BLUE RIBBON CHILDREN’S FESTIVAL

CURRICULUM MATERIALS

HUMANS performed by Circa

March 5-7, 2019 Materials by:

Susan Cambigue Tracey & Tara Cook Davis

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TABLE OF CONTENTS

Overview of the Blue Ribbon Children’s Festival 3

Before You Come to the Festival 4

Story of CIRCA and their Production HUMANS • Circa 5 • About the Directors 6 • Themes 7

Preparation • Short History of Circus, Acrobatics and Physical Theatre 8 • Dance Movement Terms 9 • Audience Etiquette 10 • Things to Watch for at the Performance 11

After the Performance • Discuss the Performance; Write about the Experience 12-13 • Draw your Impressions; Dance and Movement 13 • Assessment for Students 14

Short and Easy Lessons for the Classroom • Mirroring – Lead and Follow 15-16 • Dancing Sports – Transforming Actions into Dance Movements 17-18 • Dancing Museum – Movement vs. Stillness 19-20

Background on The Music Center 21

Dance for Students to Learn and Perform in the Theatre 22-24 • Directions for the Dance

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OVERVIEW

THE 49TH ANNUAL BLUE RIBBON CHILDREN’S FESTIVAL

The Blue Ribbon Children’s Festival is an admission-free event at The Music Center/Performing Arts Center of Los Angeles County. Designed for fifth-grade students, the festival features live, professional performances and serves over 18,000 fifth graders each year. For many, this is their first opportunity to experience being an audience member at a live event. We hope that this will be a magical and meaningful experience for both you and your students!

WHEN?

March 5-7, 2019

WHERE?

Dorothy Chandler Pavilion The Music Center

WHAT DOES IT INCLUDE?

Performance of HUMANS by Circa Materials for teachers

Directions, instructional link to learn the student dance

WHO SPONSORS IT?

The Blue Ribbon in association with The Music Center

Festival Producer: Rada Jovicic

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REVIEW all the included background information. Encourage students to ask questions.

WRITE the words CIRCUS, ACROBATICS and DANCE on your board. • Ask students to brainstorm what they already know about each discipline

or associate with these three disciplines (Word Web). • Ask them to share their feelings and experiences with any or all of them

(all responses are acceptable). • Ask how they could imagine these three things being combined.

SHARE the background information found on page 3 about the production of HUMANS, the featured performance. Discuss how your ideas were similar or different from this information.

TEACH students the children's dance. A link will be provided to the instructional dance and written dance instructions are included in this packet to help you.

• View the full Children’s Dance. • Help your students learn the Children’s Dance by using the link and the

written instructions. Students can follow the dancers. Practice the dance several times so the class feels confident about their ability to remember the dance and perform it well.

• This year’s dance will be done in the theatre seats.

DISCUSS the enclosed Audience Etiquette information on page 8.

SELECT one or more of the sample lessons on pages 15-20 to teach your class.

PREPARE students by reviewing “Things to Watch for at the Performance” on page 11 to increase their awareness and to guide their viewing.

Before You Come To The Festival

P R E P A R E

The Story of Circa AND Their PRODUCTION HUMANS

Ten acrobats take us on a stirring journey of what it means to be human, and how our bodies, our connections, and our aspirations all form part of who we are.

Exploring the physical limits of their bodies as they are pushed to the extreme, they question how much we can take as humans. How much weight can we carry? Who can we trust to support our load? They lead us to reflect on our lives, our loved ones, the burdens we carry and the physical and emotional strength it takes to overcome them.

Created by Yaron Lifschitz, the stage is stripped bare as the vulnerability of a team of highly skilled acrobats is exposed. With incredible strength and integrity they connect each moment seamlessly with the next in a thrilling and heart-stopping performance. Glimpse their humanity as they as they find redemptive power in strength and celebrate what it means to be fiercely human.

Circa might just be the most in-demand Australian arts company in the world right now - with a touring schedule that would send most heads spinning, it's not hard to see why. Circa's reputation for fearless, boundary-pushing “new circus” is borne out in every one of their shows, which combine physical virtuosity with an expressive humanism.

Excerpt from Circa PR Materials

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DIRECTOR TECHNICAL DIRECTOR

COSTUME DESIGN

Yaron Lifschitz Director Yaron Lifschitz is a graduate of the University of New South Wales, University of Queensland, and National Institute of Dramatic Arts (NIDA), where he was the youngest director ever accepted into its prestigious graduate directors course. Since graduating, Yaron has directed over 60 productions including large-scale events, opera, theatre, physical theatre, and circus. His work has been seen in 39 countries and across six continents by over one million people and has won numerous awards, including six Helpmann awards and the Australia Council Theatre Award. His productions have been presented at major festivals and venues around the world including Brooklyn Academy of Music, the Barbican, Les Nuits de Fourvière, Chamaleon and all the major Australian festivals. His film work was selected for the Berlin and Melbourne Film Festivals. He was founding Artistic Director of the Australian Museum’s Theatre Unit, Head Tutor in Directing at Australian Theatre for Young People and has been a regular guest tutor in directing at NIDA. He is currently Artistic Director and CEO of Circa, Creative Director of Festival 2018: the arts and cultural program of the 21st Commonwealth Games. In 2018, Yaron directed four new Circa creations, and a new production of Idomeneo which opened in Lisbon at The Teatro Nacional de San Carlos.

Jason Organ Technical Director Jason Organ graduated from Queensland University of Technology in 1988. He has worked as a technician, rigger, lighting designer and production manager. During this time he has lit all manner of productions from pantomimes and product launches to ballet, festivals, military tattoos, circus and live television; contemporary dance and circus being his favorites. Jason was the co-founder of JLX productions, a lighting design and technical consultancy, based in Brisbane. Since January 2010, Jason has been working exclusively with Circa, lighting and production managing their international tours.

Libby McDonnell Costume Design Libby McDonnell works across disciplines as a designer, choreographer, director and performer and has an Associate Degree (Dance) from the Queensland University of Technology. Libby has co-directed for Ballet Theatre of Queensland and has been resident choreographer and designer for Blue Roo Theatre Company. As Associate Director with Circa, Libby has designed costumes for all of Circa’s major creations since 2010 and has show directed and managed tours in Australia and abroad.

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THEMES Live theatre holds a mirror up to life and HUMANS reflects an incredibly energetic one. Use the themes below to make connections to your own life.

• BALANCE: The artists balance themselves, others and numerous objects throughout the show. What do you have to balance in your life? Why is having balance in life important?

• COLLABORATION: It takes a tremendous amount of collaboration to create and to perform HUMANS. What activities are you involved in at school that requires collaboration? Outside of school? With your family?

• DIVERSITY: The show contains a diversity of performers, styles, techniques, tempos and artistic media. Where can you celebrate diversity in your class? Your school? Your life?

• CHALLENGE*: The performing artists of Circa are always trying to improve by practicing their skills and exploring new ways to work. What do you want to do better? What new skills do you want to learn? How can you find a new challenge to help you get better at something?

*Definition of challenge: a test of one’s ability or resources in a demanding but stimulating undertaking.

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SHORT HISTORY OF CIRCUS, ACROBATICS AND PHYSICAL THEATRE

A CIRCUS is commonly a traveling company of performers that may include clowns, acrobats, trained animals, trapeze acts, musicians, tightrope walkers, jugglers, unicyclists and other stunt-oriented artists. The word also describes the performance, which is usually a series of acts choreographed to music and introduced by a ringmaster. The circus has its roots in Ancient Rome, referring to a building for the exhibition of horses and chariot races, staged battles, trained animals, jugglers and acrobats. At that time, the circus was the only public spectacle at which men and women were not separated. After the fall of Rome, large circus buildings fell out of use as centers of mass entertainment. Instead, performers, animal trainers and showmen travelled between towns throughout Europe, performing at local fairs, eventually constructing tents especially rigged for these performances. Contemporary circus (originally known as nouveau cirque) is a recent performing arts movement that appeared in the 1970s in Australia, Canada, France, the West Coast of the United States, and the United Kingdom. Contemporary circus combines traditional circus skills and theatrical techniques to convey a story or theme. Compared with the traditional circus, the contemporary genre tends to focus more attention on the overall aesthetic impact, on character and story development, and on lighting design, original music, and costume design to convey thematic or narrative content.

PHYSICAL THEATRE is an art form that is encompasses storytelling expressed primarily through movement, emotion and energy. Performers can communicate through various body gestures (including using the body to portray emotions).

ACROBATICS is the performance of extraordinary feats of balance, agility and motor coordination. It can be found in many of the performing arts as well as in many sports. Acrobatics is most often associated with activities that make extensive use of gymnastic elements, such as acro dance, circus and gymnastics, but many other athletic activities — such as ballet and diving — may also employ acrobatics. Acrobatic traditions are found in many cultures. Minoan art from circa 2000 BC contains depictions of acrobatic feats on the backs of bulls, which may have been a religious ritual. Ancient Greeks and Romans practiced acrobatics, and the noble court displays of the European Middle Ages would often include acrobatic performances along with song, juggling and other activities. In China, acrobatics have been a part of the culture since 206 BC, and the Chinese continue to be among the most skills acrobats in the world.

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5th Grade VAPA Dance Standard: 3.0 Historical and Cultural Contexts – Students analyze the function and

development of dance in past and present cultures throughout the world, noting human diversity

as it relates to dance and dancers.

DANCE MOVEMENT TERMS

Axial Movements

! ! ! ! ! Bend Rise/Fall Stretch Turn

Rock Tilt Fling Contract Expand Reach Sway Twist Swing Kick Shake

Locomotor Movements

! ! ! ! Jump Walk Leap Slide

Roll Skip Climb Hop Run Gallop Combinations of these, and also with turns, jumps and gestures

Other notable terms relating specifically to HUMANS: Solo – a featured performer Duet – two performers moving as partners Trio – three performers working together Ensemble – a group of performers working together Gravity – a powerful natural force that holds or pulls dancers, acrobats and circus performers to earth. Focus – the dancer’s line of sight; putting attention on a central idea or activity. Weight and Balance (weight distribution) – Dancers must be aware of how to balance their weight alone and with others as they dance. Sometimes they balance on another person, or on a still or moving structure or prop. When they move on different props, they must work with the force of gravity as they use their weight to move it. In a sense, gravity is another partner in this style of dance and acrobatics. Fly, Jump, Fall or Leap through Space – the action of bodies flying or falling through space is a big aspect of acrobatic dance style. The catchers must be positioned so that they can receive flying, jumping, and leaping bodies without hurting themselves or each other. Flying bodies are heavy unless the dancers align their weight and balance with gravity. Lifts – one or more dancers lifting or being lifted or supported

5th Grade VAPA Dance Standard: 1.0 Artistic Perception 1. Demonstrate focus, physical control, and coordination in performing locomotor and axial movement. 2. Name and use a wide variety of movements. 1.5 Use appropriate dance vocabulary to describe dances.

Bend Rise Fall Stretch Turn

Ju mp w a l k Leap Slide

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AUDIENCE ETIQUETTE HOW TO BE A GOOD AUDIENCE MEMBER

You can enhance the enjoyment of your students by preparing them for this artistic experience. They will be able to participate more fully if you provide them with some background information on the company, CIRCA, and their performance of “HUMANS”. Please teach them the children’s dance so they can perform in their theater seats with the students from other schools.

WHAT TO EXPECT Coming to a theatre performance is different from going to a sporting event. The theatre is a very special place that has been designed especially for people to see artistic performance. When you enter the theater, the lights in the auditorium will be on so that people can find their seats. These lights, called “House Lights”, will dim and the theatre auditorium will become dark when the performance is about to begin. This focuses all the attention onto the stage and everyone begins to feel a sense of excitement and anticipation. Please don’t steal attention away from the performers!

Here are three guidelines for appropriate audience etiquette. By discussing appropriate behavior ahead of time, the students will be better able to act with courtesy, concentrate on the performance, and show respect and appreciation for the performers.

QUIET CONCENTRATION Sound carries very well in a theatre so that the music and voices can be easily heard. This also mean that any sounds in the audience-whispering, rustling papers, laughing, or speaking-will also be heard. In order to enjoy the performance and allow the rest of the audience to enjoy it, be quiet and concentrate. It is not acceptable to take photos with a flash in any performance because the flash may disrupt the performers’ ability to concentrate or see clearly.

RESPECT The performers have worked very hard to prepare a wonderful program for you. The audience shows respect for the performers by watching quietly and attentively. The performers show respect for the audience by doing their best work. This requires them to concentrate so they can focus their energy on dancing.

APPRECIATION When a performance ends, it is appropriate for the audience to applaud. Applause is the best way for a theatre audience to share their appreciation and enthusiasm with the performers. It lets the performers know that they did well. In performances, it is sometimes acceptable to applaud in the middle of the feature segment (such as a solo or duet) or in responding to a spectacular step or special moment

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THINGS TO WATCH FOR AT THE PERFORMANCE

Here are some things to remind yourself as you watch the performance:

I. Observe how each piece begins and ends. • Are the performers already on stage or do they make an entrance? • What is the mood or image at the beginning of each piece? Does it

change? • How does each piece end? (performers onstage, exiting, still or moving

poses)

II. Listen closely as each piece is performed. • What sounds do you hear? • Which piece did you most enjoy? Why? • Do you agree or disagree with the musical choices? Why or why

not?

III. Pay special attention to the props. • Name the props you see being used by the performers. • What feelings or ideas come to mind as you see them use these

props?

IV. Notice the lighting choices used for each piece. • How do the color choices of the lighting create different moods? • Throughout the performance, you may notice the lights getting

brighter or dimmer. • How does this impact the performance?

V. Feel the emotions communicated in each piece. Think about the meaning. • Do any of the pieces make you feel a specific emotion (fear, playful,

fun, sad)? If so, what are the emotions or moods they communicate to you?

• What is the most powerful moment in the performance for you? Why?

5th Grade VAPA Theatre Standard: 1.0 Artistic Perception – Processing, Analyzing and Responding to Sensory Information through the Language and Skills Unique to Theatre 1.1 Use the vocabulary of theatre to describe theatrical experience.

5th Grade VAPA Dance Standard: 1.0 Artistic Perception – Processing, Analyzing and Responding to Sensory Information through the Language and Skills Unique to Dance 1.5 Use appropriate dance vocabulary to describe dance.

Common Core State Standards Speaking and Listening K-5: Engage effectively in a range of collaborative discussions (one-on-one, in groups and teacher led) with diverse partners building on others’ ideas and expressing their own clearly. Common Core State Standards Language K-5: Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

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Discuss • Ask each student to pick one word or short phrase that best describes the

performance, passing quickly from one student to the next. Encourage each one to think of a different word or phrase.

• Allow each student to express something they noticed or responded to in the performance (all answers are acceptable; avoid making judgmental comments).

• Use the questions in Things to Watch for in the Performance (Page 11) to guide the discussion. This section includes questions on the props, stage design, movement, music, and lighting.

• Ask students to close their eyes and think back to the performance. Then, ask them to describe the images, rhythms, movements and melodies that come to their minds, being as specific as possible. Who is on stage? What is the action? What words, sounds or music do you hear? What feelings do you have when recalling this? How are the performers arranged on stage? How do the props influence what the performers do?

• Strong teamwork is absolutely necessary for the ensemble to be successful. Talk about the components of effective teamwork. When strong teamwork is needed, how do you make it work? What happens when teamwork is weak or disorganized?

Common Core State Standards Speaking and Listening K-5: Identify the reasons and evidence a speaker provides to support particular points.

Common Core State Speaking and Listening K-5: Report on a topic or text, tell a story, or recount an experience with appropriate facts and relevant, descriptive details, speaking clearly at an understandable pace.

• Give the students a prompt to stimulate and focus their ideas so they can write about their experience. Prompts can include: I was surprised by…; The piece I found most interesting was…; This type of circus is…; The thing that impressed me the most was…; The feelings I had were…; I saw images that reminded me of . . . ; The performers told a story about . . .

• Describe the role of a critic who analyzes the performance for a newspaper or on-line publication. Direct students to select one of the pieces and write about it from the point of view of what worked well and what they would suggest as changes. What was most surprising or entertaining? Share responses with a partner or small group. For a bigger challenge, publish their pieces as a class review of HUMANS

• Ask students to write a letter to a friend or relative telling them about the performance. Encourage them to describe their favorite part with as much detail as possible.

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AFTER THE PERFORMANCE

• What three words would you use to describe yourself? Share these with a partner.

Common Core State Standards Writing K-5: Write opinion pieces on topics or texts, supporting point of view with reasons and information. Recall relevant information from experiences or gather relevant information from print or digital sources.

Common Core State Standards Language K-5: Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

Draw Ask students to think about the way they felt during each specific piece. Ask them to select one of the pieces and identify colors that represent their feelings. Ask them to draw one of the scenes they remember, using the featured colors.

• Direct students to recall a moment of one of the pieces. Then, encourage them to capture the mood, costumes and poses (shapes or designs) of the dancers and any props they used.

• Select only three colors and use them to show the movement, mood, pathway, and rhythm of the performers rather than drawing people or objects. Use the music from the Children’s Dance or other appropriate piece to enhance this activity.

5th Grade VAPA Visual Arts Standard: 4.0 Aesthetic Valuing – Students analyze, assess, and derive meaning from works of art, including their own, according to the elements of art, the principles of design, and aesthetic valuing.

5th Grade VAPA Visual Arts Standard: 5.0 Connections, Relationships, Applications – Connecting and Applying What is Learned in the Visual Arts to Other Art Forms and Subject Areas and to Careers. Students apply what they learn in the visual arts across subject areas. They develop competencies and creative skills in problem solving, communication, and management of time and resources that contribute to lifelong learning and career skills.

Dance & Movement • Use one of the three suggested lessons (on pages 15-20).

• Learn the Children’s Dance included in this packet. All students will perform this dance together in their theater seats after each performance.

5th Grade VAPA Dance Standards – 4.0 Aesthetic Valuing – Responding to, Analyzing, and Making Judgments About Works of Dance.4.1 – Use dance vocabulary to identify and support personal preferences for dances observed or performed.4.4 – Explain how outstanding dancers affect audience members emotionally or intellectually.

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(MAKE copies for your class)

BLUE RIBBON CHILDREN’S FESTIVAL PERFORMANCE HUMANS

What did I know about circus, acrobatics and dance before coming to the performance?

1.

What did I learn from watching the performance?

1.

2.

What would I like to know more about (or what questions do I have)?

1.

2.

Select one of the following writing prompts that describe your response to the performance. Write a paragraph about the one that most interests you.

1. Most amazing or unusual

2. Most memorable or inspiring

3. Most confusing or mysterious

4. Made me think or ask questions

5. Most physically challenging or risk-taking

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AN ASSESSMENT FOR STUDENTS

MIRRORING Lead and Follow

Introduction: In the dance with hoops, the artists perform movements as if the hoop were a mirror, with one copying the movements of the other. This lesson focuses on students working with a partner and taking turns creating slow, continuous and clear movements that are precisely “mirrored” by their partner.

VAPA 5th grade Dance Standard 2.6: Demonstrate cooperation, collaboration, and empathy in working with partners and groups. (e.g., leading/following, and mirroring, calling/responding, echoing, opposing).

Student Outcomes: • Students will demonstrate focus, physical control, and accurate reproduction in

performing axial (in place) and locomotor (traveling) movement.

• Students will apply the principles of variety, contrast and unity when creating movement.

Progression: • Reflect upon how the dancers in the performance sometimes moved together in

unison. Briefly discuss how they demonstrated focus, control and accurate reproduction of movement.

• Ask the class to think about movement that is slow, continuous, smooth and clear. Ask for a volunteer to lead the class in a warm-up exercise called “mirroring.” The leader stands in the front and faces the class. He/she will create movements that are slow, continuous, smooth and clear. The challenge for the group is to observe and simultaneously duplicate the movement of the leader as accurately as possible. They should think of themselves as a mirror image of the leader. This means that if the leader lifts his/her right arm, the class will lift their left arms.

• If there is interest for others to be leaders, have several students lead the mirroring exercise. It is also helpful to play music that is slow, continuous and expressive while they move.

• Divide the students into partners and have them select who is “A” and who is “B.” Ask them to sit or stand about 18 inches apart, facing each other. Direct “A” to lead “B” in a series of simple actions moving slowly and smoothly. Actions can include raising one arm and lowering it, reaching out to the side and back, circling shoulders, lifting a leg, etc. Repeat this with “B” being the leader and “A” following. Emphasize that the partners should focus on each other’s eyes, rather than directly

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LESSON PLANS

on the movement. This will help them stay focused and united. They will see the movement with their periphery (side and edges) vision.

• When they have practiced how to create and duplicate movement that is slow, continuous, smooth and clear, direct them to think of a beginning, middle and end for each of their movement ideas. This would be similar to verbal phrases or sentences. Also encourage them to change their level as they move. Change roles several times. Appropriate music can add support, assist with the flow and phrasing of the movement, and encourage expression. Divide the class in half and perform for each other.

Assessment: After the mirroring experience, ask the class what made their experience successful and what challenges they encountered. How did they meet the challenges and also fulfill the criteria for the movement exercise? How did this lesson relate to the dance performance?

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DANCING SPORTS Transforming Sports Actions into Dance Movements

Introduction: Transforming sports actions into dance movement is a lot of fun and requires cooperation, respect and teamwork. Students will select three actions done in sports and then create an original dance phrase that incorporates them.

VAPA Dance Standard: Creative Expression 2.1 - Create, memorize and perform complex sequences of movement with greater focus, force/energy and intent.

Student Outcomes: Students will be able to: • Create, memorize, and perform sequences of movement, based on sports, with

focus, energy, and clear intent.

Progression: Reflect on the dances performed in SEQUENCE 8. Discuss how the dancers used gestures and movement. Name as many of the actions they can remember and identify. Discuss how these actions were changed from everyday actions into dance movement. What changed? (i.e., tempo – fast or slow, balance, teamwork, tumbling and falling).

• Ask the class to find a space where each person can move freely. Direct the students to find ways to show some of the following action in movement, or mime: running, reaching, catching, swinging, throwing, falling, sliding, jumping, dodging, rolling, turning and balancing. Encourage them to find several ways to express each action rather than stay with their first idea.

• Repeat several of the actions and experiment by doing them with quick time and sharp energy, then with slow time and smooth energy. Then take one of the actions and improvise ways to include quick time and sharp energy and slow time and smooth energy. Repeat the idea several times. Work to fulfill the movements and show contrast.

• Try the same actions again and find new variations for each one, changing some of the following: levels, directions, larger or smaller gestures, weak or strong energy, etc.

• Ask each student to pick three actions from the list and combine them anyway they choose. Count out eight slow counts for them to improvise or mime each action, “freezing” in the final pose or shape. Have them practice their movement idea (phrase) several times until they feel really clear about it, as well as comfortable in performing it. Encourage them to have a strong beginning and ending, as well as an interesting middle with contrasting time, space or energy.

• Have students pair up with a partner and number themselves #1 and #2. All of the #1’s perform their movement phrase for their partners, simultaneously (if there is

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enough room). Remind them that the observing partner is to watch with respect and in silence. Then switch roles by having all the #2’s perform and #1’s observe. If space is limited, have only a few partners perform at a time.

• After both partners have performed, ask them to each tell their partner two things they liked about the dance phrase, then give each other one constructive suggestion for improvement.

Assessment: Discuss the process of exploration, invention and selection they experienced.

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DANCING MUSEUM MOVEMENT VS. STILLNESS

Introduction: The students will discover and explore making shapes and gestures that display a range of emotion to tell a story with the use of their bodies.

5th Grade Dance Standards 2.0 Creative Expression Communication of Meaning in Dance • 2.5 Convey a wide range of feeling and expression through gestures, posture, and

movement.Development of Partner and Group Skills• 2.6 Demonstrate cooperation, collaboration, and empathy in working with partners

and in groups (e.g., leading/following, mirroring, calling/responding, echoing, opposing).

ELA Standards: • Speaking and Listening CCSS ELA #1: Prepare for and and participate effectively in a range of conversations and collaborations with diverse partners, building on others ideas and expressing their own clearly and persuasively. • Speaking and Listening CCSS ELA #6: Adapt speech to a variety of context and communicative tasks, demonstrating command and formal English when indicated or appropriate.

Student Learning Outcomes: Students will be able to:• Display focus during the activity• Express emotion through gestures & shapes• Work collaboratively with peers• Mimic the gesture or shape of peers

Vocabulary:

Gesture Strength Variety Stillness

Shapes Collaboration Levels Locomotor Movement

Statue Mirroring

Materials: Large empty space, Chairs, BRCF CD music with/without the words

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Progression: Students will create a “Gesture Museum” (Shapes & Gestures which are frozen) The museum will display students in shapes and gestures that embody an emotion.

1. Have the students explore different shapes and gestures with their bodies. Direct the students to make shapes and gestures at high, middle & low levels. Below is an example of different high, middle and low level shapes made with the body.

2. Have the students create a shape and a gesture that embodies a specific emotion. Call out an emotion and level and ask the students to create a shape/gesture. For example: Level- High; Emotion- Excited. Give the students five seconds to create the shape/gesture. On the count of five, all students should be frozen. Encourage them to be creative and explore a broad range of possibilities. This allows the instructor a moment to look at the emotions and gestures being displayed in the museum.

3. “Dancing Museum” (Adding movement) Choose half the students to be the dancers and the other half to be the statues.

Group 1 Statues The students that are the statues will begin in a gesture/shape and emotion. The instructor can call out various levels and emotions. For example: The instructor can say “low level shape/gesture; emotion-disappointed”. The students who are the statues will put their bodies in the appropriate positions which emulate the instructions. The music will begin and the statues will stay frozen and silent in their gesture/shape/emotion while the dancers move around the museum.

Group 2 Dancers Dancers will move through the space of the “museum” until they decide to take the place of one of the statues. The dancers movement could be walking, skipping or any combination of locomotor movements. In order to take the place of a statue the dancer must step in front of the statue and replicate the gesture/shape and emotion being displayed. Once the dancer students has chosen a statue to replace the statue student then becomes the dancer.

This structure continues until the instructor calls a freeze. Once freeze is called, another level and emotion may be called out and the pattern of the activity begins again.

Assessment: Reflection Questions What challenges did you encounter with this activity?What did you learn?How did you feel when you were the dancer? Vs. the statue? Why?Did one role offer more feelings freedom? Why do you think you felt that way?

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!

The Music Center has long been a champion of arts education with dynamic programs that inspire lifelong learning, taking the arts into schools and bring young audiences to The Music Center. These programs in dance, music, theatre and visual arts engage children from PreK-12, teachers aspiring young talent throughout Los Angeles County. We believe the arts enrich the lives of all people and are crucial to the development of every child.

For further information please contact us at education@musiccenter.org or visit us at www.musiccenter.org

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Written Directions BLUE RIBBON

CHILDREN’S FESTIVAL 2019

Pattern 1: • Right arm up (cts. 1,2); arm floats down (cts. 3,4)

• Left arm up (cts. 5,6); arm floats down (cts. 7,8)

• Both arms up float down (cts. 1,2); arms float down (cts. 3,4)

• Both arms out to in front of the body (cts. 5,6); arms in clap clap (cts 7,8)

Repeat Pattern #1 (cts. 1-8)

Pattern 2: • Push right arm out to the front with flexed hands while pulling the left arm back close

to body (cts. 1,2,3,4) (There is a slight twist to the upper torso)

• Push left arm out to the front with flexed hands while pulling the left arm back close to body (cts. 5,6,7,8)

• Repeat with right arm (cts. 1,2,3,4)

• Repeat with left arm (cts. 5,6,7,8)

Pattern 3: • Right arm sweep in a horizontal arc from Right side to the front of the body, making a

fist in front of the body with a bend in the arm - Hold. (cts. 1,2,3,4)

• Left arm sweep in a horizontal arc from L side to the front of the body, making a fist in front of the body with a bent arm – Hold (cts. 5,6,7,8)

• Repeat with Right arm (cts. 1,2,3,4)

• Repeat with Left arm (cts. 5,6,7,8)

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Pattern 4: • Both arms wave up to the sky and body and arms roll down to rest in the lap.

• In silence-The Head comes up looking straight ahead (ct.1) • Head looks to the right (ct. 2)

• Head looks to the left (ct. 3)

• Head looks to the front (ct. 4)

Pattern 5: • Arms reach forward with hands facing upward- right reach (ct. 1), left reach (ct. 2),

right reach (ct. 3), left reach (ct. 4)

• Roll the upper torso down toward (cts. 5,6,7,8) and roll the arms, one circling the other (cts. 1,2) and upper body unfolds and arms stretch upwards (cts. 3,4), and melt the arms down (cts. 5,6,7,8)

Repeat - (cts. 1-8)

Pattern 6: • Upper body sways to the right- slow, rib cage leading (cts. 1,2)

• Upper body sways to the left- slow (cts. 3,4)

• Sway right quick (ct. 5) - sway left quick (ct. 6)- sway right slow (cts. 7,8)

• Step right foot in to center of body (ct. 1)

• Step left foot in next to the right (ct. 2)

• Step right foot outward (ct. 3)

• Step left foot out (ct. 4)

• Repeat Feet (cts. 5-8)

• Upper body sways to the right- slow, rib cage leading (cts. 1,2)

• Upper body sways to the left- slow (cts. 3,4)

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• Sway right quick (ct. 5) - sway left quick (ct. 6)

• POSE - Arms up at a diagonal with flexed hands, (cts. 7,8)

• HOLD (cts. 1,2,3,4)

• Arms cross in out, in out

• Down to lap

Repeat: Pattern 1

Repeat: Patten 2

Repeat: Pattern 3

Repeat: Pattern 5

Ending Combination

• Upper body sways to the right slow (cts. 1,2)

• Move left-slow (cts. 3,4)

• Move right-quick (ct. 5)

• Move left-quick (ct. 6)

• Move right-slow (cts. 7,8)

• Right foot steps in (ct. 1)

• Left foot steps in (ct. 2)

• Right foot steps out (ct. 3)

• Left foot steps out (ct. 4)

• Repeat (cts. 5-8)

• Repeat Swaying Pattern- slow, slow, quick-quick, slow (cts. 1-6)

• Arms stretch upward and outward on a diagonal with hands flexed, HOLD ENDING POSE. (CTS. 7,8)

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