version.

CONNECT: Select another type of character (rock star, cowboy, policeman, basketball player, etc.) and think of how they would be characterized in movement. Be specific in your description.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

6

DANCE

LAS IGUIRIS - A Wedding Dance ENDURING VALUES

LEVEL II Sample Lesson INTRODUCTION: Las Iguiris is a dance that accompanies a wedding celebration that has its roots in early Indigenous ceremonies. In the more modern version, the bridal party accompanies the young couple, offering support and love to celebrate their marriage. In one hand, each person carries a sword which has an orange pierced on the tip. The orange is decorated with many brightly colored, paper flags (pápel pícado) which represent the hope for many children to be born to the couple. This also symbolizes the unity of marriage and the hope for new life. In the other hand, each person holds a long stem of white flowers, representing purity.

The costume worn by men is a wide-brimmed hat that is round and flat on top, white muslin shirt and pants embroidered with colorful threads, a sash around the waist, a serape (blanket) or an horongo (poncho) and huaraches (sandals). The women wear the same hat, but worn over a rebozo (striped shawl), the brim of which is decorated with fresh flowers. They wear an embroidered, short-sleeved blouse and a heavy, dark blue or red pleated skirt. Underneath the skirt, they wear a beautiful, embroidered petticoat, with lace or colorful ribbons. At the waist they wear an elaborate bustle-like belt which is also starched and pleated like the skirt. In the front each woman wears an intricately embroidered apron and huaraches on their feet.

This dance has been adapted for children by Carola de la Rocha, a former dancer with Ballet Folklórico de México.

OBJECTIVES: (Student Outcomes) The students will be able to: • Know and discuss the background of a traditional dance from the Purepecha people, who live at the edge of the Patzcuaro Lake in the state of Michoacan. (Connecting & Responding) • Learn and perform a simplified version of Las Iguiris.

(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: (Need a large, empty space or move chairs to the edges of the classroom. If space is limited, students can form two concentric circles rather than form two circles side by side.)

• Artsource® audio recording of Las Iguiris.

• Wooden paint stirring sticks, two per child. One will represent the sword and the other the stem of the flower.

Los Concheros Courtesy of Ballet Folklórico de México

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PROGRESSION: ENTRANCE: A. Form two separate single lines, half the class in each one. These lines will enter from opposite sides of the room. The steps they will use for the entrance are 7 small, light running steps, stopping to bow on the 8th count. Repeat the 7 running steps, but omit the bow and replace it with 2 step-lift steps in each of four directions.

B. The ‘step-lift-step’ takes 2 counts and is done by stepping first with the R foot in place and lifting the L foot (bent knee), then stepping with the L foot in place and lifting the R foot (bent knee). Each person rotates to the right for a quarter turn each time, so that the 2 steps are done once in each of the four directions.

X X X X X X

A

B

X X X X X X

O O O O O

O O O O O O

• Then, both lines facing in the same direction, travel forward with 7 small, light running steps, ending with a bow (at the waist). Repeat the 7 running steps and the ‘step-lift-step’ pattern explained above.

FORMING TWO CIRCLES: ( If space is small and you are forming two concentric circles, rather than two circles side by side, have fewer people in the inside circle and more in the outside circle.)

• The leaders of each line lead their group in a curving path to form a circle. There will be two circles, one made by each line.

X

O

X

X

O

O

X

X

O

O

X

O 8

• As they form the circles, they will do small, fast running steps for 6 counts (3 running steps for each count) and 4 stamping steps done with a bow from the waist. They will be traveling counterclockwise. 1-2-3, 2-2-3, 3-2-3, 4-2-3, 5-2-3, 6-2-3, Stamp, Stamp, Stamp, Stamp. (This is one set.)

• Do 4 sets, but on the 4th set, omit the bow and instead, quickly turn to face the opposite direction (clockwise). Repeat the whole pattern facing in this new direction, turning to face inward on the last 4 stamps.

• Do 4 stamps to the R, 4 stamps to the L, 4 stamps to the center, end with a quick bow.

GRAPEVINE STEP (These steps are done slowly or in half time): • Begin by crossing R foot over the L, step to the L side with the L foot, then cross the R foot behind the L foot, step to the L side with the L foot. These four steps make one grapevine step. Repeat the grapevine for a total of 4 grapevine steps. On the fourth grapevine, step the L foot next to the R. • Do 4 grapevine steps traveling to the R. Begin by crossing the L foot over the R, stepping the R foot to the R side, crossing the L foot behind the R and stepping the R foot to the R side. On the 4th grapevine, step the R foot next to the L. • Repeat the 4 grapevine steps to the L and then again to the R. IN AND OUT OF THE CIRCLE: • All face into the center of the circle, and travel backward using light running steps (step, step, step, step, step, step) and ending with a bow. Repeat this pattern traveling forward into the center. Repeat the pattern traveling outward. Repeat the pattern traveling inward. Repeat the pattern traveling outward. (A combined total of 5 times.)

• Repeat the full pattern 5 more times, having boys stay in place for the first two, while the girls travel inward and outward. Then switch and have the boys travel inward and outward. On the last one, they all travel outward together.

GRAPEVINE REPEATED: • Repeat the grapevine step, starting to the L for 4 times, R for 4 times, L for 4 times, and to the R for 4 times.

ENDING: • Stamp 4 times, turning to face counterclockwise in the circle, then stamp 4 times facing clockwise, face center (inward) and stamp 4 times and end with a bow.

• Sit the students down in a circle and use the ‘Assessment Questions’ to further their understanding of the symbolic connection between the dance and the unity of two people and their families in marriage.

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EXTENSIONS: • Look at a map or globe and identify the country and state where this dance comes from.

• Perform this dance at a festival and hold artificial or fresh flowers in the left hand and hold a styrofoam ball, painted orange, on a stick (to represent the orange) in the right hand. Girls should wear full skirts, blouses and sandals; boys wear pants, shirts, serapes, sandals, a colorful sash and wide-brimmed hats.

• The dance, when completed at a wedding, opens up and becomes a crescent so that the couple and their wedding party can dance together in celebration of the marriage which is supported by family and friends.

This aspect can be added as an extension.

VOCABULARY: Michoacan, Tarascan, serape (poncho), huaraches (sandals), rebozo (shawl), grapevine (dance step) ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe the symbolic pieces carried in each hand of the dancers and what they represent.

DISCUSS: Find out if any students or their ancestors come from Mexico and locate the state and city where they lived. Discuss any traditions or festivities that they know are celebrated in these regions.

ANALYZE: Discuss how the two lines coming from opposite directions unite into circles. How does this symbolize the concepts of separateness and unity?

CONNECT: Think of other types of special occasions where people might choreograph a dance to celebrate some aspect of a ceremony or to express such feelings as unity, love or thankfulness.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

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DANCE

FUSION OF ANCIENT AND MODERN TRADITIONS TRANSFORMATION

LEVEL III Sample Lesson INTRODUCTION: Three of the most important indigenous groups of Mexico were the Olmecas, Toltecas and the Aztecs.

They shared a common language called Nahuatl. Some of these words still exist, as the names of cities, areas, mountains, songs and dances. One of the words, Xochipitzahuatl, means small flower. Although the Aztecs were warriors, they also cultivated flowers such as the rose, poinsettia and the gladiola. They admired the beauty and the mystery of flowers and their development. In many dances women will wear flowers in their hair to represent the beauty of womanhood.

This dance, Xochipitzahuatl, was created by the indigenous people and originally was a tribute to the mother of the land (Mother Earth), represented by their deity, Tonanzin. But, after the Spanish conquest, the indigenous people intermarried with the Spaniards and their children were called Mestizo. The new religion, Catholicism, replaced many of their traditional beliefs, and the Virgin Mary became idolized as the new mother for the Mestizo people. However, fragments of the ancient dances, music and symbolism survived, but were changed as new cultural influences came into Mexico.

The Xochipitzahuatl song depicts the Virgin of Guadalupe which replaced the mother of the land, Tonanzin. This particular version of the dance is from the central part of Mexico and is originally done with ribbons on a pole to make a huge flower that represents the garlands of flowers worn on the heads of young women. The intertwining of the ribbons represents the colorful and intricate design of the flower.

Although the music and dance was very strongly influenced by the Spanish, the Huastecan group retained many ancestral elements in their culture, such as mood, language and way of thinking. There are various versions of this song and dance according to the region in which it is performed. The following version is an adaptation for children using brightly colored kerchiefs.

OBJECTIVES: (Student Outcomes) Students will be able to: • Perform a version of the dance, Xochipitzahuatl, that combines both old and new music and dance traditions. (Performing & 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: • Ribbons or yarn 12 inches long or enough kerchiefs for every two students.

• Artsource® audio recording of Xochipitzohuatl.

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PROGRESSION: • Give some background on the Mestizos.

• Show Los Mitos as an example of the type of dancing done by the indigenous people of Mexico.

• Introduce the dance, Xochipitzahuatl.

• Teach the dance: The step: heel toe, step, step, step (slow, slow, quick, quick, slow). Walking may be substituted. The leaders in front of the “Zurco” formation give the calls to go from one pattern to the next with a small yell to which the rest of the participants imitate in unison.

Choreographic patterns: Leaders.

“LA ENTRADA” (the entrance) Leaders say, “Uhoo!” Participants echo.

O O O O O O X X X X X X

Partners line up in two lines, side by side. Partners hold the ends of a scarf between them. Repeating the step above, partners come into the dance area as a unified group.

EL TUNEL (the tunnel) The couple as the head of the line turns toward the group and ducks their heads to travel under the raised scarves of the other partners. As the line moves forward, each couple in turn, ducks and follows the couple before them, traveling to the end of the line in the tunnel. Use a walking step here.

O O O O O

O

X X

X

X

X

X

LA CRUZ (the cross) Partners divide into groups of four and form a cross by one set of partners holding their scarf diagonally under the other partner’s scarf.

O O

X

X

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EL REMOLINO (the tornado) Staying in groups of four, partners take turns lifting their scarf while the other partners duck under, then switching roles and the other partners lift their scarf while the first couple goes under. This pattern alternates back and forth. Use a walking step.

X O X O LA OLA (the wave) All partners return to the large group with two lines. This pattern is similar to the tunnel, except that the first couple turns and goes under the scarf of the couple first in line, then raises their scarf so the second couple goes under the leaders scarf. This pattern of going under a scarf and then raising the scarf over the next couple continues. Each couple in turn alternates between going under and then raising their scarf over the next couple (under, over, under, over, etc.) Use a walking step.

O

O

O

O

O O X

X X

X X

X

LA SALIDA (the exit) Just as the entrance led the group into the dance area, the exit leads the group in two lines off the dance floor When everyone is off, the music stops and the dance is over (el fin). Use traditional step for the exit.

O O O O O X X X X X EXTENSIONS: • Perform the dance for others.

VOCABULARY: la entrada, el tunel, la cruz, la remolino, la ola, la salida ASSESSMENT: (Responding & Connecting) DESCRIBE: Remember the sequence of the dance and describe briefly each part.

CONNECT: Discuss other traditions that are a fusion of ancient and contemporary.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking 13