UMS Teacher Resource Guide - Paul Taylor Dance Company and Grupo Corpo
A document for educators to help them prepare their students to see the UMS Youth Performances of the Paul Taylor Dance Company and Grupo Corpo.
U m S y O U T H E D U C AT I O n P R O G R A m PA U l TAy l O R D A n C E C O m PA n y + GRUPO CORPO TEACHER RESOURCE GUIDE 2010�2011 GRUPO / TAYLOR 1 SUPPORTERS The Andrew W. mellon Foundation University of michigan Anonymous Arts at Michigan Arts Midwest's Performing Arts Fund The Dan Cameron Family Foundation/Alan and Swanna Saltiel CFI Group Community Foundation for Southeast Michigan Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation The Esperance Family Foundation David and Jo-Anna Featherman Forest Health Services David and Phyllis Herzig Endowment Fund JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight Foundation Masco Corporation Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION [of R. & P. Heydon] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund PNC Bank Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched and written by Sarah Suhadolnik. Edited by Omari Rush. Special thanks to Sue Budin, Tara Sheena, Pam Reister, the University of Michigan Museum of Art, Linda Grekin, Mark Jacobson, and Michael Kondziolka for their contributions, feedback, and support in developing this guide. Cover Photo: Grupo Corpo Ima by Jose Luiz Pederneiras 2 UMS 10-11 U M S Y o U t h E D U C At I o N P R o G R A M YoUth PERFoRMANCE SERIES (DANCE) PAUl TAylOR DAnCE COmPAny Friday, October 8, 12 NOON � 1 PM � POWER CENTER GRUPO CORPO Friday, January 21, 11 AM � 12 NOON � POWER CENTER GRUPO / TAYLOR Photo: Piazzolla Caldera by Paul Goode 3 TA B L E O F C O N T E N T S Short on time? If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents. Those pages will provide the most important information about this performance. ATTEnDInG THE yOUTH PERFORmAnCE 6 Coming to the Show 8 Map + Directions 9 The Power Center 10 Being an Audience Member DAnCE 12 Artistic Statement 13 Types of Movement 14 Dimensions of Movement 15 Performance 17 How to Watch Dance 18 Dance History 26 Visual Arts PAUl TAylOR DAnCE COmPAny 29 The Company 30 Timeline 32 Paul Taylor 34 Why I Make Dances by Paul Taylor 36 Dancers 42 Artistic Staff 43 Repertoire 45 What makes the PTDC Unique? GRUPO CORPO 47 The Company 48 Timeline 51 The Pederneiras Family 52 Dancers + Artistic Staff 53 Repertoire RESOURCES 55 National Standards 56 Curriculum Connections 58 Lesson Plans 60 Suggested Readings 61 Other Resources 63 Related Organizations 64 Bibliography ABOUT UmS 66 What is UMS? 67 Youth Education Program 69 Contacting UMS 4 GRUPO / TAYLOR AT T E n D I n G T H E C O n C E R T GRUPO / TAYLOR Photo: Grupo Corpo Parabelo 5 D E TA I L S COMING TO THE SHOW We want you to enjoy your time with UMS! PLEASE review the important information below about attending the Youth Performance: TICKETS TICKETS We do not use paper tickets for Youth Performances. We hold school reservations at the door and seat groups upon arrival. DOOR EnTRy A UMS Youth Performance staff person will greet your group at your bus as you unload. You will enter through the front doors of the Power Center, which faces Fletcher Street. DURInG THE PERFORmAnCE At the start of the performance, the lights will dim and an onstage UMS staff member will welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior of surrounding groups) please IMMEDIATELY report the situation to an usher or staff member in the lobby. ARRIVAl TImE Please arrive at the Power Center between 10:30-10:50 AM (Grupo Curpo) and 11:30-11:50 AM (Paul Taylor Dance Company) to allow you time to get seated and comfortable before the show starts. USHER SEATInG & USHERS When you arrive at the front doors, tell the Head Usher at the door the name of your school group and he/ she will have ushers escort you to your block of seats. All UMS Youth Performance ushers wear large, black laminated badges with their names in white letters. PERFORmAnCE lEnGTH 60 minutes with no intermission DROP OFF Have buses, vans, or cars drop off students on Fletcher Street in front of the Power Center. If there is no space in the drop off zone, circle the block until space becomes available. Cars may park at curbside metered spots or in the visitor parking lot behind the power Center. Buses should wait/park at Briarwood Mall. AFTER THE PERFORmAnCE When the performance ends, remain seated. A UMS staff BEFORE THE START Please allow the usher to seat individuals in your group in the order that they arrive in the theater. Once everyone is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students. member will come to the stage and release each group individually based on the location of your seats. NOTE: These logistical details are applicable to both the Paul Taylor Dance Company Youth Performance and the Grupo Corpo Youth Performance. 6 UMS 10-11 BUS PICK UP When your group is released, please exit the performance hall through the same door you entered. A UMS Youth Performance staff member will be outside to direct you to your bus. SEnDInG FEEDBACK We LOVE feedback from students, so after the performance please send us any letters, artwork, or academic papers that your students create in response to the performance: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011. ACCESSIBIlITy The following services are available to audience members: � Wheelchair, companion, or other special seating � Courtesy wheelchairs � Hearing Impaired Support Systems AAPS AAPS EDUCATORS You will likely not get on the bus you arrived on; a UMS staff member or WISD Transportation Staff person will put you on the first available bus. PARKInG There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power Center on Palmer Drive. The first three levels of the Palmer Drive structure have 5 parking spots on each level next to each elevator. There are a total of 15 parking spaces in the nO FOOD No food or drink is allowed in the theater. garage. WHEElCHAIR ACCESSIBIlITy The Power Center is wheelchair accessible and has 12 seats for audience members with special needs. lOST STUDEnTS A small army of volunteers staff Youth Performances and will be ready to help or direct lost and wandering students. PATIEnCE Thank you in advance for your patience; in 20 minutes we aim to get 1,300 people from buses into seats and will work as efficiently as possible to make that happen. BATHROOmS ADA compliant toilets are available in the green room (east corner) of the Power Center for both men and women. EnTRy The front doors are not powered, however, there will be an usher at that door opening it for all patrons. lOST ITEmS If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich. edu) to attempt to help recover the item. GRUPO / TAYLOR 7 E. h U R oN S t D Ro P - o FF Z o N E S tAt E S t th AYER S t RA C KHA M P OWER PA L M ER D R IVE PA R K F L EtC h ER S t WA S h tEN AW AVEN U E Circle this block until a spot is free in the drop-off zone. E . LIB E Rt Y St H IL L M A L L PA R KIN G & WILLIA M St N. U N IVER S ItY AVEN U E MAP + DIRECTIONS This map, with driving directions to the Power Center, will be mailed to all attending educators three weeks before the performance. ChURCh St MAP 8 UMS 10-11 VENUE THE POWER CENTER THE POWER CEnTER for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions and the Lydia Mendelssohn Theatre was too small. The Power Center In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University. The Powers were immediately interested in supporting the University's desire to build Opening in 1971, the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso. The Power Center seats approximately 1,300 people. POWER CEnTER 121 Fletcher St Ann Arbor, mI 48109 Emergency Contact number: (734) 764-2538 (Call this number to reach a UMS staff person or audience member at the performance.) was built to supply this missing link in design and seating capacity. a new theater, realizing that state and federal governments were unlikely to provide financial support for the construction of a theater. University of Michigan, Power Center GRUPO / TAYLOR 9 D E TA I L S BEING AN AUDIENCE MEMBER WHEn PREPARInG STUDEnTS for a live performing arts event, it is important to address the concept of "concert etiquette." Aside from helping prevent disruptive behavior, a discussion of concert etiquette can also help students fully enjoy the unique and exciting live performance experience. The following considerations are listed to promote an ideal environment for all audience members. yOUR SURROUnDInGS � Concert halls and performing arts venues are some of the most grand and beautiful buildings you might ever visit, so be sure to look around while you follow an usher to your group's seats or once you are in your seat. � UMS Ushers will be stationed throughout the building and are identifiable by their big black and white badges. They are there to help you be as comfortable as possible and if you have a question (about the performance, about where to go, or about what something is), please ask them, and don't feel shy, embarrassed, or hesitant in doing so. SHARInG THE PERFORmAnCE HAll WITH OTHER AUDIEnCE mEmBERS � Consider whether any talking you do during the performance will prevent your seat neighbors or other audience � As an audience member, you are also part of the performance. Any enthusiasm you might have for the performance may make the performers perform better. So, if you like what you are seeing make sure they know it! Maybe clap, hoot and holler, or stand up and cheer. However, when expressing your own personal enjoyment of the performance, consider whether your fellow audience members will be able to see or hear what's happening members from hearing. Often in large rock concerts or in movie theaters, the sound is turned up so loud that you can talk and not disturb anyone's listening experience. However, in other concerts and live theater experiences, the sound is unamplified or just quite, and the smallest noise could cause your seat neighbor to miss an important line of dialogue or musical phrase. Movements or lights (from cell phones) may also distract your audience neighbors attention away from the stage, again, causing them to miss important action...and there's no instant replay in live performance! � At a performance, you are sharing the physical components of the performance space with other audience members. So, consider whether you are sharing the arm rest and the leg room in such a way that both you and your seat neighbors are comfortable. on stage or whether they will miss something because of the sound and movement you are making. Given this consideration, it's often best to wait until a pause in the performance (a pause of sound, movement, or energy) or to wait until the performer(s) bow to the audience to share your enthusiasm with them. � Out of respect for the performer(s), if you do not like some part of the performance, please do not boo or shout anything derogatory. Remember, a lot of hard work went in to creating the performance you are watching and it takes great courage for the performer to share his or her art with you. SHARE yOUR ExPERIEnCE WITH OTHERS � An important part of any performing arts experience is sharing it with others. This can include whispering to your seat neighbor during the performance, talking to your friends about what you liked and didn't like on the bus back to school, or telling your family about the performance when you get home. mORE InFORmATIOn � For more specific details about coming to the concert (start time, bathroom locations, length), see pages 6-8 of this guide. 10 UMS 10-11 DAnCE GRUPO / TAYLOR Photo: Grupo Corpo Ima 10 by Jose Luiz Pederneiras 11 UMS A R T I S T I C S TAT E M E N T In THE BOOK Anthropology of Dance, Anya Peterson Royce labels dance "the oldest of the arts." She writes, "The human body making patterns in time and space is what makes dance unique among the arts and perhaps explains its antiquity and universality.1" This season, UMS continues to celebrate the vitality of this universal, living art form while acknowledging the passing of Merce Cunningham, legendary icon of American modern dance. Cunningham, dancer and revolutionary choreographer, died July 26, 2009. A performer until the end, Cunningham appeared in every performance given by the Merce Cunningham Dance Company until the age of 70. According to his obituary, Cunningham was close to the founding members of the New York Schools of Music, Painting and Poetry. "Mr. Cunningham himself, along with Jerome Robbins and the younger Paul Taylor, led the way to founding what can retrospectively be called the New York School of Dance. These choreographers both combined and rejected the rival influences of modern dance and ballet, notably the senior choreographers Graham and Balanchine. They absorbed aspects of ordinary pedestrian movement, the natural world and city life. They tested connections between private subject matter and theatrical expression. And they re-examined the relationship between dance and it's sound accompaniment.2" UMS's 10/11 dance series is bookended with performances from the Paul Taylor Dance Company (including a daytime Youth Performance) and the Merce Cunningham Dance Company, which will dissolve upon completion of its 10/11 legacy tour. In addition to recognizing the importance and influence of these iconic figures in the history of modern dance, the energy and intensity of Grupo Corpo performances give UMS audiences opportunities to experience and celebrate contemporary dance thriving in another region of the Americas: dance that will clearly remain important in the years to come. Both the Paul Taylor Dance Company and Grupo Corpo present daytime UMS Youth Performances for K-12 school audiences on the 10/11 Youth Performance Series. Beyond the opportunity they bring to watch beautiful dance, they also bring with them traditions from the past and gestures towards the future that reflect the diverse spirit of the Americas, the possibilities of human expression, and the products of a life dedicated to study. 1 2 Anya Peterson Royce. The Anthropology of Dance. (Indiana: Indiana University Press, 1977), 26. Alastair Macaulay. "Merce Cunningham, Dance Visionary, Dies" The New York Times, July 27, 2009. http://www.nytimes.com/2009/07/28/arts/ dance/28cunningham.html 12 GRUPO / TAYLOR DANCE TYPES OF MOVEMENT WHIlE, OVER TImE, dance has taken a number of different forms in a number of different social and artistic contexts, the "patterns in time and space" created by the dancer or dancers involved are essential to the artistic impact of the dance on its audience. Choreography is the series or combination of movements that creates these fundamental patterns. Like words in a sentence, the individual movements are just as important as the product of their combination. In dance there are many different types of movement. Here are some options to explore as you think about dance. T yP E DEFInITIOn An even release of energy that stays constant, either fast or slow but not both. SUSTA IN ED Usually sustained movement feels best when it uses a large range of space and a slow time. But changing any one element changes the quality. PERCU SSIVE Sudden short bursts of energy that start and stop quickly. SWIN GIN G A drop of energy into gravity that sustains and follows through. SUSPEN D This is the movement at the end of a swing, before gravity takes over. COLL A PSE A sudden and complete release of energy, like fainting. You can have partial collapse of the body like head, shoulders, arms, etc. EXPLOD E The opposite of collapse. Exploding requires gathering all of one's energy then letting it burst forth in one huge sudden action with the whole body. GRUPO / TAYLOR 13 ABOUT DIMENSIONS OF MOVEMENT When watching dance, one can analyze the movement by breaking them down into the following key elements, easily remembered with the acronym BEST: Body, Energy, Space, and Time. BODy PAR TS ISOLATION SHAPES ACTION S Head, neck, torso (hips, abdomen, shoulders, back), arms and elbows, hands and wrists, fingers, legs, knees and feet (ankles and toes) Movements restricted to one area of the body such as the shoulders, rib cage or hips; isolations are particularly prominent in jazz dance. Curved, twisted, angular, small/large, flat/rounded (Non-locomotor: Movements organized around the spine of the body)Stretch, bend, twist, rise, fall, circle, shake, suspend, sway, swing, collapse or (Locomotor: Movements that occur when a dancer moves place to place) walk, run, leap, hop, jump, gallop, skip, slide EnERGy FORC E WEIGH T STREN GTH FLOW SPACE Smooth or sharp Heavy or light Tight or relaxed Sudden or sustained, bound or free LEVEL DI REC TION SIZE DESTIN ATION PATH WAYS FOC U S TImE Low, middle, high. The height of the dancer in relation to the floor. Forward, backward, up, down, sideways Large or small Where a dancer moves Patterns made with the body on the floor and in the air Where a dancer looks RHYTH M SP EED ACC EN T DURATION PHRA SES Pulse, beat Time or tempo Light or strong emphasis Length Dance sentences, patterns and combinations 14 GRUPO / TAYLOR DANCE PERFORMANCE CHOREOGRAPHy Different dance styles, or genres, use different styles of movement, sometimes called dance vocabularies. Ballet, for example, uses a dance vocabulary that is very different from the dance vocabulary used in tap. Individual choreographers can use their own signature style of pre-existing dance vocabularies, the way Grupo Corpo uses its own signature style of contemporary ballet, or invent their own dance vocabulary, the way Paul Taylor and other modern dance choreographers typically do. It is important to remember that choreographers have different motivations for creating a dance, which can include any of the following: � to tell a story through their movement � to design beautiful, geometric, or sequentially connected "dance images." � to explore larger abstract themes, such as love, or relationships � to create a physical expression of sound PERFORmAnCE DAnCER AS CHARACTER To be able to convey these larger narratives or themes, choreographers can assign certain characters or ideas. When choreographing in this way, there are different techniques a choreographer might use to convey this characterization. Specific movements: Sometimes characters do the same movement in different ways to give you a sense of their own individual personality. Costumes: Depending on the type of choreography, a dancer's costume can help define their character or role in the dance's narrative, or it can elaborate the "dance image" the choreographer is trying to create. When trying to decipher a dancer's costume, it is important to remember that it is often the product of a compromise between who or what the dancer is meant to represent and the dancer's ability to move freely. Props: In dance, a prop can serve a number of different functions. Props can further define a dancer's character/role, add to the scenery, or help to establish a particular mood. Dance props are often symbolic and not necessarily meant to be what they look like. SETTInG THE SCEnE SPACE The space in which a dance is performed is almost as important as the choreography used to create it. Depending on the intent of the choreographer, a dancer's position in the dance space can define the relationship between characters or define the dancer's relationship to the dances plot or overall message. Symbolic Hotspots: Certain positions on stage can carry symbolic meaning. This can be as simple as taking advantage of where people naturally look to emphasize certain events or movements over others. It can also be as complex as assigning different meanings to different parts of the stage. The different sides of the stage can represent good or evil for example, characterizing the action that occurs in those places or assigning certain traits to the dancers that enter and exit from these respective sides. SETTInG Any sort of set, from the realistic to the abstract, sets up a restraint on the space, confining or controlling the dancer's ability to move. As a result, a choreographer's decision to use a set is deliberate. Choreographers can use sets to define the larger setting of their dance or they can use a set more like a prop, using it to define GRUPO / TAYLOR 15 lIGHTInG In addition to sets, lighting plays an important role in creating the larger setting for a dance performance; often choreographers use lighting primarily to guide what the audience is looking at. In addition to this fundamental purpose, they can also use lighting to create shadows and achieve other effects that contribute to characterization and/or create certain moods. For example, depending on how it is used, low lighting can signify a dark or evil character, or it can set a generally dark or sinister mood. mUSIC Depending on the type of dance and individual choreographer, music can define the form and structure of the dance, exist as an entirely separate entity independent of the dancer's movement, or fall somewhere in between. The relationship between the dance and the music in Cunningham's work for example is one of coexistence. He typically rehearsed his dancers without music, so that they would hear it for the first time during the performance. "He manipulates movement for movement's sake, making it nonlinear and random. " 3 The work of other choreographers is more dependent on the music they have chosen. For example, Rodrigo Pederneiras, the choreographer for Grupo Corpo, starts choreographing a new piece by picking the music he will use � focusing on the feelings that are conveyed by the music he has chosen. From that point on, he concentrates on translating the music into movement � uninterested in speech or mime. For Pederneiras, choreography is all about creating movements and patterns that echo sounds, shapes, and feelings that are created by the music he is using.4 For other choreographers, like Paul Taylor, the relationship between dance and music can fall somewhere in between these two models. In his dance pieces, the relationship between dance and music can fall in and out of phase, striking a middle ground between the type of relationship between music and dance that is represented in Cunningham's work and that of Pederneiras's work. Choreographers of modern and contemporary dance also experiment with different types of music when they choreograph: some use the art music of composers like Johann Sebastian Bach or John Adams, popular music of Michael Jackson, or just pure sound effects. In his autobiography Private Domain, Paul Taylor describes the diversification of musical accompaniment used for dance in this way. "If dance could be broadened to include everyday moves," Taylor writes, "so could its accompaniment." 3 4 5 Kassing, 244. Wilcke Taylor, 77. 16 UMS 10-11 DANCE H O W T O WAT C H D A N C E : BEFORE, DURING, AFTER There are many different ways to watch a dance performance. Here are some things to think about before, during, and after the show. BEFORE: THInK ABOUT WHAT yOU AlREADy KnOW You have probably experienced dance in your everyday life, as dance exists in many forms beyond the formal stage. Before attending the performance, answer these questions to explore your feelings about dance--and there are no "right" answers: � What is dance? � Have you ever attended a performance before? If so, what type of performance and what was your experience? If not, what do you think this performance will be like? � What do you think are the differences between going to a sports event and attending a play; or listening to the radio and going to a concert? What do you think the differences will be between going to a dance performance and attending a play? � Where have you seen or experienced dance (for example, at school dances, in their neighborhoods, on MTV, in movies, etc.)? What was the experience like? DURInG: SUGGESTIOnS FOR WATCHInG DAnCE You don't have to have any special training or previous experience to watch dance. You will be taking in information with all your senses � your eyes, your ears, even your muscles. You may be fascinated with the physical activity you see, the music, the production elements (lighting, costumes, props), or with a "story" the dancers convey (or at least that you think they are conveying). Every piece of choreography has a reason for being. Dances may be celebrations, tell stories, define moods, interpret poems, express emotions, carve designs, visualize music, or simply explore movement. As you watch a dance, a story may occur to you because of a past experience. However, not all dances relate to stories and the movement sequences do not have to make literal sense. Allow any images and personal feelings to pop into your mind. You may want to ask yourself some questions as you watch: � How are each of your senses experiencing the dance? What do you see? What do you hear? What are the dancers actually doing? � What are the technical properties in the dance? What kind of space is being used? What are the shapes and designs being made? � How does the movement make you feel? AFTER: SHARInG yOUR InTERPRETATIOn After the performance, feel free to discuss your thoughts with others, but do not be disturbed if you find that others have a different reaction than yours. Think about these questions to reflect on your experience watching dance: � Was it fun to watch? � Did the dance remind you of experiences in your own life? � Did the choreography inspire you to express yourself � write a poem, draw a picture, or make up your own dance? GRUPO / TAYLOR 17 ABOUT DANCE 101: A CRASH COURSE IN DANCE HISTORY DAnCE IS A TyPE OF DynAmIC SOCIAl ExPRESSIOn that, over time, has taken many forms. Sometimes dance is a mode of community communication, marking significant community events, such as births, marriages, or funerals. Other times dance is employed as a means of spiritual expression, used in ritualistic events like those that are used for healing or ancestor worship. Dance is also a mode of entertainment that can bring people together in an entirely different way. In this form dance can be used to demonstrate social status, as it did in the royal courts of late 16th and 17th century Europe. It can also be used to challenge social norms, in the way that provocative dance crazes like the Twist have. Last, but not least, dance is an art form that shows its audience the inherent beauty of bodies in motion. Be it in classical modes of "theatrical dance," like ballet, stylized forms of everyday movements, or bold new ways of movement that challenge our preconceived notions of what dance represents, dance can both celebrate and critique the nature of our human experience. 18 UMS 10-11 GRUPO / TAYLOR Photo: LIBRARY oF CoNGRESS - Unidentified dancer 19 Photo: A Cadet hop at West Point COnTEmPORARy VS. mODERn DAnCE Distinguishing between modern dance companies and contemporary dance companies can be difficult. Modern dance companies, like the Paul Taylor Dance Company, are typically companies whose legacies are associated with the late 19th and 20th centuries. These companies promote and create within the framework of their founding choreographer's movement legacy. Contemporary dance companies like Grupo Corpo, on the other hand, become adept in a number of different styles of choreography, exploring both modern and classical styles of dance. While this distinction explains the variation in repertoire that exists among modern and contemporary companies that are still active today, historically, contemporary and modern dance companies share the history of modern dance. A BRIEF InTRODUCTIOn TO mODERn DAnCE HISTORy As with all history, particularly in the case of such an enduring and dynamic art form as dance, it would be impossible to go through the entire history of modern dance in one sitting. The following outline highlights certain key concepts and events in the history of modern dance, with the hope of enhancing appreciation of the type of dance performances on the UMS Youth Performance Series. Developed in the U.S and Europe in the 20th century as a reaction to the restrained, technical style employed by classical ballet, modern dance choreographers continually experiment with new styles of movement, often developing their own unique dance techniques. Whereas classical ballet restricted expression because choreography had to adhere to a specific form, modern dance focused more on expression. This new form of dance "did not simply appear at the turn of the century." Instead, this new trend in dance represented the synthesis of a number of different events that occurred in the years leading up to the start of the new century. The stories of these choreographers show how they pushed the limits of the question of what is dance, and illustrate the fact that it is okay to have many different points of view on the subject of dance. Keep in mind that this only represents a small fraction of the numerous choreographers involved in modern dance. 20 UMS 10-11 Photo: Afternoon of a Faun /dancer: det.: Nijinsky and nymphs THE FOUnDERS of modern dance were all influenced by the idea that dance did not just have to be a momentary diversion of entertainment and that it could move audiences in a deep and serious way. In the beginning, they often compromised their artistic beliefs to gain a following; the later founders rebelled much more strongly against their traditional ballet roots. lo�e Fuller (1862-1928) Loie Fuller was a self-taught dancer, noted for improvisatory performances in which she would manipulate a filmy silk dress into shapes through her dance. Fuller was also a major innovator with interest in all aspects of theater using material and lighting effects to enhance her choreography. Her 6 Isadora Duncan (1878-1927) Heavily inspired by Lo�e Fuller, Isadora Duncan choreographed dance that grew out of her personal responses to music emphasizing flow, symmetry, and the realization of the beauty of simple movements in her choreography. She sought a new kind of movement language, extending the role and range of the dynamic elements in movement, making it organic rather than merely decorative.7 maude Allen (1873-1956) Just like Isadora Duncan, many of Maude Allen's works were the result of her appreciation of music. The two actually engaged in brief conflict during which Duncan accused Allen of imitating her art, but the problems were resolved quickly. Allen liked to call her style "dramatic dancing." Ruth St. Denis (1880-1968) Ruth St. Denis formed the Denishawn Company (1915) with her pupil and husband, Ted Shawn. Denis's use of exoticism coupled with her ability to make dance widely appealing to the American public made St. Denis and Denishawn successful. The dominant dance company of the 1920s, Denishawn was the training ground for Martha Graham, Doris Humphrey, and Charles Weidman, among other important figures in the history of modern dance. Ted Shawn (1891-1972) Shawn's emphasis on the male dancer and establishment of one of the first all male companies in the early 20th century was a significant development in the early years of modern dance.8 works were forerunners of mixed media performances. 6 7 8 Kassing, 184 Kassing, 185. Kassing, 187 GRUPO / TAYLOR 21 Photo: Ballet Russes Rite of Spring In THE EARly 1930'S, schools like the Denishawn School and the Duncan Dance School were incubators for the development of the first generation of American modern dance artists and choreographers, which included dancers like Martha Graham and Doris Humphrey. "This first generation of dance artists ushered in a new era of experiments that were to emerge as modern dance. " The 9 The Federal Theatre Project (FTP) was the largest and most ambitious effort mounted by the Federal Government to organize and produce theater events. It was an effort of the administration of President Franklin Delano Roosevelt to provide work for unemployed professionals in the theater during the Great Depression. The FTP was administered from Washington, D.C., but its many companies stretched the full breadth of the nation. It functioned from 1935 to 1939 when its funding was terminated. In that brief period, it was responsible for some of the most innovative staging of its time. While the primary aim of the FTP was the re-employment of theater workers on public relief rolls, including actors, directors, playwrights, designers, vaudeville artists, and stage technicians, it was also hoped that the project would result in the establishment of theater so vital to community life that it would continue to function after the FTP program was completed.12 mary Wigman (1886-1973) Important figure in the history of German expressionist dance. She used mythical subjects that emphasized a bond with nature while developing a style that evolved from muscular tension and release. martha Graham (1894-1991) To this day, Martha Graham remains one of the most well-known modern dancers. Her contraction-and-release technique has become one of the most widely taught modern styles in the U.S. Developing a company as she built a repertory, Graham has explored a number of different themes, "evaluating their personal relevance but also their universal significance." "To perform the role of a character in Graham's dances, the dancer must find the experience of that character in his or her own psychological life, grow into that experience, and become completely identified with the character.13" uncertain political climate led choreographers to comment on events in contemporary society, hoping to convince audiences and critics that their work was a legitimate dance form.10" The inspiration for these choreographers came from folk legends, social protests, and theatrical expressions of culture and ethnicity. These choreographers made artistic statements through American modern dance that were both individual and collective.11 9 10 11 12 13 Kassing, 204 Kassing, 204 Kassing, 205. http://lcweb2.loc.gov/ammem/fedtp/fthome.html Foster, 30 22 UMS 10-11 Photo: 42nd Street In THE 1940'S AnD 1950'S modern dancers and their companies saw their reputation and notoriety grown within outside of the U.S. borders.14 "In the postwar period, the earlier simple, stark, group modern dance performances became more elaborate, produced with costumes, commissioned music, and set d�cor. Most modern dance companies were small; they rehearsed quickly, performed, and then dissolved until it was time to prepare for the next year's performance. New choreographic approaches, techniques, themes, and styles branched out from this generation of choreographers who took their places alongside the pioneers. Meanwhile, as the Cold War grew colder, the U.S. government used modern dance to create a national awareness of American arts by sending artists around the world.15" Jos� lim�n (1908-72) Born in Mexico and brought up in the U.S., Lim�n joined the Humphrey-Weidman company (1930-40) and organized his own troupe after World War II. His dance possessed a unique lyricism due to a technique of fall and recovery, in which one gives in to gravity and then rebounds off the ground. This technique is often taught as a counterbalance to Martha Graham's technique. 14 Kassing, 224. 15 Kassing, 224. mODERn DAnCE In THE 1960'S was an abrupt change from what had been established by previous generations. Choreographers began to explore what was happening in other contemporary arts: the use of chance, serial, and electronic music; "happenings;" and theatrical experiments. These choreographers were more concerned with movement and its performance than communicating emotional themes or narratives. These new dance forms were also presented in new, outdoor and indoor, environmental performing spaces like museums, parks, gymnasiums, rooftops, and other cityscapes. Because rents for theaters and other performance venues continued to escalate, dance was often presented in lofts, warehouses, and garages. merce Cunningham (1919-2009) As one of the first to challenge the founding principles of modern dance, Merce Cunningham initially worked with the Martha Graham dance company, only the second male to do so. He formed his own company after leaving Graham and increasingly used an approach which focused on pure movement without a story, character, or dramatic mood. He also frequently used chance determination, in which parts of choreography would be determined by random methods, such as a coin toss. Paul Taylor (b. 1930) Paul Taylor has created an outstanding repertory of antic wit and hard reality. Taylor scrutinizes the epic and the everyday with tough innocence and athletic vigor. His company has served as a training ground for notable choreographers such as David Parsons and Twyla Tharp. Alvin Ailey (1931-89) Showcasing his versatility of style, Alvin Ailey choreographed for Broadway in addition to his work in both ballet and modern dance. As a choreographer, Ailey was known for his exploration of the Black experience in America in his work. Twyla Tharp (b. 1941) The choreography of Twyla Tharp has used a strong, rhythmical use of the lower half of the body, while the upper half possesses a throwaway and rambling look. She is classicist in structure, yet her dance utilizes the body language of a graceful athlete. Tharp has choreographed for numerous styles of music ranging from jazz to popular to classical. GRUPO / TAYLOR 23 Photo: Merce Cunningham THE 1960'S AnD 1970'S both American culture and American dance were experiencing radical shifts that challenged norms and traditions as well as conventional modes of expression. The Balanchine-Graham collaboration, Episodes, though not an enduring work, was a fuse for the changes that began in the 1960's and continued through the 1970's. American ballet and modern dance underwent changes that shook their foundations. Societal issues and arts movements exploded, and ballet acquired a thirst for contemporary subjects and passing fads, along with an awareness of what was happening in modern dance. These changes brought new audiences to ballet, as did touring and television exposure.16 THE 1980'S AnD 1990'S a second generation of postmodern choreographers set upon exploring the possibilities of dance and the lens through which it is created. Mathematics grew as an artistic tool, some performances moved to nontraditional outdoor spaces, and pedestrian, folk, and highly repetitive movements were incorporated in to work.17 Garth Fagan (1940 - ) Fagan studied with Primus, Lim�n, Ailey, and Graham, among other famous dance greats. "After founding and dancing with several companies in Detroit, in 1970 he joined the faculty at the State University of New York and began teaching dance classes for youths from the streets of nearby Rochester.18" "Fagan's style is a unique blend of modern dance, jazz, and AfroCaribbean forms with some subtle ballet influences.19" 16 17 18 19 Kassing, 254 Kassing, 267 Kassing, 268 Kassing, 268. 24 UMS 10-11 "The most brilliant scientific discoveries will in time change and perhaps grow obsolete, as new scientific manifestations emerge. But art is eternal, for it reveals the inner landscape, which is the soul of man." � from I am a Dancer, Martha Graham GRUPO / TAYLOR 25 CONNECTIONS VISUAL + PERFORMING ARTS The following works of art are part of the University of Michigan Museum of Art collection. Look at the images on pages 26 and 27 and consider the following: How does each artwork express movement or dance? How might each piece relate to the work of Paul Taylor Dance Company or of Grupo Corpo? How are the two images alike or different? How would you interpret each artwork as a real life dance move? Max Ernst (German, 1891-1976) Dancers (Danseuses) 1950 Lithograph Museum Purchase made possible by the Friends of the Museum of Art, 1987/1.264 26 UMS 10-11 Mark Bressler (American, born 1951) Spirit Dancer 2001 Madrone burl Gift of Robert M. and Lilian Montalvo Bohlen, 2003/2.79 GRUPO / TAYLOR 27 UMS YoUth PERFoRMANCE PAUl TAylOR DAnCE COmPAny PAUL TAYLOR artistic director � Friday, October 8, 12 NOON � 1 PM � POWER CENTER Sponsored by the David and Phyllis Herzig Endowment Fund and the Prudence and Amnon Rosenthal K-12 Education Endowment Fund. Funded in part by the Wallace Endowment Fund and by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. 28 UMSPlaying by tom Caravaglia Photo: Also 10-11 ABOUT T H E C O M PA N Y FOUnDED In 1954, the Paul Taylor Dance Company has become one of the greatest modern dance companies in America; the company has performed in more than 520 cities in 62 countries and has represented the U.S. at arts festivals in more than 40 countries. Founder and artistic director Paul Taylor has been the recipient of every major honor given to artists in the U.S. for his choreography, including the Kennedy Center Honors and an Emmy. His distinct use of gestural movement has become a trademark of his choreography and characterizes his most famous work, Esplanade, set to music by Johann Sebastian Bach. His singular musicality and diverse creations have become staples of American modern dance. In addition to Esplanade, he has won international acclaim with his masterworks, including Aureole, Le Sacre du Printemps (The Rehearsal), Musical Offering, Airs, Speaking in Tongues, Company B, Piazolla Caldera, Promethean Fire, Beloved Renegade, and, most recently, Brief Encounters. He has collaborated with important American painters such as Robert Rauschenberg, Jasper Johns, and Alex Katz as well as with the famous Tiffany and Co. designer, Gene Moore. The National Book Critics Circle nominated his biography, Private Domain, for the most distinguished biography of 1987, and the feature film documentary created on his company, Dancemaker, was nominated for an Academy Award in 1998. His impact on the world of American modern dance is comparable to other notable choreographers such as Merce Cunningham, Martha Graham, Jose Lim�n, and Doris Humphrey. However, the true scope of Paul Taylor's career is seen in his dances, ranging from outrageously humorous to purely romantic to disturbingly tragic; he has proven time and time again that he is one of the prolific choreographers of the last fifty years and, undoubtedly, the next fifty years as well. Photo: Also Playing by tom Caravaglia GRUPO / TAYLOR 29 ABOUT C O M PA N Y H I S T O R Y: T I M E L I N E "More often than not, the kind of dance we work on together turns out to be dependent on these different dancers as individuals. Sometimes their limitations are as interesting as their strong points. The finest choreography in the world does not mean a thing if the dancers are not suited to it and they look terrible.20" --Paul Taylor 1954 Taylor assembles a small company of dancers and begins choreographing his own works. Jack and the Beanstalk, Taylor's first professional work and collaboration with artist Robert Rauschenberg, is premiered. 1957 Dances by Paul Taylor, Taylor's first full evening performance of his own chorography, is performed at the Kaufmann Concert Hall in New York City. Seven New Dances, a piece from this program, provokes Louis Horst's famous blank review. 1965 Paul Taylor choreographs From Sea to Shining Sea, the first of a series of works based on American themes and the first in a series of collaborations with designer John Rawlings. In addition, the Paul Taylor Dance Company tours South America on its first of eleven tours as goodwill ambassadors under the auspices of the U.S. State Department. The Company also gets its first Music Director, Simon Sadoff. 1955 Taylor joined the Martha Graham Dance Company as soloist while continuing to choreograph on his own troupe. He would dance with the Martha Graham Dance Company for seven years. 1960 Taylor's dance company makes its first international tour. Meridian, Tablet, 3 Epitaphs, Rebus, and Circus Polka are danced at Italy's Spoleto Festival. While at Spoleto, Taylor is invited to create The White Salamander for the Netherlands Ballet, using the pseudonym George H. Tacet, Ph.D for the first time. 1966 The Paul Taylor Dance Foundation is established to preserve Taylor's repertoire while bringing it to the largest possible audience and supporting the continued creation of more dance works. 30 UMS 10-11 1974 After the New York premiere of American Genesis (Taylor's first full-evening work) at the Brooklyn Academy of Music on March 14, Taylor retires as a performer, devoting himself fully to choreography. 1992 Taylor receives an Emmy Award for Speaking in Tongues, produced by WNET/13. He also receives the Kennedy Center Honors for "enhancing the lives of people around the world and enriching the culture of our nation." In addition, John Tomlinson, General Manager for the Paul Taylor Dance Company, joins the organization. 1996 The Paul Taylor Dance Company performs for the first time in the People's Republic of China. 1999 Dancemaker, a film that documents the experience of the Paul Taylor Dance Company's trip to India, is nominated for an Academy Award for best documentary feature film of 1998. 1980 Taylor receives the Dance Magazine Award while Le Sacre du Printemps (The Rehearsal) is seen by many as a landmark approach to the renowned Stravinsky score. 1993 Taylor is awarded a National Medal of Arts by President Bill Clinton at the White House. Taylor also forms Taylor 2, now directed by Linda Hodes, bringing many of his masterworks to smaller venues around the world. Taylor 2 also teaches modern technique and Taylor style in schools and workplaces, at community gatherings, and during annual workshops for pre-professional dancers. 2004-2005 Paul Taylor's works were performed in all 50 States in celebration of the Paul Taylor Dance Company's 50th Anniversary. 1985 Taylor receives a MacArthur "Genius" Award. Bettie de Jong, Company member since 1962, retires from dancing but remains Rehearsal Director. 2005 Taylor wins the Association of Performing Arts Presenters Award of Merit for Achievement in the Performing Arts, and the Americans for the Arts Life Time Achievement Award. 1987 Paul Taylor's autobiography, Private Domain, which has since been nominated for the National Book Critics Circle Award in Biography, is published for the first time. It is now in its third edition. 1995 Taylor receives the Algur H. Meadows Award for Excellence in the Arts, for work that "endures as some of the most innovative and important the world has ever seen." He is also named one of 50 prominent Americans honored in recognition of their outstanding achievement by the Library of Congress' Office of Scholarly Programs. 2008 Taylor is awarded an honorary doctorate by Adelphi University, with previous doctorates awarded by California Institute of the Arts, Connecticut College, Duke University, The Julliard School, Skidmore College, Syracuse University, and the State University of New York at Purchase. 1989 Taylor is elected Honorary Member of the American Academy and Institute of Arts and Letters. 20 Paul Taylor, "Down With Choreography" in The Modern Dance: Seven Statements of Belief GRUPO / TAYLOR 31 PEOPLE PA U L TAY L O R PAUl TAylOR was born in 1930 and grew up in and around Washington, D.C. He was a swimmer and student of painting at Syracuse University in the late 1940s until he discovered dance, which he began studying at The Juilliard School. He is now the last living member of the pantheon that created America's indigenous art form, modern dance. At 80 � an age when most artists' best work is behind them � Taylor continues to win acclaim for the vibrancy, relevance and power of his recent dances as well as his classics. As prolific as ever, he continues to offer cogent observations on life's complexities while tackling some of society's thorniest issues. He may propel his dancers through space for the sheer beauty of it, or use them to wordlessly illuminate war, spirituality, morality, and mortality. People in cities and towns throughout the world have enjoyed live modern dance performances due largely to the far-reaching tours Taylor pioneered as a virtuoso dancer in the 1950s. Having made his first dance in 1954, he has amassed a growing collection of 132 dances performed by his celebrated company of 16 dancers and the six-member Taylor 2. He has set movement to music so memorably that for many people it is impossible to hear certain orchestral works and popular songs and not think of his dances. The subject of these dances represents a breathtaking range: love, life, death, and everything in between. His work has influenced dozens of men and women to create their own dances or form their own troupe, and his own work has been influenced by collaborations with such artists as Robert Rauschenberg, Jasper Johns, Ellsworth Kelly, Alex Katz, Tharon Musser, Thomas Skelton, Gene Moore, John Rawlings, William Ivey Long, Jennifer Tipton, and Santo Loquasto � the Kennedy Center Honors � an Emmy Award � the National Medal of Arts � the Algur H. Meadows Award for Excellence in the Arts � one of 50 prominent Americans honored in recognition of their outstanding achievement by the Library of Congress's Office of Scholarly Programs � three Guggenheim Fellowships � honorary Doctor of Fine Arts degrees from California Institute of the Arts, Connecticut College, Duke University, The Juilliard School, Skidmore College, the State University of New York at Purchase, Syracuse University, and Adelphi University � a MacArthur Foundation Fellowship (often called the "genius award") � the Samuel H. Scripps American Dance Festival Award � the New York State Governor's Arts Award � the New York City Mayor's Award of Honor for Art and Culture � elected one of ten honorary American members of the American Academy and Institute of Arts and Letters � elected to knighthood by the French government � the L�gion d'Honneur, France's highest honor, for exceptional contributions to French culture Taylor has received every important honor given to artists in the United States: 32 UMS 10-11 PAUl TAylOR'S nEW yORK The following is a snapshot from Paul Taylor's insightful autobiography Private Domain that gives a glimpse at his experiences as an artist in mid-20th-century New York City: Up until then I had received scholarship handouts from Syracuse, the American Dance Festival, and Julliard. Classes at Martha's School and Merce's were also gratis, and the ones from Tudor and Miss Craske at the Metropolitan Opera Ballet School, cut rate. Rehearsals with Martha, Merce, and lately Pearl Lang I did for love, as did their other dancers; and so, the subject of food being foremost on my mind, I began to leaf through Variety and Show Business, to find out who was holding auditions for what. Although show dancing was not what I had come to New York for, any kind of performing experience was bound to be worthwhile, I started making the rounds regardless of what the auditions were for, as long as the job would pay.21 21 Taylor, 50. GRUPO / TAYLOR Photo: Paul taylor by Maxine hicks 33 PEOPLE WHY I MAKE DANCES B Y PA U L TAY L O R nO OnE HAS EVER ASKED me why I make dances. But when flummoxed by the financial difficulties of keeping a dance company afloat, I sometimes ask it of myself. Dance makers are most often quizzed this way: which comes first, the dance or the music? This conundrum was answered most tellingly by the celebrated choreographer George Balanchine, who said: "The money." Nobel Prize-winner Orhan Pamuk has often been asked why he writes. The savvy answer in his My Father's Suitcase was so meaningful and struck such a chord of recognition in me � his devotion, his steadfastness, his anger � that it caused me to ponder my own reasons. Motivated by Balanchine's sensible quip and Pamuk's candid perceptiveness, this is how I might reply: To put it simply, I make dances because I can't help it. Working on dances has become a way of life, an addiction that at times resembles a fatal disease. Even so, I've no intention of kicking the habit. I make dances because I believe in the power of contemporary dance, its immediacy, its potency, its universality. I make dances because that's what I've spent many years teaching myself to do and it's become what I'm best at. When the dances are good nothing else brings me as much satisfaction. When they aren't I've had the luxury, in the past at least, of being allowed to create others. From childhood on, I've been a reticent guy who spends a lot of time alone. I make dances in an effort to communicate to people. A visual medium can be more effective than words. I make dances because I don't always trust my own words or, for that matter, those of quite a few others I've known. I make dances because working with my dancers and other cohorts allows me to spend time with trustworthy people I'm very fond of and who seldom give me trouble. Also because I'm not suited to do the jobs that regular folks do. There is no other way I could make a living, especially not at work that involves dealing face-to-face with the public. I make dances because crowds are kept at a safe distance. That's what proscenium stages are good for. Dance making appeals to me because, although group projects and democratic systems are okay if they work, when on the job I find that a benevolent dictatorship is best. I don't make dances for the masses, I make them for myself. That is, even though they are meant to be seen in public (otherwise, what's the point?), I make dances I think I'd like to see. I'm not above filching steps from other dance makers, but only from the best � ones such as Martha Graham and Antony Tudor � and only when I think I can make an improvement. Although there are only two or three dances in me � ones based on simple images imprinted at childhood � I've gone to great lengths to have each repeat of them seem different. Because of the various disguises my dances wear, viewers sometimes mistake them for those made by other choreographers. My reaction to this depends on how talented I think that person is. Imitating a chameleon has always come easy. Maybe it's genetic, or a protective artifice. The only identity that bugs me is that of the lauded personage. This is because the responsibilities demanded by fame are nuisances that I could easily do without. Ideally, my work would be anonymous. Stylized lies (novelistic truths) for the stage are what the medium demands. I love tinkering with natural gesture and pedestrian movement to make them read from a distance and be recognizable as a revealing language that we all have in common. Of particular interest is the amorous coupling of men and women, as well as the other variations on this 34 UMS 10-11 subject. In short, the remarkable range of our human condition. Whenever a dance of mine is controversial it brings me much satisfaction. One of my aims is to present questions rather than answers. My passion for dance does not prevent me from being terrified to start each new piece, but I value these fears for the extra energy they bring. Getting to know the music I use is a great pleasure even though toilsome. After making sure that the rights to use it are affordable, each piece needs to be scanned, counted out and memorized. Since I've not learned to read scores, this can take an awful long time. I make dances because it briefly frees me from coping with the real world, because it's possible to build a whole new universe with steps, because I want people to know about themselves, and even because it's a thrilling relief to see how fast each of my risk-taking dancers can recover after a pratfall. I make dances, not to arrange decorative pictures for current dancers to perform, but to build a firm structure that can withstand future changes of cast. Quite possibly I make dances to be useful or to get rid of a chronic itch or to feel less alone. I make them for a bunch of reasons � multiple motives rooted in the driving passion that infected me when I first discovered dance. The novelist Albert Camus said it best: A man's work is nothing but this slow trek to rediscover through the detours of art those two or three great and simple images in whose presence his heart first opened. from http://www.ptdc.org/about-artists/paul-taylorbio/why-i-make-dance Photo: Esplanade by Lois Greenfield GRUPO / TAYLOR 35 PEOPLE DANCERS (in alphabetical order) mICHAEl APUzzO North Haven, Connecticut Appuzo studied economics and theater at Yale University, graduating magna cum laude in 2005. He began his dance training while in college, performing and choreographing in undergraduate organizations. After being dance captain for an original production of Miss Julie choreographed by Peter Pucci, Mr. Apuzzo debuted professionally at the Yale Repertory Theater. He has performed in numerous musicals and at equity theaters across the county, and recently finished performing in the National Tour of Twyla Tharp's Broadway show, Movin' Out. He holds a second-degree black belt in Tae Kwon Do. He made his debut with the Paul Taylor Dance Company at New York City Center in Spring 2009. ElIzABETH BRAGG Denver, Colorado Bragg began dancing at the age of three. She trained with Colorado Ballet and Cleo Parker Robinson Dance. She graduated summa cum laude from Southern Methodist University in Dallas, receiving her B.F.A. in dance and an award for outstanding achievement in dance. She then moved to New York and has studied at the Taylor School since 2005, attending several Taylor Intensives as well. Ms. Bragg has performed with RedWall Dance Theatre and Bardos Ballet. She will make her debut with the Paul Taylor Dance Company in Fall 2010. ERAn BUGGE Oviedo, Florida Bugge began her dance training at the Orlando Ballet School. She went on to study at the Hartt School of the University of Hartford under the direction of Peggy Lyman, graduating summa cum laude with a B.F.A. in ballet pedagogy in 2005. She attended The Taylor School and the 2004 and 2005 Taylor Summer Intensives. Ms. Bugge has performed in works by Amy Marshall, Katie StevinsonNollet and Jean Grand-Ma�tre. She was also a member of Full Force Dance Theatre and the Adam Miller Dance Project. She joined the Paul Taylor Dance Company in Fall 2005. mICHEllE FlEET Bronx, New York Fleet began her dance training at age four. She attended Ballet Hispanico of New York during her training at Talent Unlimited High School. There she was a member of The Ballet Hispanico Jr. Company. Ms. Fleet earned her B.F.A. in dance from Purchase College in 1999 and received her M.B.A. in business management in 2006. She has performed in works by Bill T. Jones, Merce Cunningham, Kevin Wynn, and Carlo Menotti. Ms. Fleet joined Taylor 2 in the summer of1999. She made her debut with the Paul Taylor Dance Company in September 2002. FRAnCISCO GRACIAnO San Antonio, Texas Graciano began dancing and acting at an early age. He received a B.F.A. in dance from Stephens College for Women (male scholarship), and scholarships from the Alvin Ailey School and The Taylor School. He has been a member of TAKE Dance Company, Connecticut Ballet, Ben Munisteri Dance Company, Cortez & Co. Contemporary/Ballet, Pascal Rioult Dance Theater, and Dusan Tynek Dance Theater, among others. He also appeared in the operas Aida and White Raven directed by Robert Wilson. Mr. Graciano joined Taylor 2 in February 2004 and made his debut with the Paul Taylor Dance Company in Granada, Spain in Summer 2006. lAURA HAlzACK Suffield, Connecticut Halzack began her dance training at the age of four with Brenda Barna. She furthered her training at The School of the Hartford Ballet and studied at the Conservatory of Dance at Purchase College. Ms. Halzack graduated summa cum laude with a degree in history from the University of New Hampshire in 2003. She then studied at the Hartt School and at The Taylor School's 2004 Summer Intensive. She has performed with the Amy Marshall Dance Company and Syren Modern Dance and has enjoyed teaching in her home state. Ms. Halzack studied at The Taylor School for two years before joining the Paul Taylor Dance Company in Summer 2006. 36 UMS 10-11 Photo: Esplanade by Lois Greenfield GRUPO / TAYLOR 37 PARISA KHOBDEH Plano, Texas Khobdeh trained under Kathy Chamberlain and Gilles Tanguay. She earned her B.F.A. from Southern Methodist University and, while a student there and at the American Dance Festival as a Tom Adams Scholar, she worked with choreographers Robert Battle, Judith Jamison, and Donald McKayle, among others. She also attended Taylor and Graham Intensives in New York City. Ms. Khobdeh has choreographed dances to benefit human rights organizations, as well as for independent films. In July 2006 she made her New York theatrical debut at the Stella Adler Studios in the lead role of Lanford Wilson's Burn This. She premiered with the Paul Taylor Dance Company at the American Dance Festival in Summer 2003. ROBERT KlEInEnDORST Roseville, Minnesota Kleinendorst graduated from Luther College in 1995 with a B.A. in voice and dance. After moving to New York, he danced with the Gail Gilbert Dance Ensemble, and Cortez & Co. Mr. Kleinendorst also performed with Anna Sokolow's Players Projects at The Kennedy Center in Washington, D.C. Having studied at The Taylor School since 1996, he joined Taylor 2 in August 1998. Mr. Kleinendorst joined the Paul Taylor Dance Company in Fall 2000. AnnmARIA mAzzInI Mazzini began dancing in Allentown, Pennsylvania under the direction of Frances Evers, and later earned her B.F.A. at the Meadows School of the Arts at Southern Methodist University. While working as an art model for painters and sculptors, she studied at The Taylor School and in 1995 joined Taylor 2. She has been a guest artist with CorbinDances, the Amy Marshall Dance Company, Kim Gibilisco Dances, Karla Wolfangle, and Juliette Soucie. Ms. Mazzini teaches modern dance on the road and at The Taylor School, choreographs and performs her own work, and is an accomplished jewelry designer and creator of AMulets, seen at www.annmaria.com. She made her debut with the Paul Taylor Dance Company at the 1999 American Dance Festival in Durham, North Carolina. 38 UMS 10-11 Photo: Also Playing by tom Cararaglia SEAn PATRICK mAHOnEy Bensalem, Pennsylvania At age 12, Mahoney began training with Fred Knecht and by attending Princeton Ballet School on scholarship. He became an apprentice at American Repertory Ballet (ARB) and then became a featured dancer with the company. After graduating high school in 1993, he was chosen as one of the first members of Taylor 2. Mr. Mahoney later danced for David Parsons, Alex Tressor, and Geoffrey DoigMarx and was in Radio City's Christmas Spectacular. He returned to ARB under the direction of Graham Lustig and married his dance partner, Peggy Petteway. Mr. Mahoney rejoined Taylor 2 in Summer 2002. His debut with the Paul Taylor Dance Company was in January 2004. mICHAEl nOVAK Rolling Meadows, Illinois Novak started his dance training at age ten at the Bonnie Lindholm School of the Dance. He continued his training on scholarship at The University of the Arts, the Pennsylvania Academy of Ballet, and Springboard Danse Montreal, and in 2009, graduated magna cum laude and Phi Beta Kappa from Columbia University with a B.A. in dance. He has performed featured roles in repertory by Bill T. Jones, James Kudelka, Vaslav Nijinsky, and Stephen Petronio, and has worked for numerous choreographers, including Gina Gibney, Daniel Gwirtzman, and Bonnie Scheibman. Mr. Novak started studying at the Taylor School in 2008 and participated in the Taylor Summer Intensive before joining the Company in Summer 2010. AIlEEn ROEHl Hiedelberg, Germany Roehl began her dance training at the Heidelberg School of the Arts with Isabel Christie and Carolyn Carattini. Under Mrs. Christie's direction she danced many roles including Puck, The Firebird, Aurora in The Sleeping Beauty, and Nikia in La Bayadere. She received her B.F.A. from the University of Hartford's Hartt School where she performed works by Martha Graham, Peggy Lyman, Katie StevensonNollet, Jean Grand-Maitre, Kirk Peterson, Alla Nikitina, Ralph Perkins, and Adam Miller. Aileen was a member of the Amy Marshall Dance Company from September 2005 through May 2010, and was the Company's resident costume designer. She joined the Paul Taylor Dance Company in June 2010. Photo: Also Playing by tom Cararaglia GRUPO / TAYLOR 39 JAmES SAmSOn Jefferson City, Missouri Samson began his dance training at age eight. He received a B.F.A. in dance with a minor in business from Southwest Missouri State University, then went on to study as a scholarship student with the David Parsons New Arts Festival, Pilobolous Intensive Workshop, and the Alvin Ailey Summer Intensive where he was selected to perform in Paul Taylor's Airs set by Linda Kent. Mr. Samson has danced for Charleston Ballet Theatre, Omaha Theatre Company Ballet, Omega Dance Company, New England Ballet, Connecticut Ballet, and the Amy Marshall Dance Company. He joined the Paul Taylor Dance Company in February 2001. JEFFREy SmITH Rhode Island Smith began his performing career singing and tap dancing. Upon entering the Boston Conservatory as a musical theater major, he had the opportunity to perform works by Paul Taylor, Jos� Lim�n, Sean Curran, and Anna Sokolow, and later he switched majors to graduate with a B.F.A. in dance performance. After graduating in 2001, he became a member of the Martha Graham Ensemble performing featured roles in Diversion of Angels, El Penitente, and the duet from A Dancer's World, and Bertram Ross's Nocturne. During this time he participated in The Taylor School Winter and Summer Intensives and became a member of Taylor 2 in March 2005. Mr. Smith made his debut with the Paul Taylor Dance Company in Cleveland in May 2005. mICHAEl TRUSnOVEC Yaphank, New York Trusnovec began dancing at age six, and attended the Long Island High School for the Arts. In 1992 he was honored by the National Foundation for Advancement in the Arts (youngARTS) and was named a Presidential Scholar in the Arts. In 1996 he received a B.F.A. in dance performance from Southern Methodist University in Dallas. Professionally, he danced with Taylor 2 from 1996 to 1998, and has appeared with Cortez & Co. Contemporary/Ballet, and CorbinDances. Fall 1998 marked his debut with the Paul Taylor Dance Company. Mr. Trusnovec received a 2006 New York Dance and Performance Award (The Bessie) for his body of work during the 2005-06 Taylor season. 40 UMS 10-11 Photo: Also Playing by tom Cararaglia Amy yOUnG Washington State Young spent her senior year of high school studying at the Interlochen Arts Academy in Michigan prior to entering The Juilliard School in New York, where she earned a B.F.A. in 1996. She joined Taylor 2 in August of that year. Ms. Young enjoys teaching and has been on the faculty of Alaska Dance Theatre in Anchorage, Perry-Mansfield Performing Arts Camp, Metropolitan Ballet of Tacoma, and The Taylor School. She also dances with TAKE Dance Company. Ms. Young made her debut with the Paul Taylor Dance Company at the Paris Opera House in January 2000. JAmIE RAE WAlKER Walker began her ballet and modern dance training at age eight in Levittown, Pennsylvania and later she performed with the Princeton Ballet, now American Repertory Ballet. In 1991 she began training at the Central Pennsylvania Youth Ballet where she performed principal and soloist roles in many Balanchine ballets. In 1992 she was awarded a scholarship by Violette Verdy at the Northeast Regional Dance Festival in Illinois. Ms. Walker joined Miami City Ballet in 1994 and performed principal and soloist roles in Balanchine and Taylor dances until 2000. In 2001 she received a scholarship to attend The Taylor School and was part of the original cast of Twyla Tharp's Broadway show, Movin' Out. Ms. Walker joined Taylor 2 in Fall 2003, and became a member of the Paul Taylor Dance Company in Summer 2008. Photo: Also Playing by tom Cararaglia GRUPO / TAYLOR 41 PEOPLE A R T I S T I C S TA F F Here are some of the behind-the-scenes members of the Paul Taylor Dance Company. Bettie De Jong Rehearsal Director Bettie de Jong joined the Paul Taylor Dance Company in 1962 and danced until 1985--the longest tenure of any of the 124 people who have been members of the Company. De Jong was born in Sumatra, Indonesia, and in 1946 moved to Holland, where she continued her early training in dance and mime. Her first professional engagement was with the Netherlands Pantomime Company. After coming to New York City to study at the Martha Graham School, she performed with the Graham Company, the Pearl Lang Company, John Butler, and Lucas Hoving, and was seen on CBS-TV with Rudolf Nureyev in a duet choreographed by Paul Taylor. Ms. de Jong joined the Taylor Company in 1962. Noted for her strong stage presence and long line, she was Mr. Taylor's favorite dancing partner and, as Rehearsal Director, has been his right arm for the past 35 years. In November 2007 she received the Dance Magazine Award. John Tomlinson Managing Director Edson Womble Director of Finance and Administration Alan Olshan Director of Marketing Kim Chan Director of Development Lisa Labrado Director of Public Relations Holden Kellerhals Director of Operations Andy LeBeau Company and Rehearsal Manager Tom Patrick Administrator and Archival Supervisor Ann Wagar Touring Supervisor Toni Hsu Associate Director of Development Steve Carlino Production and Assistant Company Manager Brian Jones Lighting Supervisor Stagehands: The crew who sets the scenery on stage or "flies it in" using a pulley system. The crew also helps dress, launder and iron costumes, and run the light board (a computer with all of the different lighting "looks" or cues in it). lighting Designer: The person who decides which lights will help create the desired mood of the dance. Mood is created through the use of light, shadow, and color. JOBS In A DAnCE COmPAny Sound Engineer: This person is responsible for music and/or its amplification during the performance. 42 UMS 10-11 REPERTOIRE LE SACRE DU PRINTEMPS (THE REHEARSAL) Choreographer: Paul Taylor music: Igor Stravinsky, The Rite of Spring, arrangement for piano Premiere: January 15, 1980 Casting: Dance students from the University of Michigan School of Music, Theatre & Dance have had an opportunity to learn this piece, they have worked on it in rehearsal with experts in Taylor repertoire and technique, they have visited the company's New York studio, and use all of these exclusive experiences to perform Le Sacre du Printemps (The Rehearsal), an honor and privilege that has not been granted to any other student dancers outside of the company. One of Taylor's biggest hits, Le Sacre du Printemps (The Rehearsal) is one of the best-known American reinterpretations of Stravinksy's The Rite of Spring. The Stravinsky score was originally composed for the 1913 ballet of the same name and it tells the story of a pagan sacrifice, the plot of which calls for an adolescent girl--the chosen sacrifice--to dance herself to death.22 In Le Sacre du Printemps (The Rehearsal), Stravinksky's score accompanies the telling of two parallel stories, neither of which relates to pagan sacrifice. The piece begins, as the title would dictate, with a ballet rehearsal. Mayhem however, ensues, beginning with the kidnapping of a baby, who is thrown around like a football. As Jennie Schulman, of Back Stage magazine explains, "The rest of the cast are seen in madcap chases with crooks, henchmen, and police sufficient to fill out a dozen silent films. Ultimately, everyone gets stabbed to death in staccato moves typical of the jerky cuts in old films. Villains, heroes, and heroines all expire at the conclusion. It's a grand spoof.23" Using a "comic-strip pictorial style," most of the choreography keeps the dancers in tension-filled profiles.24 According to Alan M. Kriegsman of The Washington Post, "It takes a genius to upstage another genius, and that's just about what Paul Taylor accomplished in his deliciously berserk dance version of Igor Stravinsky's hallowed, epoch-making score... Taylor uses this musical masterpiece as if it were simply a fiendishly interesting piece of music... in devising a dance charade of ever so brittle, arch and waspish humor." 22 Grout, Donald Jay. A History of Western Music. New York, W.W Norton & Company, 2001, 704. 23 Schulman, Jennie. "Paul Taylor Dance Company in three gems. (Dance Diary)" Back Stage Magazine, v46 i12, p. 11, March 24, 2005. 24 Kisselgoff, Anna. "Bach as a fount for Taylor's choreographic games." New York Times, March 4, 2000 GRUPO / TAYLOR 43 REPERTOIRE A L S O P L AY I N G V Choreographer: Paul Taylor music: Gaetano Donizetti Premiere: April 8, 2009 Casting: Members of the Paul Taylor Dance Company "Ballet music by Donizetti propels a Vaudeville revue with acts ranging from an Apache dance and a tap-dancing horse (a true hoofer) to a striptease and flag-waving march. Among the performers are a toreador whose sissy bulls are frightened of her, a dying swan in her lengthy final throes, and a star-struck stagehand who takes a turn with his broom. The dance is `dedicated to all Vaudevillians, especially those who went on no matter what.' `A madcap tribute to vaudeville [that] celebrates the sublime and the ridiculous aspects of the traveling theater families who brought entertainment to small-town America between the Civil War and the advent of radio.... It reminds us that vaudeville was a rare breath of the world of art and music for young people in dusty farming towns. The vaudeville performers of old, if perhaps technically flawed, were plucky and gave their all.' � Kristen Fountain, Valley News, April 9, 200925" 25 http://www.ptdc.org/repertoire/also-playing 44 UMS 10-11 Photo: Also Playing by tom Cararaglia ABOUT W H AT M A K E S P T D C U N I Q U E ? BOTH ARTISTICAlly and historically there is a great deal about the work of Paul Taylor that makes him historically distinctive. The key to much of Taylor's choreography can be found in its vigor and simplicity as well as its innate musicality. His works relish movement rather than fussing with steps. On rural Long Island, where Taylor lives almost reclusively, he takes inspiration from anything and everything.26 On stage, Paul Taylor continually pushes the boundaries of his art form. To begin with, as dance critic Debra Jowitt notes in the documentary Paul Taylor: Dance Maker, Paul Taylor's choreography challenged prevailing artistic conventions in modern dance. For example, initially modern dance choreography was organized around a central figure, as it was with the choreography used by 26 http://catnyp.nypl.org/search~blolclilplrlal Martha Graham's dance company. "With Taylor," Jowitt says, "it's the idea of the dance." When watching a Paul Taylor piece Jowitt explains she is struck by the question, "Where did he get the idea to do a dance on that subject?" Taylor's attention and use of ordinary movements from everyday life gives his choreography a distinct signature. Off the stage, the Paul Taylor Dance Company helped change the nature of the modern dance profession. As one of the first touring modern dance companies, the Paul Taylor Dance Company toured more than 500 cities in 62 countries in its first 50 years. The performers in Taylor's company were also among the first to be paid regularly for their work. Even now, especially early in a dancer's career, it is not necessarily assumed that every performance opportunity will be paid. Photo: Also Playing by tom Cararaglia GRUPO / TAYLOR 45 UMS YoUth PERFoRMANCE GRUPO CORPO PAULO PEDERNEIRAS artistic director Friday, January 21, 11 AM � 12 NOON � POWER CENTER 46 UMS 10-11 Photo: Grupo Corpo Ima by Jose Luiz Pederneiras ABOUT T H E C O M PA N Y Photo: Grupo Corpo Ima by Jose Luiz Pederneiras GRUPO CORPO is a contemporary dance company that operates out of the city of Belo Horizonte--the "Secret Cultural Capital" of Brazil. As capital of Minas Gerias, which is the second most populous state in Brazil, Bella Horizonte is the third largest city and industrial center in Brazil. A repository of contemporary architecture, this rapidly growing city is also home to Brazil's flourishing avant garde art scene. Founded by members of the Pederneiras family in 1975, Grupo Corpo, or "Body Group," in many ways works as one large family. Aside from the members of the Pederneiras family that actually work for the company, Grupo Corpo's twenty members are famous for the harmony and unity of their performance style. "We are like a single body," says choreographer Rodrigo Pederneiras, "there is no hierarchy of dancers or prima ballerina." Pederneiras continues, explaining that his is a company in which "everyone is equal; while it is important that each member maintain their own personality, in this company it is important that it be done in light of what's best for the group." As a result, Grupo Corpo performances tend to emphasize the interplay of the larger performance elements like sets, costumes, choreography, and music, rather than emphasize the performance of any individual dancer. In developing work, Grupo Corpo draws on a wide variety of elements and influences, producing shows of diverse characters-- cerebral, cosmopolitan, primitive, existential, and tough--while always keeping in sight the company's distinctive traits of physicality and unity. GRUPO / TAYLOR 47 ABOUT C O M PA N Y H I S T O R Y: T I M E L I N E 1975 The company debuted its first work, Maria Maria. Featuring original music by Milton Nascimento, a script by Fernando Brant, and choreography by the Argentine Oscar Aralz, the ballet would go on to spend six years on stage and tour fourteen countries. The piece was an immediate critical, popular, and commercial success. 1989 The group debuted Missa do Orfanato, a complex theatrical reading of Mozart's Missa Solemnis K. 139. 1993 Nazareth is produced, expressing Rodrigo Pederneiras's fascination with traversing the worlds of both popular and traditional music. Though built on a solid, classical foundation, the production brought together in good-humored fashion the light-hearted and sensual elements inherent Brazillian popular dances. 1992 The group underwent a radical transformation with the production of 21, a ballet which confirmed the uniqueness of Rodigro Pederneiras's choreography and the unmistakable persona of the dance troupe. Utilizing the singular sounds of Brazilian instrumental group Uakti, as well as ten themes composed by Marco Antonio Guimaraes, 21 leaves behind the group's preoccupation with technical form and sees it taking apart melodies and rhythms in order to explore their underlying ideas. The decision to once again use specifically composed scores � a mark of the group's first three shows in the 1970's � allowed it to further explore the language of popular Brazilian dance. As the critic Rul Fontana Lopes put it, the group had finally found "the most precise translation of the word ballet into the mother tongue." 1976 � 1982 While the success of Maria Maria was still reverberating throughout Brazil and in various European and Latin American countries, Grupo Corpo staged no less than six productions between 1976 and 1982. 1996 � 1999 Grupo Corpo is the resident dance company of the Maison de la Danse in Lyon, France. Several of the group's creations (Bach, Parabelo and Benguele) were first staged in Europe over this period. Today, having created 34 choreographed works, this Brazilian dance company maintains ten ballets in its repertoire at any one time and gives 80 performances a year in places as distinctive as Iceland, South Korea, the United States, Lebanon, Canada, Italy, Singapore, the Netherlands, Israel, France, Japan, and Mexico. 1985 The company launched Preludios, its second great success and a theatrical piece incorporating 24 Chopin preludes interpreted by pianist Nelson Freire. The show debuted to public and critical acclaim at the First International Dance Festival of Rio de Janeiro and would cement the group's reputation in the world of contemporary Brazilian dance. Grupo Corpo then entered a new phase, establishing its own unique theatrical language and choreography, with repertoire featuring the works of Richard Strauss, Heitor Villa-Lobos, Edward Elgar, among others, the company began combining classical technique with contemporary Brazilian dance. 2004 Lecuona is produced, a work that draws on thirteen love songs by the Cuban composer Ernesto Lecuona (1895-1963) and in which Rodrigo Pederneiras demonstrated his gift for the creation of pasde-deux (a dance for two). 48 UMS 10-11 GRUPO / TAYLOR Photo: Grupo Corpo Ima by Jose Luiz Pederneiras 49 50 UMS 10-11 Photo: Grupo Corpo Ima by Jose Luiz Pederneiras PEOPLE T H E P E D E R N E I R A S FA M I LY PAUlO PEDERnEIRAS "O Corpo [Grupo Corpo] is under nobody's name: we were able to get an identity as a group." It's a fact: dance, music, lighting, costumes, stage setting-- everything is integrated as one in Grupo Corpo's creations. But someone must direct the group, and as general and artistic director of the company, this has been Paulo Pederneiras's job since he founded the company in 1975. According to Paulo, "A Brazilian company has great physical diversity. Each dancer's movement is different, and yet the idea of being a group is not lost. That's where the dance draws its strength from." The words describe what happens with the bodies, but equally serve to describe Grupo Corpo. Under the direction of Paulo, the company made a virtue out of its diversities and it continues making this virtue the principle of creation. Paulo is also responsible for the lighting of the dances, and since Bach (1996), he has also been involved in the creation of stage setting. For Paulo, the light is a strong presence, which both illuminates and serves as a space for dancing: "I think of the space the same way I think of the lighting. Sometimes the light is the space." As a signature characteristic of the company's work, examples of this connection between light and space appear throughout the repertoire: � � � In O Corpo (2000), the distinction between stage setting and lighting virtually disappears and the dancers simply dance in red. In 21 (1992), a spot light serves as a mobile tunnel for a block of bodies. In Sete ou Oito (1994), each dancer at the end of the piece individualizes themselves in a vertical column of color. Besides his work with Grupo Corpo, Paulo has done lighting projects for several operas, including Don Giovanni, Lucia de Lammermoor, Salome, and Orfeo. He has also done the set designing for exhibits such as the section for "Indigenous and Anthropologic Art" at the Brazil 500 Years Exhibit, at the Oca (Hut), and at Ibirapuera Park in Sao Paulo. RODRIGO PEDERnEIRAS "It was only in 1988, when working in Uakti, that I started thinking about what it would be like to make a dance which would be more inside our body." Rodrigo's words define a crucial moment not only for his career, but also for Grupo Corpo as well. From this moment, his work with Grupo Corpo can be seen as a variety of explorations of the idea, "dance inside our body." Rodrigo has been Grupo Corpo's choreographer since 1978 and his work is If Gupo Corpo has a language all its own today, it is Rodrigo's language: it has his unmistakable accent and is understood by each of the company's dancers as a physical and unified exploration of the body. known and recognized nationally and internationally. In Brazil he has choreographed for the Ballet do Theatro Municipal do Rio de Janeiro, the Ballet do Teatro Guaira, and the Ballet da Cidade de Sao Paulo. Outside of Brazil he has choreographed for Deutsche Oper Berlin Company (Germany), Les Ballets Jazz Montreal (Canada), Stradttheater Saint Gallen (Switzerland), and Opera du Rhin (France). Creating for Grupo Corpo, however, remains his main interest. Rodrigo learned how to dance on the streets, and his fundamentally modern movement vocabulary is informed by the samba, ballroom dances, Brazilian celebrations, capoeira as well as the joy, humor, violence, and ambiguity of the world around him. While Rodrigo modifies and manipulates classical movements in an intensely Brazilian way, his work is entirely free from the exotic, boastful, and easy identities. Music is also at the core of his work and guides all of his creative process. GRUPO / TAYLOR 51 PEOPLE D A N C E R S + A R T I S T I C S TA F F DAnCERS Alberto Venceslau Ana Paula Can�ado Ana Paula Oliveira Andressa Corso Carolina Amares Cassilene Abranches Danielle Pavam Danielle Ramalho Edson Hayzer Elias Bouza Everson Botelho Filipe Bruschi Fl�via Couret Gabriela Junqueira Grey Ara�jo Helbert Pimenta Janaina Castro Mariana do Ros�rio Silvia Gaspar U�tila Coutinho Victor Vargas Technicians Eust�quio Bento Lucas Ara�jo Stefan B�ttcher Alexandre Vasconcelos Wardrobe Assistant Marcello Cl�udio Teixeira Administrator K�nia Marques Secretary C�ndida Braz Documentation ARTISTIC STAFF Carmen Purri Rehearsals Director Pedro Pederneiras Technical Director Choreography Assistants Ana Paula Can�ado Carmen Purri Miriam Pederneiras Cristina Castilho Communication Cl�udia Ribeiro Manager Patricia Galv� Production Wardrobe Assistant: The person who maintains the costumes and shoes, making sure they are always in good condition and that the dancers can move comfortably while wearing them. He also oversees the construction of new costumes for the dancers. Production manager: This person has a variety of responsibilities including overseeing set and costume construction and lighting and sound set-up and operation before each performance. The production manager coordinates and supervises all aspects of touring, including transporting the equipment and planning with each theater manager the lighting and special needs required for each dance. Anna Maria Ferreira Pianist Gabriel Pederneiras Technical Coordinator Virgilio Dangelo Stage Manager Bettina Bellomo Maitre de Ballet JOBS In A DAnCE COmPAny Ballet mistress: A woman who directs, trains, and sometimes acts as a choreographer for a ballet or dance company. Stage manager: The person who conducts the flow of each performance: she supervises the lighting and sound and calls the dancers to their places before the curtain rises. 52 UMS 10-11 REPERTOIRE PA R A B E L O Photo: Grupo Corpo Parablo Choreographer: Rodrigo Pederneiras music: Tom Z� and Jos� Miguel Wisnik length: 60 minutes Premiere: 1997 Casting: Alberto Venceslau, Ana Paula Oliveira, Andressa Corso, Carolina Amares, Cassilene Abranches, Danielle Pavam, Danielle Ramalho, Edson Hayzer, Elias Bouza, Everson Botelho, Filipe Bruschi, Flavia Couret, Gabriela Junqueira, Grey Ara�jo, Helbert Pimenta, Janaina Castro, Mariana do Ros�rio, Silvia Gaspar, U�tila Coutinho, Victor Vargas Countryside inspiration and a contemporary soundtrack written by Tom Z� and Jos� Miguel Wisnik, prompted choreographer Rodrigo Pederneiras to bring Parabelo to life in 1997; he refers to it as his "most Brazilian and regional" creation. The choreography is full of hip swaying and feet stamping and is a ravishing statement of maturity and expressive teachings. The work's visual aesthetic evokes images of votive candle offerings present in countryside churches and the intensity of costume's colors are veiled by black tulle at the beginning, but are set free at the end to show off joyous and hot colors. As is characteristic of Grupo Corpo, Parbelo plays with lighting, shadows, and colors in a way that blends dancer, set, and stage into one. 27 The underlying narrative is based on the hard working lives and traditional culture of poor rural communities in Brazil. The ensemble of twenty dancers begins crouch huddled on the floor, bent over backwards, shoulders rounded in a kind of Yogic position, as they shuffle crab-like in tight unison. Scene by scene the pace quickens and the fluidity and energy of their bodies gets released through gravity defying moves, precisely synchronized footwork, circles of gyrating hips, romantic duets, and breathtaking physical movements full of spirit.28 27 http://www.grupocorpo.com.br/site/index.php?mudaLingua=2# 28 http://www.edinburghguide.com/festival/2010/edinburghinternationalfestival/grupocorporeview-6323 GRUPO / TAYLOR 53 RESOURCES 54 UMS 10-11 Photo: Dancer with a Bouquet ENGAGE N AT I O N A L S TA N D A R D S The following are national standards addressed through these Youth Performances and through the ideas in these Curriculum Connections. SOCIAl SCIEnCES U.S. History K-4 NSS-USH.K-4.1 Living and Working Together in Families and Communities Now and Long Ago U.S History 5-12 NSS-USH.5-12.1 Three Worlds Meet Geography NSS-G.K-12.4 Human Systems NM-GEO.Pk-2.3 Apply Transformations and Use Symmetry to Analyze Mathematical Situations mathematics 3-5 NM-ALG.3-5.1 Understand Patterns, Relations and Functions NM-GEO.3-5.3 Appy Transformations and Use Symmetry to Analyze Mathematical Situations Disciplines Outside The Arts NA.M.5-8.9 Understanding Music in Relation to History and Culture Visual Arts K-4 NA-VA.K-4.6 Making Connections Between Visual Arts and Other Disciplines Visual Arts 5-8 NA-VA.5-8.6 Making Connections Between Visual Arts and Other Disciplines Dance K-4 NA-D.K-4.3 Understanding Dance as a Way to Create and Communicate Meaning NA-D.K-4.5 Demonstrating and Understanding Dance in Various Cultures and Historical Periods NA-D.K-4.7 Making Connections Between Dance and Other Disciplines Dance 5-8 NA-D.5-8.3 Understanding Dance as a Way to Create and Communicate Meaning NA-D.5-8.5 Demonstrating and Understanding Dance in Various Cultures and Historical Periods NA-D.%-8.7 Making Connections Between Dance and Other Disciplines PERFORmInG ARTS music K-4 NA-M.K-4.1 Singing, Alone and with Others, a Varied Repertoire of Music NA-M.K-4.3 Improvising Melodies, Variations, and Accompaniments NA-M.K-4.6 Listening To, Analyzing and Describing Music NA-M.K-4.8 Understanding Relationships Between Music, The Other Arts, and Disciplines Outside the Arts. NA-M.K-4.9 Understanding Music in Relation to History and Culture music 5-8 NA.M.5-8.1 Singing, Alone and with Others, a Varied Repertoire of Music NA.M.5-8.3 Improvising Melodies, Variations, and Accompaniments NA.M.5-8.4 Composing and Arranging Music Within Specified Guidelines NA.M.5-8.6 Listening To, Analyzing and Describing Music NA.M.5-8.8 Understanding Relationships Between Music, The Other Arts, and SCIEnCE Science K-4 NS.K-4.2 Physical Science NS.K-4.4 Earth and Space Science Science 5-8 NS.5-8.2 Physical Science NS.5-8.4 Earth and Space Science EnGlISH lAnGUAGE ARTS language Arts K-12 NL-ENG.K-12.1 Reading For Perspective NL-ENG.K-12.6 Applying Knowledge NL-ENG.K-12.12 Applying Language Skills mATHEmATICS mathematics Pre K-2 NM-ALG.PK-2.1 Understand Patterns, Relations and Functions APPlIED ARTS Technology K-12 NT.K-12.3 Technology Productivity Tools NT.K-12.4 Technology Communication Tools GRUPO / TAYLOR 55 ENGAGE CURRICULUM CONNECTIONS The Youth Performances by the Paul Taylor Dance Company and Grupo Corpo give students a chance to explore the concept of movement. To help connect these performances to classroom curriculum, pick one of these concepts and activities or create an entire interdisciplinary curriculum with these as a base. COnnECTIOnS By GRADE KInDERGARTEn, FIRST GRADE, SECOnD GRADE Students in kindergarten, first grade and second grade can look at body language along with their study of Myself and Others, Family, and Community. Talk about how you can tell by the way a person looks and moves if he or she is feeling happy, sad or angry. The songs "If You're Happy and You Know It" and "It's All Right To Cry" would be good additions here. Let students act out the way people stand and walk when they are feeling good and bad. Extend this by discussing what you would do and how you would act toward someone feeling sad or angry, happy, excited, embarrassed, etc. THIRD GRADE Third graders study Michigan. Michigan was settled by many ethnic groups, all bringing with them their language, traditions, and culture. What is a folk dance? What kind of dances did the early Michigan residents do? Were they folk dances? When did they dance? Did some residents not dance? Why? Some special dances were popular in Michigan as young people moved to the beat of the Motown sound. How did kids dance in the 50s, and 60s? Did they dance differently than students do today? Do dances and music reflect the times? How? Were different dances done in different eras? Students might do a creative timeline of dance through the ages to learn about history, connect the arts to different historical periods and understand the purpose of, and how to make a timeline. Have some fun. Play some music and dance. FOURTH GRADE, FIFTH GRADE Some dances tell a story. Dance Me a Story, Twelve Tales from the Classic Ballets by Jane Rosenberg would be fun to use with fourth and fifth graders. Combine telling the story with the ballet music. Ask students if they think the music describes the action. If there isn't music, and someone is telling a story, what does he/she use to describe the action? Review the definitions of metaphors, similes and other descriptive language. Give students a short summary of a story plot and have them embellish it, taking the plot anywhere they like, but using descriptive language to tell the expanded story. Older students can have fun choosing a simple story and pickig music to go with it. They can use the computer to do a podcast in which they read a story and use music to embellish it and express the concepts and ideas in the story musically. FIFTH GRADE Fifth graders study America's Past. native Americans Talk about the part dance played, and still plays, in the lives of Native Americans. What kinds of dances did they do? What was the purpose of some of the dances? Compare dance to prayer. For example, a rain dance was asking the gods for rain. Listen to some Native American music. You can find it on the internet. Describe it. What kinds of instruments were used? Discuss the part drumming played in Native American life. Listen to the drums in Native American music. At this point it would be interesting to talk about where the people got their instruments. They didn't go downtown and buy them. They used the materials around them to make instruments. Divide the class into groups. Make each 56 UMS 10-11 group a specific Native American tribe that lives in an environment specific to their tribe, like the groups that lived on the plains. Pass out pictures of the environment in which they lived. Tell them to look carefully at the picture and figure out what natural resources, that is things they could find around them, they would use to make an instrument. What would the instrument sound like? Look like? Make some instruments. Look at some of the lyrics to Native American songs and read some Native American poetry. Much of it is about life at the time and the kinds of things the people needed to survive. Divide students in groups. Tell each group to write down the problems faced by the Native Americans (getting food, shelter, staying safe, etc.). Tell students to write a group poem or song or prayer about a problem or need, and then make up a dance about it. Colonial Americans Colonial Americans had dances they performed. What were they like? What kind of music did they listen to and dance to in the early days of our country? When did they dance? Was dance an important part of colonial life? How? Why? What is a circle dance? Did they do them a long time ago? Do we do them now? What about a minuet, a square dance, etc? With music, teach students how to do some of these dance. ferent way, trying not to repeat a movement (skipping, hopping, etc.). Name each type of movement. Introduce the concept of verbs. Have students list as many verbs as they can. Make a class list. After viewing the Paul Taylor Dance Company performance have students write a descriptive paragraph using as many different verbs as they can to describe the dance and the dancers. movement: muscles How do we move? Students study the body. What a perfect time to talk about muscles, what they are and what they do. Depending on your curriculum, explain inertia and momentum. Some people can't move parts of their bodies or move their bodies well. Read Dancing With Katya by Dori Charonas. movement: nature What moves beside people? Ask students to describe the way different animals move. Tie this in with your study of mammals, bees, or birds. Act out the the way different animals move. Tell students to use words to compare the movements of different animals. What else in nature moves? Wind, hurricanes and tornedos move. Waves move. These are good to talk about in relation to a unit on Weather. Define the terms. What do they look like as they move? Go to the internet and look up a weather map. Show how weather can be tracked. What are weather patterns? Have students look at the weather map every day for a few weeks and keep a chart of the weather. They can also do weather graphs. Talk about movement in relation to planets. Describe the movement of the planets around the sun. Act it out. Draw it. It forms a pattern. Look at the constellations. They form a pattern and that pattern tells a story. Dance is movement, but it is also movement with a pattern. Define pattern. Show students examples of patterns. Divide students in groups and have them act out a movement pattern. Give students patterns to complete. These can be number patterns, letter patterns or patterns of shapes. They can be done on paper or using the computer. This can be done in conjunction with a unit on geometry. movement: Patterns The person who decides the pattern of a dance is called the choreographer. The pattern of the dance is called the choreography. Look at the movements in nature and see if you can see a pattern. Look at some pictures of different types of patterns. There are some great books of quilt patterns. Different patterns mean different things. (If it fits into your curriculum here, you could discuss the quilts that were used as maps during the time of the Underground Railroad. If not, bring this up during Black History Month) Discuss pattern as a piece of art. Have students create their own pattern. Let young students use their bodies to create the letters of the alphabet. movement: Animation If you have a computer lab, teach animation to the older students. How do we use the computer to show movement? The art teacher may want to step in here and discuss the figure in motion as it is painted, drawn or sculpted. COnnECTIOnS By SUBJECT AREA AnD IDEA mOVEmEnT movement: Verbs Dance is movement. How do we move? Ask students to move across the room one at a time, each student moving a dif- GRUPO / TAYLOR 57 ENGAGE LESSON PLANS Artsedge.org and PBS.org offer a wide range of arts-infused lesson plans and materials for educators to use. Below are a few that relate to this Youth Performance. ExPlORInG THE ROOTS OF mODERn DAnCE In AmERICA http://www.pbs.org/wnet/freetodance/lessonplans.html Dance is an expression of culture, yet at the same time it is constrained by culture. The purpose of this lesson is to explore the role of African culture in modern dance in America. The lesson will focus on three key areas. The first area will examine the Afro-Caribbean slave roots that were a part of modern dance and the ways that modern dance movements and themes reflected daily life activities. The second area will focus on how modern dance reflected issues of Black pride, self-expression, and identity. The third area will explore how modern dance themes of social justice and activism evolved in response to a racist American society. mODERn DAnCE AnD THE HARlEm REnAISSAnCE http://www.pbs.org/wnet/freetodance/lessonplans_2.html The Harlem Renaissance was a time when Black culture flourished. This lesson explores how modern dance developed during this era by focusing on the lives of important choreographers and dancers whose work was impacted by the constraints and possibilities of the time. STEPS OF A GIAnT: mARTHA GRAHAm (UnIT PlAn) This unit is dedicated to exploring the work of Martha Graham, one of the most innovative and celebrated dance artists of the 20th century. http://artsedge.kennedy-center.org/content/3782/ mERCE CUnnInGHAm: A lIFETImE OF DAnCE http://www.pbs.org/teachers/connect/resources/1257/preview/ As Merce Cunningham describes it, he doesn't choreograph dance pieces based upon an idea or story, but begins simply with an exploration of movements observed or experienced in life. In this lesson plan, students get a chance to observe movement by creating a "movement journal", and then they experiment with what they have observed to create a unique "movement vocabulary." SySTEmS OF THE BODy: CHOREOGRAPHy AnD mOVEmEnT http://artsedge.kennedy-center.org/content/2012/ In this lesson, students create movement patterns that express information about the basic systems, organs, and processes of the human body. They work in pairs and in groups to make movement choices that communicate scientific concepts in creative movement, and make inquiries, through research and movement experimentation, into the ways in which the body's systems work and how those systems interact. 58 UMS 10-11 DAnCInG THROUGH POETRy http://artsedge.kennedy-center.org/content/3534/ In this lesson, students look at poetry as a way to express the art of dance metaphorically. Students read two different poems about break dancing in which one will show dance visually in the way the words are placed on paper and the other using its content to represent dance. ElEmEnTS OF DAnCE http://artsedge.kennedy-center.org/content/2338/ How many ways can a person move? Students explore and discover the elements of dance by demonstrating various simple movements. This exercise helps the teacher assess the students' level of experience and ability with respect to dance. Students create simple dances in small groups and perform them for the class. Students manipulate task cards to comprehend the elements of dance and then they will be tested on their knowledge. TEllInG A STORy THROUGH DAnCE http://artsedge.kennedy-center.org/content/2347/ This lesson introduces students to the concept of emotionally and physically telling a story through dance and pantomime. Students learn that in ballet the dancer is trained to act out the story/character with movement instead of words. The Nutcracker serves as the foundation for the lesson and activities. GRUPO / TAYLOR 59 EXPLORE SUGGESTED READINGS Below is a list of books related to these performances that the Ann Arbor District Library helped create. ElEmEnTARy + mIDDlE SCHOOl: nOn-FICTIOn � Dance!: No Matter What Kind of Dance You like to do, this Book is for You by Apryl Lundsten � Jos�!: Born to Dance: The Story of Jos� Lim�n by Susanna Reich � Imagine That! It's Modern Dance, Sorine by Stephanie Riva � How Can You Dance? by Rick Walton � Legends of American Dance and Choreography by Carin T. Ford � Edgar Degas: Paintings that Dance by Maryann Cocca-Leffler � Martha Graham, a Dancer's Life by Russell Freedman ElEmEnTARy + mIDDlE SCHOOl: FICTIOn � Can you Dance, Dalila? by Virginia L Kroll � Dancing Shoes by Noel Streatfeild � Tanya and the Red Shoes by Patricia Lee Gauch � Ballet Magic by Nancy Robison � Rosie's Ballet Slippers by Susan Hampshire � Presenting Tanya, the Ugly Duckling by Patricia Lee Gauch � Belinda, the Ballerina by Amy Young ADUlT BOOKS (WITH TEEn APPEAl): nOn-FICTIOn � The Erick Hawkins Modern Dance Technique by Renata Celichowska � Ailey Spirit: the Journey of an American Dance Company by Robert Tracy � African-American Concert Dance: The Harlem Renaissance and Beyond by John O. Perpener � Appreciating Dance: A Guide to the World's Liveliest Art by Harriet R. Lihs � Deep Song: The Dance Story of Martha Graham by Ernestine Stodelle � Prime Movers: The Makers of Modern Dance in America by Joseph H. Mazo � Conditioning for Dance by Eric N. Franklin 60 UMS 10-11 EXPLORE OTHER RESOURCES Behind the Scenes Volume 3: Music and Dance. First Run Features, 2002. David Parsons episode covers some basic vocabulary (choreographer, movement, shape, movement patterns, movement sequence) and highlights the different ways to view dance (dancers are viewed from above, below, dancing to convey a story and dancing "to look pretty.") Adds cartoons, and various other images that echo movement providing a sense of broader context. Stage fight choreography is also included. "Behind the Scenes," a film by Juergen Wilcke. Documentary: Dance Theater from Brazil, Grupo Corpo Companhia de Dan�a. West Long Branch, NJ : Kultur, , c1996. A Dancer's Journal: Martha Graham http://artsedge.kennedy-center.org/content/3674 This interactive site introduces students to the life and work of Martha Graham, known as "the mother of modern dance." Students learn about specific Graham dances through the journals of Jordy Kandinsky, a (fictional) new member of the Martha Graham Dance Company. In Jordy's journals, students will find letters, newspaper articles, checklists, photographs, video clips, and music that illuminate various aspects of the dance Jordy is learning. Jordy's journals for four Graham dances--Lamentation, Appalachian Spring, Errand into the Maze and Diversion of Angels. Dance magazine http://www.dancemagazine.com Online version of Dance Magazine that includes a Young Dancer section, reviews, dance news, and features on dancers, choreographers, dance companies and more. GRUPO / TAYLOR 61 The Guardian's Step-By-Step Guides to Dance http://www.guardian.co.uk/stage/dance+series/stepbystepguidetodance These guides break down the works of current choreographers in a humorous and accessible format. They cover biographies, elements of style, and quotes. Many well-known choreographers are included, such as George Balanchine and Merce Cunningham. The New Deal Stage: Selections From the Federal Theater Project 1935 � 1939. http://lcweb2.loc.gov/ammem/fedtp/fthome.html This online presentation includes over 13,000 images of items selected from the Federal Theatre Project Collection at the Library of Congress. Featured here are stage and costume designs, still photographs, posters, and scripts for productions of Macbeth and The Tragical History of Dr. Faustus as staged by Orson Welles, and for Power, a topical drama of the period (over 3,000 images). Also included are 68 other playscripts (6,500 images) and 168 documents selected from the Federal Theatre Project Administrative Records (3,700 images). The Federal Theatre Project was one of five arts-related projects established during the first term of President Franklin Delano Roosevelt under the Works Progress Administration (WPA). Paul Taylor: Dancemaker. Docurama, 1998. 62 UMS 10-11 EXPLORE R E L AT E D O R G A N I Z AT I O N S lOCAl University musical Society 881 N University Avenue Ann Arbor, MI 48109-1011 (734) 615-0122 firstname.lastname@example.org www.ums.org Jacob's Pillow Swing City Dance Studio 1960 S Industrial E & F Ann Arbor, MI 48104 (734) 668-7782 www.swingcitydance.com The Joyce Theater University of michigan Department of Dance 3501 Dance Building Ann Arbor, MI 48109-2217 (734) 763-5460 www.music.umich.edu/departments/ dance michigan Dance Council P.O. Box 381103 Clinton Twp., MI 48038 www.michigandance.org Wayne State University Dance Department 4841 Cass Avenue Detroit, MI 48202 (313) 577-4273 www.dance.wayne.edu Dance/USA 1111 16th Street NW, Suite 300 Washington, DC 20036 (202) 833-1717 www.danceusa.org Danspace Project 131 East 10th Street New York, NY 10003 (212) 674-8112 www.danspaceproject.org Alvin Ailey American Dance Theater The Joan Weill Center for Dance 405 W. 55th Street (at 9th Avenue) New York, NY 10019 (212) 405-9000 www.alvinailey.org new york City Center 130 West 56th Street New York, NY 10019 (212) 247-0430 www.nycitycenter.org merce Cunningham Dance Company 55 Bethune Street New York, NY 10014 (212) 255-8240 www.merce.org 175 Eighth Avenue New York, NY 10011 (212) 242-0800 www.joyce.org Grupo Corpo Av. Bandeirantes, 866 � Mangabeiras 30315 000 Belo Horizonte Minas Gerais, Brazil (+55 31) 3221 7701 www.grupocorpo.com.br P.O. Box 287 Lee, MA 01238 (413) 243-0745 www.jacobspillow.org Sankai Juku c/o Pomegranate Arts 1140 Broadway, Suite 305 New York, NY 10001 (212) 228-2221 www.sankaijuku.com nOn-lOCAl American Dance Festival 715 Broad Street Durham, NC 27705 (919) 684-6402 www.americandancefestival.org UmS 10/11 DAnCE SEASOn Paul Taylor Dance Company 551 Grand Street New York, NY 10002 (212) 431-5562 www.ptdc.org GRUPO / TAYLOR 63 BIBLIOGRAPHY Anderson, Jack. Ballet & Modern Dance: A Concise History. New Jersey: Princeton Book Company, 1986. Cheney, Gay. Basic Concepts in Modern Dance: A Creative Approach. New Jersey: Princeton Book Company, 1989. Encyclopedia of Latin American History and Culture ed. Barbara A. Tenenbaum. New York: Scribner's Sons, 1996. Foster, Susan Leigh. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkley: University of California Press, 1986. www.grupocorpo.com.br Kassing, Gayle. History of Dance: An Interactive Arts Approach. Illinois, Human Kinetics, 2007. McDonagh, Don. The Complete Guide to Modern Dance. New York: Doubleday & Company, 1976. www.ptdc.org Taylor, Paul. Private Domain. New York: Knopf, 1987. 64 UMS 10-11 ABOUT UmS GRUPO / TAYLOR Photo: In Vaudeville Dancer with Chorus 65 UMS W H AT I S U M S ? THE UnIVERSITy mUSICAl SOCIETy (UmS) is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences. One of the oldest performing arts presenters in the country, the University Musical Society is now in its 132nd season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners. UmS EDUCATIOn AnD COmmUnITy EnGAGEmEnT DEPARTmEnT STAFF Kenneth C. Fischer, UMS President InTERnS Emily Barkakati Neal Kelley mAIlInG ADDRESS 100 Burton Memorial Tower 881 North University Ave Ann Arbor, MI 48109-1011 Claire C. Rice Interim Director Emily Michels Sarah Suhadolnik Mary Roeder Residency Coordinator Omari Rush Education Manager 66 UMS 10-11 UMS U M S Y O U T H E D U C AT I O N P R O G R A M 10 THINGS TO KNOW QUAlITy Every student deserves access to "the best" experiences of world arts and culture � UMS presents the finest international performing and cultural artists. ACCESSIBIlITy Eliminating participation barriers � UMS subsidizes Youth Performance tickets to $6/student (average subsidy: $25/ticket) � When possible, UMS reimburses bus- K-12 SCHOOl PARTnERSHIPS Working directly with schools to align our programs with classroom goals and objectives � 14-year official partnerships with the Ann Arbor Public Schools and the Washtenaw Intermediate School District. � Superintendent of Ann Arbor Public � Performances are often exclusive to Ann Arbor or touring to a small number of cities. � UMS Youth Performances aim to present to students the same performance that the public audiences see (no watered-down content). sing costs. � UMS Youth Education offers personalized customer service to teachers in order to respond to each school's unique needs. � UMS actively seeks out schools with economic and geographic challenges to ensure and facilitate participation. � UMS has significant relationships with Detroit Public Schools' dance and world language programs and is developing relationships with other regional districts. � UMS is building partnerships with or offering specialized services to the region's ARTS EDUCATIOn lEADER One of the premier arts education independent and home schools. Schools is an ex officio member of the UMS Board of Directors. DIVERSITy Highlighting the cultural, artistic, and geographic diversity of the world � Programs represent world cultures and mirror school/community demographics. � UMS's peer arts education programs: Car� Students see a variety of art forms: classical music, dance, theater, jazz, choral, global arts. � UMS's Global Arts program focuses on 4 distinct regions of the world-- Africa, the Americas, Asia, and the Arab World--with a annual festival featuring the arts of one region. � 20,000 students are engaged each season by daytime performances, workshops and in-school visits. � UMS Youth Education was awarded "Best Practices" by ArtServe Michigan and The Dana Foundation (2003). � UMS has the largest youth education program of its type in the four-state region and has consistent school/teacher participation throughout southeastern Michigan. negie Hall, Lincoln Center, Kennedy Center. programs in the country UnIVERSITy EDUCATIOn PARTnERSHIPS Affecting educators' teaching practices at the developmental stage � UMS Youth Education is developing a partnership with the U-M School of Education, which keeps UMS informed of current research in educational theory and practice. � University professors and staff are active program advisors and workshop presenters. GRUPO / TAYLOR 67 KEnnEDy CEnTER PARTnERSHIP � UMS Youth Education has been a member of the prestigious Kennedy Center Partners in Education Program since 1997. � Partners in Education is a national consortium of arts organization and public school partnerships. � The program networks over 100 national partner teams and helps UMS stay on top of best practices in education and arts nationwide. TEACHER ADVISORy COmmITTEE Meeting the actual needs of today's educators in real time � UMS Youth Education works with a 50-teacher committee that guides program decision-making. � The Committee meets throughout the season in large and small groups regarding issues that affect teachers and their participation: ticket/bussing costs, programming, future goals, etc. In-SCHOOl VISITS & CURRICUlUm PROFESSIOnAl DEVElOPmEnT "I find your arts and culture workshops to be one of the `Seven Wonders of Ann Arbor'!" �AAPS Teacher � UMS Youth Education provides some of the region's most vital and responsive professional development training. � Over 300 teachers participate in our educator workshops each season. � In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists. DEVElOPmEnT Supporting teachers in the classroom � UMS Youth Education places international artists and local arts educators/ teaching artists in classes to help educators teach a particular art form or model new/innovative teaching practices. � UMS develops nationally-recognized teacher curriculum materials to help teachers incorporate upcoming youth performances immediately in their daily classroom instruction. UMS Youth Education Program email@example.com | 734-615-0122 www.ums.org/education 68 UMS 10-11 SEND US YOUR FEEDBACK! UMS wants to know what teachers and students think about this Youth Performance. We hope you'll send us your thoughts, drawings, letters, or reviews. UmS yOUTH EDUCATIOn PROGRAm Burton Memorial Tower � 881 N. University Ave. � Ann Arbor, MI 48109-1011 (734) 615-0122 phone � (734) 998-7526 fax � firstname.lastname@example.org www.ums.org/education GRUPO / TAYLOR 69