Hubbard Street Study Guide.indd - University Musical Society

56 Pages·2008·1.27 MB·English

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UMS greatefuly acknowleges the
About UMS
following corporation, foundations, and
government agenies for their generous
One of the oldest performing arts presenters in the coun- support of the UMS Youth Education
try, UMS serves diverse audiences through multi-
Program:
disciplinary performing arts programs in three distinct but
interrelated areas: presentation, creation, and education.
With a program steeped in music, dance, theater, and
education, UMS hosts approximately 80 performances
Michigan Council for Arts
and 150 free educational activities each season. UMS
and Cultural Affairs
also commissions new work, sponsors artist residencies,
and organizes collaborative projects with local, national as
University of Michigan
well as many international partners.
Arts at Michigan
While proudly affiliated with the University of Michigan
Arts Midwest Performing Arts Fund
and housed on the Ann Arbor campus, UMS is a separate
Kathy Benton and Robert Brown
not-for-profit organization that supports itself from ticket
Bank of Ann Arbor
sales, grants, contributions, and endowment income.
Chamber Music America
Pat and Dave Clyde
UMS Education and Doris Duke Charitable Foundation
DTE Energy Foundation
Audience Development
Dykema Gossett, PLLC
Department The Esperance Family Foundaion
Dr. Toni Hoover, in memory of
Dr. Issac Thomas III
UMS’s Education and Audience Development Department
JazzNet Endowment
seeks to deepen the relationship between audiences and
James A. & Faith Knight Foundation
art, as well as to increase the impact that the perform-
Masco Corporation Foundation
ing arts can have on schools and community. The pro-
THE MOSAIC FOUDATION
gram seeks to create and present the highest quality arts
(of R. & P. Heydon)
education experience to a broad spectrum of community
National Dance Project of the New
constituencies, proceeding in the spirit of partnership and
England Foundation for the Arts
collaboration.
NEA Jazz Masters on Tour
Pfizer Global Research and Development,
The department coordinates dozens of events with over
Ann Arbor Laboratories
100 partners that reach more than 50,000 people
Randall and Mary Pittman
annually. It oversees a dynamic, comprehensive program
ProQuest Company
encompassing workshops, in-school visits, master classes,
Prudence and Amnon Rosenthal K-12
lectures, youth and family programming, teacher
Education Endowment Fund
professional development workshops, and “meet the
TCF Bank
artist” opportunities, cultivating new audiences while
UMS Advisory Committee
engaging existing ones.
University of Michigan Credit Union
U-M Office of the Senior Vice Provost
For advance notice of Youth Education events, join the
for Academic Affairs
UMS Teachers email list by emailing
U-M Office of the Vice President for Research
[email protected] or visit www.ums.org/education.
Wallace Endowment Fund
Whitney Fund at the Community Foundation for
Southeastern Michigan
This Teacher Resource Guide is a product of the University
Cover Photo: Hubbard Street Dance Chicgao performs Musical Society’s Youth Education Program. Researched and
Strokes Through The Tail (Photo by Todd Rosenberg) written by Bree Juarez. Edited by Ben Johnson and Bree Juarez.
All photos are courtesy of the artist unless otherwise noted.
06/07
UMS Youth Education
Hubbard Street Dance Chicago
Wednesday, February 7, 11 AM
Power Center, Ann Arbor
TEACHER RESOURCE GUIDE
Table of Contents
About the Performance
* 6 Coming to the Show
* 7 The Performance at a Glance
Repertoire for the Youth Performance
10 Strokes Through The Tail
12 Gnawa
13 Minus 16 (excerpt)
14 Watching a Dance Performance

Hubbard Street Dance Chicago
Short on Time?
16 History of the Company
* 18 Key Figures at HSDC
We’ve starred the
19 HSDC Dancers
most important

pages.
Modern Dance
26 About Early Modern Dance
Only Have
27 Two Early Moderns
15 Minutes?
* 29 The Elements of Dance
Try pages 7, 18, or Lesson Plans
33 Curriculum Connections
29
34 Meeting Michigan Standards
35 Lesson One: Time, Space and Energy
36 Lesson Two: Gestures
37 Lesson Three: Textures and Environments
38 Lesson Four: Sculptures
39 Lesson Five: Connections
40 Lesson Six: Directed Improvisation
41 The Vocabulary of Dance
45 Dance Vocabulary Word-O
46 Modern Dance Word Search Puzzle
47 Word Search Puzzle Solution
Resources
* 49 UMS Permission Slip
50 Bibliography/Videography
51 Internet Resources
52 Recommended Reading
53 Community Resources
54 National Resources
55 Evening Performance/ Teen Ticket
56 How to Contact UMS
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About the
Performance
Coming to the Show (For Students)
We want you to enjoy your time in the theater, so here are some tips to make your Youth
Performance experience successful and fun! Please review this page prior to attending the
performance.
What should I do during the show?
Everyone is expected to be a good audience member. This keeps the show fun for everyone.
Good audience members...
(cid:129) Are good listeners
(cid:129) Keep their hands and feet to themselves
(cid:129) Do not talk or whisper during the performance
(cid:129) Laugh only at the parts that are funny
(cid:129) Do not eat gum, candy, food or drink in the theater
(cid:129) Stay in their seats during the performance
(cid:129) Do not disturb the people sitting nearby or other schools in attendance
Who will meet us when we arrive?
After you exit the bus, UMS Education staff and greeters will be outside to meet you. They
might have special directions for you, so be listening and follow their directions. They will
take you to the theater door where ushers will meet your group. The greeters know that your
group is coming, so there’s no need for you to have tickets.
Who will show us where to sit?

The ushers will walk your group to its seats. Please take the first seat available. (When
everybody’s seated, your teacher will decide if you can rearrange yourselves.) If you need to
make a trip to the restroom before the show starts, ask your teacher.
How will I know that the show is starting?
You will know the show is starting because the lights in the auditorium will get dim, and a
member of the UMS Education staff will come out on stage to introduce the performance.
What if I get lost?
Please ask an usher or a UMS staff member for help. You will recognize these adults because
they have name tag stickers or a name tag hanging around their neck.
How do I show that I liked what I saw and heard?
The audience shows appreciation during a performance by clapping. In a musical perfor-
mance, the musicians and dancers are often greeted with applause when they first appear. It
is traditional to applaud at the end of each musical selection and sometimes after impressive
solos. At the end of the show, the performers will bow and be rewarded with your applause.
If you really enjoyed the show, give the performers a standing ovation by standing up and
clapping during the bows. For this particular show, it will be most appropriate to applaud at
the beginning and the ending.
What do I do after the show ends?
Please stay in your seats after the performance ends, even if there are just a few of you in your
group. Someone from UMS will come onstage and announce the names of all the schools.
When you hear your school’s name called, follow your teachers out of the auditorium, out of
the theater and back to your buses.
How can I let the performers know what I thought?
We want to know what you thought of your experience at a UMS Youth Performance. After
the performance, we hope that you will be able to discuss what you saw with your class. Tell
us about your experiences in a letter or drawing. Please send your opinions, letters or artwork
to: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.
6 | www.ums.org/education
The Performance at a Glance
What is Hubbard Street Dance Chicago?
Under the leadership of Artistic Director Jim Vincent, Hubbard Street Dance Chi-
cago performs contemporary dance. It was founded in 1977 by dancer and cho-
reographer Lou Conte. For the next 23 years, Conte served as artistic director until
his retirement from HSDC in 2000. Originally the company’s sole choreographer, he
developed relationships with emerging and world-renowned choreographers as the
company began to grow, adding bodies of work by a variety of artists.
Today, HSDC performs in downtown Chicago and the metropolitan area and also
tours throughout the year. The company has appeared in 44 states and 19 coun-
tries at celebrated dance venues including the American Dance Festival, DanceAs-
pen, the Holland Dance Festival, and Jacob’s Pillow Dance Festival. “Dance
What does a choreographer do? is the
Choreography (also known as dance composition) is the “art of making visual
hidden
structures in which movement occurs.” People who make these compositions are
called choreographers. A choreographer creates a dance by having a vision and
language
then arranging or directing the movements of the dancers. The choreographer
must work closely with the dancers, the stage manager and musicians during
of the soul.”
rehearsals. Although mainly used in relation to dance, choreographers also work
in various settings including fencing, gymnastics and ice skating.
-Martha Graham
What is a repertory company?
Hubbard Steet Dance Chicago is a repertory company meaning they commission
and dance pieces by other choreographers. For example, at this youth performance
you will see pieces by Marguerite Donlon, Nacho Duato, and Ohad Narahin (for
complete biographies see pages 10 -13).
What is Hubbard Street 2?
Under the leadership of Artistic Director Julie Nakagawa Böttcher, Hubbard Street
2 is a company of six dancers between the ages of 17 and 25 who perform a
repertoire of works by some of the nation’s most promising choreographers. HS2
reaches as many as 35,000 people annually through performances in schools,
community centers and theaters. Some of the dancers you will see at the Youth
Performance started at Hubbard Street 2 before moving to Hubbard Street Dance
Chicago.
What is Modern Dance?
Modern dance is a phenomenon that started in the early 20th century, when indi-
vidual dancers felt the need to break away and create a form of dance based on
more natural motions of the human body. There is no specific definition for what
makes something modern dance, as the concept of “modern” was simply applied
to the dancers of the time who had begun a rebellion against the strict discipline
of classical ballet. Today we perceive modern dance as a discipline defined by the
people who began this movement and their individual traditions and followings.
Now a widely appreciated style of performance, modern dance began as, and con-
tinues to be, an experiment in new ways of moving.

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What is the difference between modern dance and
classical ballet?
Ballet relies on an illusion of lightness and effortlessness, while modern dance
relies on weight—dancers often fall all the way to the floor. While a ballet dancer
must remain almost perfectly balanced, a modern dancer must be able to fall and
slide safely. The ballet of the early 20th century relied on ornate costumes and
scenery, but early modern dance was often performed on a bare stage in bare feet
and a simple tunic.
What will I see at the performance?
During the performance of the Hubbard Street Dance Chicago you will see three
“American dance
different pieces of repertoire being performed. They are:

is not merely a
Strokes Through The Tail
style or idiom. Choreography: Marguerite Donlon
Music: W. A. Mozart- Symphony No. 40
It is a potent Marguerite Donlon found inspiration in Mozart’s Symphony No. 40 and the danc-
ers’ personalities to create a work that combines virtuosic dancing with a delight-
idea. When its ful hint of irreverence. Intrigued by Mozart’s style of musical notation, Donlon
reveals a tightly knit work in which the dancers personify the structural patterns of
contemporary musical notes on a page and balletic details to capture the composer’s ingenious
wit and humor.
personalities
Gnawa [nah-wah]
retire, the idea Choreography: Nacho Duato
The celebrated Spanish choreographer Nacho Duato created this world premiere
will persist” expressly for HSDC. Set to evocative Spanish and North African sounds, Gnawa
captivates with its percussive power and sensual grace, combining the spirituality
-José Limón and organic rhythms from the Mediterranean.
Minus 16 (excerpt)
Choreography: Ohad Narahin
An audience favorite, Israeli choreographer Ohad Naharin’s clever and humorous
full-company piece breaks down the barrier between audience and performer. Set
to music ranging from Dean Martin to cha-cha, mambo, techno and traditional
Israeli music, the piece’s audio track includes interviews with HSDC dancers.
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Strokes Through The Tail (Photo by Todd Rosenberg)
Repertoire for the
Youth Performance
TYoituleth Performance Repetoire
I. Strokes through the Tail
Choreography by Marguerite Donlon
Costume Design by Branimira
Lighting Design by Ryan J. O’Gara
What is
Description
counterpoint?
Marguerite Donlon found inspiration in Mozart’s Symphony No. 40 and the danc-
ers’ personalities to create a work that combines virtuosic dancing with a delight-
Counterpoint is the ful hint of irreverence. Intrigued by Mozart’s style of musical notation, Donlon
relationship between reveals a tightly knit work in which the dancers personify the structural patterns of
two or more voices musical notes on a page and balletic details to capture the composer’s ingenious
wit and humor.
that are independent
in countour and
rhythm, and What the critics said...
interdependent
in harmony. Seeing such gifted dancers in exquisite choreography performed to timeless music
played by some of the world’s finest instrumentalists was thrilling. The dancers
seemed to be borne aloft and swept across the stage by the sheer physical pres-
ence of such magnificent live music.
-Wynne Delacoma, Chicago Sun-Times, December 2005
The whinnying Mozart depicting in “Amadeus” would have enjoyed a good horse-
laugh at Donlon’s piece…for certain the rest of us did… Donlon is unafraid to go
against the grain of the music, creating a counterpoint of delicious, never mali-
cious, irony. The sight gags whiz by so fast you really need multiple viewings to
appreciate their subtlet.
-John von Rhein, Chicago Tribune, December 2005
Choreographer: Marguerite Donlon
Marguerite Donlon was born in County Longford, Ireland and worked
as a solo dancer and choreographer with the Deutsche Oper Berlin since
1990. Prior to that she danced with the English National Ballet with Peter
Schaufuss, and has worked with leading international choreographers Jirí
Kylián, William Forsythe, Meg Stuart, Sir Kenneth MacMillan, Bill T Jones
and Maurice Béjart. Ms. Donlon has choreographed several works, includ-
ing Celtic Touch and Patch of Grass, for Deutsche Oper Berlin and Taboo or
Not for Vienna State Ballet. She has also created pieces for Nederlands Dans
Theater II, Stuttgart Ballet and Komische Oper Berlin. Ms. Donlon’s installa-
tion works and dance films have been shown in museums and films festivals
in Europe and the USA. In 2001, she was appointed Artistic Director of the
Marguerite Donlon
Saarlaendisches Staatstheater Ballet Saarbrücken in Germany (now named Donlon
Dance Company), where she has created a considerable body of new work includ-
Photo courtesy of
ing full length ballets Carmen-Privat and Midsummer Night’s Dream, and her
Hubbard Street Dance
forthcoming Giselle Reloaded. Collaborative work with composers such as Claas
Chicago
Willeke and Sam Auniger, video artists and live musicians have become a regular
occurrence and key to the uniqueness of the Donlon Dance Company. 2001 also
marked her first collaboration with Hubbard Street Dance Chicago for the creation
of Reverse Deconstruct. Blind Date, for Donlon Dance Company, earned her com-
pany a wards from Ballettanz for “Best Premiere for 2004” and “Best Male
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