Passport TO CULTURE

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Grades 5 –12Teacher’s Resource Guide

Flamenco Vivo Carlota SantanaPresented in association with NJPAC’s Alternate Roots

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Generous support for Schooltime provided,

in part, by

S C H O O L T I M E P E R F O R M A N C E S E R I E S • S C H O O L Y E A R 2 0 1 0 – 2 0 1 1

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just imagine Arts Education and You The New Jersey Performing Arts Center (NJPAC) Arts Education Department presents the 14th season of the Verizon Passport to Culture SchoolTime Performance Series.

With Passport to Culture, Verizon and NJPAC open up a world of culture to you and your students, offering the best in live performance from a wide diversity of traditions and disciplines. At NJPAC’s state-of-the-art facility in Newark, with support from Verizon, the SchoolTime Performance Series enriches the lives of New Jersey’s students and teachers by inviting them to see, feel, and hear the joy of artistic expression. The exciting roster of productions features outstanding New Jersey companies as well as performers of national and international renown. Meet-the-artist sessions and NJPAC tours are available to expand the arts adventure.

The Verizon Passport to Culture SchoolTime Performance Series is one of many current arts education offerings at NJPAC. Others include: • Professional Development Workshops that support the use of the arts to enhance classroom curriculum • Arts Academy school residency programs in dance, theater and literature, and Early Learning Through the Arts—the NJ Wolf Trap Program • After-school residencies with United Way agencies

In association with statewide arts organizations, educational institutions, and generous funders, the Arts Education Department sponsors the following arts training programs: • Wachovia Jazz for Teens • The All-State Concerts • The Star-Ledger Scholarship for the Performing Arts • The Jeffery Carollo Music Scholarship • Summer Youth Performance Workshop • Young Artist Institute • NJPAC/New Jersey Youth Theater Summer Musical Program

Students have the opportunity to audition for admission to NJPAC’s arts training programs during NJPAC’s annual Young Artist Talent Search. Detailed information on these programs is available online at njpac.org. Click on Education. The Teacher’s Resource Guide and additional activities and resources for each production in the Verizon Passport to Culture SchoolTime Series are also online. Click on Education, then on Performances. Scroll down to “Download Teacher Guide in Adobe Acrobat PDF format” and select desired guide.

Permission is granted to copy this Teacher’s Resource Guide for classes attending the 2010-2011 Verizon Passport to Culture SchoolTime Performance Series. All other rights reserved.

To Teachers and Parents The resource guide accompanying each performance is designed • to maximize students’ enjoyment and appreciation of the performing arts; • to extend the impact of the performance by providing discussion ideas, activities, and further reading that promote learning across the curriculum; • to promote arts literacy by expanding students’ knowledge of music, dance, and theater; • to illustrate that the arts are a legacy reflecting the traditional values, customs, beliefs, expressions, and reflections of a culture; • to use the arts to teach about the cultures of other people and to celebrate students’ own heritage through self-expression; • to reinforce the New Jersey Department of Education’s Core Curriculum Content Standards in the arts.

CONTENTSOn Stage 3

In the Spotlight 4

Flamenco Talk 5

Flamenco’s History: Struggle and Survival

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Before and After Activities 7

Teaching Science Through Dance

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Delving Deeper 8

FoundationKid Power!Through energy efficiency and conservation, kids can help preserve our planet’s rich natural resources and promote a healthy environment.

Tip of the DayIt is entertaining to watch flamenco dance on your television and computer or listen to flamenco music on your radio and stereo. To minimize the amount of electricity these devices require to function, don’t forget to turn them off when you leave a room.

Made possible through the generosity of the PSEG Foundation.

Passport to Culture • Flamenco Vivo Carlota Santana 3Passport to Culture • Flamenco Vivo Carlota Santana

Flamenco Vivo Carlota Santana’s performance at NJPAC introduces the audience to signature sights and sounds of flamenco including clicking castanets, strumming guitars and dancers making rhythms with their hands and feet as they express intense feelings of happiness, loneliness, anger, excitement, and optimism.

Many of the different cultural and stylistic influences present in the development of flamenco as we know it today will be featured in dances that may include:

Sevillanas, Spain’s most popular folk dance, is a traditional dance from the Spanish Andalusian city of Seville from which it takes its name. It is often danced with partners who use castanets to add to the dance’s excitement.

Jaleos is a quick, lively percussive dance in which the dancers make the rhythm through fancy footwork called zapateado.

“Seguiyira – Martinete” is a suite of ensemble numbers and duets. One of the most sorrowful flamenco forms is seguiyira, a gypsy “deep song,” or cante jondo. Here the female dancers use the traditional Spanish shawl (mantón) to describe the depth of their feelings. Many times, the female soloist will use a special part of her costume, the bata de cola (long train) to help convey the weight of her sadness. The mood of the piece changes drastically with the martinete which involves a competition of footwork between the men. They use canes (bastónes) to pound out the rhythm that is based on the sound of blacksmith’s hammers.

Soleares, one of the most serious flamenco rhythms, is a basic pillar of this dance form. The name soleares is derived from the Spanish word soledad, which means loneliness or solitude. The themes of its lyrics are romantic tragedy, desolation and death.

Soleá por Bulerías is a variation of the soleares. The underlying style is bulerías toque (fast flamenco rhythm on the guitar) which gives the dance a lighter feeling than the soleares.

The Tangos Gitanos (Gypsies’ Tangos), originally from Cádiz, Spain, belong to the category of more festive and resplendent flamenco songs and dances. The tango is a sensual, exiting and rhythmically infectious dance.

Tientos is a majestic, sensual duet dance. The sometimes slow, wiry movements let the dancers express emotions easily.

The Alegrías were originated in the seaport of Cádiz. The word alegrías means joy or happiness, and the songs, which are light and carefree in spirit, are performed in an uplifting manner. They can express great intensity of feeling, and the mood is mostly optimistic and high-spirited.

“Rumba Flamenca” brings the concert to a high point. Rumba is a Caribbean rhythm. The rumba flamenca emerged as one of the bailes de ida y vuelta, “dances of coming and going,” a name which refers to the path of travelers from Spain to the Caribbean. In this dance, the African influence in rumba can be seen in the use of the hips which is freer in this form than most flamenco dances. The overall mood of the piece is light-hearted and fun.

Be prepared to be dazzled and awed by the sights and sounds of flamenco and do not forget to shout Olé! (the Spanish way of telling the performers you like what you see) when you clap at the end of each dance piece.

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In the SpotlightCarlota Santana, the founder and artistic director of Flamenco Vivo Carlota Santana has been designated “The Keeper of the Flame” by Dance Magazine in recognition of her commitment to creating new flamenco works and developing young artists and choreographers working in this dance style. She has dedicated her company to building bridges between cultures through using the universal spirit of flamenco.

Flamenco Vivo Carlota Santana was founded in 1983 by Carlota Santana and Roberto Lorca. Their vision was that Spanish dance should not only find a permanent home in the United States, but also an environment in which its creation and performance would thrive.

Since Mr. Lorca’s untimely death in 1987, the company has continued to grow and flourish under Ms. Santana’s direction. She has expanded the repertory by presenting new music, dramatic works and a mixture of various dance vocabularies as well as by integrating Hispanic-American influences.

Ms. Santana created the company’s innovative arts-in-education program, integrating Spanish dance and culture with the school curriculum, and has traveled widely implementing this program. She is a member of the dance panel for the New York State Council on the Arts and has served on the panel for the National Endowment for the Arts. She is on the faculty of Duke University and has taught at Long Island and New York universities. Ms. Santana is a recent recipient of a choreographer fellowship from the North Carolina Arts Council and is a member of the North Carolina Dance

Alliance. Under her artistic direction, the company has performed in New York City at Lincoln Center, The Joyce Theater, The New Victory Theater, the Metropolitan Museum of Art, and the Museum of Modern Art as well as at Summerdance in Santa Barbara, California, Carnegie Music Hall in Pittsburgh, Pennsylvania, Society of the Four Arts in Palm Beach, Florida, Van Wezel Performing Arts Center in Sarasota, Florida, Universidad Bucaramanga in Colombia, South America, Palacio de Congresos in Granada, Spain, Discovery Theatre in Anchorage, Alaska, Leid Center in Lawrence, Kansas, and the Paul Poag Theatre in Del Rio, Texas, among many others.

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5Passport to Culture • Flamenco Vivo Carlota Santana

Flamenco Talk

moño – hair worn in a bun., the style worn by women flamenco dancers.

palmas - hand clapping, which can be sharp (claras) or muted (sordas).

pañuelo - handkerchief

peña - a private flamenco club.

Petenera - a legendary figure of a seductive woman.

rumba - a Caribbean rhythm with a strong African influence.

seguiyira - a gypsy song form that is characterized by sadness.

tablao - a flamenco bar.

zapateado - footwork, emphasized in men; also called taconeo or escobilla.

A glossary of words that relate to dance in general can be found online at njpac.org. Click on Education, then on Performances, then on Curriculum Materials. Scroll down to “Download Teacher Guide in Adobe Acrobat PDF format” and select desired guide.

Most of the following Spanish words relate specifically to the art of flamenco.

abanico - a fan (used to express emotions like flirtation or sadness by female flamenco dancers).

aficionado/aficionada - a flamenco expert, masculine/feminine.

bailaor/bailaora – a flamenco dancer, male/female.

baile - dance.

bailes de ida y vuelta - literally, “dances of coming and going,” the hybrid forms that developed between Spain and the Caribbean.

bastón - a wooden cane used as a percussive instrument.

bata de cola - a heavy, long train for the women’s dress.

brazeo - expressive arm movements, especially for women.

compás – the rhythm of flamenco.

cafes cantantes - cafes that emerged in the late 19th and early 20th centuries in Spain where flamenco was performed.

cantaor/cantaora – a flamenco singer, male/female.

cante - a song.

castañuela - castanets, small wooden percussion instruments that are shaped like spoons and tied together with a string. The word comes from castaña, or chestnut, which they resemble.

chaqueta - the jacket that is normally part of the men’s costume.

compas - the rhythmic structure of a specific form of flamenco.

copla - the verse or song structure of a song.

duende - the deep spirit of creativity exhibited by flamenco artists.

falda - a skirt.

guitarra - a guitar.

jaleo - spoken or shouted praise to encourage performers.

juerga - a flamenco party.

letra - lyrics.

mantón - a shawl.

martinete - a specific flamenco rhythm named after the sound of blacksmiths’ hammers.

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Flamenco’s History: Struggle and SurvivalThe roots of flamenco can be traced back several centuries to a region in southern Spain called Andalusia. Many scholars provide examples of how the music and dance from ancient Arab and Indian cultures contributed to what eventually became flamenco. The written histories of ancient Greece and Rome describe dancing that resembles flamenco among Indian temple dancers as far back as 500 to 250 BCE. Other scholars point out the similarities between the Arab zajal (poetry and song form) and the flamenco copla (music and verse structure) that date back to the Muslim invasion and occupation of southern Spain from 711 to 1492. Scholars of dance history call attention to the similarities between classical Indian dances and flamenco and trace the origin of flamenco to the second migration of gypsies to southern Spain from India in the year 1450. To be honest, no one can say with absolute certainty who invented flamenco, but many people continue to have heated arguments about its origins.

Most historians agree that until the late-19th century flamenco was practiced among gypsies as a social dance form and only occasionally in commercial settings for upper class Spaniards or tourists. However, the end of the 19th century brought with it the commercialism of flamenco as a popular art form in the cafés cantantes in several major cities of Spain. As these “singing cafés” increased in popularity, several different Andalusian folk and gypsy song forms were incorp-orated into the flamenco repertory. During this period (roughly 1847-1936), flamenco performance was elevated to a platform and presented before tourists and Spaniards alike in many of the country’s cities. The years 1881-1900 in particular are considered the Golden Age of this era.

In the early years of the 20th century, many flamenco artists formed touring companies and traveled through Europe, the United States and South America. However, some flamencos chose to leave Spain when the Civil War broke

out in 1936. As a result, while flamenco flourished in foreign countries, flamenco activity in Spain very nearly halted.

The decade of the 1950s was marked by an increase in flamenco activity, particularly in Hollywood. Movies from that era capture on film the legends of the time: Carmen Amaya, José Greco, Rosario and Antonio, Pilar López, and La Chunguita. Within Spain, tablaos (flamenco bars or dance floors) were invented to entertain tourists. The popularity of the dance among foreign audiences changed the standards of its performance. Dancers performed more complex and acrobatic displays of footwork, and they incorporated balletic leaps and turns into their routine as well.

Aficionados (experts) of flamenco gather in groups called peñas (private clubs). In the context of ajuerga (flamenco party), everyone who is present is a participant in the performance. As they watch and listen, participants play palmas (hand-clapping accompaniment to the song or dance) and encourage other performers through jaleo (spoken or shouted comments). If you hear someone shout “Olé!” that is an example of jaleo.

During the late 1970s and 1980s, a mix

between flamenco and Spanish classical dance traditions called baile teatral (theatrical dance) emerged as a stage form outside of the tablaos and the peñas. This period also gave birth to professional flamenco companies across the world, including Flamenco Vivo Carlota Santana in the United States, formed in 1983.

Did You Know?

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Passport to Culture • Flamenco Vivo Carlota Santana 7Passport to Culture • Flamenco Vivo Carlota Santana

In the ClassroomBefore the Performance Teaching Science Through Dance

(Grades K-8)By Sharon J. Sherman, Ed.D.

Dance is a way to create and communicate meaning. When they structure their movement with thought and awareness, children create dance. As they learn science concepts, they can use dance to communicate their understanding and show what they know.

Beginning in the early grades, children study physical science concepts and are introduced to the concept of energy. According to the NJ Core Curriculum Science Standards, they learn that “physical science principles, including fundamental ideas about matter, energy and motion, are powerful conceptual tools for making sense of phenomena in physical, living and Earth systems science. Knowing the characteristics of familiar forms of energy, including potential and kinetic energy, is useful in coming to the understanding that, for the most part, the natural world can be explained and is predictable. They learn that heat, electricity, light, and sound are forms of energy. They compare the various forms of energy observed in everyday life and describe their applications.”

You can use dance to have children in the early grades think about forms of energy and communicate their understanding. By the end of second grade, they learn that the sun warms the land, air and water. Using non-locomotor/axial movements, such as bending, twisting, stretching, pushing or pulling, swinging, turning, or shaking, they can show the transfer of energy from the sun to land, air or water.

Using the eight locomotor movements of walking, running, hopping, jumping, leaping, galloping, sliding, and skipping they can create movements that depict energy of motion (kinetic energy) and stored energy (potential energy). If they add rhythmic patterns to their movements, combining both non-locomotor and locomotor movements, they can create simple dances.

Older students can improvise, create and perform dances based on their own ideas about the forms of energy. They can create movements to depict electrical, mechanical and thermal energy, which are forms of kinetic energy. They can also create movements to depict chemical, nuclear, magnetic, and gravitational energy, which are forms of potential energy. You can ask them to compare and contrast their kinetic and potential energy dances. Be certain their dance technique incorporates strength, flexibility, balance, coordination, changing levels, and traveling through space.

Sharon J. Sherman, Ed.D. is Dean of the School of Education and Professor of Teacher Education at Rider University in Lawrenceville, NJ.

The Teaching Science Through the Arts content of this guide is made possible through the generous support of Roche.

After the Performance1. To generate discussion about the perfor-mance, ask the students how the choreographer used movement to express emotions or tell a story. Ask them how they could use movement to express emotions or tell a story. Ask students what objects were used in the dances. Divide the class into groups and ask each group to create a dance using an object to help tell a story or express feelings. (1.1, 1.3)

*Number(s) indicate the NJ Core Curriculum Content Standard(s) supported by the activity.

1. “Why Dance?” is an arts integrated resource of Verizon’s Thinkfinity.org. In this lesson, one of a multipart unit from ARTSEDGE, students identify reasons why people dance. Centers are set up to research various kinds of dance. After exploring three centers, students create a dance, poem, report, or collage to explain why people dance. Artsedge.kennedy-center.org/content/2319 (1.1, 1.2, 1.3)*

2. Flamenco dance uses the feet as a percussive instrument to mark time. Ask students to explore the ways in which the heel, toe, ball, and whole foot can make different sounds. Play music in 4/4 time and 3/4 time to explore how different rhythms feel in terms of the placement of the body’s weight. Students can “talk” to each other with their feet and create a “foot conversation.” (This exercise should be performed on a wooden floor). At the performance, students should observe the ways in which the dancers use their feet to “talk” to the music and each other. (1.1, 1.2, 1.3)

Additional Before and After activities can be found online at njpac.org. Click on Education, then on Performances, then on Curriculum Materials. Scroll down to “Download Teacher Guide in Adobe Acrobat PDF format” and select desired guide.

William J. Marino.……............................…………………………………………………………………….Chairman Lawrence P. Goldman …....……..................…………………………………..President & Chief Executive Officer Sandra Bowie………….……….....................……………………………………..Vice President of Arts Education Sanaz Hojreh.……………..................….……………………………..Assistant Vice President of Arts Education Uday Joshi.……………....................….………………………Director of Partnerships and Community ProgramsVerushka Spirito……........................…………………………………………...Associate Director for Performances Caitlin Evans Jones…………..........................………………………………….…Director of In-School Programs Jeff Griglak......………......................……………….………………………………..……..Director of Arts Training Natasha Dyer…….….........................Administrative Assistant/Office Manager for VP & AVP of Arts EducationLaura Ingoglia…………........................………………………....…………....Editor of Teacher’s Resource Guides

Writers: Michelle Heffner Hayes, Ph.D. Laura Ingoglia

Editor: Laura Ingoglia

Design: Pierre Sardain, 66 Creative, Inc. 66Creative.com

NJPAC Reader: Evan White

NJPAC Teacher’s Resource Guide Review Committee: Judith Israel Mary Lou Johnston Amy Tenzer

Copyright © 2011 New Jersey Performing Arts Center All Rights Reserved

One Center Street Newark, New Jersey 07102Administration: 973 642-8989Arts Education Hotline: 973 353-8009artseducation@njpac.org

NJPAC wishes to thank Carlota Santana for her assistance with this guide.

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Delving Deeper Acknowledgmentsas of 8/25/10

Passport to Culture • Flamenco Vivo Carlota Santana

For even more arts integration resources, please go to Thinkfinity.org, the Verizon Foundation’s signature digital learning platform, designed to improve educational and literacy achievement.

Books and Articles

Prohibido el Canta. Flamenco y fotografia. AA/VV, 2010. (An exhaustive study of the many ways in which photographers of different periods have approached the universe of flamenco.)

Schreiner, Claus, ed. Flamenco: Gypsy Dance and Music from Andalusia.tr. Mollie Comerford Peters. Amadeus Press, 1985.

Vittucci, Matteo with Carola Goya. The Language of Spanish Dance. University of Oklahoma, 1990.

CDs

Beginners Guide to Flamenco. Nascente, 2005.

Legends of Gypsy Flamenco. Arc Music, 2002.

Best of Flamenco. Arc Music, 1998.

DVDs

Flamenco + Sevillanas Special Pack. PAL, 2008. (2 DVDs includes “Sevillanas” and “Flamenco,” two documentary films by Carlos Saura on the world of flamenco.)

Websites:

flamenco-vivo.org - Official website of Flamenco Vivo Carlota Santana

videod.com/carlota_santana/- Flamenco Vivo Carlota Santana Video Gallery

flamenco-world.com - Everything flamenco including flamenco history, a flamenco dictionary, listening and dance guides, video, and more.

Additional resources can be found online at njpac.org. Click on Education, then on Performances, then on Curriculum Materials. Scroll down to “Download Teacher Guide in Adobe Acrobat PDF format” and select desired guide.

NJPAC Arts Education programs are made possible by the generosity of: Bank of America, The Arts Education Endowment Fund in Honor of Raymond G. Chambers, Leon & Toby Cooperman, The Horizon Foundation for New Jersey, Amy C. Liss, McCrane Foundation, Merck Company Foundation, Albert & Katharine Merck, The Prudential Foundation, The PSEG Foundation, David & Marian Rocker, The Sagner Family Foundation, The Star-Ledger/Samuel I. Newhouse Foundation, Surdna Foundation, Verizon, Victoria Foundation, Wachovia and The Women’s Association of NJPAC.

Additional support is provided by: C.R. Bard Foundation, Becton, Dickinson & Company, The Frank and Lydia Bergen Foundation, Allen & Joan Bildner & The Bildner Family Foundation, Bloomberg, Chase, Veronica Goldberg Foundation, Meg & Howard Jacobs, Johnson & Johnson, Marianthi Foundation, The MCJ Amelior Foundation, The New Jersey State Council on the Arts, The George A. Ohl, Jr. Foundation, Panasonic Corporation of North America, Pechter Foundation, PNC Foundation on behalf of the PNC Grow Up Great program, The Provident Bank Foundation, E. Franklin Robbins Charitable Trust, Roche, TD Charitable Foundation, Target, The Turrell Fund, Lucy and Eleanor S. Upton Charitable Foundation, Walmart Foundation and The Blanche M. & George L. Watts Mountainside Community Foundation.