0066ll0077 YYoouutthh EEdduuccaattiioonn CCrreeaattiivvee TTeeaacchheerrss......IInntteelllliiggeenntt SSttuuddeennttss......RReeaall LLeeaarrnniinngg HHuubbbbaarrdd SSttrreeeett DDaannccee CChhiiccaaggoo TTeeaacchheerr RReessoouurrccee GGuuiiddee UMS greatefuly acknowleges the About UMS following corporation, foundations, and government agenies for their generous One of the oldest performing arts presenters in the coun- support of the UMS Youth Education try, UMS serves diverse audiences through multi- Program: disciplinary performing arts programs in three distinct but interrelated areas: presentation, creation, and education. With a program steeped in music, dance, theater, and education, UMS hosts approximately 80 performances Michigan Council for Arts and 150 free educational activities each season. UMS and Cultural Affairs also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national as University of Michigan well as many international partners. Arts at Michigan While proudly affiliated with the University of Michigan Arts Midwest Performing Arts Fund and housed on the Ann Arbor campus, UMS is a separate Kathy Benton and Robert Brown not-for-profit organization that supports itself from ticket Bank of Ann Arbor sales, grants, contributions, and endowment income. Chamber Music America Pat and Dave Clyde UMS Education and Doris Duke Charitable Foundation DTE Energy Foundation Audience Development Dykema Gossett, PLLC Department The Esperance Family Foundaion Dr. Toni Hoover, in memory of Dr. Issac Thomas III UMS’s Education and Audience Development Department JazzNet Endowment seeks to deepen the relationship between audiences and James A. & Faith Knight Foundation art, as well as to increase the impact that the perform- Masco Corporation Foundation ing arts can have on schools and community. The pro- THE MOSAIC FOUDATION gram seeks to create and present the highest quality arts (of R. & P. Heydon) education experience to a broad spectrum of community National Dance Project of the New constituencies, proceeding in the spirit of partnership and England Foundation for the Arts collaboration. NEA Jazz Masters on Tour Pfizer Global Research and Development, The department coordinates dozens of events with over Ann Arbor Laboratories 100 partners that reach more than 50,000 people Randall and Mary Pittman annually. It oversees a dynamic, comprehensive program ProQuest Company encompassing workshops, in-school visits, master classes, Prudence and Amnon Rosenthal K-12 lectures, youth and family programming, teacher Education Endowment Fund professional development workshops, and “meet the TCF Bank artist” opportunities, cultivating new audiences while UMS Advisory Committee engaging existing ones. University of Michigan Credit Union U-M Office of the Senior Vice Provost For advance notice of Youth Education events, join the for Academic Affairs UMS Teachers email list by emailing U-M Office of the Vice President for Research [email protected] or visit www.ums.org/education. Wallace Endowment Fund Whitney Fund at the Community Foundation for Southeastern Michigan This Teacher Resource Guide is a product of the University Cover Photo: Hubbard Street Dance Chicgao performs Musical Society’s Youth Education Program. Researched and Strokes Through The Tail (Photo by Todd Rosenberg) written by Bree Juarez. Edited by Ben Johnson and Bree Juarez. All photos are courtesy of the artist unless otherwise noted. 06/07 UMS Youth Education Hubbard Street Dance Chicago Wednesday, February 7, 11 AM Power Center, Ann Arbor TEACHER RESOURCE GUIDE Table of Contents About the Performance * 6 Coming to the Show * 7 The Performance at a Glance Repertoire for the Youth Performance 10 Strokes Through The Tail 12 Gnawa 13 Minus 16 (excerpt) 14 Watching a Dance Performance Hubbard Street Dance Chicago Short on Time? 16 History of the Company * 18 Key Figures at HSDC We’ve starred the 19 HSDC Dancers most important pages. Modern Dance 26 About Early Modern Dance Only Have 27 Two Early Moderns 15 Minutes? * 29 The Elements of Dance Try pages 7, 18, or Lesson Plans 33 Curriculum Connections 29 34 Meeting Michigan Standards 35 Lesson One: Time, Space and Energy 36 Lesson Two: Gestures 37 Lesson Three: Textures and Environments 38 Lesson Four: Sculptures 39 Lesson Five: Connections 40 Lesson Six: Directed Improvisation 41 The Vocabulary of Dance 45 Dance Vocabulary Word-O 46 Modern Dance Word Search Puzzle 47 Word Search Puzzle Solution Resources * 49 UMS Permission Slip 50 Bibliography/Videography 51 Internet Resources 52 Recommended Reading 53 Community Resources 54 National Resources 55 Evening Performance/ Teen Ticket 56 How to Contact UMS 4 | www.ums.org/education ) g r e b n e s o R d d o T y b o t o h P ( a w a n G About the Performance Coming to the Show (For Students) We want you to enjoy your time in the theater, so here are some tips to make your Youth Performance experience successful and fun! Please review this page prior to attending the performance. What should I do during the show? Everyone is expected to be a good audience member. This keeps the show fun for everyone. Good audience members... (cid:129) Are good listeners (cid:129) Keep their hands and feet to themselves (cid:129) Do not talk or whisper during the performance (cid:129) Laugh only at the parts that are funny (cid:129) Do not eat gum, candy, food or drink in the theater (cid:129) Stay in their seats during the performance (cid:129) Do not disturb the people sitting nearby or other schools in attendance Who will meet us when we arrive? After you exit the bus, UMS Education staff and greeters will be outside to meet you. They might have special directions for you, so be listening and follow their directions. They will take you to the theater door where ushers will meet your group. The greeters know that your group is coming, so there’s no need for you to have tickets. Who will show us where to sit? The ushers will walk your group to its seats. Please take the first seat available. (When everybody’s seated, your teacher will decide if you can rearrange yourselves.) If you need to make a trip to the restroom before the show starts, ask your teacher. How will I know that the show is starting? You will know the show is starting because the lights in the auditorium will get dim, and a member of the UMS Education staff will come out on stage to introduce the performance. What if I get lost? Please ask an usher or a UMS staff member for help. You will recognize these adults because they have name tag stickers or a name tag hanging around their neck. How do I show that I liked what I saw and heard? The audience shows appreciation during a performance by clapping. In a musical perfor- mance, the musicians and dancers are often greeted with applause when they first appear. It is traditional to applaud at the end of each musical selection and sometimes after impressive solos. At the end of the show, the performers will bow and be rewarded with your applause. If you really enjoyed the show, give the performers a standing ovation by standing up and clapping during the bows. For this particular show, it will be most appropriate to applaud at the beginning and the ending. What do I do after the show ends? Please stay in your seats after the performance ends, even if there are just a few of you in your group. Someone from UMS will come onstage and announce the names of all the schools. When you hear your school’s name called, follow your teachers out of the auditorium, out of the theater and back to your buses. How can I let the performers know what I thought? We want to know what you thought of your experience at a UMS Youth Performance. After the performance, we hope that you will be able to discuss what you saw with your class. Tell us about your experiences in a letter or drawing. Please send your opinions, letters or artwork to: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011. 6 | www.ums.org/education The Performance at a Glance What is Hubbard Street Dance Chicago? Under the leadership of Artistic Director Jim Vincent, Hubbard Street Dance Chi- cago performs contemporary dance. It was founded in 1977 by dancer and cho- reographer Lou Conte. For the next 23 years, Conte served as artistic director until his retirement from HSDC in 2000. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists. Today, HSDC performs in downtown Chicago and the metropolitan area and also tours throughout the year. The company has appeared in 44 states and 19 coun- tries at celebrated dance venues including the American Dance Festival, DanceAs- pen, the Holland Dance Festival, and Jacob’s Pillow Dance Festival. “Dance What does a choreographer do? is the Choreography (also known as dance composition) is the “art of making visual hidden structures in which movement occurs.” People who make these compositions are called choreographers. A choreographer creates a dance by having a vision and language then arranging or directing the movements of the dancers. The choreographer must work closely with the dancers, the stage manager and musicians during of the soul.” rehearsals. Although mainly used in relation to dance, choreographers also work in various settings including fencing, gymnastics and ice skating. -Martha Graham What is a repertory company? Hubbard Steet Dance Chicago is a repertory company meaning they commission and dance pieces by other choreographers. For example, at this youth performance you will see pieces by Marguerite Donlon, Nacho Duato, and Ohad Narahin (for complete biographies see pages 10 -13). What is Hubbard Street 2? Under the leadership of Artistic Director Julie Nakagawa Böttcher, Hubbard Street 2 is a company of six dancers between the ages of 17 and 25 who perform a repertoire of works by some of the nation’s most promising choreographers. HS2 reaches as many as 35,000 people annually through performances in schools, community centers and theaters. Some of the dancers you will see at the Youth Performance started at Hubbard Street 2 before moving to Hubbard Street Dance Chicago. What is Modern Dance? Modern dance is a phenomenon that started in the early 20th century, when indi- vidual dancers felt the need to break away and create a form of dance based on more natural motions of the human body. There is no specific definition for what makes something modern dance, as the concept of “modern” was simply applied to the dancers of the time who had begun a rebellion against the strict discipline of classical ballet. Today we perceive modern dance as a discipline defined by the people who began this movement and their individual traditions and followings. Now a widely appreciated style of performance, modern dance began as, and con- tinues to be, an experiment in new ways of moving. 7 | www.ums.org/education What is the difference between modern dance and classical ballet? Ballet relies on an illusion of lightness and effortlessness, while modern dance relies on weight—dancers often fall all the way to the floor. While a ballet dancer must remain almost perfectly balanced, a modern dancer must be able to fall and slide safely. The ballet of the early 20th century relied on ornate costumes and scenery, but early modern dance was often performed on a bare stage in bare feet and a simple tunic. What will I see at the performance? During the performance of the Hubbard Street Dance Chicago you will see three “American dance different pieces of repertoire being performed. They are: is not merely a Strokes Through The Tail style or idiom. Choreography: Marguerite Donlon Music: W. A. Mozart- Symphony No. 40 It is a potent Marguerite Donlon found inspiration in Mozart’s Symphony No. 40 and the danc- ers’ personalities to create a work that combines virtuosic dancing with a delight- idea. When its ful hint of irreverence. Intrigued by Mozart’s style of musical notation, Donlon reveals a tightly knit work in which the dancers personify the structural patterns of contemporary musical notes on a page and balletic details to capture the composer’s ingenious wit and humor. personalities Gnawa [nah-wah] retire, the idea Choreography: Nacho Duato The celebrated Spanish choreographer Nacho Duato created this world premiere will persist” expressly for HSDC. Set to evocative Spanish and North African sounds, Gnawa captivates with its percussive power and sensual grace, combining the spirituality -José Limón and organic rhythms from the Mediterranean. Minus 16 (excerpt) Choreography: Ohad Narahin An audience favorite, Israeli choreographer Ohad Naharin’s clever and humorous full-company piece breaks down the barrier between audience and performer. Set to music ranging from Dean Martin to cha-cha, mambo, techno and traditional Israeli music, the piece’s audio track includes interviews with HSDC dancers. 8 | www.ums.org/education Strokes Through The Tail (Photo by Todd Rosenberg) Repertoire for the Youth Performance TYoituleth Performance Repetoire I. Strokes through the Tail Choreography by Marguerite Donlon Costume Design by Branimira Lighting Design by Ryan J. O’Gara What is Description counterpoint? Marguerite Donlon found inspiration in Mozart’s Symphony No. 40 and the danc- ers’ personalities to create a work that combines virtuosic dancing with a delight- Counterpoint is the ful hint of irreverence. Intrigued by Mozart’s style of musical notation, Donlon relationship between reveals a tightly knit work in which the dancers personify the structural patterns of two or more voices musical notes on a page and balletic details to capture the composer’s ingenious wit and humor. that are independent in countour and rhythm, and What the critics said... interdependent in harmony. Seeing such gifted dancers in exquisite choreography performed to timeless music played by some of the world’s finest instrumentalists was thrilling. The dancers seemed to be borne aloft and swept across the stage by the sheer physical pres- ence of such magnificent live music. -Wynne Delacoma, Chicago Sun-Times, December 2005 The whinnying Mozart depicting in “Amadeus” would have enjoyed a good horse- laugh at Donlon’s piece…for certain the rest of us did… Donlon is unafraid to go against the grain of the music, creating a counterpoint of delicious, never mali- cious, irony. The sight gags whiz by so fast you really need multiple viewings to appreciate their subtlet. -John von Rhein, Chicago Tribune, December 2005 Choreographer: Marguerite Donlon Marguerite Donlon was born in County Longford, Ireland and worked as a solo dancer and choreographer with the Deutsche Oper Berlin since 1990. Prior to that she danced with the English National Ballet with Peter Schaufuss, and has worked with leading international choreographers Jirí Kylián, William Forsythe, Meg Stuart, Sir Kenneth MacMillan, Bill T Jones and Maurice Béjart. Ms. Donlon has choreographed several works, includ- ing Celtic Touch and Patch of Grass, for Deutsche Oper Berlin and Taboo or Not for Vienna State Ballet. She has also created pieces for Nederlands Dans Theater II, Stuttgart Ballet and Komische Oper Berlin. Ms. Donlon’s installa- tion works and dance films have been shown in museums and films festivals in Europe and the USA. In 2001, she was appointed Artistic Director of the Marguerite Donlon Saarlaendisches Staatstheater Ballet Saarbrücken in Germany (now named Donlon Dance Company), where she has created a considerable body of new work includ- Photo courtesy of ing full length ballets Carmen-Privat and Midsummer Night’s Dream, and her Hubbard Street Dance forthcoming Giselle Reloaded. Collaborative work with composers such as Claas Chicago Willeke and Sam Auniger, video artists and live musicians have become a regular occurrence and key to the uniqueness of the Donlon Dance Company. 2001 also marked her first collaboration with Hubbard Street Dance Chicago for the creation of Reverse Deconstruct. Blind Date, for Donlon Dance Company, earned her com- pany a wards from Ballettanz for “Best Premiere for 2004” and “Best Male 10 | www.ums.org/education