Artsource...Spanish dance companies. Raised in Madrid, they trained with flamenco master, José Granero, while also studying other dance forms such as ballet, modern and jazz. In forming

About The Artwork:Piece 1: Playas del Alma from Flamenco Directo. Here a

traditional flamenco form, “Alegrias” (joys) is danced to

the inventive music of Cañadú. This modern example of

an Alegrias uses a movement language informed by

modern and jazz dance and music.

Piece 2: Solea X Bulería. An excerpt of a solo from

Concierto Flamenco. Danced by Ángel Rojas, this piece

displays the dancer as percussionist, supported only by

the hand-clapped beat and eventual outbreak of song

supplied by two singer/palmeros (clappers).

Creative Process of the Artist or Culture: The history of flamenco is a multicultural story:

Flamenco is woven into the culture of southern Spain

(Andalusia) with its roots in the gypsy community.

Believed to originate in northern India, the gypsies were

nomad tribes, some of which migrated across Europe

and Africa. As they went, they gathered a multicultural

weave of dance and musical influence until they settled

in Andalusia in the mid-1400s. By then the Moors had

occupied Andalusia for over seven centuries, so flamenco

music contains strong Moorish threads along with those

of Jewish, Catholic and local music. Towards the end of

15th century the Catholic

Kings expelled the Moors,

initiating a two-century era of

persecution of non-Catholics.

(Continued on page 2.)

Title of Work:1) Playas del Alma (Beaches of the Soul) from FlamencoDirecto2) Solea X Bulería Concierto Flamenco

Creators:Company: Nuevo Ballet Español

Choreographers: Ángel Rojas and Carlos Rodríguez

Music: Cañadú

Background Information:Nuevo Ballet Español (NBE) was founded in 1995 by

Ángel Rojas and Carlos Rodríguez, two young dancers

who built their reputations dancing with many leading

Spanish dance companies. Raised in Madrid, they

trained with flamenco master, José Granero, while also

studying other dance forms such as ballet, modern and

jazz. In forming their company, Rojas and Rodríguez

wanted to create a 21st century vision of flamenco that

could appeal to a young audience, without betraying

the essence of the form. As they have said, “In art, there

are hardly ever any revolutions as such, rather there are

evolutions, new pathways over routes that have already

been trodden…This is a flamenco that reflects our

generation…No one can say we’re not dancing

flamenco, with the palmas (hand clapping) and cantes

(songs), but it’s infused with funk, jazz and classical.”

The dancers are trained in NBE’s unique style of

flamenco influenced by modern dance. Also

distinguishing the work of NBE is its collaborative

relationship with the equally creative music groups,

Cañadú and Mahera. Both dance and music entities

are committed to exploring and expanding the

boundaries of flamenco by drawing from other forms

and styles.

“This is a flamenco that

reflects our generation…”

Ángel Rojas &

Carlos Rodríguez

Photo: © Vallinas

MUSICMUSICDANCE

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PROCESSES

1. CREATING (Cr)

2. PERFORMING, PRESENTING, PRODUCING (Pr)

3. RESPONDING (Re)

4. CONNECTING (Cn)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

Indicates sample lesson*

*

*

*

*

• Explore palmas (musical clapping) using the pictures

in Level I Sample Lesson.

• Discuss gesture which is a way of speaking without

words. Identify some gestures seen in the NBE video

excerpts. Ask students to compose a sequence of

gestures that they can repeat. In partners have students

teach each other their gesture sequences.

LEVEL II• Study both NBE video excerpts. What parts of the

body can be used to create percussive sounds? What

different sounds can these produce? Assign teams to

produce each of these sounds, e.g. clapping, stomps

(golpes), slapping the chest and thighs, snapping the

fingers.

• Using clapping (palmas), one group maintains the

steady beat while other teams explore the different

rhythms that can be done against it. Define the order

and number of times each group will perform their

pattern. Compose an ending that all participants will

perform together (in unison), then perform the work.

• Learn how to do golpes (flamenco foot stomps) using

directions in Level II Sample Lesson. Divide the class

in two. Have one group clap a steady beat with a leader

dictating changes in tempo (speed) while the other

group does golpes, one golpe for every two claps.

LEVEL III• The term “isolation” in dance refers to the moving of

only one part of the body at a time. For instance, the

robotic movement that is often an element of Break

Dancing is made up of isolations. What parts of the

body most lend themselves to distinct separated

movement (e.g. the head, shoulder, hips, hands)?

Students explore these possibilities by creating their

own isolation sequences. Try hip-hop music or simply

a steady beat supplied by a group of students clapping

in unison.

• Assign groups to create choreography for each rhythm

pattern of the percussion music created in Lesson II.

Use a variety of steps, shapes, contrasting qualities and

floor patterns. Take turns being musicians and dancers

to perform the final dance.

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Creative Process of the Artist or Culture Continued:Flamenco expresses the pain of the gypsies during this

dark period, much as the Blues was born of the

suffering of black slaves in the United States Over time,

flamenco has enjoyed spurts of evolution provoked by

exposure to other forms such as jazz, Indian, hip-hop

and Latin music as well as tap, ballet and modern

dance. Some purists feel these influences and fusions

contaminate the form but others recognize that as long

as its practitioners maintain artistic integrity, the art

form is simply staying true to its multicultural origins.

Discussion Questions:After the video has been viewed:• What other kinds of dance have students seen

or participated in? Compare them to flamenco

dancing (e.g. flamenco is strong, grounded, and

earthy, while classical ballet is light and aerial).

• What is the beat (e.g. the constant, unchanging

pulse in a piece of music)? See Vocabulary, page 3.

• What other things in our world have a beat

(e.g. clocks, machines, the heart)?

• What is rhythm (e.g. changing patterns of beats

and offbeats)? See Vocabulary, page 3.

Audio-Visual Materials:• Artsource® video excerpts: Playas del Alma from the

show Flamenco Directo. Solea X Bulería from Concierto

Flamenco. Courtesy of Nuevo Ballet Español.

• Photos: courtesy of Nuevo Ballet Español.

Additional References:• Flamenco – a documentary film by Carlos Saura

showing the array of flamenco styles from traditional to

modern. Juan Lebrón Productions 1994.

• Latcho Drom - a documentary film by Tony Gatlif

showing the connections between the dances and

music of gypsy cultures worldwide. New Yorker Video

1998.

• Flamenco World website: www.flamenco-world.com.

Sample Experiences:LEVEL I• Learn strategies for viewing a dance by studying the

videos of Playas del Alma and Solea X Bulería.

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Vocabulary for this Unit:

Spanish Vocabulary

Flamenco – a dance form from Spain

Andalucia – Andalusia - southern Spain

Nuevo – new

Español – Spanish

palmas – musical clapping of hands

palmas sordas – mute sounding claps

palmas claras – sharp sounding claps

golpe – stomp of foot or feet

zapateado – footwork

cante – song

English Vocabulary

percussion – musical sound produced by striking something

beat – the constant, unchanging pulse in a piece of music

offbeat – beats between the main beats of music (produces syncopation)

rhythm – changing patterns of beats and offbeats.

tempo – speed

locomotion – traveling in space

locomotor step – a traveling step

gesture – movements (usually with hands or arms) that communicate something without words to another

person or people

isolation – moving a body part on its own

choreography – the creation of and planning for a dance

choreographer – the creator of a dance

score – piece of music, musical composition

unison – all participants doing the same thing at the same time

LEVEL I Sample LessonINTRODUCTION:

The experience of a dance is in therelationship between the audienceand the performers. An audiencethat is practiced in looking at thevarious components that go into adance is better able to appreciate itfrom different points of view.Through multiple viewings of adance, guided by questions andfollowed by discussion, studentslearn to see, appreciate and describethe various parts that go into makingit. The task of analyzing, makingcomparisons and then describingwhat one has seen develops anawareness of the creative possibilitiesof dance-making. This is a creativeprocess in itself.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate knowledge of the various components that go into choreographing a dance. (Responding)

• Discuss their deeper understanding of the nature of flamenco dance. (Responding & Connecting)

• Analyze and make comparisons between the steps, shapes and qualities used in the dance.(Responding)

• Use a richer descriptive vocabulary. (Connecting)

• Describe, discuss, analyze and connect information and experiences based on this lesson.(Responding & Connecting)

MATERIALS:

• Artsource® video of excerpts of Playas del Alma and Solea X Bulería • Background information on flamenco and the Nuevo Ballet Español

ENDURING VALUES and FREEDOM & OPPRESSIONLOOKING AT A FLAMENCO DANCE

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Playas del Alma from Flamenco DirectoNuevo Ballet Español

Photo: © Vallinas

DANCE

PROGRESSION:• View both segments of the Artsource® Nuevo Ballet Español video several times. The viewings can bedone on separate days. When both have been viewed and discussed, then students can compare andcontrast their perceptions. The following questions can be used to discuss both pieces.

• How are the rhythms made?

• In what different ways are percussion sounds produced by the dancers and musicians?

• Especially notice the palmas (musical clapping) and discuss how it is used by both musicians and dancersin the piece. The hands become musical instruments that can make distinctly different sounds. Look atthe palmas directions below and try them out.

• What different kinds of shapes are used (e.g. round, straight, wavy)? Try making different shapes withthe arms.

• What different kinds of movement are used in the dance, e.g. locomotion steps, turns, jumps, stomps,

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palmas sordas (deaf, as in muted.)

Cup the right hand crossed over the left, keeping thehands slightly rounded as though holding a bug. This is tocreate a space to capture the air. Clap and notice the dullor bass sound made.

palmas claras (bright.)

Straighten the hands and slap pretty hard with the righthand on the palm of the left. This should make a sharpsound.

Note: With both sordas and claras, emphasize keeping thehands closed at the end of each clap rather than lettingthem fly open again. Correct palmas are performed withthe hands held away from the body just opposite chestlevel, elbows lifted and rounded and shoulders down(imagine embracing a large egg.)

claps, isolations, etc.? After the viewing, have students identify and describe them.

• What different movement qualities are used, e.g. smooth, jagged, soft, hard, loose, held, relaxed, tense?Ask students to identify and describe them. Repeat moving the arms in the different shapes with thesedifferent qualities.

• What directions and floor patterns do the dancers move in (e.g. up-down, side to side, diagonals, incircles, etc.)? Students identify and discuss these.

• Analyze the structure of the dance – how does it begin, develop, end? What is important in performingan ending (e.g. dancers freeze in a strong ending pose)? Is the dance dramatic, sad, or funny? Is there astory? If so, what do you think the story is about?

• What about the music, vocals or dancing suggest the ideas of Freedom & Oppression?

VOCABULARY:See page 3.

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe and name the movements you observed as the dancers moved.

DISCUSS: Discuss the feelings or emotions the dancers expresses. Did you feel these emotions as well?

ANALYZE: Compare and contrast the two different dances. How were they the same? How were theydifferent?

CONNECT: What words, ideas, feelings or other forms of expression or work come to mind when youthink of Flamenco music and dance?

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

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LEVEL II Sample Lesson

INTRODUCTION:

Part of the essential core of flamencois rhythm (compas) whether audible(i.e., rhythm we hear) or rhythmpatterns we see. In many dance formsthe dancers move to music andrhythms supplied by musicians. Inflamenco and other percussive danceforms, such as tap, Indian Kathak orIrish Step Dancing, the dancer is alsoacting as a percussive musician whiledancing. While all of these forms areusually also accompanied by variousinstruments, percussive dance cansometimes be seen without any othermusical support. In its most pareddown form, flamenco can beperformed in total silence, with onlythe percussive sounds produced bythe dancer being heard or to nothingbut the steady beat supplied by one or more clappers (palmeros) as in video excerpt #2, Solea X Bulería.This lesson focuses on this latter possibility and explores the various ways that flamenco dancers canproduce percussive sound using only the body.



• Identify the characteristics of flamenco dance. (Responding)

• Discuss rhythm as distinct from steady beat. (Responding)

• Produce percussive sounds and build a rhythm pattern using only the percussive possibilities of the body.(Creating & Performing)

• Demonstrate good listening skills. (Connecting)

• Work cooperatively in groups. (Connecting)


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THE HUMAN FAMILYBODY DRUM - CREATING PERCUSSION WITH THE BODY


Photo: © Vallinas

DANCE

MATERIALS:

• Artsource® video of excerpts #1 and #2, Playas del Alma and Solea X Bulería

• Background information on flamenco and the Nuevo Ballet Español

PROGRESSION:

Watch both segments of the enclosed Artsource® video of Nuevo Ballet Español and use the “DiscussionQuestions” on page two.

• Ask students to explore what parts of the body they can use to create percussion sounds (e.g. palmas(musical clapping), golpes (stomps), slapping the torso and thighs, and snapping the fingers). Seedirections on performing two different kinds of palmas in Lesson I. Golpes are performed correctly bybending the knees with the feet together, lifting the lower leg behind you and dropping the feet with arelaxed, heavy weight. Easy alternating motion between the feet is achieved by relaxing the hips so thatweight can be shifted from side to side without bouncing up and down or jamming the knees. (See below.The drawings show a dancer wearing heeled flamenco shoes, but golpes can still be done in flat shoes ortrainers.)

• Describe the various sounds these different percussive uses of the body can produce.

• Assign small groups to create a rhythm pattern (see samples below) and perform it using a combinationof the above possibilities.* One group serves as the support group, maintaining the steady beat. The othergroups practice performing their particular rhythm against it.

* Vocalizing the rhythms is an effective way to learn each pattern.

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Examples of rhythms in four beats: The first line is the steady beat. The other 4 lines are some possiblerhythm patterns with suggestions for vocalizing them. Students may come up with other possibilities forboth:

TASK:• Decide on a sequence for the different rhythm patterns and the number of times each will be repeated. • Groups perform their rhythm patterns in this sequence against the steady beat of the support group.• You will find it needs an ending. Explore different ways to end it. Decide on an ending for everyone toperform together (in unison) and perform it again. Examples of an ending could be a stomp, vocal soundor stop.

CRITERIA:• Clean and consistent forms• Demonstrate good listening skills.• Follow directions.• Find variety in the ways that different percussion sounds can be combined to create a rhythm pattern.• Group cooperation.• Maintain steady beat, working with rhythm patterns• Maintain rhythms• Make all sounds clear and in unison

EXTENSION:• Describe the performing experience. What was challenging or surprising about it?• Discuss ways that the experience changes student perceptions of being a musician/dancer.• Analyze how the work can be improved, both visually and in terms of sound.• Watch the NBE video again. In what ways did this experience relate to the NBE dance video? In whatways did it change student perceptions as well as their own abilities?

MULTI-DISCIPLINARY EXTENSION:• Write a poem that expresses an emotion communicated by flamenco dance. This can be based on anevent in a student’s life that made them feel proud, angry, frustrated, powerful, etc.• Using clay, paint or crayons create artwork that expresses this emotion.• With pencil or crayons draw some of the floor patterns seen in the dance or shapes made by the dancers.

VOCABULARY:

See page 3.

Steady beatRhythm pattern 1 1 (um) 2 (pa) &(pa) 3 (pa) 4 (pa)Rhythm pattern 2 1 (um) &(pa) 2 (um) &(pa) 3 (um) &(pa) 4 (pa)Rhythm pattern 3 &(ba) &(ba) &(ba) &(ba)Rhythm pattern 4 2 (ta) &(ta) 4 (ta) &(ta)

1 (da) 2 (da) 3 (da) 4 (da)

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DESCRIBE: Describe the performing experience. What was challenging or surprising about it?

DISCUSS: Discuss the way they felt when they were dancing any two contrasting ideas.

ANALYZE: Discuss the contrasts in energy (strong/weak; heavy/light), space (close/far; large/small), time(fast/slow), and emotion (sad/happy; afraid/brave; angry/calm) that they experienced when they dancedeach opposite concept.

CONNECT: Identify all the places where opposites are found in students’ lives.


RUBRIC FOR EXTENSION TASK:

Advanced:• Consistently focused• Highly inventive use of the body to make percussion sounds• Excellent ability to hear and maintain rhythms• Excellent ability to hear or maintain a steady beat• Excellent team cooperation and participation

Proficient:• Focused most of the time• Some inventive use of the body to make percussion sounds• Some ability to hear and maintain rhythms• Some ability to hear or maintain a steady beat• Good team cooperation and participation

Approaching Proficient:• Inconsistent focus• Lack of inventive use of the body to make percussion sounds• Inconsistent ability to hear and maintain rhythms• Inconsistent ability to hear or maintain a steady beat• Lack of team cooperation and participation

LEVEL III Sample Lesson

INTRODUCTION:

This lesson should be done only after completing Level I and II Lessons. By now, students have studieda flamenco dance in depth with guided viewing and discussion of the NBE Artsource® video excerpts.They have then created an original percussion composition with the body. The next step is to enter theworld of choreography and create a dance. Alarge space, such as a gym, multipurpose room,or auditorium would be preferable for thislesson.



• Demonstrate a deeper understanding of thevarious components that go into the making ofa dance/choreography. (Responding)

• Use their imaginations and creativity toexplore the infinite ways the body can be usedexpressively. (Creating)

• Work cooperatively in groups. (Connecting)

• Demonstrate a deeper understanding of the nature of flamenco dance through discussion andperformance. (Responding & Connecting)


MATERIALS:

• Artsource® video of excerpt from Playas del Alma (1st segment)

PROGRESSION:

• Students have now learned about the various components of dance-making analyzed in Level I–shape,steps, contrasting qualities, floor patterns, directions and structure, e.g. beginning, middle, end. Usingthese elements, a dance can be choreographed to the percussion score created in Level II.

• Assign a different group to create choreography for each rhythm pattern created in Level II. Define a

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ENDURING VALUES and THE HUMAN FAMILYMAKING A DANCE


Photo: © Vallinas

DANCE

space in the room for each group to perform as well as an area for the musicians. Then develop eachchoreographic component as follows:

TASK:Once each group has created choreography for its rhythm pattern, divide the class in two groups to taketurns beings musicians and dancers. The musicians perform the rhythm score created in Level II whilethe dancers perform their choreography to it. (NOTE: If there are a sufficient number of students, thesetwo groups can also be divided in half so that students may also take turns being an audience andperforming.)

CRITERIA:• Strong, consistent focus• Clearly defined shapes, steps and floor patterns. • Variety in the ways that different shapes, steps and floor patterns can be combined.• Contrast in movement qualities.• Group cooperation.• Performance energy (fulfills rhythm and movement)

EXTENSIONS:• Ask students to create a way to draw (i.e. notate) the dance they have created and performed. • Ask students to draw a picture that expresses the essence of flamenco as they have experienced it.


• DESCRIBE: Describe the various roles and experiences in this lesson: creating, performing and beingan audience member. What was interesting, challenging or surprising about the roles and experiences?What parts of the self did these experiences challenge and involve (e.g. body, brain, feelings, thoughts,etc.)?

• DISCUSS: Discuss ways that the experience changed student perceptions of being a musician, dancer,choreographer, and/or audience member. In what ways have these experiences changed studentperceptions of themselves as people?

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• Using contrasting shapes (e.g. round, straight), create some shapes to be performed to thechosen rhythm.

• Apply these shapes to different kinds of movements and steps (e.g. locomotor steps, movementon the spot, turns, jumps, gestures, isolations).

• Apply contrasting qualities to the created movement (e.g. smooth, jagged, soft, hard, loose, held,relaxed, tense, etc.). Perhaps think of an emotion or attitude you wish to express (i.e., pride,strength, anger, sadness, etc.)

• Define floor patterns and directions in which to move.

• Be certain that the piece has a clear beginning, middle and end.

• ANALYZE: Analyze ways that the dance is interesting to watch. How could it be improved?

• Watch the first NBE video excerpt again and then discuss how student perceptions of it have now beentransformed. (e.g. How has their appreciation of the dance changed? How has their appreciation of thework of the dancers and choreographers changed and/or grown?)

• CONNECT: Discuss what you learned that can be applied to other areas of working together withothers.


RUBRIC FOR MAKING A DANCE:

Advanced:• Consistently focused• Highly inventive combination of steps, shapes, floor patterns and directions• Excellent ability to dance to rhythmic music• Excellent ability to perform movement with contrasting qualities• Excellent team cooperation and participation• consistent, strong performance energy

Proficient:• Focused most of the time• Some inventive combination of steps, shapes, floor patterns and directions• Some ability to dance to rhythmic music• Some ability to clearly perform movement with contrasting qualities• Good team cooperation and participation• Good performance energy

Approaching Proficient:• Inconsistent focus• Lack of invention in combining steps, shapes, floor patterns and directions• Inconsistent ability to dance to rhythmic music• Inconsistent ability to clearly perform movement with contrasting qualities• Lack of team cooperation and participation• Lack of strong performance energy

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Documents

Artsource...Spanish dance companies. Raised in Madrid, they trained with flamenco master, José Granero, while also studying other dance forms such as ballet, modern and jazz. In forming