DANCE MUSIC
Artsource The Music Center’s Study Guide to the Performing Arts
TRANSFORMATION
ENDURING VALUES
Title of Work: Tete en l’Air
Creator: Artistic Director of Diavolo: Jacques Heim (1964 -)
Background Information: Jacques Heim was born in Paris, France in 1964 and discovered dance through Parisian street theatre. He formed his first theatre group, Artichoke, in 1981 before his passion to study movement took him to England and then to America. Jacques wanted to create dances that shed light on the relationships between people and their physical surroundings. He was driven to discover how people survive, adapt and ultimately remain free in the modern world. His desire to “try to convey an appreciation for movement via a vocabulary based on everyday activities” led him in 1992 to create Diavolo, a company of dancers, gymnasts and actors who collaboratively develop work around outrageous sets and structures. In Jacques’ hands, the extreme physicality of Diavalo is used to explore the ways we cope with an increasingly dangerous world. Jacques cites the 1994 Northridge earthquake as a source of inspiration. He states, “For me, I had the best time after the earthquake when everybody started to share. When chaos and a state of survival happen, people come together. The work with the company is like that.” His work has received international critical acclaim and established him as a compelling and ground-breaking choreographer and director. Jacques was even named one of the “100 Coolest People in L.A.” by Buzz Magazine. He has received numerous awards and grants and was invited to choreograph for Cirque du Soleil.
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ARTISTIC PROCESSES
TRADITIONAL CLASSICAL
1. CREATING (Cr)
CONTEMPORARY
2. PERFORMING, PRESENTING, PRODUCING (Pr)
EXPERIMENTAL
3. RESPONDING (Re)
MULTI-MEDIA
4. CONNECTING (Cn)
FREEDOM & OPPRESSION
THE HUMAN FAMILY
THE POWER OF NATURE
About The Artwork: In 1993, Jacques created Tete en l’Air, which means “head in the sky.” Inspired by the structure of a large wooden staircase, the dancers stream down, under and even through it, via a series of ingenious trap doors. As “citizens of the world” they portray a sense of bewilderment and wonder as they explore endless commuting and relocation possibilities. As the piece progresses, the staircase seems to take on a life of its own. Indeed, it is a story in and of itself; the dancers become the luggage they carry. As their destination is unknown, they are driven to bring a sense of home with them. At times the piece is tense and overwhelming in its physicality, but there is always an underlying current of wit and play as sleds, skis and auto tires add bizarre variations to the dancers’ journey.
Process of the Artist or Culture: The essence of Jacques’ material includes architecture, geometric shapes, mechanical functionality and landscapes. Although no two pieces are developed identically, Jacques usually begins by finding or constructing a setpiece. From here, he begins a lengthy process of improvisation and collaboration with his dancers and designers. Photo:Ed Krieger
“Movement becomes the metaphor for the struggle for survival in the world and in the self.” Jacques Heim California
Discussion Questions: After the video has been viewed: • What were your immediate thoughts about this dance? • In this dance, how does the structure impact the dancers’ use of space? • What emotions did you feel while watching this dance? • Describe moments in the dance that were funny? • What evidence of trust and teamwork did you see in this work? • How do you think the dancers maintain a level of trust with one another on an everyday basis? • What was your favorite part of the dance? • How would you have the dancers interact with the stairs? • How did the costumes and music affect the piece? • Can you think of an everyday object to use in a dancepiece? (Box, flag, chair, umbrella, etc.)
Multidisciplinary Options: In Jacques Heim’s Tete en l ’Air we see everyday objects being transformed into something different, or being used in an unfamiliar way by the dancers and actors. For example, we see a man using skis to travel down a staircase. There is a term, “Protean,” that is derived from “Proteus” - an ancient sea god in Greek mythology. Proteus was able to change shape and transform himself into something else. This activity is termed “Protean Objects” in honor of him. Find a series of different objects in the classroom or in the neighborhood and discuss how these objects are used. Now think of alternative ways to use the object. For example: a shoe could be used as a watering can, or a book could be used as a tray. Now explore ways to transform an object: a curtain hanging in the window is transformed into a costume, a piece of paper into a mask, chairs into a sculpture. Can you create a piece of artwork by transforming one or more everyday objects?
Audio-Visual Materials: • Artsource® video excerpts: Tete en l’Air, courtesy of Diavolo. • Photos: Ed Krieger, courtesy of Diavolo DanceTheatre, Inc.
Additional References: • Website: www.diavolo.org
Sample Experiences: LEVEL I * • Take three objects of varying weight and size; drop from the same height and analyze how they fall. Explore “falling to the ground” as if you were each of the objects, using the same energy, weight and path. • Explore balancing on different body parts and find three ways to balance, three ways to fall. Find a way to combine these to create a short movement study. • Experiment with different body parts initiating movement by pulling you through the space in different directions. For example, the head, shoulders or hips lead the rest of the body. Create a short phrase choosing three body parts and having different counts for each one. (head - 4 cts., elbow - 8 cts.) LEVEL II * • Working in small groups, explore different design
structures (bridges, arches, transmission lines, beams) using the body. Discover where the central force or stability of the structure is. • Diavolo dancers work in, around, and on different kinds of structures. Create a dance with a chair structure. Place and arrange chairs in an interesting way in the center of the classroom. Look at the different levels and angles. In small groups, explore moving over, under, around and through the structure. Find ways to lunge, roll, reach and stretch using the structures for support. LEVEL III * • Create a “Focus Circle.” Making eye contact with another person is the signal to run into the middle, meet, then change places in the circle. Add stops, shapes and turns when you meet in the middle. • Explore moving while attached to another person, with a body part (e.g., shoulder to shoulder). • Find ways to reach, balance and lean away from your partner, while maintaining contact. • Trust is a key element in the work of Diavolo. With a partner explore your surrounding environment. One person closes his eyes while the other person leads him through the space walking, but adding in stops and starts, slow turns and changes of direction. * Indicates sample lesson
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DANCE
WEIGHT AND GRAVITY ENDURING VALUES AND TRANSFORMATION
LEVEL I Sample Lesson INTRODUCTION: Diavolo has several meanings, one being the Greek translation for “though, across, and from point to point.” Much of Diavolo’s work deals with exploring the effect that balance, weight and gravity have on movement. Leaping, flying, spinning, falling and dancing on a variety of larger than life structures requires strength and skill, but also a deep awareness of how gravity and weight can be used to create dynamic movement possibilities. Jacques’ creative process is improvisational. The dancers explore a range of movement ideas to discover what is possible within their own bodies and the structures with which they work. Gravity is an essential component of our everyday lives. We feel it as our body’s weight. Its force is what allows us to stay connected to the earth, rather than floating away. If its force were stronger, we would be unable to move easily, if at all. If its force were less, we would float away or bounce as if on a trampoline.
Diavolo Photo: Ed Krieger
OBJECTIVES: (Student Outcomes) Students will be able to: • Demonstrate falling, rising, balancing and giving into gravity. (Creating & Performing) • Discuss and show how balance is achieved and how balance helps to strengthen body shapes and motion. (Responding & Performing) • Create original ways to interpret the way different objects fall. (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: • The Artsource© video excerpt of Diavolo’s Tete en L’Air. • Drum or percussive instruments. 3
PROGRESSION: • View the Artsource® video showing a segment of Diavolo’s, Tete en L’Air. Use the “Discussion Questions” on page 2 to engage students in sharing their observations. • Have students sit in a large circle. Choose three different objects of varying size and weight. For example: a feather, a book and a piece of paper. Have three students stand in the middle of the circle, each holding one of the objects. One at a time, have each student drop the object from the same height. Discuss with the class: • How quickly did each object fall? • Describe the pathway that each object took as it fell. • How did the rate of speed fluctuate according to the weight and size of the objects? • Have students spread out in the space and explore falling to the ground, imitating each of the objects. Drop the same one again and ask the students to observe the speed, weight, path and energy of each one. • If you are falling like a feather, your descent would be slow, light and indirect. • If you are falling like a book, your descent would be fast, heavy and direct. • If you are falling like a piece of paper, your speed may fluctuate, the path is light and indirect. As students explore these ideas, they may play with the movement ideas for a longer time than it actually took for the object to fall. • Discuss what happens to astronauts in outer space. • Can they actually fall? • What is weightlessness? • How would weightlessness effect their balance? • Now have students explore the range of balance from a center point. Standing straight and with feet together, have students lean forward, backward and sideways. Then, have them fall and find a way to catch themselves. Explore this idea in all directions, encouraging them to find different movement solutions. • Find a variety of ways to balance on different body parts, standing up or working on the floor. For example, balance on one hand and two feet, on the knees or on the hips. Explore ways to fall out of the balance and catch the body by pulling back, lunging, contracting, rolling or using another body part. Task Find a way to balance on three different parts of your body and combine that with three contrasting falls to the ground. Criteria: • Use eight counts for each balance. • Use eight counts for the first fall, four counts for the second fall and two counts for the third fall. • Vary the speed and direction. • Have a clear beginning, middle and end. • Have students perform their balance studies in small groups.
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EXTENSIONS: • Explore traveling through the space, stopping, balancing and falling to the ground. Explore different variations on this theme as you also play with tempo (speed) and energy qualities and amounts. • Create different combinations of actions. For example: balance first, fall out of the balance into a locomotor movement and then make a sudden stop and freeze, then fall to the ground. VOCABULARY: fall, balance, weight, gravity, combination ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe how the dancers in Diavolo work with balance and weight. DISCUSS: Discuss what you learned about weight and size from the activities in which you participated. ANALYZE: Discuss how the dancers in Diavolo defy gravity or work against or with it. Are there other situations you can think of when gravity is defied? CONNECT: Identify specific professions or activities where gravity, weight and balance play an important role. (e.g., tightrope walker, diver, construction worker, astronaut) Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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DANCE
CREATING HUMAN STRUCTURES THE HUMAN FAMILY AND TRANSFORMATION
LEVEL II Sample Lesson INTRODUCTION: As a society, we create buildings and structures to accommodate our vast needs. These structures provide shelter, decoration, protection and facilitate many of the activities that enhance our lives. Much of the work of Jacques Heim deals with exploring functional structures like staircases, ladders, doorways, tunnels, platforms and walls. What makes Diavolo dancers unique is that they explore ways to work within or in contrast to these objects. Jacques’ work reveals how these modern day structures, that may appear confining, can actually be liberating. One of Jacques’ aims is to “comment upon the frequently humorous patterns” that develop. Although the work is highly physical and sometimes intense and fraught with danger, there is a whimsical element that elevates the performers and the audience. The sight of a dancer skiing down the staircase breaks with the traditional idea of the function of a staircase. The staircase is then a metaphor for stepping up and out of the ordinary and reaching for a dream.
Diavolo Photo: Ed Krieger
OBJECTIVES: (Student Outcomes) Students will be able to: • Use basic concepts and vocabulary related to architecture in the creation of a dance study. (Responding & Connecting) • Design specific and abstract shapes using the body and the element of force. (Creating) • Create shapes and designs with a partner, demonstrating cooperation and collaboration and the ability to make critical choices. (Creating & Responding) • Design specific, abstract shapes using the body and the element of force. (Creating) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) 6
MATERIALS: • Artsource® video segment of Diavolo’s, Tete en L’Air. • Drum or percussive instruments. • Photographs or pictures of landmark structures, such as stairs, bridges, buildings, arches, tunnels, etc. PROGRESSION: • Have students look at pictures of various types of buildings, bridges and other man-made structures. Discuss each of the structures with the class, and find ways to categorize the designs by identifying the different architectural elements, the function of the structure, its location in the world, and the time it was designed and built. • Have students explore creating some of the elements of these designs in small groups. Choose a number of structures to explore, for example: suspension bridges, stone arch bridges, transmission lines, buildings that have pillars or columns. Divide the students into groups of four or five. • Stand in a circle, feet together, put your hands on each other’s shoulders. Imagine that your body is a solid beam of wood being used to construct a frame. Keep that solid beam as you move your feet away from the center. Count to four and then release by stepping back into the center. • How stable was this structure? • In what direction was the force of this structure going? • Can you think of other designs where the force goes into the center? • How could you make this design more stable? • Have students find a partner and sit on the floor back to back. Make sure their backs are attached from the tail all the way up to the shoulders. With bent knees, ask them to press their feet into the ground and try to lift their hips slightly off the ground. • Now stand up back to back. Connect the lower spine first and work up the back. Begin to bend the knees and slowly move the feet away from the center. Hold for four counts and then release together by stepping back and putting your feet underneath you. • How stable was this shape? • Could you lay something on top of it? • Do both sides of this shape have to be of equal weight and size? • What kind of structure is built on these design elements? • Now have students stand side by side, feet together, with a foot or so between them. Clasp hands. How strong is this design? Now, keeping the body straight and feet in place, slowly pull away from each other. Hold for four counts and then release by bending elbows and coming back to the original position. • How stable was this design? • In which direction was the force going? • Could you dangle something from the outside arms?
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Task: With a partner, create three new structural, counterbalanced designs. Criteria: • One design with the force being evenly in the center • One with the force moving from the center outward • One with the force moving high or low • Take eight counts to complete each design • Work cooperatively with your partner • Have smooth transitions • Have the students share their ideas in small groups. EXTENSIONS: • Explore each of the above designs in larger groups. • Find ways to create interesting movement during the transition from one design to another. VOCABULARY: design, element, force, shape ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe how the dancers in Diavolo work around different structures and designs. DISCUSS: Discuss what was learned about force and design. ANALYZE: Discuss how the dancers in Diavolo use their bodies to create designs and new structures CONNECT: Research types of ancient structures. Compare and contrast them with modern day designs. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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Rubric for “partner shapes” Advanced: • Strong definition between each of the energy points • Strong demonstration of different levels • Excellent use of counts • Excellent cooperation and connection with partner Proficient: • Some definition between the three contrasting energy points • Some demonstration of level changes • Mostly consistent in use of counts • Good cooperation and connection with partner Approaching Proficient: • Little or inconsistent definition of three contrasting energy points • Little or no demonstration of level changes • Inconsistent use of counts • Lack of cooperation and connection with partner
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DANCE
TRUST AND COLLABORATION ENDURING VALUES
LEVEL III Sample Lesson INTRODUCTION: Diavolo’s work is the ultimate in risk-taking, The physicality is daring and dynamic, but underneath the immediate appeal of the work is the value system that holds the ensemble together, and allows them to expose themselves to the physical risk that makes such impossible work possible. As much as the ensemble must prepare for performances with rigorous training, there is just as much development of the inner person, as well. Jacques’ work demands that each performer develop trust, collaboration and cooperation with fellow company members – their own safety and the success of the work depend on it. “The art of learning comes from sharing, experimenting, guiding and creating,” says Jacques; “the sharing of body weight and trust explorations are the principle elements of performance.” He also believes in having “fun with the art of moving” but that as an artist you must be willing to challenge yourself and take emotional risks in order to get the most out of yourself and contribute to the ensemble.
Diavolo Photo: Ed Krieger
OBJECTIVES: (Student Outcomes) Students will be able to: • Demonstrate cooperative team skills. (Connecting) • Create an ensemble piece of work where each member is dependent on the other. (Creating & Performing & Connecting) • Identify the importance of focus and concentration in creative work. (Connecting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® video excerpt of Tete en l’Air • Drum or percussive instruments. 10
PROGRESSION: • Have students form a large circle. Take a moment to make eye contact around the circle. Use two students to demonstrate the “Focus Circle.” Two people make eye contact from across the circle, they clap hands at the same time to acknowledge they have both seen each other and then run across the circle and change places. • More than one pair will be moving at the same time, so a keen sense of the ensemble is vital. Once this activity has been explored, build in the following elements: • Students make eye contact, clap hands and run to the center of the circle to create an instant shape together, one person low, one person high. • Students make eye contact, clap hands and run to the center, freeze in a shape, circle each other slowly and change places. • Students make eye contact, clap, run to center, freeze in a shape and then clasp hands. One student holds his position and the other takes four counts to reach away and then four counts to return. The second student repeats. Once the cycle is complete they exchange places. • Students make eye contact, clap and run to center and clasp hands – right to right, leaning away from each other at the same time, they turn or pivot around each other before changing places. • Have students spread out in the space and stand with a partner, shoulders touching, slightly give weight to each other without pushing hard against the other person. Task #1 • See if you can transfer the point of contact to another body part without separating. For example: • Back to back, shifting to shoulder to shoulder • Shoulders shifting to arms • Arms shifting to hands • Explore changing levels as you move or placing two different body parts together: (e.g., back and shoulder). Use slow music as a background to the exercise, to encourage students to move slowly and intuitively. Task #2 • Have students form small groups of five to seven people. Each group makes a small circle standing shoulder to shoulder, with one person standing in the center, feet together and arms folded across their chest. The circle of students places their hands slightly in front of them just below shoulder height. The center person slowly falls to different places in the circle where they are gently caught and pushed in another direction. The members of the circle, must work together and stay connected to protect the person falling. Each student gets a chance at being in the middle. Task #3 • Now have students explore reaching and leaning in different directions from each other, while maintaining contact with hands or feet. Explore ways to smoothly transition from one reach or lean to another. Encourage some members of the group to reach low and some high. Some can hold a centered position so others can lean further out. Experiment with the groups being in a circle, a line, a V formation or staggered in the space.
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Task #4: In small connected groups, create three reaching designs. Criteria: • All members of the group must be connected to at least one other person at all times. • Incorporate various levels and reaching in different directions. • Work as a team so that all students have the chance to expand their movement. • Take eight beats for each design. • Create smooth transitions. • Have a clear beginning middle and end. Have the students share their ideas in small groups. EXTENSIONS: • Have students start in different places in the room and run into the center to make contact and take their first reaching away design. • Explore different variations on this theme, finding alternative ways to travel to the center, and playing with tempo and energy. • Explore ways to add in turns or spirals between each design. VOCABULARY: collaboration, trust, reach, pivot, turn, focus ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe how the dancers in Diavolo are dependent on each other for the work they do. Each member has to not only consider his own movement, but also the other members of the troupe. Being in the right place at the right time and paying attention to each other is essential. DISCUSS: Discuss what you learned about focus and concentration and why it is so important when you are working with a partner or group. ANALYZE: Discuss what was the most challenging aspect of the trust experiences. Discuss how the challenges were overcome or ways they could be overcome with further study. CONNECT: Identify specific sports or recreational activities where trust, teamwork and collaboration are essential (i.e.: mountaineering, baseball, horse-riding, water skiing) Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
* The “Focus Circle” was adapted from a lesson in Learning Through Dance/Movement, written by Susan Cambigue and published by Performing Tree, Los Angeles, CA. 1981.
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Rubric for group studies Advanced: • Excellent demonstration of group cooperation and trust • Excellent use of levels and contrasting spatial directions • Strong and clear transitions between designs • Strong beginning, middle and end Proficient: • Good demonstration of group cooperation and trust • Moderate use of levels and contrasting spatial directions • Mostly clear transitions between designs • Demonstrated awareness of beginning, middle and end Approaching Proficient: • Lack of group cooperation and trust • Inconsistent use of levels and contrasting spatial directions • Transitions between designs unclear and unfocused • Unclear beginning, middle and end
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