Artsource DANCE/MUSIC

Artsource
DANCE/MUSIC
®
The Music Center’s Study Guide
to the Performing Arts
TRANSFORMATION
ENDURING
VALUES
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:
Suite of French Canadian Dances
Creators:
Company: AMAN (active 1964-2003)
Artistic Director of AMAN (1978-96): Barry Glass
Choreographer: Yves Moreau and France Bourque-Moreau
Traditional Music Arranged by AMAN Musicians
Background Information:
The AMAN International Folk Ensemble was a cultural
and educational organization based in Los Angeles,
dedicated to researching, preserving and presenting the
traditional dance, music and folklore of many ethnic
groups, particularly those representing North American
immigrants. A repertory company, AMAN took its name
from the word Amen, meaning “So be it!” It is an
affirmative word used to add emphasis to a sentence or a
thought. AMAN continually researched new work in
order to fulfill an active concert and touring schedule, this
in addition to serving educational and community
requests. Mr. Glass had known and long admired the
work of ethnologist Yves Moreau, so when AMAN
wanted a French Canadian Suite, he contacted Moreau
and his wife, France Bourque-Moreau, co-directors of
L'Ensemble Folklorique Les Gens de MonPays. Their
company, composed of students and workers from the
Montreal region, performs traditional dances of Bulgaria
and French Canada. For this assignment they were asked to
make whatever statement they wanted about FrenchCanadian culture through dance, music and costume in an
8 to 15 minute piece.
About the Artwork:
Yves and France Moreau wanted to show a wide range in the
richly varied heritage of French-Canadian culture. They
chose to choreograph a suite of five dances to represent
both rural and urban traditions. The opening
THE POWER
OF NATURE
THE HUMAN
FAMILY
is a rural dance from Bauce which is done in a ‘squareset’
formation. This is followed by a ‘gigue’ representing
the Irish ‘step-dancing’ influence of the 19th century.
It is based on fewer numbers of tap sounds per beat
and incorporates more relaxed arms than traditional
Irish dance. The piece then moves to a ‘formal waltz’
interlude, called Valse Lancier, a dance which became a
craze all over Western Europe and North America in
the 19th century. Next is Quadrille de Saint-Basile
from the County of Portneuf in Quebec. Even though
it is called a quadrille (four couples), this is a walking
dance for six couples. The final piece in the suite is a
broom dance, called Danse des Balais, from
Chicoutimi (a Native American word) in Quebec. It is
a ‘figure-clogging’ dance in which the dancers use
brooms in much the same way that Scottish dancers
use swords.
Creative Process of the Artist or Culture:
When Barry Glass was Artistic Director, he often
sought out experts in specific cultural dance styles to
choreograph work based on traditional material,
which as to be presented on a stage
rather than in a folk setting. AMAN
is unique in that its musicians were
skilled in playing many traditional
instruments and the dancers capable
of performing in a variety of cultural
styles.
Photo: Jessica Duffett
“The understanding of other
cultures is certainly desirable.
However, today the world is such
that understanding of the
cultures may be essential
to the survival of civilized
society.”
Barry Glass
QUEBEC
CANADA
Montreal
Discussion Questions:
After the video has been viewed:
• Describe the differences between the two costume
styles. How did the men’s and women’s costumes, in
each style, complement each other?
• What are the similarities between American
square dance and the dances in the French
Canadian Suite?
• Name different cultural groups that influenced
the dances of French Canada.
• What are the names of the instruments used to
play the traditional music? (piano, button accordion,
fiddle, guitar and an Irish Drum called a Bodhram.)
• Why do you think the French Canadians chose to
use brooms in the last dance? In how many ways
were they used? Can you think of other ways they
could have been used in the dance?
• What do you know about the French Canadian
culture of the 19th century after seeing and hearing
this performance?
Additional Information on French Canadian Dance:
While these music and dance traditions belong to
the people of Eastern Canada in the Province of
Quebec, they have also spilled across the St.
Lawrence River and are embraced by the people of
the Eastern United States. The principal forms of
French Canadian traditional rural dance were
inherited from French and British nobility. The
Gigue (jig) is a solo dance tradition influenced by
Irish and English step dancing and uses a style
which is between the rigid Irish and the freer
Appalachian clogging. The last dance shows a clogging
pattern dance from the town of Chicoutimi. The
dance is performed with brooms and is related
historically to the Scottish Sword Dance. Pieces of
hardwood have been commonly attached to the
shoes of the dancers to emphasize the rhythm of the
clogging; AMAN gets a similar effect with metal
taps. The musicians wear the traditional Ceinture
Flêché, or “Arrow Belt,” a symbol which is
identified with the culture as is their flag.
Multidisciplinary Options:
• Ask students to interview their parents or grandparents and find out what folk dances they know
which represent their cultural heritage. Find out
what country they came from and what traditions they
relate to within the culture. Ask students to learn a part
of the dance and teach it to the class. If the parents or
grandparents are available, invite them to visit the class
to teach the entire dance and talk about the cultural
traditions which accompany it.
Audio-Visual Materials:
• Artsource® video excerpt: Suite of French Canadian
Dances, courtesy of AMAN.
• Artsource® audio recording: Les Saluts, courtesy of
AMAN, ©1989.
• Photos: courtesy of AMAN.
Additional References:
• Weikart, Phyllis. Teaching Movement and Dance.
Second Edition. The High/Scope Press, Ypsilanti, MI:
1982. Also available are nine records, The Rhythmically
Moving Albums, which contain the music for the folk
dances described in the book.
Sample Experiences:
LEVEL I
* • Learn the simple version of Les Saluts, a French
Canadian folk dance done in a circle.
• Make up a simple walking dance done in a big circle.
Use changes of direction, unison or couple formations
and level changes or claps and stamps. Select four patterns and combine them. Change the order of the patterns and repeat the dance. Try it to two different styles
of music in 4/4 meter.
LEVEL II
• Learn the complete version of Les Saluts, a French
Canadian folk dance (see Extensions of Level I).
* • Learn a four-to-eight couple contra-formation Irish or
Scottish reel. A penny whistle, fiddle or piano, playing
Gigue (jig) music can be used as musical accompaniment instead of a record.
• Dance the Virginia Reel and compare it to the
Quadrille. Both are derived from the same historical
sources, but have developed in different ways.
LEVEL III
* • Learn a Quadrille (French) which uses four to six
couples, facing each other, in a set.
• Research dances from the British Isles (England,
Scotland, Wales and Ireland) and from France. Make a
collective report and demonstrate what is learned.
* Indicates sample lessons
2
DANCE/MUSIC
LES SALUTS, A FRENCH CANADIAN DANCE
ENDURING VALUES
LEVEL I Sample Lesson
INTRODUCTION:
Circle dances are universal and found in the traditions of many cultures throughout the world. Les Saluts
is one section of a French Canadian quadrille. It is built upon the dance traditions of France and the
British Isles, and is based on walking and bowing.
OBJECTIVE: (Student Outcomes)
Students will be able to:
• Perform a French Canadian folk dance. (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:
• Artsource® audio recording of Les Saluts, arranged and recorded by AMAN.
PROGRESSION:
• Show students a map of Canada and point out the Province of Quebec, where this dance originated.
• Explain that the dances from French Canada have their roots in the court dances of both France and the
British Isles, because these are the homelands of a majority of people who migrated to the Eastern part of
Canada. French is spoken by about 90% of the population, but English is also spoken as a second language.
• Teach the dance in its simple form, as follows:
LES SALUTS: circle formation facing counterclockwise (line of direction), holding hands.
PART I: Walk 16 steps counterclockwise. Turn and walk 16 steps clockwise.
PART II: Walk 4 steps into the middle of the circle, walk 4 steps backward.
Walk 3 steps into the middle of the circle again and bow.
Hold the bow until the long note ends. Walk 4 steps backward.
BEGIN THE DANCE AGAIN.
• Depending on the size of the space, you may wish to have a smaller circle inside the larger circle. Both
circles can either go the same direction or move in opposite directions.
3
EXTENSIONS:
• Have the students experiment with locomotor steps other than walking. Ideas might include skipping,
galloping or sliding.
• Think of another way to bow or salute. Substitute other ideas, as variations, at this point in the dance.
• Teach a more advanced version of the dance to older or more experienced students. It is as follows:
LES SALUTS (more complex version: source is France Bourque-Moreau)
PART I: Make two circles, one inside the other, each group holding hands.The inside circle does
eight walking steps to the right, while the outside circle walks eight steps to the Left.
Reverse directions. The outer circle walks four counts to meet the inside circle and brings
their joined arms over the heads of the inside group to form a ‘front basket figure,’ using
four counts. In this new position, everyone circles to the left for eight counts.
PART II: Still in the basket-hold position, all face center and walk forward with four steps (new
tune). Then take regular hand hold and all walk backward four counts. Walk forward
three counts, drop hands and take a bow with the music cue. Then, the outside circle
walks backward and gets into its original position, while the inner circle takes hands to
begin the dance again.
VOCABULARY: counterclockwise (line of direction), basket-hold position, improvisation
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the sequence of the dance using your own words.
DISCUSS: Discuss the music and how it felt to dance to it (What was the feeling?)
CONNECT: What are other situations where people bow or salute? Are these gestures still used today?
AMAN dancers in Danse des Balais
from Suite of French Canadian Dances
Photo: Jessica Duffett
4
DANCE/MUSIC
DANCE A REEL
ENDURING VALUES
LEVEL II Sample Lesson
INTRODUCTION:
A reel is a dance performed to music in 2/4 or 4/4 meter in quick tempo. One form of a reel is a choral
dance in which the men and women form straight lines facing each other. Reels are divided into a number
of figures which are performed by couples and lines. They include arches, stars, place changing, circling,
moving together and apart, crossing over, swinging partners and many others. An older English name for
reel is ‘chain’ which relates to the art of braiding and weaving. Many different cultural groups have created
chain dances which may have grown symbolically out of their observations of the shaping and forming
power of nature. Some dances are also related to the crafts of spinning and weaving.
OBJECTIVE: (Student Outcomes)
Students will be able to:
• Perform a reel. (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:
• A recording of an Irish or Scottish reel or a penny whistle to play a tune.
PROGRESSION:
• Give the students some background on the reel from information provided in the introduction and
other available sources.
• Teach the class the basic two-step. In Irish dance this is done high on the toes. The two-step is a steptogether-step pattern which alternates sides each time the pattern is repeated. In Irish and Scottish dances
the ‘together’ step is done by bringing the back foot in close to the front foot and directly behind the ankle
of the front foot. Have them practice the step several times traveling forward.
• Teach a variation of the two-step which goes from side to side and remains in place rather than traveling
forward. This pattern is step-behind-step, or it can be done step-in front-step. The first and last step of
the pattern are both done on the same foot. e.g., Right-left-Right or Left-Right-Left.
• Practice a sliding step, which is like a gallop, except that it travels sideways. Have them try this movement
with a partner, holding both hands and facing each other, then turning under the arch formed by both
sets of arms and trying the sliding movement back to back, arms out wide (the butterfly).
5
PART I: Partners take two traveling two-steps across the set to partner's
place, taking partner’s R hand when passing. Take 2 two-steps as you
arrive in place (R foot goes forward and L goes behind R and R goes forward for the two-step). Repeat the entire pattern back to original place.
Repeat both parts.
X
X
X
X
O
O
O
X
X
X
X
O
O
O
O
PART II: Each line ‘casts off ’ by turning out away from partner
and leading down with traveling steps to the foot of the line. As each
couple meets at the foot, they turn under their own arms, back-to-back
to form the ‘butterfly’ position and slide back to place. Repeat.
O
PART II SECOND TIME: Couples 1 and 3 meet in the center in the
forward-facing butterfly position and slide toward each other. When a
collision is about to occur, couple 1 separates, letting couple 3 pass
between them and continue to the head of the line. Couple 1 joins after
couple 3 passes and they continue to the foot of the line. All of the above
takes 4 beats. Couples 1 and 3 reverse the figure back to place. Repeat
with couples 2 and 4.
X
X
X
X
O
O
O
O
• Dance the patterns several times until everyone is clear on the instructions and can enjoy the dance.
Always take the time to discover problems in understanding and to re-teach sections which are unclear.
It is also very helpful to have a group - that can perform the dance well - demonstrate while the others watch.
6
Task: Perform a reel.
Criteria for Dance:
• Work in unison
• Work with group cooperation
• Perform the correct sequence
• Execute the steps with skill
• Perform with enthusiasm
• Coordinate the music and the dance
EXTENSION:
• Find other reels from the British Isles which you can learn.
VOCABULARY: reel, butterfly position, two-step, penny whistle
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Select one figure of the reel that was performed and find words to describe the action and
form.
DISCUSS: Discuss the reel and how it might historically relate to the concept of a chain, braiding or
weaving. What are the commonalities between these actions?
ANALYZE: Think of another dance you have seen or know about and compare or contrast it to the
reel.
CONNECT: Identify and discuss other aspects of culture that people carry with them when they
immigrate to a new place.
7
DANCE/MUSIC
QUADRILLE DE LOTBINIÈRE
ENDURING VALUES
LEVEL III Sample Lesson
INTRODUCTION:
Originating in France, the “quadrille” is a group couple dance that was popular in Europe in the 18th and
19th centuries. In the quadrille, an even number of couples perform complicated figures, moving in a
square and dancing to a musical meter which can alternate between 6/8 and 2/4. The North American
square dance is based on the quadrille. The original musical themes were chosen from popular or
operatic airs; however, today the music used to accompany the dance is usually a reel or jig.
The Quadrille De Lotbinière is from the Eastern Townships in Québec and was recorded by Camille
Brochu during her fieldwork in the summer of 1990. Her source was Normand Legault. The dance has
been simplified for this lesson.
OBJECTIVES: (Student Outcomes)
*This dance is appropriate for 5th grade and older.
Students will be able to:
• Learn and perform a French Canadian quadrille. (Artistic Perception, Historical & Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• A recording of any brisk reel or jig.
• AMAN Artsource® video of Suite of French Canadian Dances.
PROGRESSION:
• Give some background on the AMAN group and show the video of the Suite of French Canadian
Dances. Focus on the fourth section of the dance which is Quadrille de Saint-Basile. Discuss the background
of the quadrille and why it is found in the dances of French Canada.
• Discuss the similarities between American square dance and the quadrille.
Introduce the idea of dance figures and the coordination required to perform each figure in a group dance.
• Ask the class to find partners and form a square with four couples facing
inward. Women on the R of their partner, inside hands joined, outside
hands hanging freely at sides. Couple #1 has its back to the music; other
couples numbered CCW (counter clockwise) from #1; i.e., couple #2 is to
the R of couple #1, couple #3 is opposite couple #1, couple #4 is to the L
of couple #1.
O X
X
O
O
X
X O
8
• Outline of the basic dance structure for Part I of the dance, Quadrille De Lotbinière.
PART I
• Introduction (done only once by all)
• Main figure performed by couple #1
• Transition
• Main figure performed by couple #2
• Main figure performed by couple #3
• Transition
• Main figure performed by couple #4
• Transition
• Finale (optional or can be taught as a
separate dance segment)
BASIC STEPS:
• Walking step with a slight lilting or ‘up-and-down’ quality on the balls of the feet; i.e., up on count ‘&,’
down on the beat. This step is used throughout the dance except when otherwise indicated.
• Chassé step is used mostly in the promenade. A sideward gliding step on the ball of the foot with lightly
bent knees (ct. 1), followed by a small leap sideward onto the other foot in the same direction, landing in
place of the previous supporting foot (ct. &). Chassé steps are basically a sideward galloping or sliding
step which is kept small and close to the ground.
• The swing is done in open social dance position with parallel shoulders, and should be as level and
smooth as possible. It can also be done with partners facing and each holding the other by the hands or
upper arms, or can be done as an elbow swing.
PART I INTRODUCTION (done only once by all four couples)
• All dancers bow to their partner, then to their corner; all join hands at shoulder level with slightly bent
elbows and circle L using walking steps, making one complete turn (16 cts).
• All couples hold R hand to R hand of partner and L hand to L hand of partner (skating position); promenade R with 16 walking steps.
PART I FIGURE (done in turn by each couple)
• Active couple leads to the R hand couple and forms a circle of four; two couples circle L one complete
turn; (active W remains and stands in a line of three with the R hand couple) (8 cts.);
• Active M moves on to the opposite couple, joins them in a circle of three;
three people circle L one complete turn (active M steals the opposite W taking
her L hand into his R hand while opposite M stands alone in place) (8 cts.);
O X
X
O
XO
OX
9
• Active M and opposite W of the head couples lead to the L hand couples and form a circle of four; two couples circle L one complete turn
(opposite W remains and stands in a line of three with the L hand couple
while the two active M returns home alone facing the opposite M) (8 cts);
• Active and opposite M go forward and back with eight steps (four steps
toward each other, four steps backing away) (8 cts.); same two M do a dos-a-dos
passing R shoulders (8 cts);
X
O
X
O
O
X
O
X
• Two lines of three change places by circling CCW half-way around (8 cts);
•Two M go forward and back and do a dos-a-dos again; two lines of three change places again.
PART I TRANSITION:
• All dancers turn to face their corner and do an allemande L (joining L hands at shoulder height and
doing a half turn to change places), followed by a grand chain (giving R hand to their partners, L hand to
the next, and so on), W circling CW, M circling CCW; when reaching the half-way point, dancers bow
to their partners and continue the grand chain until they reach home (32 cts).
• All couples do the swing (16 cts).
• All couples circle R with chassé steps one complete turn (16cts).
Task: Perform a French Canadian quadrille
Criteria for Dance:
• Work in unison
• Work with group cooperation
• Perform the correct sequence
• Execute the steps with skill
• Perform with enthusiasm
• Coordinate the music and the dance
• Know and discuss the background and history of the dance
EXTENSIONS:
• Teach this finale separately or as part of the dance:
• Joining hands in a circle facing center, four couples go forward and back with four walking steps
toward center followed by four steps back; all go forward again. Four W remain in the center
holding hands down at sides (12 cts);
10
• M promenade CW around the W one complete turn ending on their partner’s L side (12 cts);
• Reaching over the W’s arms, M grasp hands in front of their partners to form a basket; all dancers
circle CW twice around (16cts);
• Once back home, dancers reverse the basket bringing the arms over their heads and around their
backs while maintaining the hand hold; all dancers circle CCW in this position twice around (16
cts);
• Allemand L to the corner; grand chain (can substitute grand right and left); swing partner;
promenade.
• Class divide into fours and work out at original 32 count dance figure for two couples.
VOCABULARY: quadrille, chassé, main figure, swing, promenade, dos-a-dos, grand chain, allemande left,
grand right and left
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the different dance figures in your own words.
DISCUSS: Discuss the difficulties of coordinating individual and group efforts to perform the different
dance figures. This is a form of spatial intelligence and requires that people can hear directions and translate them into action.
ANALYZE: Think about the reel and the quadrille and analyze the similarities and differences between
the two forms.
CONNECT: In considering the possible movement combinations that can be performed in a square,
discuss some other possibilities that could be choreographed within this geometric form.
RUBRIC:
Advanced:
• Performs dance with clear steps and forms, in full cooperation with group.
• Always moves with rhythm.
Proficient:
• Performs dance mostly with clear steps and forms, in cooperation with group.
• Mostly moves with rhythm.
Approaching Proficient:
• Performs dance withou clear steps and forms; lacks cooperation with peers.
• Has difficulty staying with the rhythm of the music.
11
rtsource
A
The Music Center’s Study Guide
to the Performing Arts
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®
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Introduction
A RTSOURCE ®: T HE M USIC C ENTER’ S S TUDY G UIDE
TO THE
P ERFORMING A RTS
Artsource® highlights works of art and artists of stature from diverse cultures.
It represents early to contemporary art forms in the disciplines of
dance, music and theatre
and complements the programs and performances
of the Music Center’s resident companies and artist roster.
The arts are ancient, enduring and universal forms of communication.
Artists present their perceptions, reflections, and points of view which
influence, and are influenced by, the culture and period of time in which they exist.
Artsource Contributors
®
Project Director
Melinda Williams
Project Coordinator
Susan Cambigue-Tracey
Writers:
Dance
Susan Cambigue-Tracey
Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,
Barbara Leonard, Melinda Williams
Music
Rosemarie Cook-Glover
Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,
Connie Hood, Annette Simons, Marilyn Wulliger,
Diana Zaslove, John Zeretzke
Theatre
Barbara Leonard
Kathryn Johnson
Technical Production donated by
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H. P. Law & Partners
The Music Center of Los Angeles County, wishes to thank
the artists featured in this publication for their outstanding artistry and
their generosity in allowing us to share their creative spirit
in the classroom.
Sincere appreciation is also extended to the members of the Center’s
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Artsource® units; the professionals who provided field review;
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Director of Education