Publication - Music Center

Artsource
The Center’s Study Guide
to the Performing Arts
TRANSFORMATION
ENDURING
VALUES
DANCE
®
TRADITIONAL
ARTISTIC PERCEPTION (AP)
CLASSICAL
CREATIVE EXPRESSION (CE)
CONTEMPORARY
HISTORICAL & CULTURAL CONTEXT (H/C)
EXPERIMENTAL
AESTHETIC VALUING (AV)
MULTI-MEDIA
CONNECT, RELATE & APPLY (CRA)
FREEDOM &
OPPRESSION
Title of Work:
Stamping Ground
THE POWER
OF NATURE
THE HUMAN
FAMILY
About The Artwork:
In 1972, choreographer Jirí Kylián first saw Aboriginal
Creators:
dancers while watching a documentary. Ten years later he
Company: Nederlands Dans Theater (NDT)
Choreography: Jirí Kylián, 1938Music: Carlos Chavez
was able to observe the Aboriginal culture firsthand by
Background Information:
Jirí Kylián began his dance training at the ballet school
of the Prague National theatre in 1947, when he was
nine years old. From the age of fifteen he studied at the
Prague Conservatory, and in 1967 he went to the Royal
Ballet School in London with a scholarship from the
British Council. There he came into contact with the
most important developments in choreography in ballet,
traveling to Groote, an island off the northern coast of
Australia. It was there that the largest gathering of Aborigines
had been assembled by the Aboriginal Cultural
Foundation. He experienced the inspirational Aboriginal
dances known as “stamping.” All ages participate in the
ritual and ceremonial dances that represent the individuality
of each tribe, as well as providing them with a common
language. Jirí Kylián studied these dances in order to find
“new” ways to move, stamp and communicate the essence
of animal characteristics through dance gesture.
as well as contemporary dance. Consequently, John
Cranko, a major choreographer of this period and direc-
Creative Process of the Artist or Culture:
tor of the Stuttgart Ballet, offered him a dancer’s contract
In the creation of this dance, Jirí Kylián first did on-site
and encouraged Kylián’s ambition to create his own
research by attending the Aboriginal ceremonial dances
dance works. After choreographing his first piece for the
and finding out their historical and cultural meanings
Nederlands Dans Theater, he was soon hired as Artistic
through conversations with tribal members. He later
Director, creating more than 50 dance works. After a few
went into his studio to experiment
years, he established himself as one of the most ingenious
with different animal qualities
choreographers in the world with dances such as
and movements; these he matched
Symphony of Psalms, Forgotten Land and Stamping
with the personalities and natural
Ground. Since the late eighties, Kylián’s artistic view and
energy
style have moved towards abstraction and surrealistic
individual dancers.
and
gestures
of
his
images. His choreographies defy academic categorization
The Netherlands
because he blends elements as he sets his creative boundaries.
His work is very much based on music and the universal
ideas and emotions that are at the core of the human
experience. Although he is no longer the Artistic
Director of NDT, his influence continues to be an
inspiration to the company.
Photo: Joris Jan Bos
“The roots (of both Aboriginals
and modern cultures) come
from the same place - from the
inside of the human being.”
Jirí Kylián Choreographer
England
Germany
Belgium
France
Discussion Questions:
Sample Experiences:
After the video has been viewed:
• What are the similarities and differences between the
ancient Aboriginal dances and the contemporary dances?
• What animals can you identify in either the Aboriginal
dances or the contemporary work? Describe the characteristics
that connect the dancer to a specific animal.
• The female soloist has an extremely long, limber body.
What type of feeling or emotion is evoked? What images
of creatures come to mind? Support your answer.
• What words came to mind as you watched the male and
female duet? What surprised or impressed you?
• In your opinion, what value is there for today’s
choreographer to study the dance and traditions of an
ancient culture?
LEVEL I
Multidisciplinary Options:
Through research, Mr. Kylián found that there are several
important elements to Aboriginal stamping: the ability of
the dancers to jump suddenly in the air without preparation;
and the use of counter movements and weight which give
each physical move more length and drive. Many of the
Aboriginal dances are derived from the movements of
animals. This leads to multiple styles of walking.
However, the most vital element of their dances is the
actual stamping which provides the sounds that accompany
their performances. Using Mr. Kylián as a model, select
an ancient culture that interests you and research the
dance and music. Discover the instruments that were
played, find sculptures or murals that show the postures,
costumes and instruments in particular contexts, such as
a ceremony or social gathering. Highlight specific aspects
that are fundamental to this culture and make their
music and dance unique.
Audio-Visual Materials:
• Artsource® video excerpts: Road to the Stamping
Ground, an RM Arts/NOS TV, Holland Co-Production.
• Photos: Courtesy of the Nederlands Dans Theater.
Additional References:
• Jonas, Gerald. Dancing. Harry N. Abrams, Inc.,
Publishers, New York in Association with Thirteen/WNET.
• Dancing Series, a production of Thirteen/WNET in
association with RM Arts and BBC-TV.
• Nederlands Dans Theater Web Page: http://
www.balletcompanies.comNederlandsDansTheater/ - 1k
• Road to the Stamping Ground /NDT video. RM Arts.
• Using clapping, snapping and stamping, find different body
percussion combinations that you can repeat. Share ideas.
* • Work with a partner in a mirroring experience. Each person
will take turns creating the movement and then duplicating
the partner’s movement. Next, try having dance conversations.
• Respond to selected sounds using different movement words
that are associated with each. For example: a finger cymbal
will elicit turns; a hand clap will indicate a strong jump and freeze.
LEVEL II
• Create an improvised duet by selecting one or two gestures
or motifs from the male/female duet. Think of your dance in
terms of a “call and response” in which each dancer does a
movement motif or rhythmic phrase that is echoed by the partner.
* • “Peeling the Stage” - Divide the class into three or four
groups of 8-10 people. Group 1 enters an empty space; each
person creates a different abstract animal shape using 8 counts.
A second group enters and assumes one of the shapes of group
1. Then, group 2 will have 8 counts to transform from the
first shape into their own animal shape. Repeat with group 3.
• Research paintings of animals, done in an abstract or primitive
style. Brainstorm words that these images evoke. Use these
words to capture the essence, energy, actions, mood and characteristics of the animal. Alone, in partners or groups, create a
short, theatrical dance piece inspired by one or more animals.
LEVEL III
* • View a dance using Aesthetic Valuing strategies.
• Create a “Dance Canvas,” where students stand around the
edges of an empty space, in the arrangement of a rectangular
frame. Students enter the canvas space on cues, or in their own
timing, and create different body shapes to resemble segments
of a natural environment. Other students add designs onto
the original shapes with the intent of extending the natural,
sculptural environmental designs.
LEVEL IV
* • Creation myths are found in almost every ancient culture.
Research Aboriginal creation myths, and in small groups,
interpret one through dance.
• Use small (14" or 16") garden sticks, one per pair. Both
partners place an index finger on one end of the stick using the
right amount of tension to keep it balanced between them.
They must maintain this connection as they explore a variety
of ways to move cooperatively with smooth, flowing energy.
* Indicates sample lesson
2
DANCE
CREATE AND DUPLICATE MOVEMENT
THE HUMAN FAMILY
LEVEL I Sample Lesson
INTRODUCTION:
Stamping dances are an integral part of life for the Aboriginal tribes, and all ages participate. These dances
represent the origin and individuality of each tribe and serve as a means of communication among them
since there is no common language.
Regardless of which tribe is dancing, these dances are usually performed in groups where all members
achieve synchronization and oneness with the other dancers, while still dancing for themselves. This
ultimately leads to a more emotional performance.
Sometimes dancers move independently (alone) and sometimes they move in unison (together) with a
partner or group. This lesson focuses on the necessary skills needed by students to work in unison with
a partner. In Part I, students will take turns creating slow, continuous and clear movement that is
precisely “mirrored” by their partner. Part II gives them the challenge of having a movement conversation
with a partner.
Hopefully, students will discover ways to move that emanate from a flow of consciousness. They have
the opportunity to be a leader and the responsibility of being a follower. It is important to be able to
experience both roles and to feel confident in each one.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Express a variety of different movements using smooth, flowing energy. (Creative Expression)
• Demonstrate the dance forms of mirroring and conversation styles using improvisation.
(Artistic Perception and Creative Expression)
• Incorporate the dance elements of level, direction, sharp and smooth, slow and fast into their studies.
(Artistic Perception)
• Demonstrate focus, physical control, and accurate reproduction in performing axial (in place) and
locomotor (traveling) movement. (Artistic Perception)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• The Artsource® video excerpt of Stamping Ground.
• Any type of smooth, flowing musical CDs or audio tapes. Suggestions include: classical, New Age, guitar,
flute or didgeridoo music. It recommended that music without words or vocals be used.
3
PROGRESSION:
• Give some background on the -*Stamping Ground video using the information and questions on page
1. After viewing the video, use the “Discussion Questions” on page 2 to give students a chance to express
their responses to what they saw.
PART I
• Ask students to create movement that is slow, continuous, smooth and clear. Ask for a volunteer to lead
the class in a warm-up exercise called “mirroring.” The leader stands in the front and faces the class.
He/she will create movements that are slow, continuous, smooth and clear. It helps to ask them to draw
lines in space that are smooth and clear, using different directions and parts of the body to initiate the
movement. The challenge for the group is to observe and simultaneously duplicate the movement of the
leader as accurately as possible. The class should think of themselves as a mirror image of the leader. This
means that if the leader lifts his/her right arm, the class will lift their left arms.
• If there is interest for others to be leaders, have several students lead the mirroring exercise. It is also
helpful to play music that is slow, continuous and expressive while they move.
• Divide the students into partners and have them select who is “A” and who is “B.” Ask them to sit or
stand about 18 inches apart, facing each other. Direct “A” to lead “B” in a series of simple actions moving slowly and smoothly. Actions can include raising one arm and lowering it, reaching out to the side
and back, circling shoulders, lifting a leg, circling both arms like a large wheel in front of the body, etc.
Repeat this with “B” being the leader and “A” following. Emphasize that the partners should focus on
each other’s eyes rather than directly on the movement. This will help them stay focused and united.
They will see the movement with their peripheral vision.
• When they have practiced how to create and duplicate movement that is slow, continuous, smooth and
clear, direct them to think of a beginning, middle and end for each of their movement ideas. This would
be similar to verbal phrases or sentences done in movement. Also encourage them to change their level
as they move. Change roles several times. Appropriate music can add support, assist with the flow and
phrasing of the movement, and encourage expression. Divide the class in half and perform for each other.
Task #1:
Work with a partner, one leading and one following, to mirror each other’s movement phrases. Switch
roles on a signal from the teacher.
Criteria:
• movements must be smooth, slow and continuous
• add changes of level
• leader lead with very clear and large movements; be aware of keeping partner with you
• follower duplicate the movement ideas clearly and in the same period of time
• work cooperatively
• test: is it hard to determine who is leading?
4
Nederlands Dans Theater 2
Stamping Ground
Choreographer: Jirí Kylián
Dancers: Tessa Cooke, Urtzi Aranburu
Photo: Joris Jan Bos
PART II
• Once students can confidently mirror with a partner, they are ready for the next challenge which is conversational movement. This is where one partner “speaks” in a movement phrase while the other partner
listens, then the second partner responds. This idea moves back and forth between the two partners, just
as a conversation does. This concept is similar to the duet done by the male and female dancers in
Stamping Ground.
• It works best in the beginning stages to give a specific number of counts for each partner to move. If a
drum is used, the teacher can beat the head of the drum for partner #1 and the rim of the drum for partner #2.
These movements can be quick and rhythmical. The movement vocabulary can include: jumps, turns,
sharp gestures, reach and bend, twists, shaking, and locomotor movements such as walk, run, skip.
TASK #2:
In partners, do an improvisation using a conversational style. One partner will move for four counts
while the other partner freezes and observes intensely. Then the roles switch with the second partner
speaking with movement while the first partner stops and observes. This “conversation” switches back
and forth several times.
CRITERIA:
• Work cooperatively
• Move for 4 counts and then hold still for 4 counts (or 6 or 8 cts.); one partner moves while the other is still
• Use different changes of levels and directions
• Find variety in the movement choices
• Add stops or pauses
• Change the spatial arrangement, such as near and far, or away and toward, around or in front of.
• Maintain focus and concentration
5
EXTENSIONS:
•After the class has practiced the mirroring many times, a bigger challenge for them is to change the leadership role without stopping the movement or talking. It requires them to “sense” when the role is changing and to work intuitively.
• In the mirroring experience, students can increase the space between them, so that they must stay in
touch while 20 or more feet apart, increasing the observational and awareness skills.
• Have two sets of partners work together in a square formation where each person is in a corner of the
square.
Each one takes a turn leading and then “passing” the movement to the one on their right.
• In the conversation partnerships, extend the time from four counts to eight counts. Try different styles
of music.
• After doing these two experiences, replay the video to see if they are able to observe more things that
can connect with what they did in their own improvisations.
VOCABULARY: mirror, smooth, continuous, clear, phrase, sense
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the mirroring experience and what made it a “mirror” rather than a “shadow.”
DISCUSS: Discuss what things made the mirroring experience successful. What made the conversation
experience successful?
ANALYZE: Identify the challenges they faced when working with a partner and what they could do to
overcome them.
CONNECT: Discuss how their dance movement experience related to the dance video they saw.
6
RUBRIC FOR MIRRORING - task #1:
Advanced:
• Consistently focused
• Highly original movements with clear intent
• Highly consistent in performing slow and smooth movements
• Excellent cooperation between partners as they work in both role
Proficient:
• Focused most of the time
• Some original movements with clear intent most of the time
• Mostly consistent in performing slow and smooth movements
• Good cooperation between partners as they work in both roles
Approaching Proficient:
• Inconsistent focus
• Movements lack originality and intent
• Inconsistent in performing slow and smooth movements
• Cooperation between partners is lacking
RUBRIC FOR CONVERSATIONS - task #2:
Advanced:
• Consistently focused
• Highly original movements with lots of variety
• Consistently moves for four beats and freezes for four beats at correct time
• Excellent cooperation between partners as they work in both roles
Proficient:
• Focused most of the time
• Some original movements with some variety
• Mostly consistent in moving and holding for four counts at correct time
• Good cooperation between partners as they work in both roles
Approaching Proficient:
• Inconsistent focus
• Movements lack variety
• Inconsistent in moving and holding for correct number of beats and at correct time
• Cooperation between partners is lacking
7
DANCE
ANIMALS REVEALED
POWER OF NATURE
LEVEL II Sample Lesson
INTRODUCTION:
Aborigines live close to the earth and have strong connections to
the natural world. Their religion is deeply involved with the
land. They believe it is the mother of all living things to which
the spirit returns for rebirth after death. Aborigines do not own
the land; it owns them. They are its custodians, believing that the
ancestral beings of the Dreamtime, or Dreaming, created lands,
animals, people and places. Some of these are sacred to men,
others to women, some to both. These ideas are also expressed
in their art where earth tones of clays and ochres as well as
charcoal convey specific meanings.
The land on which the Aborigines live has a wide variety of
animals, many of which are not found on other continents. These
animals include: marsupials (meaning pouch) - kangaroo,
wallaby, koala, opossum, numbat, wombat, badicoot, echidna,
duck-billed platypus and Tasmanian devil. Other Australian
fauna include the crocodile, the dingo (wild dog), lizards, and
birds such as the beautiful budgie, kookaburra and emu.
In the duet on the Artsource® video, you can see the dancers
doing jumping and punching movements that represent
kangaroos, and an Aboriginal girl imitating an animal. In their
dances, the Aborigines are masters at miming the movements of
many of these animals.
Nederlands Dans Theater 2
Stamping Ground
Choreography: Jirí Kylián
Dancers: Miguel Rodriquez, Urtzi Aranburu
Photo: Joris Jan Bos
This lesson will focus on animals and their characteristics. The challenge will be to capture the weight,
energy, postures, focus and timing of specific ones.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Identify and discuss the characteristics of different Australian animals (Artistic Perception)
• Interpret selected characteristics of specific Australian animals through dance (Creative Expression)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
8
MATERIALS:
• The Artsource® video showing the excerpts from Stamping Ground
• List of Australian animals and their characteristics on pages 12-14.
PROGRESSION:
• Show the class the Artsource® video of Stamping Ground and discuss it using the “Discussion
Questions” on page 2.
• Introduce a few (3-4) of the animals from Australia and give background information on them.
Show pictures, if available.
• Write down the name of each animal on the board and create a list of characteristics and actions for
each one. An example of this would be:
Kangaroo:
jumps upward and forward
boxes with short arms
balances/sit on tail
Glider Possum
climbs trees
steers with its tail
swoops and lands upright
Emu
tall and heavy - walks
fast runner, doesn’t fly
good swimmer
• Have students spread out to find a space so they can move easily. Direct them to move like each
animal, being aware of whether it is heavy or light, fast or slow and improvise the different actions each
can do. Also, explore poses and shapes that each can take.
Task:
After taking time to be specific and work toward capturing the characteristics of each one, have each
student select one animal. Give them eight counts (16 counts for older or more experienced students)
to choreograph a dance study for that animal. Ask them to begin and end in specific shapes or poses
that suggest the animal.
• Divide the students into three groups of 8-10. Ask group 1 to be the first performers and go into the
space and take their beginning shape. Use hand claps or a drum to beat 8 spaced out counts of time,
such as: 1.... 2.... 3.... 4.... 5.... 6.... 7.... 8. Students perform their animal studies simultaneously
with the others, holding their final pose on count 8.
Group 2 moves out into the space and takes the ending pose of group 1. Group 1 exits using four
counts, while group 2 holds the shapes for these four counts. Then Group 2 has four counts to transform
the shape into the beginning shape for their dance study.
This is then repeated with group 3. When group 3 completes their study, groups 1 and 2 join a group
adding their ending animal shapes to the others.
9
Criteria:
• clear beginning shapes that capture the essence of the specific animal
• 8 counts of movement that show the nature, weight, timing and actions of the animal
• contrast of energy, focus, stillness and motion or levels
• clear ending shapes that capture the essence of the specific animal
• duplicate the shape of another animal when indicated
• combine animal shapes for the final ending
Ground Rules for Performers
Ground Rules for Audience
- maintain strong focus throughout
- give respect and active attention to performers
- perform with energy and clear intent
- keep silent
- do very best work
- clap, but don’t shout when performers are done
- work for unity with your group
• Have the students discuss their response after all groups have performed. Also, use the criteria as a point
of departure for the discussion. Suggestions for questions that elicit thinking, rather than one word
answers, include:
• What did different people do to convey the essence of their animal choice? What did they do
that gave you clues about the animal they represented through artistic movement?
• Did they have contrast in their idea? Was this shown in the element of space, time or energy?
• What most impressed you about the shapes and about the motion?
• What constructive suggestion would you have to improve the artistry of their work?
EXTENSIONS:
• Extend the animal study into a 16 or 32 count phrase.
• Have students work together, combining their animal phrases and doing some of the motifs in unison
or a call and response form, similar to the duet in the Artsource® video.
•Watch the Artsource® video again and discuss what they see after choreographing their own animal dance.
VOCABULARY:
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the words you used to motivate your animal study?
DISCUSS: Discuss the feelings you got when portraying your animal?
ANALYZE: Discuss some of the differences you observed when watching people do their animal study?
CONNECT: Discuss how the traits of animals relate to the traits of people.
10
AUSTRALIAN ANIMALS AND THEIR CHARACTERISTICS:
MARSUPIALS:
Kangaroo: There are over 50 species of kangaroo, which are named after the Aboriginal word,
“kang guru” which means “there he goes.” The kangaroo belongs to a group of marsupials called
macropads which means “big feet.” Kangaroos sleep during the heat of the day and search for
leaves and plants to eat at night. They can travel over long distances going up to three weeks in
search of water and can dig holes three feet deep to find it. When overheated, they pant and lick
their paws like cats do. A baby, called a joey, lives and grows in its mother’s pouch until it is about
six months old. However, even after that age it will stay close to its mother, diving head first into
the pouch when scared. When danger is sensed, one kangaroo will sound a “thump” to alarm others, sending them scattering, stopping intermittently to focus in several directions before bounding onward. Kangaroos travel in groups called “mobs.” Each one has a “boomer,” or leader, who
defends his position against other males. Although kangaroos are timid and easily scared, they are
fierce fighters, using a boxing style with their short, strong forearms and kicking with their hind
legs. They can bound up to ten feet upward and cover a distance of 20 feet in one jump. They
always move their back feet together, except when swimming. Good at hopping and jumping,
they move like a pogo stick, but are awkward when walking. Their tail serves as a counterweight,
moving up and down, and can also be used as a prop for sitting.
Wallaby: The wallaby is a close relative of the kangaroo, but is smaller. Some resemble rabbits and
can move easily and quickly, swerving from side to side. One type that is particularly interesting
is the “organ grinder” wallaby which, when threatened, will extend its forearms sideways, circling
them as it leaps to safety.
Koalas: The koala gets its name from the Aboriginal word, “koo-la,” which means “one who does
not drink.” They rarely drink water directly, but get their intake from the dew on eucalyptus
leaves, their main diet. They live in eucalyptus trees in the Eastern Australian forests. Contrary
to popular belief, Koalas are not bears, although they have a long, black snout, small dark eyes,
and thick, soft grayish fur. They have no tail, but do have sharp claws on three fingers and two
thumbs. Being nocturnal, they feed during the night and snooze in the fork of tree branches
during the day. Before eating, the koala must inspect each leaf, for some leaves contain
hydrocyanic acid which can be fatal to them. Their babies live in the mother’s pouch until about
six months, then ride on their mother’s back. But, when a baby misbehaves, the mother gives it
a terrible spanking on its bottom; it cries and screams, sounding like a human baby.
Possums: 25 different kinds of possums live in Australia, ranging in size from three inches to the
size of a house cat. Most have pink noses and thin, hairless ears. Their mouth, with 50 teeth,
is larger than a human’s. Their prehensile (“good for wrapping around and grasping”) tail, is long,
curly, rough and scaly. Young possums can be seen hanging by their tails from tree branches; they
have a “toe” that acts like a thumb for grasping. Like other marsupials, they are nocturnal and
have a good sense of smell and night vision. But, unlike the other marsupials, they eat insects
and flesh as well as nectar and fruit. Their long, strong claws allow for expert climbing and they
can be found residing in tree trunks, abandoned nests or underground burrows. As adults, they
tend to travel alone and are rarely seen with other possums.
11
AUSTRALIAN ANIMALS CONTINUED
MARSUPIALS CONTINUED
Glider Possum: The Glider Possum is not related to the flying squirrel, but resembles one. It has
a flap of skin between its front and back legs, so that when jumping, the legs spread to stretch the
skin tight. It forms a parachute that allows them to glide gracefully from tree to tree. The tail
helps them steer and balance. A glider swoops just before landing, allowing it to stop upright. All
gliders are fighters, screechers and chirpers.
Numbat: Numbats are small, reddish-banded anteaters with bushy tails. They use their powerful
claws to shred wood in order to find termites which they retrieve with sticky tongues. Unlike
other marsupials, they hunt during the day and live in hollow logs. Although they are friendly
creatures, they refuse to defend themselves from predators. Needless to say, their number is dwindling.
Wombat: This vegetarian animal is medium-sized, curious and friendly. It is heavy and resembles
a brown, furry pig, but it can run on its short, sturdy legs up to 25 miles per hour. A Wombat
baby rests in a pouch that opens to the back. The babies are playful and active, running, rolling,
jumping, nuzzling and bumping, but can burrow quickly below the surface, forming one hundred
foot tunnels. Because they feed on bark and plants, their teeth grow continuously, grinding down
and sharpening as they eat.
Bandicoot: Bandicoots are rat-sized, marsupial moles which are unattractive, but friendly. They
live underground, getting there by digging, diving and swimming just below the surface. They
move above ground by scooting on their stomachs and pushing with their back feet.
Tasmanian devil: This animal is a vicious carnivore with a huge appetite. It can eat five times its
weight at one sitting. They are black, shaggy creatures which grow to be the size of large house
cats. They have enormous jaws and are strong, persistent hunters. They can swim long distances
underwater with babies in their pouches. Known for their horrible tempers, the Tasmanian
devils are prone to sudden rage; they scream, snarl, whine and growl.
Duck-billed Platypus: The platypus, along with its cousin, the echidna, are the only egg-laying
marsupials. The platypus has a bill shaped like that of a duck, teeth and a tail like a beaver. Its
feet are webbed and it is covered with thick fur. It lives in rivers and eats insect larvae.
Echidna: The echidna is an anteater with a long, slender snout that is covered with spines. It
feeds on ants and termites, gathering them up by inserting its nose into their nests and drawing
them out with its long sticky tongue.
Goanna: Almost every type of lizard lives in Australia. The goanna is a large, active lizard that is an important character in many aboriginal stories. Also called a Monitor Lizard, it is an excellent hunter and
climbs trees in search of birds and eggs to eat. It hatches its own eggs outside its body and has a snakelike tongue. Action words that describe it would include: slithering, climbing, twitching, waiting and listening, scurrying.
12
AUSTRALIAN ANIMALS CONTINUED
Crocodile: The crocodile is a cousin to both the dinosaur and the alligator. It can grow to be as long as
25 feet and weigh as much as two tons. Some live to be as old as 100 years. The main difference between
the croc and the gator is that the crocodile snout is more narrow. It has a big, toothy grin and is covered
with skin that is scaly, leathery, and bumpy. Although they can be grumpy and cranky, they do get along
well together. They are cold-blooded, which means their body temperature is the same as their
surroundings. Upon hatching her babies, the mother croc will take the babies into her mouth in a special
pouch. When they are older, she will let them ride upon her back as she sunbathes. A dominant male
rules the banks and must give permission for other crocs to pass. If they want to pass, they must raise
their heads to expose their throats. When walking, the croc sways in a side to side manner rather than up
and down. While swimming, the croc uses its webbed feet to paddle, moving its tail ferociously to gain
speed. It either sinks low in the water and waits motionless until its sees something to snatch or, glides
slowly like a log, then rips, tears and swallows the prey it has been watching. Since it can breathe underwater, it can also drown its victim.
Dingo: Originally brought to Australia by the Aborigines three to four thousand years ago, the dingo is a
descendent of the Asian wild dog. Most of these wild domestic dogs weigh up to 45 pounds and have
short reddish or yellowish hair, a long tail, perky ears, sharp teeth and a sharp muzzle. It doesn’t bark,
but does make a crying sound. They travel in “packs” and are hunters who prey on kangaroos, wallabies,
wombats, rabbits and sheep.
Budgie: Often appearing in Aboriginal folktales and myths, the name for this bird comes from the
Aborigine word, “budgerigar” meaning “good bird and food.” This tells us that it was considered a tasty
treat. They come in a huge assortment of vivid colors and have hooked bills. They travel and nest in large
flocks and change locations according to the seasons.
Kookaburra: The Aborigines supposedly believed that the kookaburras called the sun up from its bed each
morning with their noisy, hysterical laughter. They are also often heard singing in groups. This communal chorus also performs again at dusk. White and dark brown, they nest near water in gum trees;
after swooping down to catch their food of shrimp, frogs or insects, they beat it against a hard object until
it is ready to eat.
Emu: The large, flightless emu is much like an ostrich. A nomadic bird, it can be between five and six
feet tall and weigh up to 125 pounds. It has a powerful kick, both sideways and backwards and is also a
swimmer and runner, reaching up to thirty miles per hour on land.
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RUBRIC FOR ANIMAL STUDIES:
Advanced:
• excellent focus throughout the performance
• extremely clear, original animal shapes
• inventive, expressive movements
• fulfill animal energy and perform with purposeful intent
• movement captures weight, postures and timing of the animal for an 8 count phrase
• all shapes held with active stillness; moved at appropriate times during transitions
• excellent cooperation between all members of the group
Proficient:
• mostly good focus throughout the performance
• mostly clear, original animal shapes
• some inventive and expressive movements
• mostly fulfills animal energy and performs with clear intent
• movement sometimes captures weight, postures and timing of the animal for an 8 count phrase
• most shapes held with active stillness; mostly moved at appropriate times during transitions
• good cooperation between all members of the group
Approaching Proficient:
• focus was not consistent throughout the performance
• animal shapes lack clarity and originality
• movements lack inventiveness and expression
• rarely fulfills animal energy and performs with clear intent
• movements did not capture the weight, postures and timing of the animal; didn’t move with an 8
count phrase
• shapes were not held with active stillness; did not move at appropriate times during transitions
• lack of cooperation between members of the group
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DANCE
FIND MEANING IN DANCE THROUGH DISCUSSION
ENDURING VALUES
LEVEL III Sample Lesson
INTRODUCTION:
When they have an opportunity to discuss a performance after viewing it, students will understand it
better and gain more more satisfaction from the experience. Viewing dance is kinesthetically stimulating
and often stirs our emotions. Many images and thoughts may come to mind as we watch the dance
unfold. When this experience extends to a discussion about what was seen and experienced, awareness is
heightened and many connections can be made. Aesthetic valuing is about thinking in ways that help a
student make aesthetic judgments, analyze, think critically and make comparisons.
This lesson highlights some ways of approaching these discussions and helps the teacher select the types
of questions that will elicit reflective and thoughtful responses from students. This will help them
construct their own meaning.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Demonstrate knowledge of the dance
elements, vocabulary and choreographic
processes in discussing and analyzing a solo
and duet. (Aesthetic Valuing)
• Discuss how ancient cultures can provide
source material for modern work.
(Historical & Cultural Context)
• Describe, discuss, analyze and interpret
Stamping Ground, an authentic ritual
dance by an Aboriginal culture and Jirí
Kylián’s research, creative process and work
based on that culture. (Aesthetic Valuing)
• Demonstrate the ability to make
connections between specific experiences
and knowledge and how they relate to
one’s life. (Connections, Applications,
Relationships)
Jirí Kylián, Nederlands Dans Theater
Photo: Dirk Buwalda
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MATERIALS:
• Artsource® video showing excerpts from the Stamping Ground..
• VCR and monitor.
• Background information on the choreographer, the Nederlands Dance Theater and the process used
in researching and creating the dance (page 2).
PROGRESSION:
• The Artsource® video shows excerpts from the video, Road to the Stamping Ground. For a more in-depth
study, it is recommended that you order the full video (see page 2). In this excerpt you will see:
• some footage of the authentic Australian Aboriginal Tribal Dances
• some of Kylián’s experiences and reflections as he observes these authentic dances
• some of Kylián’s exploration of the concepts he identified
• a glimpse of Kylián’s choreographic process to translate the authentic rituals into the medium of
concert dance
• two excerpts of the ballet, Stamping Ground
This lesson will describe a solo (from Part I) and a duet (from Part II) featured in the Artsource® video
excerpt.
• Give an introduction to the video before students watch it and also background on the choreographer
and his work. It is essential that you view the video ahead of time so you are familiar with the segments
and can direct students to observe key aspects that they will discuss.
As you view the video, write questions, thoughts and impressions about the excerpts, and especially the
solo and duet. The following descriptions and questions may be helpful in your preparation.
Assessing Prior Knowledge:
• Ask students to define the word Dance. Define the term choreographer.
• Ask them to describe tribal dance. Describe Contemporary Dance.
• What is a solo? What is a duet? What is an ensemble?
• Who are the Aborigines? What do you know about their culture? Where do they live? (Show a map
of Australia.)
• What fauna is indigenous to Australia? (kangaroo, koala , wombat, opossum, numbat, duck-billed
platypus, Tasmanian devil, crocodile, dingo, kookaburra, emu, goanna lizards, etc.)
• Identify and discuss some of the reasons people dance.
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FEMALE SOLO (There are five solos in the ballet and this is the third one)
Description: The third soloist enters upstage left through the black curtains with her arms stretched out
diagonally forward and connected. This position allows her arms and hands to carefully guide her towards
her new environment while she maintains a downward focus. Her long, limber body produces unimaginable
twisting and connecting shapes. Some of these medium level shapes are frozen and others move through
the performing space. Afterwards, she performs spider-like stretching movements where her hair becomes
an extension of her multi-level shapes and movements.
When the fourth soloist enters from stage right, the third responds as if she is being chased out of the
sacred territory and quickly exits stage left while making, soft, percussive sounds.
Topics for Discussion:
• How and where does the soloist enter the stage?
• Where is her focus when she enters the stage?
• What mood is immediately established?
• How does she use arm and leg combinations?
• What type of percussive sounds does she make as she moves?
• What type of feeling or emotion is evoked by watching this solo?
• How does flexibility enhance the ability of the dancer to portray an image?
• What animal or creature images come to mind as you watch her?
• How does her hair contribute to her solo?
DUET BETWEEN A MALE AND FEMALE (The same soloist just seen)
Description: Part I has no musical accompaniment, but body percussion and sliding sounds can be heard.
Part II begins with music and the entire dance ensemble enters the stage from different points off stage
and surrounds the male dancer who enters from backstage center. Each dancer freezes in one of their
shape motifs performed in their solos. The fifth soloist reacts to the entrance of the other dancers and,
while he is exiting, the center male dancer gestures towards him. Gradually, three of the dancers exit the
stage leaving the center male and the third female soloist. However, she eventually exits stage left and
reenters on stage right to perform a duet with the male dancer.
The duet begins with the dancers performing in unison, but like a echo, facing forward and then backwards.
Creating a type of conflict, they begin to react to each other’s movement. While pushing and pulling away
from each other, they react by creating a sudden movement or shape. During these special movements,
it is evident that the music was personalized to enhance the movement of each dancer. Finally, the duet
connects by creating shapes and movement.
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Topics for Discussion:
• Describe the dancers’ reaction to the music.
• How and where did the dancers enter the stage?
• Describe the repeating rhythmic or movement patterns in the choreography. Can you identify the motifs?
• In the duet, what type of animal-like movement were you able to identify?
• How does the music relate to the movement? How does this differ from the solo which was without music?
• Analyze the dialogue/conversation between the two dancers.
General Questions:
• What impressed you most about the video and the work?
• What have you learned about the Aboriginal culture from this dance?
• What would you need to know about a culture if you were to create a dance about it?
• What do you think is important in researching a culture? What would you need to protect, feature or
portray?
• What do you think Kylián intended to express in Stamping Ground? Did he accomplish what you think
he intended? Why? How?
EXTENSIONS:
• Use the “Guide to Aesthetic Evaluation for Viewing Dance” as another approach to initiating discussion.
• Use Level I, II and II Sample Lessons to guide students in exploring movement and creating original
choreography.
VOCABULARY: aesthetic, solo, duet, choreographer, Aborigine, culture, kangaroo, koala, wombat, opossum,
numbat, duck-billed platypus, Tasmanian devil, crocodile, dingo, kookaburra, emu, goanna lizard
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe how the discussion of the performance helped in understanding the work of Jirí Kylián.
DISCUSS: Discuss the things that each person found to be more valuable after the discussion and viewing
of the video.
CONNECT: Discuss the importance of researching ancient cultures and seeing how people throughout
history have approached the universal questions and searched for answers.
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A GUIDE TO AESTHETIC EVALUATION FOR VIEWING DANCE
PERFORMANCE LEVEL
• Were the performers skilled? In what ways?
• Was the choreographic intent clear and well executed?
• Was there a projection of power, flow, control?
• Were the movements devoid of strain (except for intent to express feelings of tension?
• Were the performer(s) charismatic in drawing you into content/performance?
• Were the body types of the performers aesthetically suited to content/performance concepts?
STAGING EFFECTIVENESS
• Were costumes, lighting, sets, and props used effectively? Address those that apply.
• Why do you think the choreographer made these choices?
PERSONAL RESPONSE
• Did the dance art work speak to you? In what ways?
• Was it stimulating or boring? What parts did you respond to?
• Was it inventive, daring or was it traditional and conventional?
• Did it arouse a kinesthetic response? What feelings did you experience?
• At the end, did it feel like the piece was completed, the choreography was communicative
and satisfying?
• What images, connections and personal meaning did you discover from the experience?
IMPACT OF CHOREOGRAPHY
• Did the choreography arouse a feeling of personal involvement with the performers and
movement content?
• Did the choreography arouse memories of an experience, person, emotion or place?
• Did the choreography evoke feeling that were congruent with social or religious concerns?
• Did the choreography have a dramatic, emotional impact?
• Did the choreography tell a story or event?
• Did the choreography communicate the values of a specific culture? What were they?
• Did the choreography present an inventive or surprising formulation of movement which added
enjoyment or curiosity?
• Was the choreography/performers/performance physiologically exhilarating, bringing a sense of
excitement, beauty and virtuosity in the execution of the piece as a whole?
• Was there a sense of unity or did the work feel fragmented?
USE OF THE ELEMENTS OF DANCE
• Were the shape designs for solo and groups staged effectively, with variety?
• Was there a variety of use of space levels, pathways, and moving spatial designs?
• Was there a variety in time-speed, from fast to slow to stillness?
• Was there a variety of energy use of dynamic changes throughout?
• Was the musical accompaniment, or lack of, appropriate? (Discuss volume, rhythm, mood,
instrumentation, vocal sounds or words, dynamics, style, etc.)
• Was there appropriate use of text, narrative, lyrics, etc.?
Source: Schrader, Constance. A Sense of Dance. Illinois: Human Kinetics, 1996.
Additions to the Source: Susan Cambigue-Tracey
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DANCE
ABORIGINE CREATION MYTHS
ENDURING VALUES AND THE POWER OF NATURE
LEVEL IV Sample Lesson
INTRODUCTION:
The Australian Aborigines had a symbiotic relationship with nature. They were hunters and gatherers
who lived off a harsh desert land. Their livelihood depended on what the environment could provide
them by way of shelter, food and water. Everything had its place and function in nature and they believed
man to be included in this system as well.
In most Aboriginal creation myths, the period of creation was called ‘Dreamtime.’ In several of these
stories, the world, man, animals, plants and nature were created and named by supernatural beings who
later disappeared into the earth or into the heavens. The universe was made from pre-existing materials.
In some myths, the earth starts out as a featureless plain that was transformed into the landscape by
awakened beings such as giant serpents. These serpents pushed upward and writhed across the void,
creating today’s landscape . Many of these supernatural beings were the ancestor-heroes of specific
totems* who taught their members the rituals they were to perform.
The structure of the Aboriginal universe varied little across Australia. It consisted of three planes: the
earth, the sky and the underworld. Circular and flat, the earth was covered by the dome of the sky which
stretched out to the horizon. The sky was the plane upon which supernatural beings or the ancestralheroes lived. It was also where the souls of people went after they died and it was believed that water was
plentiful there. The stars represented the campfires of the beings that lived up there. According to their
beliefs, certain shaman, or medicine men, had the ability to travel between the earth and the sky.
*A totem is a natural object, often an animal, which is adopted as the emblem of an individual, a gender,
clan, location or family. These totems allowed the Aborigines to cooperate with nature, structuring their
world and providing a basis for their mythology.
* Information adapted from http://www.astronomy.pomona.edu/archeo/australia4/australia4.html - The
Universe of the Aborigine by David Jensen
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Discuss the creation myths of the Aborigine. (Historical & Cultural Context)
• Discuss how ancient cultures can provide source material for
modern work. (Historical & Cultural Context)
• Interpret an Aboriginal creation myth through dance. (Creative Expression.)
• Demonstrate the ability to make connections between creation myths and how they relate to one’s life.
(Connections, Applications, Relationships)
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MATERIALS:
• drum and beater
• Selected music
PROGRESSION:
• Assess students prior knowledge about myths and creation myths by asking them questions.
• Tell or read them the information about Aborigine culture and their creation myths, found at the top
of this lesson.
• Do a warm up or anticipatory set that focuses the energy of the group. The mirroring exercise in the
Level I experience could work. Or, guide a “walk-about” where students all walk simultaneously, but in
individual paths. Direct them to stop on cues to do such actions as reaching, turning, bouncing, circling
different body parts or opening and folding. These actions are done in-between the walking segments.
Task:
Divide into groups. Explore the following ideas and find a way to interpret them through a group dance:
• earth begins as a featureless plain
• superhuman creatures transform the landscape and create rivers, mountains, trees, rocks, etc.
• motions of pushing, lifting, writhing, shaping are used in the creation of nature
• three planes are created: sky, earth and underworld
Criteria:
• use the element of space: levels, directions, focus, size, path
• demonstrate contrast of energy
• use the element of time: metered or non-metered, body percussive sounds or silence
• include actions of pushing, lifting, writing, shaping or carving
• dance should be about one minute in length
• work for variety and unity
• work cooperatively with all group members
EXTENSIONS:
• Refine and develop each dance and find a way to connect all the groups together. Sometimes this can
mean that all do some of the movements in unison.
• Add authentic Aborigine didgeridoo music.
• Perform the work for other classes. Add narration and theatrical elements.
• Research creation myths from other cultures. Discuss the similarities and differences.
• In groups, select another myth from the research done and interpret it through dance.
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VOCABULARY: myth, creation myth, ancient, culture, totem
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the process your group went through to create your dance.
DISCUSS: Discuss the challenges your group faced and how you dealt with them.
ANALYZE: Analyze the differences and similarities between the various interpretations.
CONNECT: Discuss the importance of researching ancient cultures and seeing how they approached the
universal questions and answers for which all people search.
Nederlands Dans Theater 2, Stamping Ground
Choreographer: Jirí Kylián
Dancers: Catherine Riesi, Dylan Newcomb
Photo: Joris Jan Bos
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Australian Aboriginal Creation Myth
There was a time when everything was still. All the
spirits of the earth were asleep - or almost all. The
great Father of All Spirits was the only one awake.
Gently he awoke the Sun Mother. As she opened
her eyes a warm ray of light spread out towards the
sleeping earth. The Father of All Spirits said to the
Sun Mother,
“Mother, I have work for you. Go down to the
Earth and awake the sleeping spirits. Give them
forms.”
The Sun Mother glided down to Earth, which was
bare at the time and began to walk in all directions
and everywhere she walked plants grew. After
returning to the field where she had begun her
work the Mother rested, well pleased with herself.
The Father of All Spirits came and saw her work,
but instructed her to go into the caves and wake the
spirits.
This time she ventured into the dark caves on the
mountain sides. The bright light that radiated from
her awoke the spirits and after she left insects of all
kinds flew out of the caves. The Sun Mother sat
down and watched the glorious sight of her insects
mingling with her flowers. However, once again the
Father urged her on.
The Mother ventured into a very deep cave, spreading
her light around her. Her heat melted the ice and
the rivers and streams of the world were created.
Then she created fish and small snakes, lizards and
frogs. Next she awoke the spirits of the birds and
animals and they burst into the sunshine in a glorious array of colors. Seeing this the Father of All
Spirits was pleased with the Sun Mother’s work.
She called all her creatures to her and instructed
them to enjoy the wealth of the earth and to live
peacefully with one another. Then she rose into the
sky and became the sun.
when she finally sank beneath the horizon they
were panic-stricken, thinking she had deserted
them. All night they stood frozen in their places,
thinking that the end of time had come. After what
seemed to them like a lifetime the Sun Mother
peeked her head above the horizon in the East. The
earth’s children learned to expect her coming and
going and were no longer afraid.
At first the children lived together peacefully, but
eventually envy crept into their hearts. They began
to argue. The Sun Mother was forced to come
down from her home in the sky to mediate their
bickering. She gave each creature the power to
change their form to whatever they chose.
However she was not pleased with the end result.
The rats she had made had changed into bats; there
were giant lizards and fish with blue tongues and
feet. However the oddest of the new animals was an
animal with a bill like a duck, teeth for chewing, a
tail like a beaver’s and the ability to lay eggs. It was
called the platypus.
The Sun Mother looked down upon the Earth and
thought to herself that she must create new
creatures lest the Father of All Spirits be angered by
what she now saw. She gave birth to two children.
The god was the Morning Star and the goddess was
the moon. Two children were born to them and
these she sent to Earth. They became our ancestors.
She made them superior to the animals because
they had part of her mind and would never want to
change their shape.
African Bushmen Creation Myth
People did not always live on the surface of the
earth. At one time people and animals lived underneath
the earth with Kaang (Käng), the Great Master and
Lord of All Life. In this place people and animals
lived together peacefully. They understood each
other. No one ever wanted for anything and it was
always light even though there wasn’t any sun.
During this time of bliss Kaang began to plan the
wonders he would put in the world above.
The living creatures watched the Sun in awe as she
crept across the sky, towards the west. However
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First Kaang created a wondrous tree, with branches
stretching over the entire country. At the base of the
tree he dug a hole that reached all the way down
into the world where the people and animals lived.
After he had finished furnishing the world as he
pleased, he led the first man up the hole. He sat
down on the edge of the hole and soon the first
woman came up out of it. Soon all the people were
gathered at the foot of the tree, awed by the world
they had just entered. Next, Kaang began helping
the animals climb out of the hole. In their eagerness
some of the animals found a way to climb up
through the tree’s roots and come out of the
branches. They continued racing out of the world
beneath until all of the animals were out.
Kaang gathered all the people and animals about
him. He instructed them to live together peacefully. Then he turned to the men and women and
warned them not to build any fires or a great evil
would befall them. They gave their word and Kaang
left to where he could watch his world secretly.
What we see is only the outside form or body.
Inside is a living spirit that we cannot see. These
spirits can fly out of one body into another. For
example, a woman’s spirit might sometime fly into
a leopard; or a man’s spirit fly into a lion’s body.
This may be part of the reason that animals play
such an important role in their myth.
Japanese Creation Myth
Long ago all the elements were mixed together with
one germ of life. This germ began to mix things
around and around until the heavier part sank and
the lighter part rose. A muddy sea that covered the
entire earth was created. From this ocean grew a
green shoot. It grew and grew until it reached the
clouds and there it was transformed into a god.
Soon this god grew lonely and it began to create
other gods. The last two gods it made, Izanagi and
Izanami, were the most remarkable.
One day as they were walking along they looked
As evening approached the sun began to sink down on the ocean and wondered what was
beneath the horizon. The people and animals stood beneath it. Izanagi thrust his staff into the waters
watching this phenomenon, but when the sun dis- and as he pulled it back up some clumps of mud fell
appeared fear entered the hearts of the people. They back into the sea. They began to harden and grow
could no longer see each other as they lacked the until they became the islands of Japan.
eyes of the animals which were capable of seeing in
the dark. They lacked the warm fur of the animals The two descended to these islands and began to
also and soon grew cold. In desperation one man explore, each going in different directions. They
suggested that they build a fire to keep warm. created all kinds of plants. When they met again
Forgetting Kaang’s warning they disobeyed him. they decided to marry and have children to inhabit
They soon grew warm and were once again able to the land. The first child Izanami bore was a girl of
radiant beauty. The gods decided she was too beautiful
see each other.
to live in Japan, so they put her up in the sky and
However the fire frightened the animals. They fled she became the sun. Their second daughter, Tsuki-yami,
to the caves and mountains and ever since the people became the moon and their third and unruly son,
broke Kaang’s command people have not been able Sosano-wo, was sentenced to the sea, where he
to communicate with animals. Now fear has creates storms.
replaced the seat friendship once held between the
Later, their first child, Amaterasu, bore a son who
two groups.
became the emperor of Japan and all the emperors
The Bushmen of Africa believe that not only are since then have claimed descent from him.
plants and animals alive, but also rain, thunder, the
wind, spring, etc. They claim:
Source:http://www.cs.williams.edu/~lindsey/myths
/myths_13.html
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