Collage Residency Guide

RESIDENCY STUDY GUIDE OCTOBER 25 – NOVEMBER 12, 2021

THANK YOU

TO OUR FUNDERS LEADERSHIP SUPPORT PROVIDED BY:

UNDERWRITING SUPPORT PROVIDED BY:

Thomas A. Kooyumjian Family Foundation ADDITIONAL SUPPORT PROVIDED BY:

Ameren Cardinals Care Edward Jones Emerson Laura Kipnis and Sidney Goldstein Missouri Arts Council National Endowment for the Arts Regional Arts Commission The Shubert Foundation Mary Strauss Woodcock Foundation for the Appreciation of the Arts

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CONTENTS About Dance St. Louis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Introducing Michael Uthoff of Dance St. Louis . . . . . . . . . . . . . . . . . . . . . . . 3 Introducing Kevin Thomas of Collage Dance Collective . . . . . . . . . . . . . . . 4 Your Teaching Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Brief History Of Ballet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Paving the way for African American Dancers . . . . . . . . . . . . . . . . . . . . . . 10 Firebird Reimagined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 The Music of Memphis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Mental Health and Self Care . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Recipe for Success. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Resources/Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Standards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Photo credits: Cover, pages 1-6, 10, 11, 16 courtesy of Collage Dance Collective.

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

The 2021 – 2022 Season celebrates Dance St. Louis’ 56th year aimed at setting the highest possible standard for artistic excellence in professional dance in the Midwest as well as in the United States and across the globe.

As one of only a few dance-only presenters, Dance St. Louis curates a season that enriches, engages, educates, and transforms culture life in St. Louis through the experience of dance.

Dance St. Louis education programs are nationwide benchmarks for arts outreach in schools, impacting the lives of thousands of students in the St. Louis area.

Each season, in collaboration with partnering schools and with the full support of school superintendents, head of schools and local teachers, Dance St. Louis engages visiting teaching artists from world-class dance companies.

These outreach efforts challenge students and takes learning to new levels as they dream big in dance and in life.

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INTRODUCING

MICHAEL UTHOFF A RT I ST I C DI R E C TO R O F DA N C E ST. LO U I S

Michael Uthoff was born in Chile to the founders of the Chilean National Ballet, Ernst Uthoff and Lola Botka, who were both members of the original Ballet Jooss. Uthoff arrived in NYC to study dance at The School of American Ballet, The Martha Graham School of Contemporary Dance and The Juilliard School of Music.

Soon after his arrival, he became a soloist with the Jose Limon Dance Company. Uthoff was also an original member of the American Dance Company, which opened the State Theatre at Lincoln Center, in which he danced leading roles in works by Jose Limon, Donald McKayle and Anna Sokolow. He then joined the Joffrey Ballet as a principal dancer and

and thrilled audiences. Spring to Dance and New

later joined the First Chamber Dance Company

Dance Horizons were introduced to its season

of NY touring the USA, Latin America and

while an intensive Dance Education program was

Eastern Europe.

developed with inner city schools. He held the post

He was among the first faculty members at SUNY Purchase and founded and developed the Hartford

until 2017 and later returned to Dance St. Louis as the Artistic Director in 2020.

Ballet, taking it to national prominence where it

He has taught at the University Level and in dance

served as a framework for companies around the

schools throughout the country. He guest lectured at

country to follow. His tenure culminated with tours

UMSL’s dance department and became a member of

of China and Latin America.

the faculty at Webster University in 2010.

Uthoff continued his career as the Artistic Director

Uthoff has choreographed at every level and his

of Ballet Arizona and the Ballet Estable del Teatro

works have been seen all over the world earning

Colon in Buenos Aires, Argentina. In 2006, he

him creative grants. He has received many awards

accepted the post of Artistic and Executive Director

culminating with an Honorary Doctorate in Fine Arts

of Dance St. Louis and continued the presentation

from the University of Missouri in St. Louis as well

of quality dance performances while developing

as the Excellence in the Arts awards by the Arts and

programs that enhanced the local dance community

Education Council received in 2013.

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

INTRODUCING

KEVIN THOMAS A RT I ST I C DI R E C TO R O F CO L L AG E DANC E CO L L E C T I V E

Kevin Thomas was born in Trinidad and Tobago and grew up in Montreal, Canada. He received his degree in dance from the CEGEP de Vieux Montreal.

Mr. Thomas began his career as a professional dancer in Montreal with Les Grands Ballets Canadiens, one of Canada’s leading ballet companies. At the age of 19, he was the only Black dancer with the company. He later became a soloist with the company then moved on to Cleveland San Jose ballet as a principal dancer and then finally to the Dance Theatre of Harlem in

Memphis the following year. They established

New York as a principal dancer, where he performed

the Collage Ballet Conservatory in 2009. The

internationally for 10 years.

organization has quickly grown to boast an

Mr. Thomas’ credits include leading roles in The Prodigal Son, Dialogues, The Four Temperaments, Othello, Adrian (Angel on Earth), A Song for Dead Warriors, Troy Games, Equuis and Dougla. He

international touring professional company and nationally recognized conservatory, training more students of color in a classical art form than any other nonprofit in Memphis.

has performed leading roles in numerous ballets

Mr. Thomas has served as Ballet Master for New

including The Nutcracker, Tarantella, Agon, Who

Ballet Ensemble & School and has choreographed

Cares, A Midsummer Night’s Dream, Don Quixote,

for Opera Memphis, Hattiloo Repertory Theatre, New

Consort Lessons, and Aureole.

Ballet Ensemble, Orpheum Theatre, Flint Institute of

Mr. Thomas has made guest appearances with the Royal Ballet in London, Complexions Contemporary Ballet in New York and Fleming Flindt and Peter Schaufuss in Denmark. He has also appeared on Broadway in The Phantom of the Opera and on television in Law and Order.

Music, University of Memphis, University of Utah and Collage Dance Collective. He is a National Visiting Fellow at the School of American Ballet in New York City and has taught at schools and programs around the country including the Dance Theatre of Harlem, Flint Institute of Music, University of Utah, School of American Ballet, Deeply Rooted Dance Theater,

In 2006, Mr. Thomas and Marcellus Harper founded

the International Association of Blacks in Dance,

Collage Dance Collective to increase diversity

Tennessee Association of Dance and the University

in classical ballet and relocated the company to

of Memphis.

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INTRODUCING YOUR TE AC HI N G A RT I STS

BRANDYE LEE Brandye Lee, from Washington DC, trained as a scholarship student at the JonesHaywood School of Ballet and attended the Sidwell Friends School. She has additionally been awarded scholarships from The Ailey School, Dance Theatre of Harlem school, and the Ecole Supérieure de Danse de Cannes Rosella Hightower.

After earning her BA with honors in Afro-American studies and economics at Smith College, Lee danced with Ailey II. In 2011, she joined Collage Dance Collective and has performed as a featured dancer with the touring company of Disney’s The Lion King.

Lee is the recipient of The Woman of Excellence Award from Asbury United Methodist Church (Washington DC) and The Outstanding Emerging Artist Award from Federal City Alumnae Chapter of Delta Sigma Theta Sorority, Inc. She was also a New Memphis Institute Fellow.

Lee enjoys a career in dance instruction and administration—she has taught at AileyCamp, Dance Institute of Washington, Dance Theatre of Lynchburg, DC Capital Stars Gala competition, Fisk University, Flint Institute of Music, George Mason University, Marymount University, and Rhodes College.

For Collage Dance Collective, she has worked as their outreach coordinator and rehearsal director. Lee is a certified yoga instructor and was the co-founder of B2 Movement for Change LLC.

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

INTRODUCING YOUR V I RT UA L T E AC H I NG ART I STS

KAREN NICELEY Karen Niceley is an alumnus of the Jones-Haywood School of Ballet. Following her training under the instruction of Doris Jones, she received her BFA in Dance Education at the University of the Arts in Philadelphia along with the Faculty Recognition Award. Karen’s professional credits include work with: Dance Theatre of Harlem, Michael Mao Dance Company, Metropolitan Opera, Victory Dance Project, Cirque Du Soleil and the Broadway National Tour of The Color Purple. Karen is a co-founder of Gritty Cherries, Inc., a non-profit art production and art education foundation in New York City, and recently moved to Memphis, TN to work with Collage Dance Collective as the Community Engagement Manager and Outreach Dance Education Coordinator.

DANIELLE PIERCE Danielle Jenice Pierce is an award-winning competitive dancer with more than 15 years of training in Ballet, Jazz, Tap, Hip Hop and Modern.

A graduate of The University of Memphis and former Memphis RedBirds Redhots member, Danielle has been a faculty member with the Collage Dance Conservatory since 2017. She teaches Tap through our community-connected Turning Pointe program, in partnership with Memphis area schools, and on-site at the Collage Dance Center where she also teaches Creative Movement for budding dancers ages 2 - 3.

Danielle is an active member of Hot Foot Honeys, a Memphis-based professional Tap Dance company, and the Southern Association for Dance Masters. She’s also currently training with The American Tap Dance Foundation where she will be receiving a teaching certification for tap technique, repertory and performance skills in 2021.

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LISA ALFIERI BALLO Lisa Alfieri Ballo is a classical ballet dance teacher, who trained on scholarship with the Pennsylvania Ballet, San Francisco Ballet, and the Cleveland Ballet schools. Her career as a professional dancer began with Cleveland Ballet, under Dennis Nahat, where she rose to principal dancer during her 10 year stay. A few of her favorite roles were: Odette/Odile in Swan Lake; Swanilda in Coppelia; the lead in Balanchine’s Square Dance and Terpsichore in Apollo. For one year she also danced with Fort Worth/Dallas Ballet, under Paul Mejia, performing in many of Balachine’s ballets. Then, while being semi retired, she danced with both the Sandra Organ Company and Dominic Walsh Dance Theater in Houston, Texas. She first began teaching for Gilbert Rome and Margo Marshall in Houston, and later Victoria Vittum, High School of Performing and Visual Arts, and at the School of Houston Ballet. Mrs. Ballo now lives in Memphis, where she is a teacher and rehearsal assistant at Collage Dance Collective for both the conservatory and the company.

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

A BRIEF HI STORY O F

BALLET Ballet evolved from the courts of Catherine de Medici in Italy during the 16th century and the

KING LOUIS XIVTH AS THE SUN KING

courts of King Louis XIVth during the 17th century in France. During elaborate festivals or important social

(image from Wikipedia Commons)

events, men and women of the nobility performed movements that displayed decorum and grace with elegant walking patterns and arm movements. King Louis XIV helped to popularize and standardize the art form. He performed many roles himself, including that of the Sun King in Ballet de la nuit, to help establish his authority as King. With his influence, ballet became a well-respected art form in its own right, requiring professional training and study.

In the first half of the 19th century, ballet entered into what is now referred to as the Romantic Movement.

Romantic ballets during this time often featured themes of the supernatural where women were depicted as light, ethereal, and fragile otherworldly beings. Women were also more featured in ballet

work at this time, female ballet dancers would dance on the tips of their toes. The romantic tutu, a calflength, full skirt made of tulle, was also introduced and added to the airy and ethereal qualities of the Romantic ballets.

during this time, as opposed to the previously more

By the second half of the 19th century, the

male dominated ballets. With the creation of pointe

popularity of ballet had grown immensely in Russia. Russian choreographers created ballets to display classical technique — pointe work, high extensions, precision of movement and turn-out — to its most extreme. Complicated sequences that show off demanding steps, leaps and turns were choreographed into the story of the ballet. The classical tutu, which is shorter and stiffer than the romantic tutu, was introduced at this time to show a ballerina’s legs and the difficulty of her movements and footwork.

Americans became enthusiastic about ballet in the 1930s when many Russian dancers settled in America.

RUSSIAN DANCERS VASLAV NIJINSKY AND ANNA PAVLOVA (image from https://www.mariinsky.ru)

One such immigrant, George Balanchine, began

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one of America’s leading companies, New York City Ballet. New York City Ballet soloist Arthur Mitchell became the first African- American principal dancer

COLLAGE DANCERS IN SWAN LAKE

of a major dance company. In 1968, Mitchell founded a ballet school in Harlem in order to provide classical ballet training to African- American students. By 1970, the school had developed into the Dance Theatre of Harlem, the first black classical ballet company.

AC TI V ITY

TEST YOUR BALLET VOCABULARY KNOWLEDGE! Match the French ballet terms to their definitions. Then check your answers using the glossary on page 17.

D EF I N I T I O N S

T E RMS

A. Jumped or jumping.

____ ballerina

B. A leading female dancer of a ballet company. A dancer earns the title through years of hard work and great dancing.

C. F rom the French passer, to pass. A movement in which the pointed foot of the “working” leg passes (but does not touch or rest on) the knee of the supporting leg.

D. From the French plier, to bend. In the classic dance, this is a bending of the knees, with the knees wide open and the feet turned outward.

E. The movement or carriage of the arms.

F. Dancers who appear only in large groups. Thwe backbone of every ballet company.

G. E xecuted by stepping directly on the pointe (tip of the toes) or demipointe (ball of the foot) of the working foot in any desired direction or position with the other foot raised in the air.

H. From the French relever, to raise. To raise the body on one or two feet, either on pointe (on the tips of her toes) or demi-pointe (on the ball of the foot).

I. A dance for two people.

Source: “Ballet and Modern Dance” by Susan Au

(bah-luh-ree’nah) ____ corps de ballet (core, di, bah-lay’) ____ plie (plee-ay’) ____ releve (ruhl-VAY) ____ port de bras (port, duh, brah’) ____ saute (soh-tay’) ____ pique (pee-kay’) ____ passe (pah-sey’) ____ pas de deux (pah-duh-duh’)

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

PAVING THE WAY FOR AFRICAN AMERICAN DANCERS Read these excerpts from the New York Times Article “Five Pioneering Black Ballerinas: “We have A Voice” by Karen Valby

“

Last May, adrift in a suddenly untethered world, five former ballerinas came together to form the

LYDIA ABARCAMITCHELL WAS THE FIRST BLACK PRIMA BALLERINA FOR A MAJOR COMPANY.

152nd Street Black Ballet Legacy. Every Tuesday afternoon, they logged onto Zoom from around the country to remember their time together performing with Dance Theater of Harlem, feeling that magical turn in early audiences from skepticism to awe.

Life as a pioneer, life in pandemic: They have been friends for over half a century, and have held each

achieve heights of excellence unencumbered by

other up through far harder times than this last

ignorance or tradition. Ignited by the assassination

disorienting year. When people reached for all

of Reverend Dr. Martin Luther King Jr., he founded

manners of comfort, something to give purpose or a

Dance Theater of Harlem in 1969 with Karel Shook.

shape to the days, these five women turned to their

Lydia Abarca-Mitchell, Gayle McKinney-Griffin and

shared past.

Sheila Rohan were founding dancers of his new

In their cozy, rambling weekly Zoom meetings, punctuated by peals of laughter and occasional tears, they revisited the fabulousness of their former lives. With the background of George

company with McKinney-Griffith, 71, soon taking on the role of its first ballet mistress. Within the decade, Shelton-Benjamin and Marcia Sells joined as first generation dancers.

Floyd’s murder and a pandemic disproportionately

At her Harlem audition, Shelton-Benjamin

affecting Black community the women said their

witnessed company members hand-dyeing their

sights on tackling another injustice they wanted to

shoes and ribbons and tights to match the hues

re-inscribed the struggles and beats of those early

of their skin. Here, no traditional ballet pink would

years at Dance Theater of Harlem into a “cultural

interrupt the beauty of their lines. “I had never seen

narrative that seems so often to cast back black

a black ballerina before, let alone a whole company,”

excellence aside. There’s been so much of African-

Shelton-Benjamin, 64, said during a February zoom

American history that’s been denied or pushed to

meeting. “All I could think was, where have you

the back,” said Karlya Shelton-Benjamin, 64, who

guys been?” Finding one another back then, at the

first brought the idea of a legacy counsel to the

height of the civil rights movement, allowed them

other women. “We have to have a voice.”

to have careers while challenging a ballet culture

Arthur Mitchell was like a lighthouse to the women. Mitchell, the first black principal dancer at the New York City ballet and a protégé of

that have been claimed by white people. “We were suddenly ambassadors,” Abarca Mitchell said. “And we were all in it together.”

the choreographer George Balanchine, had a

They traveled to American cities that presented

mission: to create a home for black dancers to

such a hostile environment that Mitchell would

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cancel the performance the night of, less his

the shoulders of the founding and first-generation

company feel disrespected. But they also danced for

dancers at Dance Theater. And narrative that suggests

kings and queens and presidents. In 1979, a review in

otherwise, Sells said, “Simply makes ballet history

the Washington post to Claire they’re dancing to be

weak and small.” Worse, it perpetuates the belief

a “purer realization of the Balanchinean ideal than

that blackness in ballet is a one-off rather than a

anyone else’s.”

continuing fact. And it suggests a lonely existence

Cultural memory can be spurious and shortsighted.

for dancers like Copeland, a world absent of peers.

Abarca-Mitchell was the first Black prima ballerina

By the end of May, the five members of the 152nd

for a major company, performing works like

Street Black Ballet Legacy were fully vaccinated. They

Balanchine’s “Agon” and “Bugaku” and William

traveled from Denver, Atlanta, Connecticut, South

Dollar’s “Le Combat” to raves. In an April Zoom

Jersey and, in Sells’s case, five blocks north of dance

session she said she first realized how left out of

theater of Harlem for a joyful reunion. So much is

history she was when her daughter went online

different now at the building on 152nd St. In studio

to prove to a friend that her mother was the first

three, all Shelton-Benjamin had to do was have a few

black prima ballerina but all she found was the

notes of Balanchine “Serenade” and say “and” for the

name Misty Copeland hailed as the first. ”And my

women to grandly sweep their right arms up. “These

daughter was so mad. She said where is your name?

women help validate my worth”, Abarca-Mitchell said

Where is your name? It was a wakeup call.” But

afterwards. I don’t want to take it for granted that

they are done swallowing a mythology of firstness

people should recognize Lydia Abarca. But when I’m

that excludes them, along with fellow pioneers like

with them I feel like I felt back then. Important.” Even

Catherine Dunham, Deborah Austin, Raven Wilkinson,

as the world reopens and they grow busy again, they’ll

Lauren Anderson and Aesha Ash. It’s true that Misty

carry on with her Tuesday afternoons. They want to

Copeland is American ballet Theatre’s first black

amplify more alumni voices. They dream of launching

female principal. It is also true that she stands on

a scholarship program for young dancers of color.

”

AC TI VI TY

DO YO U R OW N RESEA R C H Now that you have learned a little about the life and careers of these pioneering women, pick one and dive deeper into learning about them!

Part 1- Find and write down: 1. Where are they from?

2. What do they do now?

3. What years did their careers span?

4. What were their favorite roles?

5. Any other interesting facts and information about them that you find.

Part 2 – In small groups, share with each other what you found out about the dancer that you researched.

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FIREBIRD REIMAGINED Mikhail Fokine’s “The Firebird”: The Fire Bird was first commissioned by Sergei

sends his minions after Ivan, he summons the Firebird. She intervenes and bewitches the monsters.

Diaghilev for the Ballets Russes and had its premiere

Exhausted, the creatures and Koschei then fall into

in 1910 at the Paris Opéra with choreography by

a deep sleep. While they sleep, the Firebird directs

Mikhail Fokine’s and music score by Igor Stravinsky.

Ivan to a tree stump where the casket with the egg

In the original ballet that was based off of old

containing Koschei’s soul is hidden. Ivan destroys the

Russian folk tales, while hunting in the forest, Prince

egg, and with the spell broken and Koschei dead, the

Ivan strays into the magical realm of the evil Koschei

magical creatures that Koschei held captive are freed.

the Immortal, whose immortality is preserved by

All of the beings, including the princesses, awaken

keeping his soul in a magic egg hidden in a casket.

and with one final hint of the Firebird’s music.

While hunting, Ivan chases and captures the Firebird, and is about to kill her when she begs for her life and offers him an enchanted feather that he can use to summon her should he be in dire need.

Collage Dance Collective ”The Firebird”: In Collage Dance Collective’s version of The Firebird

Prince Ivan then meets thirteen princesses who are

with choreography by Kevin Thomas, the setting of

under the spell of Koschei and falls in love with one

the ballet takes place in Africa in a mythical forest

of them. The next day, Ivan confronts the magician

called Tokoloshe. The word Tokoloshe comes from the

and eventually they begin quarrelling. When Koschei

Zulu/XhosaI culture in South Africa which means evil.

MIKHAIL FOKINE’S “THE FIREBIRD”

COLLAGE DANCE COLLECTIVE’S “THE FIREBIRD”

Source: Edward Watson as Ivan Tsarevich and Yasmine Naghdi as The Firebird in The Firebird, The Royal Ballet © 2019 ROH. Photograph by Tristram Kenton

Photo: Collage Dance Collective

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It was used as inspiration for the set design, costume

of the earth which are Fire, Ice, Water and Wind.

and movement of the ballet. Alexander Woodard who

This was a chance to create a work that was about

did the set design was inspired by the artist Mary

our African ancestry where we were Kings, Queens,

Sibande who is a South African artist. The costume

Princesses and Princes. I also put the maidens in

designer, Gabriella Morros used images of Zulu/XhosaI

pointe shoes and choreographed a dance for them

culture as inspiration for her costume design.

that was more classical than other versions that I

Along with the inspiration and design, the storyline and characters of Collage’s version is also different.

Kevin Thomas explains, “I wanted to create more lead roles for men in this version so I came up with the four wizards. Wizards of the south, north, east and west and their costumes reflected the elements

have seen. The monster section of this ballet was inspired by science fiction so the monsters became Creatures of the Underworld that were controlled by the wizards’ powers.” Another major difference that Thomas changed from the original ballet is that instead of the Prince threatening and scaring the Firebird, he tries to befriend her instead.

AC TI VI TY

CO MPARE THE TWO FI R EBIR DS Create a Venn diagram like the one below to compare the original Firebird ballet choreographed by Mikhail Fokine with the reimagined Firebird choreographed by Kevin Thomas and performed by Collage Dance Collective. Then answer the questions beneath.

MIKHAIL FOKINE’S FIREBIRD

SIMILARITIES BETWEEN THE TWO

KEVIN THOMAS’ FIREBIRD

Now pretend that you are the choreographer!

Movement Activity:

1. If you were choreographing your own version of the

Using your answers as inspiration, make a short

Firebird Ballet, how would you change the story?

phrase of movement that embodies how the

2. What would the setting be?

character of the Firebird from your version of

3. What would the costumes look like?

the ballet would dance and move as a motif

4. What would the movement look like?

throughout your ballet.

5. How would you make it your own?

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

JAZZ & BLUES THE MUSIC OF MEMPHIS Collage Dance Collective is very much influenced by the culture and music of their community in Memphis, Tennessee. Memphis is synonymous with names like W. C Handy and Riley B. King who were pioneers of Blues music.

The earliest references to blues date back to the 1890s and early 1900s. In 1912, Black bandleader W.C. Handy’s composition “Memphis Blues” was published and was an instant hit. He wrote the

W. C. HANDY PLAYING AT THE FIFTH ANNUAL AMERICAN NEGRO MUSIC FESTIVAL IN ST. LOUIS’S SPORTSMAN’S PARK IN 1944.

[State Historical Society of Missouri, Arthur Witman 120mm Photograph Collection (S0732), 732.31462]

original melody of the song that was originally instrumental. It contained both 16-bar melodies that the audience was used to, and innovative 12-bar sections, and mixed regular two-four time with the Afro-Cuban habanera dance rhythm.

transitional flat thirds and sevenths... by which I

As for the melody, it uses “what have since

was attempting to suggest the typical slurs of the

become known as ‘blue notes’,” said Handy, “the

Negro voice”.

In 1914, Handy followed up Memphis Blues with his next hit, another 12-bar blues piece with a 16-bar habanera section. The song was called St Louis Blues. It was even more popular and influential than its predecessor and it went on to become a jazz standard played by musicians such as Louis Armstrong, Count Basie and, the queen of 1920s blues, Bessie Smith.

While Handy did not invent the blues as a musical style, it had deep roots in AfricanAmerican culture. But the Memphis Blues did start the commercial blues craze. In Handy’s words, the song introduced “the blues form to the general public”, and the American public introduced it to the world. The blues went on to have a major influence on jazz, soul, rock and roll, and heavy metal.

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“ME MP HIS BLUES” That’s where the people smile, smile on you all the while.

Hospitality, they were good to me.

I couldn’t spend a dime, and had the grandest time.

I went out a dancing with a Tennessee dear, They had a fellow there named Handy with a band you should hear And while the folks gently swayed, all the band folks played Real harmony.

I never will forget the tune that Handy called the Memphis Blues.

Oh yes, them Blues.

They’ve got a fiddler there that always slickens his hair And folks he sure do pull some bow.

And when the big Bassoon seconds to the Trombones croon.

It moans just like a sinner on Revival Day, on Revival Day. Just like a mountain stream rippling on it seemed.

Then it slowly died, with a gentle sigh Soft as the breeze that whines high in the summer pines.

Hear me people, hear me people, hear I pray, I’m going to take a million lesson’s ‘til I learn how to play Because I seem to hear it yet, simply can’t forget That blue refrain.

There’s nothing like the Handy Band that played the Memphis Blues so grand.

Oh play them Blues.

That melancholy strain, that ever haunting refrain Is like a sweet old sorrow song.

Here comes the very part that wraps a spell around my heart.

It sets me wild to hear that loving tune a gain, the Memphis Blues.

AC TI VI TY

C REAT E A MOVEMENT STEP 1: Read through the lyrics of “Memphis Blues” and circle 3 to 5 words or images that you find particularly interesting.

STEP 2: For each word or image, create a movement within the ballet vocabulary that portrays that word.

STEP 3: Arrange the movements in an order you like and practice them in that order until they flow together.

STEP 4: Follow the red arrows on the map displaying the movement of blues music in the United States and make your phrase following that same patter on the floor.

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MENTAL HEALTH AND SELF CARE Making sure you have good mental health is

to enjoy that you had the positive experience.

important for everyone, but it can be especially

Practicing gratitude can help you to see your life

important for dancers where so much of their focus

differently. For example, when you are stressed, you

is on the physical that it is easy to forget to take care

may not notice that there are also moments when

of the mental side as well. So how do we support our

you have some positive emotions. Gratitude can help

mental health? Let’s start by asking:

you to recognize them.

WHAT IS MENTAL HEALTH?

Taking care of your physical health, since your physical and mental health are connected. Some

Mental health includes our emotional, psychological,

ways to take care of your physical health include:

and social well-being. It affects how we think, feel, and act as we cope with life. It also helps determine

Being physically active. Exercise can reduce feelings

how we handle stress, relate to others, and make

of stress and depressionand improve your mood.

choices.

WHY IS MENTAL HEALTH IMPORTANT? Mental health is important because it can help you to • C ope with the stresses of life • Be physically healthy • Have good relationships

Getting enough sleep. Sleep affects your mood. If you don’t get a good sleep, you may become more easily annoyed and angry. Over the long term, a lack of quality sleep can make you more likely to become depressed. So it’s important to make sure that you have a regular sleep schedule and get enough quality sleep every night.

• M ake meaningful contributions to your community

Healthy eating. Good nutrition will help you feel

• Work productively

better physically but could also improve your mood

• Realize your full potential

and decrease anxiety and stress. Also, not having enough of certain nutrients may contribute to some

HOW CAN I IMPROVE MY MENTAL HEALTH?

mental illnesses. For example, there may be a link

There are many different things you can do to

Eating a well-balanced diet can help you to get

improve your mental health, including

enough of the nutrients you need.

Practicing gratitude, which means being thankful

Connecting with others. Humans are social

for the good things in your life. It’s helpful to do this

creatures, and it’s important to have strong, healthy

every day, either by thinking about what you are

relationships with others. Having good social

grateful for or writing it down in a journal. These

support may help protect you against the harms

can be big things, such as the support you have

of stress. It is also good to have different types of

from loved ones, or little things, such as enjoying a

connections. Besides connecting with family and

nice meal. It’s important to allow yourself a moment

friends, you could find ways to get involved with

between low levels of vitamin B12 and depression.

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your community or neighborhood. For example, you could volunteer for a local organization or join a group that is focused on a hobby you enjoy.

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MEDITATION USUALLY INVOLVES • A quiet location with as few distractions as

Developing coping skills, which are methods you use to deal with stressful situations. They may help you

possible • A specific, comfortable posture.

This could be sitting, lying down, walking, or another position.

• A focus of attention, such as a specially

face a problem,

chosen word or set of

take action, be

words, an object, or

flexible, and not

your breathing

easily give up in

• An open attitude, where you try to

solving it.

let distractions Meditation,

come and go

which is a mind

naturally without

and body practice

judging them

where you learn to focus your attention and awareness.

Source: https://medlineplus.gov/howtoimprovementalhealth.html

AC TI VI TY

S EL F CARE CHALLENG E List 5 things you like to do to help you relax and recharge: 1 _ ____________________________________________________________________________________ 2 _____________________________________________________________________________________ 3 _____________________________________________________________________________________ 4 _____________________________________________________________________________________ 5_ ____________________________________________________________________________________ Now circle one of your five activities and challenge yourself to do it at least twice a week for three weeks.

After three weeks, write down how doing this activity more regularly made you feel. ______________________________________________________________________________________ ______________________________________________________________________________________

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

RECIPE FOR SUCCESS WHAT DOES IT TAKE TO BE SUCCESSFUL? Collage Dance Collective Executive Director Marcellus Harper and Artistic Director Kevin Thomas were both tasked with answering this question and this is what they had to say: Marcellus Harper: “The first piece of advice I would

Kevin Thomas: “Really use your discipline. Discipline

give to young dancers is to be prepared. You can

is so important especially for dance but for other

never be too prepared! Really take advantage of

things as well. For dance you really need to start and

your formative years to get as much training as

see it through all the way to the end. Not matter how

possible. Your time is limited so you want to make

difficult something is, you have to show up.”

sure you are using it to really hone your craft.”

“Ballet is a codified technique so it is what it is. But what we try to do as an organization is to impress upon students, especially students of color, that through the training of ballet they can bring their full selves to the practice. They do not have to suppress who they are as people or as artists. We want them to embrace who they are, while showing excellence in the art form at the same time.”

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BIBLIOGRAPHY WEBSITES: https://collagedance.org - This is the official Collage Dance Collective website that gives information on the mission and history of the company, as well as current information about touring shows and education and outreach opportunities. https://medlineplus.gov/howtoimprovementalhealth.html

BOOKS: Technical Manual and Dictionary of Classical Ballet by Grant, Gail. Atlantic Provinces Special Education Authority, Library, 2021.

Ballet and Modern Dance, by Susan Au, and Jim Rutter, Thames & Hudson, 2012. Grades 9 - 12 W.C. Handy: Founder of the Blues, by L. S Summer, Child’s World, 2002. Grades 9 -12 Firebird, by Misty Copeland and Christopher Myers. Putnam, 2014. Grades K – 8

ONLINE ARTICLES: “Five Pioneering Black Ballerinas: ‘We Have A Voice’” by Karen Valby. New York Times, 2021.

“WC Handy’s Memphis Blues: The Song of 1912” by Robin Banerji. BBC World Service, 2012

BALLET GLOSSARY ballerina (bah-luh-ree’nah) A leading female dancer

plie (plee-ay’) From the French plier, to bend. In the

of a ballet company. A dancer earns the title through

classic dance, this is a bending of the knees, with the

years of hard work and great dancing.

knees wide open and the feet turned outward.

corps de ballet (core, di, bah-lay’) Dancers who

port de bras (port, duh, brah’) the movement or

appear only in large groups. The backbone of every

carriage of the arms.

ballet company. pas de deux (pah-duh-duh’) A dance for two people. passe (pah-sey’) From the French passer, to pass.

A movement in which the pointed foot of the “working” leg passes (but does not touch or rest on) the knee of the supporting leg. pique (pee-kay’) Executed by stepping directly on the pointe (tip of the toes) or demi-pointe (ball of the foot) of the working foot in any desired direction or position with the other foot raised in the air.

releve (ruhl-VAY) From the French relever, to raise.

To raise the body on one or two feet, either on pointe (on the tips of her toes) or demi-pointe (on the ball of the foot). saute (soh-tay’) Jumped or jumping.

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DANCE ST. LOUI S | COL L AG E DA N C E CO L L E C TI V E

R E SID EN CY G UI D E STANDAR DS ADDR E SS E D National Core Arts Standards for Dance

2.4 present perceptions and ideas regarding works

(Dance Anchor Standards)

of the arts and humanities

Anchor Standard 1: Generate and conceptualize artistic ideas and work.

2.5 perform and/or produce works in the fine and

Anchor Standard 2: Organize and develop artistic ideas and work.

Missouri Show-Me Knowledge Standards

Anchor Standard 3: Refine and complete artistic work.

Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.

Anchor Standard 5: Develop and refine artistic techniques and work for presentation.

Anchor Standard 6: Convey meaning through the presentation of artistic work.

Anchor Standard 7: Perceive and analyze artistic work Anchor Standard 8: Interpret intent and meaning in artistic work.

Anchor Standard 9: Apply criteria to evaluate artistic work.

Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.

Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understandings

Missouri Show-Me Performance Process Standards (Students in Missouri public schools will acquire the knowledge and skills to):

1.5 comprehend and evaluate written, visual, and oral presentations and works 1.10 apply acquired information, ideas and skills to different contexts as students, workers, citizens, and consumers 2.1 plan and make written, oral, and visual presentations for a variety of purposes and audiences

practical arts

(Communication Arts):

CA4 writing formally (such as reports, narratives, essays) and informally (such as outlines, notes, etc.)

CA6 participating in formal and informal discussions of issues and ideas (Fine Arts)

FA1 execute original or existing artistic dance movement or works of art using skills of dance FA2 know the principles and elements of different art forms, applying those principles, structures, and processes of dance FA3 demonstrate critical and analytical thinking skills in the artistic response to dance, using the correct vocabulary and terminology to explain perceptions and evaluations of works in dance, music, and theatre FA4 relate and transfer dance and movement experience to other disciplines and knowledge FA5 connect and compare dance from different cultures and historical time periods (Health/Physical Education):

HP2 practice principles of physical and mental health HP4 practice personal fitness and a healthy active living: including proper diet, sleep, and hygiene (Social Studies)

SS2 understanding continuity and change in the history of the world and America