Artsource - Anna Djanbazian

DANCE

Artsource

®

The Music Center’s Study Guide to the Performing Arts

TRANSFORMATION

ENDURING VALUES

ARTISTIC PROCESSES

TRADITIONAL CLASSICAL

1. CREATING (Cr)

CONTEMPORARY

2. PERFORMING, PRESENTING, PRODUCING (Pr)

EXPERIMENTAL

3. RESPONDING (Re)

MULTI-MEDIA

4. CONNECTING (Cn)

THE POWER OF NATURE

FREEDOM & OPPRESSION

THE HUMAN FAMILY

Title of Work:

About the Artwork:

Interlace (1992) and Sarve Kashmir

Interlace is a traditional Armenian dance based on the

Creator:

structural designs seen on Armenian churches from

Anna Djanbazian (1952 - 2017) Founder, Artistic Director and Choreographer of the Djanbazian Dance Company

the 4th – 17th century. In keeping with a strong

Background Information

music supports the dancers. Graceful arm and hand

Choreographer, dancer, and teacher, Anna Djanbazian

movements and interlocking arms echo the lines and

began dancing at the age of three in her father’s ballet

design motifs

school in Tehran, Iran. As the daughter of a Persian

pathways that spiral in and out, linear formations

mother and Armenian father, Anna grew up with a rich

with intricate connections and weaving patterns

cultural and artistic heritage. Sarkis Djanbazian, Anna’s

between the dancers visually highlight the grace and

father was a former member of the legendary Kirov

quiet strength of the dance.

Ballet Company in St. Petersburg (then Leningrad) who

Armenian tradition, the costume includes a small hat

left Russia in the 1940s to escape the difficult political

with an attached veil that covers the hair, a big jacket

climate. The school he started in Tehran, the Djanbazian

belted at the waist and a skirt that hides the feet -

Ballet Studio, was recognized as a National Treasure by

emphasizing the illusion of effortless gliding.

the Shah of Iran, Muhammad Reza Pahlavi. Later, her father was also honored with the National Arts Medal.

communal feeling, there is an emphasis on group movement and patterns. Traditional Armenian

on the buildings.

Anna

ment to grow as an artist

and Armenian Folk Dance, she returned to Tehran, took

influence

over her father’s school and began her own career. For

Glendale, California. She also earned an MA Degree from UCLA where she explored Modern Dance. Anna’s dream of a company to present cultural and modern works was realized in 1991.

her

themes

and

choreographic projects. While she

12 years, Anna produced and staged over 43 dances and

footsteps, Anna opened her own studio in 1988 in

Persian-

design, nature, and her commit-

of the USSR). Earning a B.A. degree in Classical Ballet

the 1979 Iranian Revolution. Following in her father’s

Djanbazian’s

Armenian heritage, love of

Choreographic Dance University in Armenia, (then part

Iran because of the restrictions imposed upon artists by

In keeping with

Creative Process of the Artist or Culture:

After high school, Anna left Iran to attend the Yerevan

eight full-length ballets. In 1984, she and her family left

Circular floor

Photo: Glimore 1996

remains strongly tied to the

traditional dances, she does not want them to remain frozen in time like “precious objects gathering dust on a shelf.”

“I want to keep the dances of my cultures alive - to stay connected to their roots. . . and I also feel this need to grow and look at them with a new vision that is contemporary but remains cultural.”

Anna Djanbazian

Ancient Armenia Black Sea

Caspian Sea

Mediterranean Sea IRAN IRAQ Egypt

Persian Gulf

Ross Collins, Larousse Kingfisher Chambers, New York, 1998, ISBN 1-84089-025-8. A is for Asia, Cynthia Chin-Lee, Orchard Books, N. Y, 1997, ISBN 0-53130011-0.

Discussion Questions: After the video has been viewed: • Describe each dance you viewed. What feelings did you have while watching the dances? Give reasons to support your answers.

• Compare the two dances in terms of use of space, tempo, energy, costume, feeling, etc. How were they alike? How were they different?

• Were the dancers performing in unison, small groups, or individually? Which kind of energy did each dance project? What body parts were emphasized?

• Define and discuss the word “architecture.” List connections to architectural elements in Interlace.

Audio-Visual Materials: • Artsource® video excerpt of Interlace and Sarve Kashmir, courtesy of Anna Djanbazian and her company.

Sample Lessons: Level I * • Read The Persian Cinderella by Shirley Climo and make connections to the version most well known in America.

• Learn about the Persian New Year celebration - No Ruz. Recreate this spring festival and compare and contrast with other New Year’s celebrations.

• Create musical “jewelry” (as seen in Sarve Kashmir) from simple found materials (flattened bottle tops, pull tabs, bells, etc.) to accompany cultural music.

• Reread the story of Noah’s Ark, the legendary ship that landed atop Armenia’s highest mountain, Mt. Ararat.

• Describe the different musical accompaniments that were heard in each dance. Make comparisons.

Background on the Artwork Continued: Sarve

Kashmir reflects the style of Persian dance usually performed in small spaces (in homes or courtyards) and done in circular or serpentine lines. The barefoot performers, laden with jewelry in their noses, and on fingers, wrists, ankles, and toes, portray a group of women Anna saw selling bread on the street in Zehedan, a city in the desert of southern Iran.

Level II * • Learn about a legendary story told to Marco Polo when he passed through the ancient town of Saveh in Persia. The story portrays the three Wise Men as both Holy Men and Astronomers. Create “Star Maps” and dance them.

• Research and learn about early Persian contributions to Astronomy. Consult Harry Ford’s book, A Young Enthusiast’s Guide to Astronomy - and One Small Square

Dancers perform as soloists and in small groups, moving their bodies with quick flicking actions of the hands, small gestures of the shoulders and quick footwork. These flicking movements are done to enhance the musical sound of their jewelry. In Zehedan, the costumes and music are similar to those found in the deserts of Northern Africa. The women wear brightly colored, open veils over their heads as a shield from the hot sun. Loose caftans are worn over pants which are banded at the ankles to keep out the dust and sand. The music, played on drums, has a strong percussive feel and keeps a lively beat that inspires the dancers.

Multidisciplinary Options: • Look at the alphabets and languages of Armenia and Iran. Compare and contrast their form to English and other languages. Consult these references for ideas: Write Around the World - The Story of How and Why We Learnt to Write. Vivian French,

- The Night Sky by Donald M. Silver.

Level III • Research building materials, the architecture and distinctive formation of the Armenian Church.

• Recall and repeat some of the formations you observed in the dance Interlace. Do these in small groups. Create your own formations and hand holds, then experiment with traveling these formations in the classroom space. * • Build dance studies based on architectural forms and cantilevers Practice using body cantilevers and weight sharing among partners and in small groups. Make visual and body design connections to the dance Interlace. *

Indicates sample lessons

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ADDITIONAL INFORMATION ON THE DANCES BACKGROUND ON INTERLACE The countries of Armenia and Persia (known today as the country Iran), are both ancient cultures with unique customs, rich cultural heritages and heroic survivals despite invasions and conquests by other powers. Home of the legendary Mt. Ararat, where Noah’s Ark came to rest, Armenia’s legacy includes its distinction as being the first country to adopt Christianity as a state religion in 301AD. The Armenians were also the creators of a style of religious architecture which anticipated the Western Gothic and Romanesque Cathedrals of Europe. Interlace, while done in the tradition of Armenian cultural dance with its linear groupings and flowing elegance, was inspired by the intricate stonework and architectural design seen in the buildings, facades, and archways of 4th - 17th century Armenian churches. The stonework decoration found on the buildings show elements of nature (birds, plants, vines, and flowering vegetation) geometric designs (scrolls, interlacings, loops, ribbons, braids and coils) and some stylized human figures. The movements seen in this dance are the result of the choreographer’s desire to bring the motifs and natural design impressions of the architects and stone masons of the extraordinary churches to life.

BACKGROUND ON SARVE KASHMIR Iran’s culture and artistic legacy was influenced by its original inhabitants, the Persians, its geographic location as a doorway between Asia and ancient Mesopotamia, and the Islamic religious tradition. Islam, which was brought to Iran in 7AD by the Arabs, is comprised of different sects. The powerful Shia sect who live in and around the capital, Teheran, advocate a return to strict spiritual and religious laws.

Women are strongly encouraged to follow a clothing code which requires the wearing of the Chador, a black, bell-shaped garment which covers the woman’s head, face, and body to protect her from the eyes of men. The smaller Sunni Sect, who live in regions far away from Teheran, have a certain amount of freedom in pursuing their beliefs. This includes the wearing of traditional costumes not sanctioned by the government. The idea for this dance came from a trip that Anna took to Zahedan, a desert city in southern Iran, at the foot of Mount Taftan. While sight-seeing and gathering ideas for artistic work, Anna came upon a group of women selling bread in the street. What struck her was that here, during the height of the Islamic Revolution, with its strict laws prescribing suitable dress for women, these ladies were dressed in colorful clothes, open veils and great displays of jewelry. While they were reluctant to have their pictures taken, they were quite generous with information and hospitality, inviting Anna and her husband to their homes to share their culture with them.

COMPARISONS While some comparisons can be made between the dances, there are strong contrasts between them which can be seen upon viewing the video. Dance movements seen in Interlace are smoother and more sustained than the gestures seen in the Persian Dance. There are fuller extensions in the linear and curvilinear motions of the arms. Groupings in Interlace suggest architectural forms reinforcing a sense of stability and strong support. The dancers seem to float on stage, bodies do not change levels until the very end of the dance. Women performing in Sarve Kashmir are more suggestive and flirtatious in their movements, more open and celebratory. The dancers in Interlace are more reserved and exhibit a “controlled elegance” in motion. There is more of a communal feeling and look in Interlace. The dancers are moving as a group with few solo moments. There is a stronger sense of individual personalities dancing in Sarve Kashmir, because dancers interact with each other and the audience.

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DANCE DANCE

THE PERSIAN CINDERELLA ENDURING VALUES AND TRANSFORMATION

LEVEL I Sample Lesson INTRODUCTION: Often, the entry point into learning about another culture is through a connection with a familiar subject or story. This lesson will introduce students to Persian culture through their version of the story of Cinderella and one of their more joyous celebrations No Ruz – a New Year’s holiday. It is featured in The Persian Cinderella, that came from a collection of tales in a 9th century Persian book called Hezar Afsaneh or A Thousand Tales. Similar versions of well-loved and widely known fairy tales can be found in cultures around the world. Students can present the fairy tale through a retelling approach, and create costumes and movement to enhance the production.

OBJECTIVES: (Student Outcomes)

Djanbazian Dance Company in Sarve Kashmir Photo: Craig Schwartz ©1998

Students will be able to: • Discuss that fact that similar story themes, such as Cinderella, are found in different cultures throughout the world. (Connecting) • Retell the Persian version of Cinderella using their own words. (Creating) • Create simple gestures or movements to express the main ideas in the Cinderella story. (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 Persian Cinderella by Shirley Climo. Harper Collins Publishers. ISBN 0-06-026763-1 • Odds and ends for costume suggestions (optional).

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PROGRESSION: Scenario: •The Persian version of Cinderella is about a neglected and tormented young girl named Settareh.

Ridiculed by her stepsisters, she feels very isolated. One day her father visits the women and gives everyone a large gold coin to buy cloth and make themselves an outfit for No Ruz Festival at the palace.

However, at the bazaar, Settareh uses some of her money to help an old woman and the rest to purchase a cracked, blue jug, not realizing that it holds magic. On the day of No Ruz, she has no fine clothes to wear, so she remains at home while her stepsisters and others go to the palace. Sad and alone, she rubs the blue jug and makes a wish that it fills with jasmine blossoms. The jug begins to shake and magically springs forth white flowers. She also wishes for food, which was given to her and then her world changes as she wishes for clothes to go to the New Year’s Celebration.

As she makes her way into the palace, she meets a handsome young man who smiles at her. Unaware that this is the prince, she enters into a great hall and enjoys the food, music and entertainment. The evening goes by quickly and she suddenly realizes she must return home before the others return. In her haste, she loses a diamond anklet in a ditch filled with water.

The next morning, the anklet is found by the stable boy and taken to the prince. Intrigued, the prince feels compelled to find the owner of the missing anklet. His mother, the Queen, takes charge and conducts a search. Every woman in the city tries to squeeze into the sparkling anklet, but to no avail.

Upon reaching Settareh’s home, the search continues. As before, it fits no one -- until Settareh appears wearing her finery from the great New Year’s celebration. She bows to the Queen and slips her foot through the diamond anklet with ease. The Queen invites her to return with her to the palace. Before leaving, she runs into her room to retrieve the little jug, but is stopped by her conniving stepsister who wants to know her secret.

She and the prince share only a brief time of happiness. Her jealous stepsisters conspire to use the magic of the jug against her as they help her prepare for the wedding. She is transformed into a gray turtle dove when they stick magic pins into her hair. Mourning the loss of his love, the prince sits alone in his room, but is comforted by a small turtle dove that appears in his window. After many months, the dove allows the prince to stroke its head. He is puzzled by strange bumps under the feathers. As he peers closer, he discovers the bumps to be the hairpins embedded by the evil stepsisters. Gently, he begins to remove them.

When the last one is withdrawn, the bird flutters, cries out, and the spell is broken. Setterah again takes her earthly form and they are married and live happily ever after (We hope!).

• After reading the scenario, list the similarities and differences between the familiar version and this story.

Talk about how fairy tales can be transformed and enriched by different cultural settings.

• List the symbols used in the traditional Cinderella story (The fairy God Mother, magic wand, pumpkin transformed into a coach, mice and rats turned into coachmen and horses, a glass slipper, a royal ball.)

• List the symbols in this version that correspond to the traditional elements.

Persian Version Blue pot diamond anklet No Ruz father is still alive dove

Traditional Version Fairy Godmother glass slipper Ball father is dead servant woman

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• Have the students recreate the story by identifying the characters, settings, conflict and resolution and sequence of events. Divide the story into simple scenes, and have different people take turns retelling the story. You can also have some students mime events in the story as it is told.

EXTENSIONS: • Research more about this spring festival. Compare and contrast the customs with the New Year’s celebrations of other cultures from around the world. Divide into small groups and give each group one aspect of the traditions to perform in either a mime or tableau.

Background on No Ruz No Ruz is the 13 day celebration that begins on March 21st each year. Families get together, a special feast is held with fish and seven foods beginning with the letter “S.” A table is set up with seven lucky items: apples, grass, pudding, vinegar, garlic, sumac berries and the fruit of the lotus tree. Each represents one of the seven spiritual forces of religious practices that date back to before Islam. Children dress up in new clothes, play with their cousins and friends and receive gold coins. The events include jumping over a bonfire, dancing, music and the custom of going outdoors on the thirteenth day, as it is considered unlucky to stay inside. At this time, the father performs the ritual of throwing wheat which he has grown for two weeks, into the river. Girls who are interested in marriage make a knot in the wheat, express their wish for a husband and throw the knotted wheat in the river.

• Get Festivals, a book of poems by Myra Cohn Livingston, Holiday House, ISBN 0-8234-1217-2, and read the poem, No Ruz. This is an excellent poem to perform using creative movement or theatre.

• Perform the story, The Persian Cinderella, and add costumes and add musical “jewelry,” made from simple found materials (flattened bottle tops, pull tabs, bells, etc.) String onto yarn or elastic to wear and to accompany appropriate cultural music.

VOCABULARY: No Ruz, tableau, Persian ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe your favorite part of the story.

DISCUSS: Discuss the similarities and differences between the two versions of the same story.

ANALYZE: Discuss how the magical and transformational aspects of each story were different.

CONNECT: If you could be transformed into another creature, what animal would you choose, who would you visit and how would you communicate?

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

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DANCE DANCE

SKY MAPS POWER OF NATURE AND THE HUMAN FAMILY

LEVEL II Sample Lesson INTRODUCTION: Exploring the origins of Astronomy can help students learn about scientific history and the famous and often forgotten people who made important discoveries long ago. These pioneers made discoveries without the benefit of today’s technology. Often art and literature can be entry points for motivating students to learn about a subject. This lesson is based upon the story told to Marco Polo in 1271 while on his great journey to China. Visiting the Church of the Holy Sepulchre in Jerusalem, he was shown a lamp that had burned continuously for over 1200 years. The story relates the origin of the flame of the lamp. Marco Polo’s journey later took him to the town of Saveh in Persia where he Constellation Sagittarius was shown the tombs of The Wise Men (Balthasar, Melchior and Jasper), who were astronomers as well as Holy Men. Persian legend says that after The Wise Men had given their gifts to the Christ Child, He presented them with a stone. Thinking that the stone had no value, they threw it down a well, where it burst into flame. They finally understood that the flame was a special gift to bring justice, healing and peace into the world. All those who visited the well took part of the flame with them to spread the gift of peace to others.

At that time in history, many astronomers were already studying the sky, identifying the positions of stars and grouping them into constellations. Persian astronomer, Al-Sufi, (903-86) listed the positions of more than 1,000 stars. The focus of this lesson will be on the constellations and their potential for movement maps.

OBJECTIVES: (Student Outcomes) Students will be able to: • Discuss the contributions of other cultures in the sciences. (Connecting) • Tell a well-known legend connected to astronomy. (Responding & Connecting) • Demonstrate the concept of a constellation and name several configurations.

(Responding & Connecting) • Design and perform Constellation Movement Maps. (Creating & 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 ) 7

MATERIALS: • Paper and markers.

• Music to support creative movement with Space and Star themes.

Suggested Titles: The Planets by Holst, Various Electronic New Age Music Artists: Steve Roach, Deuter Aum, Tomita.

• The Stone-A Persian Legend of the Magi, Dianne Hofmeyr, Farrar, Straus and Giroux, New York, 1998, ISBN 0-374-37198-9.

• Sources for constellation and star charts such as astronomy books, science texts or consult these sources: Zoo in the Sky - A book of Animal Constellations. Jacqueline Mitton, National Geographic Society, Washington D.C., 1998, ISBN 0-7922-7069-X. • Star Shapes. Peter Malone, Chronicle Books, San Francisco, 1997, ISBN 0-8118-0726-6.

PROGRESSION: • Relate the legend told to Marco Polo.

• Discuss and compare the story with what is known in more traditional retellings. In this legend, the Magi are wise men and astronomers who go on a journey, present their gifts, and are given a stone in return. When they throw it down a well, it becomes a great flame that serves as a reminder of peace on earth.

People come from far away to take a part of the flame away and spread the story of peace around the world.

• Emphasize that people of ancient times studied the sky to learn its patterns, to navigate and to try to make meaning in their lives. The Three Wise Men went on their journey under the guidance of a star that had never been observed before.

• Introduce the topic of Astronomy. Discuss with the students what they know about this subject area.

Ask them about how they thought the early astronomers were able to locate and name the stars and the constellations.

• Present the constellations in star chart form. Locate appropriate constellation representations that correspond to the animals most known to the students. Examples: The Great Bear (Ursa Major), The Wolf (Lupus), the Hare (Lepus), The Lion (Leo), The Peacock ( Pavo), etc. Show the students both the picture and star charts that identify each of the constellations. Discuss the possible origin of these star names.

• Students will create their own movement studies using the constellations as their pathway maps (Sky Maps). Divide students into small groups of four or five. Give each group a different constellation.

Explain that they will be creating a moving pathway that will show the outline of the constellation and the movements they select will reflect the animal qualities of their constellation.

• Using large sheets of paper, place the stars in the specific spots that correspond to the constellation they have been given. Draw the shape of the animal that encompasses the stars. Then decide as a group where they will begin and end on the map they have created.

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•Discuss the words time, energy, levels and action words. These will be the dance/movement concepts that the students can explore and incorporate in their Sky Maps.

• Each group will create a list of action words that describe the movements of their animal. They will then place these action words along the pathways and rehearse. For example, if it is a peacock, between point a and b, this person will glide, strut or hop, etc.

• Students can move individually, in duets or trios.

EXTENSIONS: • Allow them to choose the music that fits their movement piece. Rehearse and Perform.

• Locate and learn about the countries of the Middle East. Begin with the countries of Armenia and Iran.

• Read these excellent children’s stories that come from Armenian and Persian sources: The Golden Bracelet, retold by David Kherdian. Holiday House, New York, 1998, ISBN 0-8234-1362-4.

A Weave of Words, retold by Robert D. San Souci. Orchard Books, New York, 1998, ISBN 0-531-30053-6.

• Research and learn about early Persian contributions to Astronomy. Persian Astronomer, Al-Sufi, (903-86 AD) listed the positions of more than 1,000 stars. Consult Harry Ford’s book, A Young Enthusiast’s Guide to Astronomy and One Small Square - The Night Sky by Donald M. Silver for source materials for lesson connections in science curriculum. Other source materials include: One Small Square, The Night Sky, Donald Silver, Learning Triangle Press, McGraw-Hill, 1998, ISBN 0-07-058045.

The Young Astronomer - A Young Enthusiast’s Guide to Astronomy, Harry Ford, Dorling Kindersley Ltd., London, New York, 1998, ISBN 0-7894-2061-9.

VOCABULARY: Astronomy, constellation, pathway, Elements of Dance, time, space, energy, map, journey.

ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe your constellation and what you learned about it.

DISCUSS: Discuss what your group needed to do to create your Constellation Movement Map. ANALYZE: Discuss the main differences you noticed between each of the constellations.

CONNECT: Discuss how Star Charts are similar to maps of the earth.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking 9

DANCE

BUILDINGS IN MOTION TRANSFORMATION

LEVEL III Sample Lesson INTRODUCTION: They say that the two primary arts were dance and architecture.

Martha Graham, Modern Dance Artist/Choreographer A country’s treasures can be found in museums, among its peoples, in its natural beauty and also in its buildings.

The unique design of Armenia’s churches reflect both history and natural resources. Armenia was the first country to adopt Christianity in 301 AD. Some historians believe that their churches influenced the design of both Romanesque and Gothic Cathedrals in Europe as people crossed their lands over the years. The Armenian expression, “Hayasdan, Karasdan,” which means “Armenia, the Land of Rocks, “is evidenced in the materials that were used to construct these churches. While earthquakes and wars have damaged many of them, those that stand serve as reminders of the rich heritage of the country.

This lesson will enable students to learn basic architectural concepts, work with their bodies in partnership to create shapes and designs that are reflected on the buildings, and understand how an artist can use another source for movement ideas.

OBJECTIVES: (Student Outcomes) Students will be able to: • Discuss the historical, cultural and geographic aspects of the country of Armenia.

(Connecting) • Discuss the distinctive architecture of Armenian churches and how artists can use this art in creating work. (Responding & Creating) • Work with partners in trusting relationships to experience body weight and cantilevers.

(Creating & Responding) • 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® video of Interlace.

• What it Feels like to be a Building. Forrest Wilson, National Trust for Historic Preservation, Washington D.C., 1988, ISBN 0-89133-147-6. (optional) 10

• Architecture Is Elementary - Visual Thinking through Architecture.

Nathan B. Winters, Peregrine Smith Books, Salt Lake City, 1997, ISBN 0-87906-186-8.

PROGRESSION: • View the video of Interlace and use the “Discussions Questions” on Page 2.

• Give some background on Armenia, its history, geography and the importance of its churches.

• Ask the students to recall the Story of Noah’s Ark, as they know it.

Identify the location of the Ark’s final resting place as Mt. Ararat in Armenia. Locate both Armenia and the mountain on the map. Emphasize the rugged landscape and geology of Armenia and how it provided ample building material for Armenia’s famous churches. Anna Djanbazian derived inspiration for her dance Interlace from these buildings.

• In discussing the building materials, explain that there exists a pinkish-grey volcanic stone called toof or tufa. This material was used in building the churches, giving them their distinctive color.

• Stone Masons (the people who cut the stone and fit it to construct the buildings) were well known for their work and were employed in many countries.

• Look at the architecture and distinctive formation of the Armenian Church. It can be recognized by a Cone-shaped roof that is atop a polygon-shaped Drum rising above the church. Once inside the church, one can see a Dome that is inside the Cone. (see picture).

• Discuss with students other forms of religious architecture that they have seen. Have them draw these forms on graph paper. This information applies to geometry and math concepts.

• Working in pairs, trios, or quartets, ask them to form some of the shapes with their bodies.

• Add the concept of cantilevers - working with the weight of another person. Stand face to face with a partner, holding onto each other’s wrists. Pull away equally from the other person, sharing the weight between each person. Think of sitting in a chair, keeping knees bent, staying connected to the center of the body.

• When students have mastered that, try changing levels as they share the weight, removing a body part from the floor, using one arm, etc. Also try pressing against each other with different body surfaces, (hands, shoulders, backs) Allow students to experiment and explore these concepts.

• Focusing on Architecture - have students recreate building shapes and designs. A good source of ideas is the book, What It Feels Like To Be A Building, by Forrest Wilson.

• Reconnect their explorations to the dance Interlace. Remind them that the choreographer also used architecture for inspiration in creating the dance. Tell them that Anna used buildings in another way. She looked at their structure and at the design work on the outside of the buildings. Talk about the design work students have seen in their neighborhood, on the school building, or their homes.

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EXTENSION: • Recall and repeat some of the formations observed in the dance Interlace. Do these in small groups of four or five. Try the hand and arm positions that connected the dancers and attempt to travel in the room in lines and circles as the dancers did in the piece.

• Create your own formations and hand holds. Experiment with traveling these formations in the classroom.

• To structure these experiences and set a movement study “task,” give students a checklist of selected concepts (criteria) they must include in their piece. Example: Dance must have a strong beginning and ending shape Three different cantilevers Curved floor pathways Interesting hand holds Weaving of bodies.

Allow students time to rehearse and revise their work before they present it to the class.

• Read selected stories from Armenian and Persian Folk and Fairy Tales. Learn about the uniquely Armenian form of beginning their stories, “Once there was and was not......”

Armenian Folk-tales and Fables, retold by Charles Downing. Oxford University Press, New York, 1993, ISBN 0-19-274155-1. This book also includes well-know Fables and Proverbs from Armenia.

• Research the multiple religions in present day Iran. While Islam is the major belief, Zoroastrianism, Baha’ism, Judaism, Christianity and other faiths do exist in the country. Discuss the multiplicity of religions in the Middle East and how this affects the politics of all these countries. Survey your classroom for the religions practiced by the students in the class.

The Usborne book of World Religions. Susan Meredith, Usborne Publishing Ltd., London, 1995, ISBN 0-7460-1750-2.

VOCABULARY: architecture, counterbalance, pathway, dome, cone, cantilever, tufa ASSESSMENT: (Responding & Connecting) DISCUSS: Discuss what your group discovered in working with weight and balance.

ANALYZE: Discuss how you used architecture as an inspiration for movement.

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

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cone on the outside Dome on the inside

Drum

Between the 4th and 7th centuries Armenian architects developed a unique type of church architecture, different from churches built in other Christian countries.

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