About the Artwork:Interlace is a traditional Armenian dance based on the

structural designs seen on Armenian churches from

the 4th – 17th century. In keeping with a strong

communal feeling, there is an emphasis on group

movement and patterns. Traditional Armenian

music supports the dancers. Graceful arm and hand

movements and interlocking arms echo the lines and

design motifs on the buildings. Circular floor

pathways that spiral in and out, linear formations

with intricate connections and weaving patterns

between the dancers visually highlight the grace and

quiet strength of the dance. In keeping with

Armenian tradition, the costume includes a small hat

with an attached veil that covers the hair, a big jacket

belted at the waist and a skirt that hides the feet -

emphasizing the illusion of effortless gliding.

Creative Process of the Artist or Culture:Anna Djanbazian’s Persian-

Armenian heritage, love of

design, nature, and her commit-

ment to grow as an artist

influence her themes and

choreographic projects. While she

remains strongly tied to the

traditional dances, she does not want them to remain

frozen in time like “precious objects gathering dust on

a shelf.”

CaspianSea

Egypt Persian Gulf

IRAQ

Mediterranean Sea

Black Sea

IRAN

“I want to keep the dances ofmy cultures alive - to stay connected to their roots. . .and I also feel this need to growand look at them with a newvision that is contemporary butremains cultural.”

Anna Djanbazian

Title of Work:Interlace (1992) and Sarve Kashmir

Creator:Anna Djanbazian (1952 - 2017)Founder, Artistic Director and Choreographer of the Djanbazian Dance Company

Background InformationChoreographer, dancer, and teacher, Anna Djanbazian

began dancing at the age of three in her father’s ballet

school in Tehran, Iran. As the daughter of a Persian

mother and Armenian father, Anna grew up with a rich

cultural and artistic heritage. Sarkis Djanbazian, Anna’s

father was a former member of the legendary Kirov

Ballet Company in St. Petersburg (then Leningrad) who

left Russia in the 1940s to escape the difficult political

climate. The school he started in Tehran, the Djanbazian

Ballet Studio, was recognized as a National Treasure by

the Shah of Iran, Muhammad Reza Pahlavi. Later, her

father was also honored with the National Arts Medal.

After high school, Anna left Iran to attend the Yerevan

Choreographic Dance University in Armenia, (then part

of the USSR). Earning a B.A. degree in Classical Ballet

and Armenian Folk Dance, she returned to Tehran, took

over her father’s school and began her own career. For

12 years, Anna produced and staged over 43 dances and

eight full-length ballets. In 1984, she and her family left

Iran because of the restrictions imposed upon artists by

the 1979 Iranian Revolution. Following in her father’s

footsteps, Anna opened her own studio in 1988 in

Glendale, California. She also earned an MA Degree

from UCLA where she explored Modern Dance. Anna’s

dream of a company to present cultural and modern

works was realized in 1991.

DANCE

Ancient Armenia

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

Photo: Glimore 1996

*

Ross Collins, Larousse Kingfisher Chambers, New York,

1998, ISBN 1-84089-025-8. A is for Asia, Cynthia

Chin-Lee, Orchard Books, N. Y, 1997, ISBN 0-531-

30011-0.

Audio-Visual Materials:• Artsource® video excerpt of Interlace and Sarve

Kashmir, courtesy of Anna Djanbazian and her company.

Sample Lessons:Level I• Read The Persian Cinderella by Shirley Climo and make

connections to the version most well known in America.

• Learn about the Persian New Year celebration - No Ruz.

Recreate this spring festival and compare and contrast

with other New Year’s celebrations.

• Create musical “jewelry” (as seen in Sarve Kashmir)

from simple found materials (flattened bottle tops, pull

tabs, bells, etc.) to accompany cultural music.

• Reread the story of Noah’s Ark, the legendary ship that

landed atop Armenia’s highest mountain, Mt. Ararat.

Level II• Learn about a legendary story told to Marco Polo

when he passed through the ancient town of Saveh in

Persia. The story portrays the three Wise Men as both

Holy Men and Astronomers. Create “Star Maps” and

dance them.

• Research and learn about early Persian contributions

to Astronomy. Consult Harry Ford’s book, A Young

Enthusiast’s Guide to Astronomy - and One Small Square

- The Night Sky by Donald M. Silver.

Level III• Research building materials, the architecture and

distinctive formation of the Armenian Church.

• Recall and repeat some of the formations you

observed in the dance Interlace. Do these in small

groups. Create your own formations and hand holds,

then experiment with traveling these formations in the

classroom space.

• Build dance studies based on architectural forms and

cantilevers Practice using body cantilevers and weight

sharing among partners and in small groups. Make

visual and body design connections to the dance

Interlace.

·

* Indicates sample lessons

*

*

Discussion Questions: After the video has been viewed:• Describe each dance you viewed. What feelings did

you have while watching the dances? Give reasons to

support your answers.

• Compare the two dances in terms of use of space,

tempo, energy, costume, feeling, etc. How were they

alike? How were they different?

• Were the dancers performing in unison, small

groups, or individually? Which kind of energy did

each dance project? What body parts were emphasized?

• Define and discuss the word “architecture.” List

connections to architectural elements in Interlace.

• Describe the different musical accompaniments

that were heard in each dance. Make comparisons.

Background on the Artwork Continued: Sarve Kashmir reflects the style of Persian dance usually

performed in small spaces (in homes or courtyards)

and done in circular or serpentine lines. The bare-

foot performers, laden with jewelry in their noses,

and on fingers, wrists, ankles, and toes, portray a

group of women Anna saw selling bread on the street

in Zehedan, a city in the desert of southern Iran.

Dancers perform as soloists and in small groups,

moving their bodies with quick flicking actions of

the hands, small gestures of the shoulders and quick

footwork. These flicking movements are done to

enhance the musical sound of their jewelry. In

Zehedan, the costumes and music are similar to those

found in the deserts of Northern Africa. The women

wear brightly colored, open veils over their heads as a

shield from the hot sun. Loose caftans are worn over

pants which are banded at the ankles to keep out the

dust and sand. The music, played on drums, has a

strong percussive feel and keeps a lively beat that

inspires the dancers.

Multidisciplinary Options:• Look at the alphabets and languages of Armenia

and Iran. Compare and contrast their form to

English and other languages. Consult these refer-

ences for ideas: Write Around the World - The Story of

How and Why We Learnt to Write. Vivian French,2

3

ADDITIONAL INFORMATION ON THE DANCES

BACKGROUND ON INTERLACE

The countries of Armenia and Persia (known today as the country Iran), are both ancient cultures withunique customs, rich cultural heritages and heroic survivals despite invasions and conquests by other pow-ers. Home of the legendary Mt. Ararat, where Noah’s Ark came to rest, Armenia’s legacy includes its dis-tinction as being the first country to adopt Christianity as a state religion in 301AD. The Armenians werealso the creators of a style of religious architecture which anticipated the Western Gothic and RomanesqueCathedrals of Europe. Interlace, while done in the tradition of Armenian cultural dance with its lineargroupings and flowing elegance, was inspired by the intricate stonework and architectural design seen inthe buildings, facades, and archways of 4th - 17th century Armenian churches. The stonework decorationfound on the buildings show elements of nature (birds, plants, vines, and flowering vegetation) geomet-ric designs (scrolls, interlacings, loops, ribbons, braids and coils) and some stylized human figures. Themovements seen in this dance are the result of the choreographer’s desire to bring the motifs and naturaldesign impressions of the architects and stone masons of the extraordinary churches to life.

BACKGROUND ON SARVE KASHMIR

Iran’s culture and artistic legacy was influenced by its original inhabitants, the Persians, its geographiclocation as a doorway between Asia and ancient Mesopotamia, and the Islamic religious tradition. Islam,which was brought to Iran in 7AD by the Arabs, is comprised of different sects. The powerful Shia sectwho live in and around the capital, Teheran, advocate a return to strict spiritual and religious laws.Women are strongly encouraged to follow a clothing code which requires the wearing of the Chador, ablack, bell-shaped garment which covers the woman’s head, face, and body to protect her from the eyesof men. The smaller Sunni Sect, who live in regions far away from Teheran, have a certain amount offreedom in pursuing their beliefs. This includes the wearing of traditional costumes not sanctioned bythe government. The idea for this dance came from a trip that Anna took to Zahedan, a desert city insouthern Iran, at the foot of Mount Taftan. While sight-seeing and gathering ideas for artistic work,Anna came upon a group of women selling bread in the street. What struck her was that here, duringthe height of the Islamic Revolution, with its strict laws prescribing suitable dress for women, these ladieswere dressed in colorful clothes, open veils and great displays of jewelry. While they were reluctant tohave their pictures taken, they were quite generous with information and hospitality, inviting Anna andher husband to their homes to share their culture with them.

COMPARISONS

While some comparisons can be made between the dances, there are strong contrasts between them whichcan be seen upon viewing the video. Dance movements seen in Interlace are smoother and more sustainedthan the gestures seen in the Persian Dance. There are fuller extensions in the linear and curvilinearmotions of the arms. Groupings in Interlace suggest architectural forms reinforcing a sense of stability andstrong support. The dancers seem to float on stage, bodies do not change levels until the very end of thedance. Women performing in Sarve Kashmir are more suggestive and flirtatious in their movements, moreopen and celebratory. The dancers in Interlace are more reserved and exhibit a “controlled elegance” inmotion. There is more of a communal feeling and look in Interlace. The dancers are moving as a groupwith few solo moments. There is a stronger sense of individual personalities dancing in Sarve Kashmir,because dancers interact with each other and the audience.

LEVEL I Sample Lesson

INTRODUCTION:

Often, the entry point into learning about another culture is through a connection with a familiar subjector story. This lesson will introduce students to Persianculture through their version of the story of Cinderellaand one of their more joyous celebrations No Ruz – aNew Year’s holiday. It is featured in The PersianCinderella, that came from a collection of tales in a 9thcentury Persian book called Hezar Afsaneh or AThousand Tales. Similar versions of well-loved and widelyknown fairy tales can be found in cultures around theworld. Students can present the fairy tale through aretelling approach, and create costumes and movementto enhance the production.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss that fact that similar story themes, such as Cinderella, are found in different cultures throughoutthe world. (Connecting)

• Retell the Persian version of Cinderella using their own words. (Creating)

• Create simple gestures or movements to express the main ideas in the Cinderella story. (Creating)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Responding & Connecting)

MATERIALS:

• The Persian Cinderella by Shirley Climo. Harper Collins Publishers. ISBN 0-06-026763-1

• Odds and ends for costume suggestions (optional).

Djanbazian Dance Company in Sarve KashmirPhoto: Craig Schwartz ©1998

ENDURING VALUES AND TRANSFORMATIONTHE PERSIAN CINDERELLA

4

DANCEDANCE

PROGRESSION:

Scenario:•The Persian version of Cinderella is about a neglected and tormented young girl named Settareh.Ridiculed by her stepsisters, she feels very isolated. One day her father visits the women and gives every-one a large gold coin to buy cloth and make themselves an outfit for No Ruz Festival at the palace.However, at the bazaar, Settareh uses some of her money to help an old woman and the rest to purchasea cracked, blue jug, not realizing that it holds magic. On the day of No Ruz, she has no fine clothes towear, so she remains at home while her stepsisters and others go to the palace. Sad and alone, she rubs theblue jug and makes a wish that it fills with jasmine blossoms. The jug begins to shake and magicallysprings forth white flowers. She also wishes for food, which was given to her and then her world changesas she wishes for clothes to go to the New Year’s Celebration.

As she makes her way into the palace, she meets a handsome young man who smiles at her. Unaware thatthis is the prince, she enters into a great hall and enjoys the food, music and entertainment. The eveninggoes by quickly and she suddenly realizes she must return home before the others return. In her haste,she loses a diamond anklet in a ditch filled with water.

The next morning, the anklet is found by the stable boy and taken to the prince. Intrigued, the princefeels compelled to find the owner of the missing anklet. His mother, the Queen, takes charge and conducts a search. Every woman in the city tries to squeeze into the sparkling anklet, but to no avail.Upon reaching Settareh’s home, the search continues. As before, it fits no one -- until Settareh appearswearing her finery from the great New Year’s celebration. She bows to the Queen and slips her footthrough the diamond anklet with ease. The Queen invites her to return with her to the palace. Beforeleaving, she runs into her room to retrieve the little jug, but is stopped by her conniving stepsister whowants to know her secret.

She and the prince share only a brief time of happiness. Her jealous stepsisters conspire to use the magicof the jug against her as they help her prepare for the wedding. She is transformed into a gray turtle dovewhen they stick magic pins into her hair. Mourning the loss of his love, the prince sits alone in his room,but is comforted by a small turtle dove that appears in his window. After many months, the dove allowsthe prince to stroke its head. He is puzzled by strange bumps under the feathers. As he peers closer, hediscovers the bumps to be the hairpins embedded by the evil stepsisters. Gently, he begins to remove them.When the last one is withdrawn, the bird flutters, cries out, and the spell is broken. Setterah again takesher earthly form and they are married and live happily ever after (We hope!).

• After reading the scenario, list the similarities and differences between the familiar version and this story.Talk about how fairy tales can be transformed and enriched by different cultural settings.

• List the symbols used in the traditional Cinderella story (The fairy God Mother, magic wand, pumpkintransformed into a coach, mice and rats turned into coachmen and horses, a glass slipper, a royal ball.)

• List the symbols in this version that correspond to the traditional elements.

Persian Version Traditional VersionBlue pot Fairy Godmotherdiamond anklet glass slipperNo Ruz Ballfather is still alive father is deaddove servant woman 5

• Have the students recreate the story by identifying the characters, settings, conflict and resolution andsequence of events. Divide the story into simple scenes, and have different people take turns retelling thestory. You can also have some students mime events in the story as it is told.

EXTENSIONS:

• Research more about this spring festival. Compare and contrast the customs with the New Year’s celebrations of other cultures from around the world. Divide into small groups and give each group oneaspect of the traditions to perform in either a mime or tableau.

Background on No Ruz

No Ruz is the 13 day celebration that begins on March 21st each year. Families get together, a specialfeast is held with fish and seven foods beginning with the letter “S.” A table is set up with seven luckyitems: apples, grass, pudding, vinegar, garlic, sumac berries and the fruit of the lotus tree. Each representsone of the seven spiritual forces of religious practices that date back to before Islam. Children dress up innew clothes, play with their cousins and friends and receive gold coins. The events include jumping overa bonfire, dancing, music and the custom of going outdoors on the thirteenth day, as it is consideredunlucky to stay inside. At this time, the father performs the ritual of throwing wheat which he has grownfor two weeks, into the river. Girls who are interested in marriage make a knot in the wheat, express theirwish for a husband and throw the knotted wheat in the river.

• Get Festivals, a book of poems by Myra Cohn Livingston, Holiday House, ISBN 0-8234-1217-2, andread the poem, No Ruz. This is an excellent poem to perform using creative movement or theatre.

• Perform the story, The Persian Cinderella, and add costumes and add musical “jewelry,” made from simple found materials (flattened bottle tops, pull tabs, bells, etc.) String onto yarn or elastic to wear andto accompany appropriate cultural music.

VOCABULARY: No Ruz, tableau, Persian

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe your favorite part of the story.

DISCUSS: Discuss the similarities and differences between the two versions of the same story.

ANALYZE: Discuss how the magical and transformational aspects of each story were different.

CONNECT: If you could be transformed into another creature, what animal would you choose, whowould you visit and how would you communicate?

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

6

POWER OF NATURE AND THE HUMAN FAMILYSKY MAPS

LEVEL II Sample Lesson

INTRODUCTION:

Exploring the origins of Astronomy can help studentslearn about scientific history and the famous and oftenforgotten people who made important discoveries longago. These pioneers made discoveries without the benefitof today’s technology. Often art and literature can beentry points for motivating students to learn about asubject. This lesson is based upon the story told toMarco Polo in 1271 while on his great journey toChina. Visiting the Church of the Holy Sepulchre inJerusalem, he was shown a lamp that had burned continuously for over 1200 years. The story relates theorigin of the flame of the lamp. Marco Polo’s journeylater took him to the town of Saveh in Persia where hewas shown the tombs of The Wise Men (Balthasar,Melchior and Jasper), who were astronomers as well asHoly Men. Persian legend says that after The Wise Men had given their gifts to the Christ Child, He pre-sented them with a stone. Thinking that the stone had no value, they threw it down a well, where it burstinto flame. They finally understood that the flame was a special gift to bring justice, healing and peaceinto the world. All those who visited the well took part of the flame with them to spread the gift of peaceto others.

At that time in history, many astronomers were already studying the sky, identifying the positions of starsand grouping them into constellations. Persian astronomer, Al-Sufi, (903-86) listed the positions of morethan 1,000 stars. The focus of this lesson will be on the constellations and their potential for movement maps.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss the contributions of other cultures in the sciences. (Connecting)

• Tell a well-known legend connected to astronomy. (Responding & Connecting)

• Demonstrate the concept of a constellation and name several configurations. (Responding & Connecting)

• Design and perform Constellation Movement Maps. (Creating & Performing & Connecting)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Responding & Connecting )

7

DANCEDANCE

Constellation Sagittarius

MATERIALS:

• Paper and markers.

• Music to support creative movement with Space and Star themes.Suggested Titles: The Planets by Holst, Various Electronic New AgeMusic Artists: Steve Roach, Deuter Aum, Tomita.

• The Stone-A Persian Legend of the Magi, Dianne Hofmeyr, Farrar,Straus and Giroux, New York, 1998, ISBN 0-374-37198-9.

• Sources for constellation and star charts such as astronomy books,science texts or consult these sources:Zoo in the Sky - A book of Animal Constellations. Jacqueline Mitton, National Geographic Society,Washington D.C., 1998, ISBN 0-7922-7069-X.

• Star Shapes. Peter Malone, Chronicle Books, San Francisco, 1997, ISBN 0-8118-0726-6.

PROGRESSION:

• Relate the legend told to Marco Polo.

• Discuss and compare the story with what is known in more traditional retellings. In this legend, theMagi are wise men and astronomers who go on a journey, present their gifts, and are given a stone inreturn. When they throw it down a well, it becomes a great flame that serves as a reminder of peace on earth.People come from far away to take a part of the flame away and spread the story of peace around the world.

• Emphasize that people of ancient times studied the sky to learn its patterns, to navigate and to try tomake meaning in their lives. The Three Wise Men went on their journey under the guidance of a starthat had never been observed before.

• Introduce the topic of Astronomy. Discuss with the students what they know about this subject area.Ask them about how they thought the early astronomers were able to locate and name the stars and theconstellations.

• Present the constellations in star chart form. Locate appropriate constellation representations that correspond to the animals most known to the students. Examples: The Great Bear (Ursa Major), TheWolf (Lupus), the Hare (Lepus), The Lion (Leo), The Peacock ( Pavo), etc. Show the students both thepicture and star charts that identify each of the constellations. Discuss the possible origin of these star names.

• Students will create their own movement studies using the constellations as their pathway maps (SkyMaps). Divide students into small groups of four or five. Give each group a different constellation.Explain that they will be creating a moving pathway that will show the outline of the constellation andthe movements they select will reflect the animal qualities of their constellation.

• Using large sheets of paper, place the stars in the specific spots that correspond to the constellation theyhave been given. Draw the shape of the animal that encompasses the stars. Then decide as a group wherethey will begin and end on the map they have created.

8

•Discuss the words time, energy, levels and action words. These will be the dance/movement conceptsthat the students can explore and incorporate in their Sky Maps.

• Each group will create a list of action words that describe the movements of their animal. They willthen place these action words along the pathways and rehearse. For example, if it is a peacock, betweenpoint a and b, this person will glide, strut or hop, etc.

• Students can move individually, in duets or trios.

EXTENSIONS:

• Allow them to choose the music that fits their movement piece. Rehearse and Perform.

• Locate and learn about the countries of the Middle East. Begin with the countries of Armenia andIran.

• Read these excellent children’s stories that come from Armenian and Persian sources:

The Golden Bracelet, retold by David Kherdian. Holiday House, New York, 1998, ISBN 0-8234-1362-4.

A Weave of Words, retold by Robert D. San Souci. Orchard Books, New York, 1998, ISBN 0-531-30053-6.

• Research and learn about early Persian contributions to Astronomy. Persian Astronomer, Al-Sufi,(903-86 AD) listed the positions of more than 1,000 stars. Consult Harry Ford’s book, A YoungEnthusiast’s Guide to Astronomy and One Small Square - The Night Sky by Donald M. Silver for sourcematerials for lesson connections in science curriculum. Other source materials include:

One Small Square, The Night Sky, Donald Silver, Learning Triangle Press, McGraw-Hill, 1998, ISBN 0-07-058045.

The Young Astronomer - A Young Enthusiast’s Guide to Astronomy, Harry Ford, Dorling KindersleyLtd., London, New York, 1998, ISBN 0-7894-2061-9.

VOCABULARY: Astronomy, constellation, pathway, Elements of Dance, time, space, energy, map, journey.

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe your constellation and what you learned about it.

DISCUSS: Discuss what your group needed to do to create your Constellation Movement Map.

ANALYZE: Discuss the main differences you noticed between each of the constellations.

CONNECT: Discuss how Star Charts are similar to maps of the earth.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking 9

TRANSFORMATIONBUILDINGS IN MOTION

LEVEL III Sample Lesson

INTRODUCTION:They say that the two primary arts were dance and architecture.

Martha Graham, Modern Dance Artist/Choreographer

A country’s treasures can be found in museums, amongits peoples, in its natural beauty and also in its buildings.The unique design of Armenia’s churches reflect bothhistory and natural resources. Armenia was the firstcountry to adopt Christianity in 301 AD. Some historiansbelieve that their churches influenced the design of bothRomanesque and Gothic Cathedrals in Europe as peoplecrossed their lands over the years. The Armenian expression,“Hayasdan, Karasdan,” which means “Armenia, theLand of Rocks, “is evidenced in the materials that wereused to construct these churches. While earthquakesand wars have damaged many of them, those that standserve as reminders of the rich heritage of the country.

This lesson will enable students to learn basic architectural concepts, work with their bodies in partnership tocreate shapes and designs that are reflected on the buildings, and understand how an artist can use anoth-er source for movement ideas.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss the historical, cultural and geographic aspects of the country of Armenia.(Connecting)

• Discuss the distinctive architecture of Armenian churches and how artists can use this art in creatingwork. (Responding & Creating)

• Work with partners in trusting relationships to experience body weight and cantilevers. (Creating & Responding)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Responding & Connecting)

MATERIALS:

• Artsource® video of Interlace.

• What it Feels like to be a Building. Forrest Wilson, National Trust for Historic Preservation, WashingtonD.C., 1988, ISBN 0-89133-147-6. (optional) 10

DANCE

• Architecture Is Elementary - Visual Thinking through Architecture.Nathan B. Winters, Peregrine Smith Books, Salt Lake City, 1997,ISBN 0-87906-186-8.

PROGRESSION:

• View the video of Interlace and use the “Discussions Questions” onPage 2.

• Give some background on Armenia, its history, geography and theimportance of its churches.

• Ask the students to recall the Story of Noah’s Ark, as they know it.Identify the location of the Ark’s final resting place as Mt. Ararat in Armenia. Locate both Armenia andthe mountain on the map. Emphasize the rugged landscape and geology of Armenia and how it provid-ed ample building material for Armenia’s famous churches. Anna Djanbazian derived inspiration for herdance Interlace from these buildings.

• In discussing the building materials, explain that there exists a pinkish-grey volcanic stone called toof ortufa. This material was used in building the churches, giving them their distinctive color.

• Stone Masons (the people who cut the stone and fit it to construct the buildings) were well known fortheir work and were employed in many countries.

• Look at the architecture and distinctive formation of the Armenian Church. It can be recognized by aCone-shaped roof that is atop a polygon-shaped Drum rising above the church. Once inside the church,one can see a Dome that is inside the Cone. (see picture).

• Discuss with students other forms of religious architecture that they have seen. Have them draw theseforms on graph paper. This information applies to geometry and math concepts.

• Working in pairs, trios, or quartets, ask them to form some of the shapes with their bodies.

• Add the concept of cantilevers - working with the weight of another person. Stand face to face with apartner, holding onto each other’s wrists. Pull away equally from the other person, sharing the weightbetween each person. Think of sitting in a chair, keeping knees bent, staying connected to the center ofthe body.

• When students have mastered that, try changing levels as they share the weight, removing a body partfrom the floor, using one arm, etc. Also try pressing against each other with different body surfaces,(hands, shoulders, backs) Allow students to experiment and explore these concepts.

• Focusing on Architecture - have students recreate building shapes and designs. A good source of ideasis the book, What It Feels Like To Be A Building, by Forrest Wilson.

• Reconnect their explorations to the dance Interlace. Remind them that the choreographer also usedarchitecture for inspiration in creating the dance. Tell them that Anna used buildings in another way. Shelooked at their structure and at the design work on the outside of the buildings. Talk about the designwork students have seen in their neighborhood, on the school building, or their homes. 11

EXTENSION:

• Recall and repeat some of the formations observed in the dance Interlace. Do these in small groups offour or five. Try the hand and arm positions that connected the dancers and attempt to travel in the roomin lines and circles as the dancers did in the piece.

• Create your own formations and hand holds. Experiment with traveling these formations in the classroom.

• To structure these experiences and set a movement study “task,” give students a checklist of selected concepts (criteria) they must include in their piece. Example:

Dance must have a strong beginning and ending shape Three different cantileversCurved floor pathwaysInteresting hand holdsWeaving of bodies.

Allow students time to rehearse and revise their work before they present it to the class.

• Read selected stories from Armenian and Persian Folk and Fairy Tales. Learn about the uniquelyArmenian form of beginning their stories, “Once there was and was not......”

Armenian Folk-tales and Fables, retold by Charles Downing. Oxford University Press, New York,1993, ISBN 0-19-274155-1. This book also includes well-know Fables and Proverbs fromArmenia.

• Research the multiple religions in present day Iran. While Islam is the major belief, Zoroastrianism,Baha’ism, Judaism, Christianity and other faiths do exist in the country. Discuss the multiplicity of religions in the Middle East and how this affects the politics of all these countries. Survey your classroomfor the religions practiced by the students in the class.

The Usborne book of World Religions. Susan Meredith, Usborne Publishing Ltd., London, 1995, ISBN 0-7460-1750-2.

VOCABULARY: architecture, counterbalance, pathway, dome, cone, cantilever, tufa

ASSESSMENT: (Responding & Connecting)

DISCUSS: Discuss what your group discovered in working with weight and balance.

ANALYZE: Discuss how you used architecture as an inspiration for movement.

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

12

13

Between the 4th and 7th centuries Armenian architects developed aunique type of church architecture, different from churches built in

other Christian countries.

cone on the outside

Dome on the inside

Drum