Hubbard_Teacher_Guide_-_FINAL

HUBBARD STREET DANCE CHICAGOT E A C H E R R E S O U R C E G U I D E2009 - 2010UMS 09-101

SUPPORTERSMichigan Council for Arts & Cultural AffairsUniversity of MichiganAnonymousArts at MichiganArts Midwest’s Performing Arts FundBank of Ann ArborBustan al-Funun Foundation for Arab ArtsThe Dan Cameron Family Foundation/Alan and Swanna SaltielCommunity Foundation for Southeast MichiganConsulate General of the Netherlands in New YorkDoris Duke Charitable FoundationDoris Duke Foundation for Islamic ArtDTE Energy FoundationThe Esperance Family FoundationDavid and Phyllis Herzig Endowment FundHonigman Miller Schwartz and Cohn LLPJazzNet EndowmentW.K. Kellogg FoundationMasco Corporation FoundationMiller, Canfield, Paddock and Stone, P.L.C.THE MOSAIC FOUNDATION (of R. and P. Heydon)The Mosaic Foundation [Washington, DC]National Dance Project of the New England Foundation for the ArtsNational Endowment for the ArtsPrudence and Amnon Rosenthal K-12 Education Endowment FundRick and Sue SnyderTargetTCF BankUMS Advisory CommitteeUniversity of Michigan Credit UnionUniversity of Michigan Health SystemU-M Office of the Senior Vice Provost for Academic AffairsU-M Office of the Vice President for ResearchWallace Endowment FundThis Teacher Resource Guide is a product of the UMSYouth Education Program. Researched, written, andedited by Emily Barkakati and Mark Johnson.Special thanks to Hubbard Street Dance Chicago,Erika Nelson, Farrah Malik, Meredith Dincolo, PabloPiantino, Sue Budin, Michael Kondziolka, and OmariRush for their contributions, feedback, and support indeveloping this guide.2 UMS 09-10

TABLE OF CONTENTSShort on time?If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents.Those pages will provide the most important information about this performance.ATTENDING THE CONCERT6 Attending the Show8 Map + Directions9 The Power CenterHUBBARD STREET DANCECHICAGO (HSDC)11 Contemporary v. Modern12 Lou Conte + His RepertoryCompany14 Timeline15 UMS + HSDCTHE ART-MAKERS18 Dancers22 Dancer Interviews25 Artistic StaffREPERTOIRE28 At’em (Atem) Adam29 Bitter Suite30 RehearsalsABOUT DANCE32 Modern + Contemporary Dance35 How to Watch Dance37 Movement38 ElementsRESOURCES40 Vocabulary42 Lesson Plans43 Bibliography + Photo Credits44 Organizations45 Suggested ReadingsABOUT UMS47 What is UMS?48 Youth Education Program50 Contacting UMS4 UMS 09-10

ATTENDING THE CONCERTUMS 09-105

DETAILSATTENDING THE SHOWWe want you to enjoy your time with UMS!PLEASE review the important information below about attending the Youth Performance:TICKETSTICKETS We do not use paper tickets forYouth Performances. We hold school reservationsat the door and seat groups upon arrival.ARRIVAL TIME Please arrive at the PowerCenter between 10:30-10:50 AM to allow youtime to get seated and comfortable before theshow starts.DROP OFF Have buses, vans, or cars dropoff students on Fletcher Street in front of thePower Center. If there is no space in the dropoff zone, circle the block until space becomesavailable. Cars may park at curbside meteredspots or in the visitor parking lot behind thepower Center. Buses should wait/park atBriarwood Mall.DOOR ENTRY A UMS Youth Performancestaff person will greet your group at your busas you unload. You will enter through thefront doors of the Power Center, which facesFletcher Street.USHERSEATING & USHERS When you arrive atthe front doors, tell the Head Usher at thedoor the name of your school group and he/she will have ushers escort you to your blockof seats. All UMS Youth Performance usherswear large, black laminated badges with theirnames in white letters.BEFORE THE START Please allow the usherto seat individuals in your group in the orderthat they arrive in the theater. Once everyoneis seated you may then rearrange yourselvesand escort students to the bathrooms beforethe performance starts. PLEASE spread theadults throughout the group of students.DURING THE PERFORMANCE At thestart of the performance, the lights welldim and an onstage UMS staff member willwelcome you to the performance and provideimportant logistical information. If you haveany questions, concerns, or complaints (forinstance, about your comfort or the behaviorof surrounding groups) please IMMEDIATELYreport the situation to an usher or staff memberin the lobby.PERFORMANCE LENGTH 60 minutes withno intermissionAFTER THE PERFORMANCE When theperformance ends, remain seated. A UMSstaff member will come to the stage andrelease each group individually based on thelocation of your seats.6 UMS 09-10

BUS PICK UP When your group is released,please exit the performance hall through thesame door you entered. A UMS Youth Performancestaff member will be outside to directyou to your bus.AAPSAAPS EDUCATORS You will likely not geton the bus you arrived on; a UMS staff memberor AAPS Transportation Staff person willput you on the first available bus.SENDING FEEDBACK We LOVE feedbackfrom students, so after the performance pleasesend us any letters, artwork, or academicpapers that your students create in responseto the performance: UMS Youth EducationProgram, 881 N. University Ave., Ann Arbor,MI 48109-1011.NO FOOD No Food or drink is allowed inthe theater.ACCESSIBILITY The following services areavailable to audience members:• Wheelchair, companion, or other specialseating• Courtesy wheelchairs• Hearing Impaired Support SystemsPARKING There is handicapped parking veryclose to the Power Center on Fletcher Streetand in the parking structure behind the PowerCenter on Palmer Drive. The first three levels ofthe Palmer Drive structure have 5 parking spotson each level next to each elevator. There are atotal of 15 parking spaces in the garage.LOST STUDENTS A small army of volunteersstaff Youth Performances and will beready to help or direct lost and wanderingstudents.PATIENCE Thank you in advance for yourpatience; in 20 minutes we aim to get 1,300people from buses into seats and will work asefficiently as possible to make that happen.WHEELCHAIR ACCESSIBILITY The PowerCenter is wheelchair accessible and has 12 seatsfor audience members with special needs.BATHROOMS ADA compliant toilets areavailable in the green room (east corner) of thePower Center for both men and women.LOST ITEMS If someone in your group losesan item at the performance, contact the UMSYouth Education Program (umsyouth@umich.edu) to attempt to help recover the item.ENTRY The front doors are not powered,however, there will be an usher at that dooropening it for all patrons.UMS 09-107

E. HURON STSTATE STRACKHAMDROP-OFF ZONEPOWERPALMER DRIVEPARKE. LIBERTY STTHAYER STCircle this block untila spot is free in thedrop-off zone.HILLFLETCHER STWASHTENAW AVENUEWILLIAM STMALL PARKING &N. UNIVERSITY AVENUECHURCH STMAP + DIRECTIONSThis map, with driving directions to the Power Center, willbe mailed to all attending educators three weeks before the performance.VENUE8 UMS 09-10

VENUETHE POWER CENTERTHE POWER CENTER for the PerformingArts grew out of a realization that theUniversity of Michigan had no adequateproscenium-stage theater for the performingarts. Hill Auditorium was toomassive and technically limited for mostproductions and the Lydia MendelssohnTheatre was too small. The Power Centerwas built to supply this missing link indesign and seating capacity.In 1963, Eugene and Sadye Power,together with their son Philip, wished tomake a major gift to the University. ThePowers were immediately interested insupporting the University’s desire to builda new theater, realizing that state andfederal governments were unlikely toprovide financial support for the constructionof a theater.Opening in 1971, the Power Centerachieved the seemingly contradictorycombination of providing a soaringinterior space with a unique level ofintimacy. Architectural features includetwo large spiral staircases leading fromthe orchestra level to the balcony andthe well known mirrored glass panelson the exterior. The lobby of the PowerCenter presently features two hand-woventapestries: Modern Tapestry by RoyLichtenstein and Volutes (Arabesque) byPablo Picasso.The Power Center seats approximately1,300 people.POWER CENTER121 Fletcher StAnn Arbor, MI 48109Emergency ContactNumber:(734) 764-2538(Call this number to reach a UMS staff person oraudience member at the performance.)University of Michigan, Power CenterUMS 09-109

10 UMS 09-10HUBBARD STREET DANCECHICAGO (HSDC)

UMS ARTISTIC STATEMENTCONTEMPORARY V. MODERNTHE MISSION OF THE MAIN COMPANYof Hubbard Street Dance Chicago is“to be America’s leading contemporarydance company, presenting eclectic,innovative and razor-sharp repertoire;promoting appreciation for contemporarydance; and contributing to the evolutionof the art form.”As a repertory company, HSDC does nothave just one resident choreographerwhose artistic style and dance vocabularyshape the company. Rather, HSDC is drivenby the creation of new choreographyby many different dance-makers, oftenof national and international repute. Thissignature characteristic of a contemporarydance company is a distinguishingfactor in HSDC not being labeled as amodern dance company.Ambiguity surrounds the phrase “moderndance company” (with a basis in modernand contemporary being synonyms in thedictionary). One standard connotation of“modern dance companies” is that theyare ensembles founded and flourishingin the late 19th to late 20th centuries:companies that, if still in existence today,continue to promote and create within theframework of their founding choreographer’smovement legacy.HSDC pursues what’s current in artmaking,using an array of contemporarychoreographers to set work on them thatengages and challenges audiences worldwide,that keeps the company’s aestheticfresh, and that generally moves danceforward as an art form. These qualitiessolidly classify HSDC as a contemporarygroup and the ensemble’s visit to AnnArbor provides a special opportunity forUMS Youth Performance audience membersto see work difficult to experiencewithout, for instance, going to a dancefestival that presents the dance companiesof different choreographers.What follows are the five works inHSDC’s repertoire that they will performduring their run of 4 shows in Ann Arborfrom April 22-24. The choreographers onthis list are some of the company’s mostfrequent collaborators and are from allover the world:27’ 52” (2010)Choreography by Jirí Kylián [Netherlands]Music by Dirk HaubrichTabula Rasa (2005)Choreography by Ohad Naharin [Israel]Music by Arvo PärtWalking Mad (2008)Choreography by Johan Inger [Sweden]Music by Maurice RavelAt’em (Atem) Adam (2010)Choreography by Terence Marling [USA]Bitter Suite (2009)Choreography by Jorma Elo [Finland]Music by Felix Mendelssohn andClaudio MonteverdiUMS 09-1011

ABOUTL O U C O N T E + H I SREPERTORY COMPANYAFTER A PERFORMING CAREER includingBroadway musicals, in 1974 Conteestablished the Lou Conte Dance Studioin Chicago. In 1977, he founded whatis now Hubbard Street Dance Chicagowith four dancers performing at seniorcitizens homes in Chicago. Originallythe company’s sole choreographer, hedeveloped relationships with emergingand world-renowned choreographersas the company began to grow, addingtheir work to the company’s repertoire.These relationships transformed HSDCinto the internationally acclaimed repertorycompany it is today (for dancers,these opportunities to collaborate witha wide variety of artists are one of thesignature joys of performing with HSDC).In the 1980s, Conte commissionedseveral works by Lynne Taylor-Corbett,Margo Sappington, and Daniel Ezralow.He continued to build HSDC’s repertoireby forging a key partnership with TwylaTharp in the 1990s, acquiring seven ofher works, including an original work forthe company. Conte further expandedthe company’s repertoire to include thework of Dutch choreographer Jirí Kylián,Spanish choreographer Nacho Duato,and Israeli choreographer Ohad Naharin.These long-term relationships with choreographers,along with Conte’s participationin selecting Jim Vincent as the company’snew Artistic Director, have pavedthe way for HSDC’s future. ThroughoutConte’s 23 years as the company’s ArtisticDirector, he received numerous awards,including the Chicago Dance Coalition’sinaugural Ruth Page Artistic AchievementAward in 1986, the Sidney R. Yates ArtsAdvocacy Award in 1995, and the Chicagoanof the Year award from Chicagomagazine in 1999. In 2002, he was oneof six individuals named Laureates of TheLincoln Academy of Illinois, the highesthonor the state bestows upon Illinoisresidents. He has been credited by manyfor helping raise Chicago’s internationalcultural profile and for creating a climatefor dance in the city, where the art formnow thrives.12 UMS 09-10

ABOUTCOMPANY HISTORY: TIMELINE1974The Lou Conte Dance Studio opens in Chicago,where young aspiring dancers were able to taketap lessons with Mr. Conte.1977Hubbard Street Dance Chicago (HSDC) iscreated under the direction of Lou Conte.This marks the beginning of collaborationsbetween HSDC dancers and nationallyrecognized choreographers. While many peercontemporary dance companies are singlechoreographer organizations, HSDC has alwaysbeen a repertory company, representingnumerous choreographers and styles.1990HSDC launches education and communityprograms in order to offer movement-basedarts experiences to students, teachers, and thegeneral public.1998Hubbard Street 2 is created to give youngerdancers an opportunity refine dance skills andgain professional experience.2000Jim Vincent replaces Lou Conte, who retiresas Artistic Director after 36 years with HSDC.Under Vincent’s tenure as Artistic Director, HubbardStreet creates new and exciting partnershipswith the Chicago Symphony Orchestra,the Art Institute of Chicago, the Illinois Instituteof Technology School of Architecture, and theRush University Medical Center, offering HSDC’sDance for Parkinson’s program.2008HSDC begins performing at the Harris Theaterin Millennium Park, furthering its role as acultural destination in Chicago.2010Hubbard Street announces its third ArtisticDirector: Glenn Edgerton.Internet ResourceHubbard Street Dance Chicagohttp://hubbardstreetdance.com/home.aspFor more information on Hubbard Street Dance Chicagocheck out their website, which includes currentrepertoire, company information, reviews, and otherresources.14 UMS 09-10

ABOUTUMS + HSDCHUBBARD STREET DANCE CHICAGO and the University Musical Society have a long history together. Their collaboration beganback in 1988 when founder Lou Conte brought his established dance company to Michigan for a set of two performances. Beforethis season’s presentation of HSDC, they last visited Ann Arbor back in 2007, performing their signature brand of original and newlycreated works: two even represented collaborations with the Chicago Symphony Orchestra (From All Sides and Strokes ThroughThe Tail). These works were well received. In total, Hubbard Street Dance Chicago has been presented by UMS eleven times.PAST UMS/HSDC COLLABORATIONUpper Left February 2007 UMS Youth Performance by HSDC. Former Artistic Director Jim Vincent welcomes the full audience from the stage.Lower Left HSDC master class with University of Michigan students in February 2007.Upper Right HSDC master class with University of Michigan during their September 2002 Ann Arbor residency.Lower Right Dance Gallery Studio partnered with UMS to host a master class open to the public (any interested dancer) led by HSDC in 2002.UMS 09-1015

HUBBARD STREET DANCE CHICAGO has been presented by UMS eleven times. Pulled from the UMS archives, the image on thefar right is a page from the program book when HSDC first visited in 1988. The other two images are of postcards distributed topatrons that describe the performances (the upper piece is from 2007 and the lower is from 2001).16 UMS 09-10

THE ART-MAKERSUMS 09-1017

PEOPLEDANCERSCHRISTIAN BROOMHALL Columbus, OhioBroomhall received classical training from Ballet Met Columbus under the direction of David Nixon and Yoko Ichino.From 1999 to 2001 he danced professionally with the Ballet Met Columbus. He then performed with the Northern BalletTheatre until 2005, when he returned to dance with Ballet Met Columbus until 2008. Broomhall joined HSDC in Augustof 2008.JACQUELINE BURNETT Pocatello, IdahoJacqueline received her classical ballet training in Pocatello, Idaho from Romanian Ballet Master Marius Zirra, with additionalsummer training at Ballet Idaho, Brindusa-Moore Ballet Academy, Universal (Kirov) Ballet Academy, The JuilliardSchool and the San Francisco Conservatory of Dance. She received a B.F.A. in Dance Performance from The Ailey School/Fordham University joint program in New York City in May 2009, graduating magna cum laude and with departmentalhonors. Jacqueline joined HSDC as a Center Apprentice in January, 2008, while concurrently completing her B.F.A. degree,and became a member of the main company in August, 2009.ALEJANDRO CERRUDO Madrid, SpainOriginally from Madrid, Spain, Alejandro Cerrudo received his training at the Real Conservatorio Professional de Danza deMadrid and in 1998 joined the Victor Ullate Company where he danced for one year. From 1999 to 2002, Cerrudo dancedwith the Stuttgart Ballet and in 2002 he joined Nederlands Dans Theater (NDT) II under the direction of Gerald Tibbs. Cerrudodanced with NDT II for three years before becoming a HSDC member in August 2005. In 2008, he was named an HSDCchoreographic fellow and created three works for the company. Cerrudo is the first ever HSDC resident choreographer.MEREDITH DINCOLO Indianapolis, Ind.Dincolo began dancing at age seven in Indianapolis before moving to Michigan to study under Iacob Lascu. She graduatedfrom University of Notre Dame in 1993 and moved to Chicago to pursue dance. In 1996, after completing numerousindependent projects, Dincolo joined HSDC where she spent four years under the direction of Lou Conte. In 2000,she joined Lyon Opera Ballet and performed works by Forsythe, Duato, Marin, Jasperse, Saarinen, Boivin, and Prejlocaj.Dincolo joined Nationaltheater Mannheim in 2003 before her return to HSDC in November 2004.18 UMS 09-10

BRIAN ENOS Cotati, Calif.Enos began his dance training at age 14 and has studied with the Houston Ballet Academy, Maria Vegh, the Santa RosaJunior College and Sara Stuber. At age 18, he joined the Houston Ballet where he performed works by Trey McIntyre, DavidParsons, Lila York, Ben Stevenson, Dominic Walsh, Priscilla Nathan-Murphy, James Kudelka, and Fredrick Ashton. Enosperformed with the Houston Ballet for two years before joining HSDC in July 2002. He was commissioned to create workfor Houston Ballet in fall 2005, departing HSDC in August and rejoining the company in January 2006.KELLIE EPPERHEIMER Los Osos, Calif.Epperheimer began her dance training in 1988 with the Academy of Dance and Civic Ballet of San Luis Obispo. She hasparticipated in summer programs with the Joffrey Ballet and The Juilliard School. In 2002, she had the opportunity to tourRussia with the Deyo Dancers. Epperheimer joined Hubbard Street 2 in January 2005 before becoming an apprentice withthe main company in December 2006.LAURA HALM Baltimore, Md.Halm began her dance training at age four and has studied at Central Pennsylvania Youth Ballet, Boston Ballet School, SanFrancisco Ballet School, and the Baltimore School for the Arts. She received her B.F.A. in dance from The Juilliard Schoolin May 2002 where she performed works by José Limón, Ohad Naharin, and Robert Battle. She also had the privilege ofperforming with El Ballet Moderno y Folklorico de Guatemala as a guest artist before joining Hubbard Street 2 in January2004. Halm became an apprentice with HSDC in August 2006.JASON HORTIN Olympia, Wash.Hortin graduated from the University of Nevada, Las Vegas with a B.F.A. in dance under the direction of Louis Kavourasand has danced with Moving People Dance Theatre, the Erick Hawkins Dance Company, and River North Dance Chicago.Hortin joined HSDC as a Hubbard Street Dance Center Apprentice in August 2007 and was promoted into the maincompany in July 2008.ANA LOPEZ A Coruña, SpainLopez began her formal training at Conservatorio de Danza Disputacion de A Coruña. Upon graduating Isaac Diaz Pardohigh school, she continued her training at Centro Internacional de Danza Carmen Roche. Lopez danced with Joven BalletCarmen Roche, Compañía Nacional de Danza 2, and Ballet Theater Munich before joining HSDC in January 2008.UMS 09-1019

PABLO PIANTINO Mendoza, ArgentinaPiantino began dancing at the age of 14. His training includes private seminars with Hector Zaraspe and studies at boththe Colón Theatre School and The Juilliard School where he received his B.F.A. Having danced with both the Colón TheatreBallet Company and The Juilliard School Dance Ensemble, Piantino joined the San Francisco Ballet in 1999 and thenbecame an HSDC company member in August of 2005.ALEJANDRO PIRIS-NIÑO Madrid, SpainNiño began his ballet studies at the age of ten when he joined the Victor Ullate School of Dance on scholarship, laterbecoming a company member in 1995. While with the Victor Ullate Company, Alejandro performed all over Europe aswell as at many major events in Spain. In 1999, Piris-Niño moved to New York to dance with ABT II and was promoted toAmerican Ballet Theatre’s main company in 2000. Piris-Niño joined HSDC in August of 2008. He would like to thank hisbrothers and sisters for being unconditionally helpful and supportive.PENNY SAUNDERS West Palm Beach, Fla.Saunders received her formal dance training at, and graduated from, The Harid Conservatory in Boca Raton. She alsoparticipated in summer programs with the School of American Ballet and Central Pennsylvania Youth Ballet. While furtheringher training under Elisabeth Carroll, she joined The American Repertory Ballet in New Jersey. Saunders has also dancedwith Ballet Arizona, toured extensively with MOMIX, and was a member of Cedar Lake Ensemble in New York beforejoining HSDC in November 2004.KEVIN SHANNON Baltimore, Md.Shannon began his formal dancing under the guidance of Lester Holmes. He graduated from The Baltimore School forthe Arts, receiving additional summer training at the School of American Ballet, Miami City Ballet, Paul Taylor, and DavidParsons. He received his B.F.A. in 2007 from The Juilliard School, where he performed works by Susan Marshall, MarkMorris, William Forsythe, and Jirí Kylián. He has toured nationally with The Juilliard School Ensemble and performed in thenationally-broadcast special “Live From Lincoln Center, The Juilliard School: Celebrating 100 Years.” He is a co-founder ofBØRDERLINE DANCE CIRCLE—a troupe under the choreographic direction of Michelle Mola—for which he danced professionallyand developed concepts since 2005. Shannon joined HSDC in November 2007.JESSICA TONG Binghamton, N.Y.Tong received a full scholarship to the Ballet Department at the University of Utah and became a member of Utah Ballet as ajunior in high school. She attended summer programs at American Ballet Theatre, San Francisco Ballet, Kaatsbaan, and LouConte Dance Studio, among others. Jessica danced with BalletMet in Columbus, Ohio; Eliot Feld’s Ballet Tech in NYC; andHubbard Street 2 before joining the main company as an apprentice in January 2007.20 UMS 09-10

BENJAMIN WARDELL Memphis, Tenn.Wardell began dancing at age ten. After completing his training at Classical Ballet Memphis School, under the tutelage ofPat Gillespie, he danced with Cincinnati Ballet for five seasons, achieving the rank of soloist. In 2006, Ben moved to SanFrancisco to join Alonzo King’s Lines Ballet, where he was given the opportunity to explore mind-opening philosophiesand physicalities of movement while traveling extensively through the United States and Europe. In addition to being adancer, Ben is a photographer and writer. He joined HSDC in January 2008.ROBYN MINEKO WILLIAMS Lombard, Ill.Williams began dancing at age five under the direction of Yvonne Brown Collodi with whom she toured Germany,Switzerland, and Austria. She continued studying dance at the Lou Conte Dance Studio where she was on full scholarshipfrom 1993 to 1995. Williams danced with River North Chicago Dance Company for four years before becoming anapprentice with HSDC in June 2000 and a full company member in September 2001.UMS 09-1021

PEOPLEGETTING TO KNOW YOU:DANCER INTERVIEWSAll dancers don’t come from the same background. Pablo and Meredith are two dancers with Hubbard Street,and while Pablo is a great example of someone who has always planned on becoming a dancer, Meredith showsthat it is also possible to make the decision later in life.PABLOPIANTINOMEREDITHDINCOLOHow long have you been dancing?I started about 20 years ago.Professionally about 17 years.I started when I was about seven,in the typical way of a child tryingout things. I danced seriously in highschool, but instead majored in Englishand French while at Notre Dame. ButI decided halfway through collegethat I wanted to dance, so when Iwas 21 I moved to Chicago and havebeen dancing in some capacity eversince. I’m 38 now, so that was a longtime ago.How long do you practice every day?From 10am – 6pm Monday throughFriday. Regularly weekends would berest.A basic rehearsal day is 10am – 6pm.It’s different when we’re in the theater:then we start later and end later.What made you want to be a dancer?22 UMS 09-10My parents were dancers, and that’spretty much it. They were a hugeinspiration.I had tried a few things, such asgymnastics, and it was somethingthat I enjoyed and was good atgrowing up. I think that when I tookthe break from it in college, I reallymissed that kind of physical expressionand creative outlet. The otherthings that I was getting into werenot nearly as freely creative. That’swhat I really enjoy about it now.

PABLOPIANTINOMEREDITHDINCOLOWhat kinds of things do you do in aschool for dance?I went to regular high school andthen went to Juilliard. We had twoclasses a day, usually modern andballet. We also had to study thingslike music history, anatomy, and otherclasses. We also did acting classes orother types of dance, and at the endof the day we’d have a rehearsal forpieces. There were concerts three orfour times a year.I didn’t actually go to school fordance, but I can tell you more aboutour daily schedule here. If we havesomeone who has been invited in,sometimes we devote the entire dayto their creation. We may spendan entire day working on the samething, which can be really helpful tomake progress. Otherwise, we oftenalternate repertoire throughout theday and break up our day into differentrehearsal periods. We don’talways have set partnerships, sothere is a lot of discussion betweendancers trying to solve problems. It’sa pretty collaborative effort. Even ina creation, sometimes you need towait for direction, but also sometimesthey allow you to work things outdifferently from how they originallyproposed. In this company there’s alot of involvement with the dancers.Did you ever have trouble with nervesor stage fright? If so, how did you dealwith it?There’s always some nervousness, butnot stage fright. Maybe when I was16 or 17, things would go wrong andI’d kind of freak out, but you just learnto keep going. The idea is that you’vepracticed the moves enough that yourbody can keep going even when thingshappen. It’s mostly only afterward that Iworry, but during I don’t get nervous.I usually get a nervous excitement,but it doesn’t inhibit the steps.I’ve had moments right before thecurtain goes up where I’ll forget thepiece, but once it begins it all comesback to you. You’ve just rehearsed itso much that you can do it on autopilotif you have to. Personally, I likethat energy.How do you stay motivated? What doyou do when you don’t feel inspired towork hard?I just try to stay positive. My parentsand my teachers have been greatmentors to me. Every day I try to enjoymyself and remind myself that I’mlucky to live what I love.I think the physical nature of ourwork is such that you can alwaysget something out of it, and it canbe really cathartic because of thepure physicality of it, even if you’renot feeling expressive. We’re a littlespoiled in that what we’re doing iswhat we love to do, and it’s somethingthat we would choose to doanyway. And when it’s not somethingthat you want to do it can feellike work, but it is still satisfying.

PABLOPIANTINOMEREDITHDINCOLOWhat do you like about working withthe HSDC? What do you think makes ita unique company?The repertoire that Hubbard has isdefinitely an attractive thing. It’s oneof the few American companies witha strong European repertoire. It’s a bitlike a family. It’s not that huge andwe tour a lot, so we’re recognizedall over the company and the world.Plus, Chicago is a pretty cool town.Right now it’s appealing because thenew director is an awesome humanbeing, plus the dancers that we workwith are really amazing.I’ve been here for a while, and thefact that it’s a repertory companymeans that things are always changing.It’s not like a Broadway showwhere the program is the same everynight. People are constantly changing,and also I think the nature ofour group not being a huge companymeans that you have a strongrelationship with your colleagues andwe’re always in different situationsof mixing up partnerships in thegroup. You can’t get stuck in a routine,and we have a real versatility.Do you get to interact much with nondancerson the HSDC staff?Not too much because they’re alwaysbusy and we’re always busy, but hereand there we do get together whenwe have things like donor parties andreceptions. They always come to ourshows though, so they know who weare and what we do, but unfortunatelywe often, as dancers, get so caught upin our routine that at the end of theday we just want to go home and rest.But, we all know each other and arestill all friendly with each other.Everyone is here together except forwhen we’re on tour. We have verydifferent schedules, but we do getto interact when we’re organizingthings through the Education orProgramming departments. We’llwork together when meeting donorsor new members.24 UMS 09-10

PEOPLEARTISTIC STAFFIt takes more than just dancers to run a dance company.These are some of the behind-the-scenes members of Hubbard Street.GLENN EDGERTON Artistic DirectorEdgerton joined HSDC after an international career as a dancer and director. He began his dancing career at The JoffreyBallet where, mentored by Robert Joffrey, he performed leading roles in the company’s contemporary and classicalrepertoire for 11 years. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater, and after dancing for five yearsretired from performing to become artistic director of the main company, leading NDT1 for a decade and presenting theworks of Jirí Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger,Paul Lightfoot, and Sol Leon, among others. From 2006 to 2008, he directed The Colburn Dance Institute at The ColburnSchool of Performing Arts in Los Angeles. In 2007, Edgerton initiated a series of collaborations between The ColburnSchool and Hubbard Street Dance Chicago. Glenn joined HSDC’s artistic leadership team full-time as associate artisticdirector in 2008 and now, as artistic director of Hubbard Street Dance Chicago, will guide the company forward, buildingon more than three decades of artistic leadership from both Lou Conte and Jim Vincent, whose extraordinary work hasestablished the company as a leader in dance performance, education and appreciation.JASON D. PALMQUIST Executive DirectorPalmquist joined Hubbard Street Dance Chicago in May 2007, after serving the arts community in WashingtonD.C. for nearly fifteen years. Palmquist began his career at the John F. Kennedy Center for the Performing Arts,most recently serving as Vice President of Dance Administration. During his tenure, he oversaw multiple worldpremiereengagements of commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet,and the inception in 1997 of the Millennium Stage—an award-winning, free daily performance series that has todate served over three million patrons. Deeply enriching the Kennedy Center’s artistic programming, he successfullypresented engagements with many of the world’s most important dance companies including the Royal Ballet,Alvin Ailey American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre, andNew York City Ballet. Palmquist also managed television initiatives of the Kennedy Center including the creation ofthe Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary ofthe September 11 attacks. In 2004, he accepted the position of executive director of the Washington Ballet. Underhis leadership, the company presented full performance seasons annually at the Kennedy Center and the WarnerTheater, as well as nurtured its world-renowned school and extensive education and outreach programs. Raised inIowa, Palmquist is a graduate of the University of Northern Iowa.UMS 09-1025

TARYN KASCHOCK RUSSELL Director, HS2 and Artistic AssociateKaschock Russell was born in Harrisburg, Pennsylvania. She joined the Joffrey Ballet in 1995 and spent seven years performingand touring extensively with the company. During that time, she expanded her artistry by dancing the principalroles in classic works by Agnes DeMille, George Balanchine, Martha Graham, and John Cranko. She was also the firstwoman outside of David Parsons company to dance his signature solo Caught. Kaschock joined Hubbard Street DanceChicago in 2002 and the following January was named one of Dance Magazine’s “25 to Watch.” Her repertoire, whiledancing with HSDC, included master works by Jirí Kylián, Nacho Duato, William Forsythe and Ohad Naharin. Kaschockalso found much growth and inspiration participating in numerous original creations while a member of the company.In 2007, Kaschock became a member of HSDC’s artistic staff and began teaching company class, conducting rehearsalsand re-setting choreography. Recently named the Director of Hubbard Street 2, she also now coordinates HSDC’s NationalChoreographic Competition, as well as nurtures the growth of promising young artists.TERENCE MARLING Rehearsal Director and Artistic AssociateFrom Chicago, Marling began his ballet training in 1982 at the Ruth Page School of Dance under the direction of LarryLong. In 1994, he joined the Pittsburgh Ballet Theater directed by Patricia Wilde, performing works by George Balanchine,Glen Tetley, Paul Taylor, Ji ří Kylián, Ohad Naharin, Kevin O’Day, and Dwight Rhoden as well as many full lengthclassical ballets. In 2003 Marling was invited to join the Nationaltheater Mannheim in Germany under the direction ofKevin O’Day where he participated in the creation of many new works. Marling joined HSDC in April of 2006 and dancedwith the company until December of 2009. At HSDC Marling participated in the creation of new works with Jorma Elo,Toru Shimazaki, Jim Vincent, Lucas Crandall, and Alejandro Cerrudo, and danced works by Susan Marshall, Nacho Duato,Ohad Naharin, Margarite Donlon, Ji ří Kylián, and others. Marling began as artistic associate and rehearsal director forHSDC in January of 2010.CLAIRE BATAILLE Director, Lou Conte Dance StudioBataille was a founding member of HSDC and, during her 15 years at HSDC, she served as an artistic assistant, balletmistress, and choreographed five works for the company. Claire oversees the nationally recognized LCDS ScholarshipProgram and manages day-to-day operations of the Lou Conte Dance Studio, which offers over 60 classes per week inseveral dance disciplines.26 UMS 09-10

REPERTOIREUMS 09-1027

REPERTOIREAT’EM (ATEM) ADAMCHOREOGRAPHER Terence Marling (seehis bio on page 26)MUSIC Gerald Marks’ “All of Me” performedby Billie Holiday, George Gershwin’s“But Not For Me” performed byElla Fitzgerald and music by Edgar Meyer,Moondog and Luciano BerioLENGTH 20 minutesPREMIERE March 18, 2010TITLE The title takes inspiration from thecolloquial expression “Up and at ‘em;”“atem,” the German word for “breath;”and the biblical story of Adam.MARLING “I usually don’t turn on themusic for the piece of choreography rightaway. We started by working with a perpetuallychanging soundtrack. We madephrases of movement together until wehad a language to work from. Then wetook that language and applied it to theactual music for the piece. The dancershave made (and will continue to make)many of the musical and movementdecisions in the piece. I want the dancersto have the freedom to make choicesabout their movement and delivery onstage to keep the piece solidly in thepresent. The artists in this company aresome of the best in the world. It is bothan honor and a joy to share a studiowith them, back to the mirror or sweatingon the dance floor.”CastingJacqueline BurnettRobyn Mineko WilliamsJessica TongKellie EpperheimerLaura HalmPablo PiantinoBrian EnosChristian BroomhallJason HortinKevin Shannon28 UMS 09-10

REPERTOIREBITTER SUITECHOREOGRAPHER Jorma EloBIO In just a few short years, FinnishbornJorma Elo has become one of themost sought-after choreographers in theUnited States and Europe. Elo trainedwith the Finnish National Ballet Schooland the Kirov Ballet School in Leningrad.Prior to joining Netherlands Dans Theaterin 1990, he danced with Finnish NationalBallet from 1978 through 1984, and withCullberg Ballet from 1984 to 1990. Elo,who was named resident choreographerof Boston Ballet in 2005, was singledout as a “talent to follow” by AnnaKisselgoff in her 2004 Year in Review forThe New York Times; it was an astuteobservation. He has since created numerousworks in the U.S. and internationally,including works for the New York CityBallet, American Ballet Theatre, BostonBallet, Royal Danish Ballet, Finnish NationalBallet, Aspen Santa Fe Ballet, andFrom All Sides for Hubbard Street DanceChicago. The 2005 Helsinki InternationalBallet Competition awarded Elo a choreographicprize and he was the recipientof the Prince Charitable Trust Prize andthe Choo-San Goh Choreographic Awardin 2006.MUSIC Felix Mendelssohn andClaudio MonteverdiPREMIERE October 1, 2009LENGTH 26 minutesREPERTOIRE In Bitter Suite, Jorma Elohas created a wonderfully tender andspirited work with the special stamp of hisScandinavian sense of humor. The pieceis built on imagery, at its base, and blendshumanity with fierce ballet technique.CastingRobyn Mineko WilliamsAna LopezMeredith DincoloJessica TongBenjamin WardellAlejandro CerrudoPablo PiantinoChristian BroomhallUMS 09-1029

ABOUTREHEARSALSI think there is no company like HSDCin the whole United States—the creativity, the freedom inexploring different dance styles.Both the way the dancers excel at different types ofchoreography and the creativity level that HSDCis privileged to enjoy are really unique and produce a specialatmosphere when one has the chance to work with them.— Jorma Elo, from Footnotes September 2009Jorma Elo (far right) working with HSDC dancers for his world premiere, Bitter Suite. With Ana Lopez,Robyn Mineko Williams, Alejandro Cerrudo, Terence Marling. Photo by Cheryl Mann.30 UMS 09-10

ABOUT DANCEUMS 09-1031

HISTORYMODERN + CONTEMPORARY DANCE: KEY PLAYERS*NOTE: Hubbard Street Dance Chicago is a contemporary dance company;however, modern dance influenced the movement styles and dance-making of many,if not most American and European artists in the 20th and 21st centuries.MODERN DANCE DEVELOPED in the U.S. and Europe in the 20 th century as a reaction against the rigidity of classical ballet. Whereasclassical ballet restricted expression because choreography had to adhere to a specific form, modern dance focused more on expression. Itis difficult to capture the developments of modern dance without seeing actual pieces, but one way to trace its history is to trace througha few of its key movements and choreographers. The stories of these choreographers show how they pushed the limits of the question ofwhat is dance, and illustrate the fact that it is okay to have many different points of view on the subject of dance. Keep in mind that thisonly represents a small fraction of the numerous choreographers involved in modern and contemporary dance.THE FOUNDERS The founders of modern dance were all influenced by the idea that dance did not just have to be a momentarydiversion of entertainment, and that it could move audiences in a deep and serious way. In the beginning, they often compromisedtheir artistic beliefs to gain a following; the later founders rebelled much more strongly against their traditional ballet roots.LOIE FULLER(1862 – 1928)Loie Fuller was a self-taught dancer,noted for improvisatory performances inwhich she would manipulate a filmy silkdress into shapes through her dance. Herlighting techniques and her airy sculpturalstyle of dance were also viewed asinnovative.ISADORA DUNCAN(1877 – 1927)Heavily inspired by Loie Fuller, IsadoraDuncan choreographed dance that grewout of her personal responses to greatmusic. She also loved the civilizations ofancient Greece and often danced in a tunic.Duncan founded schools in Germany,France, and Russia.MAUDE ALLEN(1873 – 1956)Just like Isadora Duncan, many of MaudeAllen’s works were the result of herappreciation of music. The two actuallyengaged in brief conflict during whichDuncan accused Allen of imitating herart, but the problems were resolvedquickly. Allen liked to call her style “dramaticdancing.”32 UMS 09-10

POST-WWII DEVELOPMENTS The choreographers of the 1940’s and 1950’s respected the struggles faced by the founding generationof modern dance, but also wanted to branch out into their own creative paths. These dancers acknowledged the usefulnessof ballet and began to incorporate it back into their choreography. This meant that much of their dances were more lyrical than theprevious modern dances.NEW FREEDOM In the 1950’s and 1960’s choreographers began to rebel against the previous traditions of modern dance; a moreappropriate label for this work is contemporary dance. These dancers promoted the idea that any movement could be considereddance if used by a choreographer. Many did not use music, elaborate costumes, and makeup. They also sought out alternativeperformance venues outside of the traditional stage.Internet Resource The Guardian’s Step-By-Step Guides to Dance: http.guardian.co.uk/stage/dance+series/stepbyspepguidetodanceThese guides break down the works of current choreographers in a humorous and accessible format. They cover biographies, elements of style, and quotes. Many wellknown choreographers are included, such as George Balanchine and Merce Cunningham.TED SHAWN(1891 – 1972)Although the modern dance movementwas initially female-dominated, theintroduction of Ted Shawn began to closethe gender divide. He was a husband anddance partner to Ruth St. Denis, anotherlargely influential contributor of the time.The two created the Denishawn Companyin Los Angeles, which trained many ofthe later generation of modern dancers.MARTHA GRAHAM(1894 – 1991)To this day, Martha Graham remains oneof the most well-known modern dancers.Her theory of dance technique wasthat all motion stemmed from the pelvis,an idea that has resulted in a system ofteaching that is still used today. Grahammostly choreographed dances with musicthat was specially commissioned.JOSÉ LIMÓN(1908 – 1972)An impressive dancer with an extensivelegacy, José Limón’s dance company wasthe first to successfully survive after itscreator’s death. His dance possessed aunique lyricism due to a technique offall and recovery, in which one gives into gravity and then rebounds off theground. This technique is often taughtas a counterbalance to Martha Graham’spelvis technique.UMS 09-1033

ALVIN AILEY(1931 – 1989)Showcasing his versatility of style, AlvinAiley choreographed for Broadwayin addition to his work in both balletand modern dance, the last two ofwhich he tried to find a middle groundbetween. Since, at the time there wasno modern dance repertory company,he instituted a revival program withinhis company to showcase the roots ofmodern dance.MERCE CUNNINGHAM(1919 – 2009)As one of the first to challenge thefounding principles of modern dance,Merce Cunningham initially worked withthe Martha Graham dance company, onlythe second male to do so. He formed hisown company after leaving Graham andincreasingly used an approach which focusedon pure movement without a story,character, or dramatic mood. He alsofrequently used chance determination, inwhich parts of choreography would bedetermined by random methods, such asa coin toss.TWYLA THARP(1941 – )The choreography of Twyla Tharp hashad strong, rhythmical use of the lowerhalfof the body, while the upper-halfpossesses a throwaway and ramblinglook. She is classicist in structure, yether dance utilizes the body language ofa graceful athlete. Tharp has choreographedfor numerous styles of musicranging from jazz to popular to classical.Twyla Tharp leads a UMS Lecture Demonstration in April 2002.34 UMS 09-10

ENGAGEHOW TO WATCH DANCE:BEFORE, DURING, AFTERThere are many different ways to watch a dance performance.Here are some things to think about before, during, and after the show.BEFORE: ASSESS PRIOR KNOWLEDGEYou have probably have experienced dance in your everyday life, as dance exists in many forms beyond the formal stage. Beforeattending the performance, answer these questions to explore your feelings about dance.• What is dance?• Have you ever attended a performance before? If so, what type of performance and what was your experience? If not,what do you think this performance will be like?• What do you think are the differences between going to sports events and attending the theatre; or listening to theradio and going to concerts? What do they think the differences will be between going to a dance performance andattending a play?• Discuss the various jobs associated with creating the dance performance: wardrobe supervisor, dancer, artistic director,lighting designer, etc. If you could work in a dance company, what would you do?• Where have you seen or experienced dance (for example, at school dances, in their neighborhoods, MTV, movies, etc.)?UMS 09-1035

DURING: SUGGESTIONS FOR WATCHINGYou don’t have to have any special training or previous experience to watch dance. You will be taking in information with all yoursenses – your eyes, your ears, even your muscles. You may be fascinated with the physical activity you see, the music, the productionelements (lighting, costumes, props), or with a “story” the dancers tell you.Every piece of choreography has a reason for being. Dances may be celebrations, tell stories, define moods, interpret poems, expressemotions, carve designs, or visualize music. As you watch a dance, a story may occur to you because of a past experience. However,not all dances relate to stories. The sequences do not have to make literal sense. Allow images and personal feelings to come to thesurface of your consciousness. Open your mind to the moment; you are as much a part of the performance as the dancers.You may want to ask yourself some questions as you watch:• What are the sensory properties in the dance? What do you see? What do you hear? What are the dancers actually doing?• What are the technical properties in the dance? What kind of space is being used? What are the shapes and designs beingmade? What kinds of energy, dynamics or emotional qualities are being used?• What are the emotional properties in the dance? How does the movement make you feel?AFTER: SHARING YOUR INTERPRETATIONAfter the performance, feel free to discuss your thoughts with others, but do not be disturbed if you find that others have a differentreaction than yours. Think these questions to organize your personal images and thoughts.• Was it fun to watch?• Did the dance remind you of experiences in your own life?• Did the choreography inspire you to express yourself – write a poem, draw a picture or make up your own dance?36 UMS 09-10

ABOUTMOVEMENTDance is made up of different types of movement.Here are some options to explore as you think about dance.TYPEDEFINITIONSUSTAINEDAn even release of energy that stays constant, either fast or slow but not both.Usually sustained movement feels best when it uses a large range of space and aslow time. But changing any one element changes the quality, so experimentingis fun. Try doing a very fast and strong sustained movement.PERCUSSIVESudden short bursts of energy that start and stop quickly.SWINGINGA drop of energy into gravity that sustains and follows through.SUSPENDThis is the movement at the end of a swing, before gravity takes over. It is aeuphoric quality.COLLAPSEA sudden and complete release of energy, like fainting. You can have partial collapseof the body like head, shoulders, arms, etc. Try collapsing in slow motion.Now collapse quickly. What changes did you notice? What stayed the same?EXPLODEThe opposite of collapse. To explode, gather all your energy then let it burstforth in one huge sudden action with the whole body. Now experiment withsmaller explosive movements – can you explode just your finger or your leg?UMS 09-1037

ABOUTELEMENTSOne way to analyze dance is to break it down into its key elements,which can easily be remembered with the acronym BEST: Body, Energy, Space, and Time.Here are aspects of each element to consider when watching or thinking about a dance performance.BODYPARTSSHAPESACTIONSLOCOMOTORhead, neck, torso (hips, abdomen, shoulders, back), arms and elbows, hands andwrists, fingers, legs, knees and feet (ankles and toes)curved, twisted, angular, small/large, flat/roundednon-locomotor: stretch, bend, twist, rise, fall, circle, shake, suspend, sway,swing, collapsewalk, run, leap, hop, jump, gallop, skip, slideENERGYFORCEWEIGHTSTRENGTHFLOWsmooth or sharpheavy or lighttight or relaxedsudden or sustained, bound or freeSPACELEVELDIRECTIONSIZEDESTINATIONPATHWAYSFOCUSlow, middle, highforward, backward, up, down, sidewayslarge or smallwhere we movepatterns we make with the body on the floor and in the airwhere you lookTIMERHYTHMSPEEDACCENTDURATIONPHRASESpulse, beattime or tempolight or strong emphasislengthdance sentences, patterns and combinations38 UMS 09-10

RESOURCESUMS 09-1039

LANGUAGEVOCABULARYThe following words appear throughout the guide.ARTISTIC DIRECTOR The person whomakes the artistic choices and decisionsfor a company, such as deciding whichdancers to hire, which choreographers touse, and which dances from the repertoire(collection of dances) to perform oneach program.AUDIENCE People who have gatheredtogether to hear or watch something.They may gather formally in a hall designedto host professional performancesor they may gather in a classroom toobserve each other’s work.CHOREOGRAPHY The process of creatinga dance. The word “choreography”originates from the Greek word choros(meaning “to dance”) and graphos(meaning “to write”).CHOREOGRAPHER The person who creates,arranges, and/or directs the movementsof the dancers.GENERAL SPACE The area of spacethrough which a dancer travels or takeshis personal space; it may include adance studio, a stage, a classroom, or thegymnasium; pathways and directions aredefined in this space.GESTURE A movement of the body orpart of the body that a dancer makes inorder to express an idea or an emotion;everyday gestures include a hand shake,a wave, or a fist; abstract gestures indance are those movements given specialemotional or content meaning by achoreographer.IMPROVISATION Movement that is createdspontaneously.ISOLATION Movements restricted to onearea of the body such as the shoulders,rib cage or hips; isolations are particularlyprominent in jazz dance.LEVELS The height of the dancer in relationto the floor: high, medium, or low.When a dancer is at a low level, a partof his torso is touching the floor; whena dancer is at a middle level, his feet areflat on the floor; and when a dancer is ata high level, he is in the air or on his toes.LIGHTING DESIGNER The person whodecides which lights will help create thedesired mood of the dance. Mood iscreated through the use of light, shadow,and color.LOCOMOTOR Movement that occursin general space when a dancer movesplace to place; basic locomotor movementsare walk, run, skip, jump, hop,leap, slide, and gallop. Low level locomotormovements may be rolling, crawlingor creeping.MODERN BALLET A choreography thatmaintains elements of traditional balletbut that was created during the 20 th century;many modern ballets are abstractand nonliteral.MODERN DANCE A performance movementform that evolved at the beginningof the 20th century.NON-LOCOMOTOR Movement thatoccurs in a person’s space with onebody part anchored to one spot and isorganized around the spine or axis of thebody. Basic non-locomotor movementsare bending, stretching, twisting, rising,falling, opening, closing, swinging, andshaking.PERSONAL SPACE The kinesphere thatone occupies that is defined by the reachspace around the body; it includes alllevels, planes, and directions both nearand far from the body’s center.40 UMS 09-10

PRODUCTION MANAGER This personhas a variety of responsibilities includingoverseeing set and costume constructionand lighting and sound set-up andoperation before each performance. Theproduction manager coordinates andsupervises all aspects of touring, includingtransporting the equipment andplanning with each theater manager thelighting and special needs required foreach dance.REPERTOIRE Pronounced, “REP-ehtwar”;this is a word of French originthat means the dance pieces a companyperforms.REPERTORY Pronounced “REP-eh-toree”;this is the American English versionof “repertoire” and means the samething (see above). However, use of theword repertory in this phrase, “HubbardStreet is a repertory company” impliesa company that performs the works ofmany different choreographers.STAGEHANDS The crew who sets thescenery on stage or “flies it in” using apulley system. The crew also helps dress,launder and iron costumes, and run thelight board (a computer with all of thedifferent lighting “looks” or cues in it).STAGE MANAGER The person who conductsthe flow of each performance: shesupervises the lighting and sound andcalls the dancers to their places beforethe curtain rises.WARDROBE SUPERVISOR The personwho maintains the costumes and shoes,making sure they are always in goodcondition and that the dancers can movecomfortably while wearing them. Healso oversees the construction of newcostumes for the dancers.SOUND ENGINEER This person isresponsible for music and/or its amplificationduring the performance.UMS 09-1041

EXPLORELESSON PLANSArtsedge.org and PBS.org offer a wide range of arts-infused lesson plans and materials for educators to use.Below are a few that relate to this Youth Performance.The Innovative Voice(based on Martha Graham)http://artsedge.kennedy-center.org/content/3778/This lesson helps students build a frameof reference that will enable them to betterunderstand the innovative structuresand provocative themes of key MarthaGraham choreographies. It also illustratesspecific ways that Graham’s work wasa “new voice” that expressed dramatic20th century cultural change.Systems of the Body:Choreography and Movementhttp://artsedge.kenedy-center.org/content/2012/In this lesson, students will create movementpatterns that express informationabout the basic systems, organs, andprocesses of the human body. They willwork in pairs and in groups to makemovement choices that communicatescientific concepts in creative movement,and make inquiries, through researchand movement experimentation, into theways in which the body’s systems workand how those systems interact.Merce Cunningham:A lifetime of DANCEhttp://www.pbs.org/teachers/connect/resources/1257/previewAs Merce Cunningham describes it,he doesn’t choreograph dance piecesbased upon an idea or story, but beginssimply with an exploration of movementsobserved or experienced in life. In thislesson plan, students get a chance toobserve movement by creating a “movementjournal”, and then they experimentwith what they have observed to create aunique “movement vocabulary.”DANCING THROUGH POETRYhttp://artsedge.kennedy-center.org/content/3534/In this lesson students will look at poetryas a way to express the art of dancemetaphorically. Students will read twodifferent poems about break dancing inwhich one will show dance visually in theway the words are placed on paper andthe other using its content to representdance.ELEMENTS OF DANCEhttp://artsedge.kennedy-center.org/content/2338/How many ways can a person move?Students will explore and discover theelements of dance by demonstrating varioussimple movements. This exercise willhelp the teacher assess the students’ levelof experience and ability with respect todance. Students will create simple dancesin small groups and perform them for theclass. Students will manipulate task cardsto comprehend the elements of danceand then they will be tested on theirknowledge.42 UMS 09-10

SOURCESBIBLIOGRAPHYAnderson, Jack. Ballet & Modern Dance: A Concise History. New Jersey: Princeton Book Company, 1986.Cheney, Gay. Basic Concepts in Modern Dance: A Creative Approach. New Jersey: Princeton Book Company, 1989.McDonagh, Don. The Complete Guide to Modern Dance. New York: Doubleday & Company, 1976.PHOTOGRAPHY CREDITSPageCredit1 27’ 52” with Benjamin Wardell. Photo by Todd Rosenberg.3 Bitter Suite with Terence Marling and Robyn Mineko Williams. Photo by Todd Rosenberg.5 Bitter Suite with Jessica Tong, Robyn Mineko Williams, Alejandro Cerrudo, and Ana Lopez. Photo by Todd Rosenberg.10 Off Screen with Ana Lopez and Benjamin Wardell. Photo by Todd Rosenberg.11 Walking Mad with Jason Hortin. Photo by Todd Rosenberg.12 Lou Conte, Founder of HSDC Photo by Cheryl Mann.13 (Top) Hip-Hop. Photo by Cheryl Mann.13 (Lower Left) Modern13 (Upper Right) Ballet. Photo by Todd Rosenberg.13 (Lower Right) Jazz 117 Gnawa. Photo by Todd Rosenberg18 Christian Broomhall. Photo by Cheryl Mann.18 Jacqueline Burnett. Photo by Cheryl Mann.18 Alejandro Cerrudo. Photo by Cheryl Mann.18/22 Meredith Dincolo. Photo by Cheryl Mann.19 Brian Enos. Photo by Cheryl Mann.19 Kellie Epperheimer. Photo by Cheryl Mann.19 Laura Halm. Photo by Cheryl Mann.19 Jason Hortin. Photo by Cheryl Mann.19 Ana Lopez. Photo by Cheryl Mann.20/22 Pablo Piantino. Photo by Cheryl Mann.20 Alejandro Piris- Niño. Photo by Cheryl Mann.20 Penny Saunders. Photo by Cheryl Mann.20 Kevin Shannon. Photo by Cheryl Mann.UMS 09-1043

20 Jessica Tong. Photo by Cheryl Mann.21 Benjamin Wardell. Photo by Cheryl Mann.21 Robyn Mineko Williams. Photo by Cheryl Mann.25 Glenn Edgerton, Artistic Director, HSCD. Photo by Karen Knauer.25 Jason D. Palmquist, Executive Director. Photo by Cheryl Mann.26 Taryn Kaschock Russell, Director, HS2 and Artistic Associate. Photo by Cheryl Mann.26 Terence Marling, Rehearsal Director and Artistic Associate. Photo by Cheryl Mann.26 Claire Bataille. Director, Lou Conte Studio. Photo by Cheryl Mann.27 (Right) Tabula Rasa with Kevin Shannong, Robyn Mineko Williams and Benjamin Wardell. Photo by Cheryl Mann.28 At ‘em (Atem) Adam with Kellie Epperheimer and Jason Hortin. Photo by Todd Rosenberg.29 Bitter Suite with Terence Marling and Robyn Mineko Williams. Photo by Todd Rosenberg.30 Jorma Elo (far right) working with HSDC dancers for his world premiere, Bitter Suite. With Ana Lopez, Robyn Mineko Williams,Alejandro Cerrudo, Terence Marling. Photo by Cheryl Mann.31 Gnawa with Pablo Piantino. Photo by Todd Rosenberg.38 Walking Madwith Walking Mad with Meredith Dincolo. Photo by Todd Rosenberg.44 UMS 09-10

EXPLOREORGANIZATIONSLocalUniversity Musical Society881 N University AvenueAnn Arbor, MI 48109-1011(734) 615-0122umsyouth@umich.eduwww.ums.orgSwing City Dance Studio1960 S Industrial E & FAnn Arbor, MI 48104(734) 668-7782www.swingcitydance.comUniversity of MichiganDepartment of Dance3501 Dance BuildingAnn Arbor, MI 48109-2217(734) 763-5460www.music.umich.edu/departments/danceMichigan Dance CouncilP.O. Box 381103Clinton Twp., MI 48038www.michigandance.orgWayne State UniversityDance Department4841 Cass AvenueDetroit, MI 48202313.577.4273www.dance.wayne.edunon-LOCALAmerican Dance Festival715 Broad StreetDurham, NC 27705(919) 684-6402www.americandancefestival.orgJacob’s PillowP.O. Box 287Lee, MA 01238413.243.0745www.jacobspillow.orgThe Joyce Theater175 Eighth AvenueNew York, NY 10011212.242.0800www.joyce.orgNew York City Center130 West 56th StreetNew York, NY 10019212.247.0430www.nycitycenter.org/Danspace Project131 East 10th StreetNew York, NY 10003212.674.8112www.danspaceproject.org/Dance/USA1111 16th Street NW, Suite 300Washington, DC 20036(202) 833-1717www.danceusa.orgUMS 09|10 Dance SeasonThe Suzanne Farrell BalletThe John F. Kennedy Center for thePerforming Arts2700 F Street, NWWashington, DC 20566(202) 416-8044www.kennedy-center.org/programs/ballet/farrellBill T. Jones/Arnie Zane DanceCompany27 W 120th Street, #1New York, NY 10027(212) 426-6655www.billtjones.orgHubbard Street Dance Chicago1147 W Jackson BoulevardChicago, IL 60607(312) 850-9744www.hubbardstreetdance.comUMS 09-1045

EXPLORESUGGESTED READINGSBelow is a list of books related to this performance that the Ann Arbor District Library helped create.Elementary + Middle School: Non-Fiction• Dance!: No Matter What Kind of Dance You like to do, this Book is for You by Apryl Lundsten• José!: Born to Dance: The Story of José Limón by Susanna Reich• Imagine That! It’s Modern Dance, Sorine by Stephanie Riva• How Can You Dance? by Rick Walton• Legends of American Dance and Choreography by Carin T. Ford• Edgar Degas: Paintings that Dance by Maryann Cocca-Leffler• Martha Graham, a Dancer’s Life by Russell FreedmanElementary + Middle School: Fiction• Can you Dance, Dalila? by Virginia L Kroll• Dancing Shoes by Noel Streatfeild• Tanya and the Red Shoes by Patricia Lee Gauch• Ballet Magic by Nancy Robison• Rosie’s Ballet Slippers by Susan Hampshire• Presenting Tanya, the Ugly Duckling by Patricia Lee Gauch• Belinda, the Ballerina by Amy YoungAdult Books (with Teen Appeal): Non-Fiction• The Erick Hawkins Modern Dance Technique by Renata Celichowska• Ailey Spirit: the Journey of an American Dance Company by Robert Tracy• African-American Concert Dance: The Harlem Renaissance and Beyond by John O. Perpener• Appreciating Dance: A Guide to the World’s Liveliest Art by Harriet R. Lihs• Deep Song: The Dance Story of Martha Graham by Ernestine Stodelle• Prime Movers: The Makers of Modern Dance in America by Joseph H. Mazo• Conditioning for Dance by Eric N. Franklin46 UMS 09-10

ABOUT UMSUMS 09-1047

UMSWHAT IS UMS?THE UNIVERSITY MUSICAL SOCIETY (UMS) is committed to connecting audiences with performing artists from around the worldin uncommon and engaging experiences.One of the oldest performing arts presenters in the country, the University Musical Society is now in its 131st season. With aprogram steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to avibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activitieseach season.UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and internationalpartners.UMS EDUCATION &AUDIENCE DEVELOPMENTDEPARTMENT MAILING ADDRESS100 Burton Memorial Tower881 North University AveAnn Arbor, MI 48109-1011STAFFKenneth C. FischerUMS PresidentClaire C. RiceInterim DirectorMary RoederResidency CoordinatorOmari RushEducation ManagerINTERNSEmily BarkakatiMark JohnsonNeal KelleyEmily MichelsLeonard Navarro48 UMS 09-10

UMSUMS YOUTH EDUCATION PROGRAM10 THINGS TO KNOWQUALITYEvery student deserves access to“the best” experiences of world artsand culture• UMS presents the finest internationalperforming and cultural artists.• Performances are often exclusive toAnn Arbor or touring to a small numberof cities.• UMS Youth Performances aim topresent to students the same performancethat the public audiences see (nowatered-down content).DIVERSITYHighlighting the cultural, artistic,and geographic diversity of the world• Programs represent world cultures andmirror school/community demographics.• Students see a variety of art forms:classical music, dance, theater, jazz,choral, global arts.• UMS’s Global Arts program focuseson 4 distinct regions of the world—Africa, the Americas, Asia, and the ArabWorld—with a annual festival featuringthe arts of one region.ACCESSIBILITYEliminating participation barriers• UMS subsidizes Youth Performancetickets to $6/student (average subsidy:$25/ticket)• When possible, UMS reimburses bussingcosts.• UMS Youth Education offers personalizedcustomer service to teachers inorder to respond to each school’s uniqueneeds.• UMS actively seeks out schools witheconomic and geographic challenges toensure and facilitate participation.ARTS EDUCATION LEADEROne of the premier arts educationprograms in the country• UMS’s peer arts education programs: CarnegieHall, Lincoln Center, Kennedy Center.• UMS has the largest youth educationprogram of its type in the four-state regionand has consistent school/teacher participationthroughout southeastern Michigan.• 20,000 students are engaged each seasonby daytime performances, workshopsand in-school visits.• UMS Youth Education was awarded“Best Practices” by ArtServe Michiganand The Dana Foundation (2003).K-12 SCHOOL PARTNERSHIPSWorking directly with schools toalign our programs with classroomgoals and objectives• 13-year official partnerships with theAnn Arbor Public Schools and the WashtenawIntermediate School District.• Superintendent of Ann Arbor PublicSchools is an ex officio member of theUMS Board of Directors.• UMS has significant relationships withDetroit Public Schools’ dance and worldlanguage programs and is developingrelationships with other regional districts.• UMS is building partnerships with or offeringspecialized services to the region’sindependent and home schools.UNIVERSITY EDUCATIONPARTNERSHIPSAffecting educators’ teaching practicesat the developmental stage• UMS Youth Education is developinga partnership with the U-M School ofEducation, which keeps UMS informedof current research in educational theoryand practice.• University professors and staff areactive program advisors and workshoppresenters.UMS 09-1049

KENNEDY CENTER PARTNERSHIP• UMS Youth Education has been amember of the prestigious KennedyCenter Partners in Education Programsince 1997.• Partners in Education is a national consortiumof arts organization and publicschool partnerships.• The program networks over 100 nationalpartner teams and helps UMS stayon top of best practices in education andarts nationwide.TEACHER ADVISORY COMMITTEEMeeting the actual needs of today’seducators in real time• UMS Youth Education works with a50-teacher committee that guides programdecision-making.• The Committee meets throughoutthe season in large and small groupsregarding issues that affect teachers andtheir participation: ticket/bussing costs,programming, future goals, etc.PROFESSIONAL DEVELOPMENT“I find your arts and culture workshopsto be one of the ‘Seven Wondersof Ann Arbor’!”–AAPS Teacher• UMS Youth Education provides someof the region’s most vital and responsiveprofessional development training.• Over 300 teachers participate in oureducator workshops each season.• In most workshops, UMS utilizes andengages resources of the regional community:cultural experts and institutions,performing and teaching artists.IN-SCHOOL VISITS & CURRICULUMDEVELOPMENTSupporting teachers in the classroom• UMS Youth Education places internationalartists and local arts educators/teaching artists in classes to help educatorsteach a particular art form or modelnew/innovative teaching practices.• UMS develops nationally-recognizedteacher curriculum materials to helpteachers incorporate upcoming youthperformances immediately in their dailyclassroom instruction.UMS Youth Education Programumsyouth@umich.edu | 734-615-0122www.ums.org/education50 UMS 09-10

SEND US YOUR FEEDBACK!UMS wants to know what teachers and students think about this Youth Performance.We hope you’ll send us your thoughts, drawings, letters, or reviews.UMS YOUTH EDUCATION PROGRAMBurton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011(734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.eduwww.ums.org/educationUMS 09-1051