Curriculum Guide Dance

8/8/2019 Curriculum Guide Dance

1/12M o n d a v i C e n t e r a r t s e d u C a t i o n P r o g r a M f o r t e a C h e r s

a c Modern danCe exPerienCe

Mod

ern


2/122 Modern Dance

IntroductIon

Dear Educator,

As you make plans for your students to attend an upcoming presentation of the WellsFargo School Matinee Series at the Robert and Margrit Mondavi Center for thePerforming Arts at UC Davis, we invite you to prepare your students by using thiscurriculum guide to assure that from beginning to end, the experience is an educationally

enriching and memorable one.

The material in this guide is for you. We believe that an understanding of some basicvocabulary and background information on the performance art form will help to prepareyour students to better understand and enjoy what they are about to see. We also encour-age you to discuss important aspects of the artistic experience, including audience eti-quette.

We hope that your students find their imagination comes alive as lights shine, curtainsopen, and applause rings through Mondavi Center. As importantly, we hope that thiscurriculum guide helps you to bring the arts alive in your classroom.

Thank you for helping us to make a difference in the lives of our children.

Mondavi Center Arts Education ProgramSierra North Arts Project, UC Davis

Whats InsIde:

2 IntroductionThe Heart of the ArtResources

3 Whats Important to Know?

4 Modern Dance StylesKey Movers in Modern Dance

5 Words to KnowKey Movers in Modern Dance, cont.

6 Standards-based Classroom Learning ExperiencesKey Movers in Modern Dance, cont.

7 Whats Important to Know?: Before & During the Performance

8 Whats Important to Know?: During the Master Class

9 Whats Important to Know?: After the Performance & Master Class

Documenting the Experience

10 The California State Visual and Performing Arts Content Standards Addressedby this Guide

11 Arts Education at UC Davis

12 Credits

Mondavi Center curriculum guides are produced in partnership with:

ArtSmarts is the title for K12 educational programs at Mondavi Center.

resources

BooKs & videosThe Vision of Modern Dance: In the Words of Its Creators , edited byJean Morrison Brown, Naomi Mindlin and Charles H. WoodfordISBN 0-87127-205-9

Choreography A Basic Approach Using Improvisation, Sandra Cerny

Minton, ISBN # 0-88011-529-7

Building Dances, a Guide to Putting Movements Together, SusanMcGreevy-Nichols and Helen Scheff, ISBN 0-87322-573-2

The Dance Workshop, Robert Cohan, ISBN 1-85273-051-X

Dancing. Vol. 7, The Individual and Tradition, 1993, produced byWNET. Examines the work of individual 20th-century dancersand choreographers: Isadora Duncan, Martha Graham, KatherineDunham, George Balanchine, Twyla Tharp, Eiko and Koma,Sardono Kusumo, and Garth Fagan.

DanceVideo Shop: www.dancevideoshop.com

Dance Horizons Books & Princeton Book Company:www.dancehorizons.com

Biographies and autobiographies of many of the founders andmasters of modern dance are readily available.

WeBsitesModern Dance History, including biographies on Isadora DuncanMary Wigman, Ruth St. Denis, Ted Shawn, Martha Graham,and Doris Humphreywww.filebox.vt.edu/org/cde/mdrnhist.htm

California Department of Education Visual and Performing ArtsStandards: www.cde.ca.gov/re/pn/fd/visperfmarts-stnd-pdf.asp

the heart of the art

Modern dance developed out of adesire to express individual ideasand emotions instead of perform-ing established dance forms, suchas ballet.

Modern dance continues to evolvefrom the personal expression ofits founders to include many newideas and movements.

Modern dance employs manipula-tion of shape, time, space, andenergy to build a foundation forcreative exploration and develop-ment of movement vocabulary.

Choreographers often turn to con-

temporary social themes for cho-reographic inspiration.


3/123Modern Dance

In the early twentieth century, a new movement in dance arose. This

movement was guided by a few pioneering dancers who began to usedance as a form of personal expression. Their movement often stressedemotion and addressed contemporary subjects. This was in contrast toballet, a dance form with aristocratic European roots, which frequentlytold stories of princesses, fairies and enchanted forests.

These early pioneers of modern dance each developed their own per-sonal movement vocabulary. There has never been a single specificylof modern dance. Though it often uses the body alignment and move-ment of ballet, modern dance has developed beyond the vocabulary ofballet.

The most prominent of the first generation of modern dance creatorswereIsadora Duncan andRuth St. Denis. In the 1920s, several danc-

ers who studied with St. Denis, (Martha Graham, Doris Humphries andCharles Weidman) broke away and developed their own philosophiesof modern dance. Many of these early pioneers were women. Moderndance provided women the opportunity to become directors and cho-reographers. In the ballet world, these roles had been and continue tobe dominated by men.Martha Graham, the most recognized of thesewomen, has had an enormous impact on the field of modern dance.Her notion of contraction and release (a torso based movement of asharp intake of breath followed by a strong exhalation), her ground-breaking dances based on mythology, and her theatrical personalityhave made her the best known modern dancer of all time.

Each new generation of modern dance has inspired another. Often theinspiration comes in the form of rebellion against what came before. In

the 1950s, Merce Cunningham, a member of Martha Grahams compa-ny, formed his own dance company based on the idea of movement formovements sake and the use ofcc methods ofcpy. PaulTaylor, who danced for both Cunningham and Graham, further shapedmodern dance by choreographing dances about real people and theeveryday activities of life. The next rebellion came in the 1960s, whendancers such asTrisha Brown rejected the codified and strict techniquethey felt modern dance had become. epmland mml c,sometimes called p-m, developed during this time, as did ccmp. These dance makers were also influenced by the societalchanges that were taking place in the United States during the 1960s.

Whats Important to KnoW?

Dance is a song of the body.

Either of joy or pain.Martha Graham

Alvin Ailey American Dance Theater

However not all choreographers were interested in

rejecting the past. One in particular, Twyla Tharp,embraced all that had come before. By combining balletwith modern dance and adding in her own movementideas, she developed a style that was enthusiasticallyembraced by audiences.

Just as modern dance gave way to post-modern, ethnicdance gave way to concert dance based on ethnic roots.The work ofPearl Primus and Katherine Dunhaminfluenced that ofAlvin Ailey and Donald McKayle,among others. These choreographers created dancesinformed by the African-American experience, butnot exclusively about it. Ailey was also influenced byLester Horton, who formed the first American multi-

racial dance company in 1934. Horton worked in LosAngeles, where his work was not as well-known as thatof New York based choreographers.

Another choreographer who combines modern tech-nique with other dance forms is Mark Morris. Thefolk dance, flamenco and ballet he studied as a youthinfuse his work with a unique flavor. Popular for itshumor and musicality, his work harkens back to theearly modern pioneers; it includes form, technique andstorytelling.

Today, it is possible to see and study nearly all the formsof modern dance that have developed over the years.As new styles develop, the old remain. The future alsolooks rich, as new choreographers continue to searchfor their unique voices and make contributions to thefield of modern dance.


4/124 Modern Dance

modern dance styles

n

This style expresses a message or tells astory through movement. It shows therelationships between the performerscharacters.

Cc

A method of choreographic develop-ment based on random selection ofmovement. The dancers learn manycombinations of movements but do notknow what order they will be perform-ing them in until right before the per-formance.

Cc mp

Usually done as a duet or in a largegroup, the movement is improvised as

each dancer follows the others move-ments and reacts to them. Dancersmove in and out of physical contactwhile rolling, spiraling, supporting andfalling.

imp

A process producing spontaneousmovements stemming from a specificstimulus, such as sounds or colors, andhow they relate to certain feelings orthe environment. Improvisation is often

a part of the choreographic process.

P-m

A form of modern dance which evolvedin the 1960s and 70s, and departedfrom narrative theme. Post-modernexperimented with new concepts andforms and is sometimes referred to asexperimental or minimalist dance.

i dc

(1877-1927):Duncan felt danceshould be an expres-sion of the spirit.She felt her philoso-phy was best exem-

plified in ancient Greek civilization andher basic costume was a Greek tunic.

r s. d(1877-1968)St. Denis focusedon incorporatingelements of Far

Eastern danceinto her choreography. St. Denis andher husband Ted Shawn (1891-1972)founded the Denishawn company andtrained many great dancers who wenton to form their own companies.

M gm (1894-1991)Graham created a technique thatemphasized contraction and release.

These words arenow synonymous

with modern dance.Graham was the

first modern dancechoreographer toreach out to other

genres of modern art for collaboration.She is considered the most influentialand famous modern choreographer ofthe 20th century.

d hmpy(1895-1958)Humphrey developeda fundamentaltheory of movementbased on fall and

recovery thatbecame the basisof her technique. She worked withCharles Weidman after her career withDenishawn.

Key Movers inModern Dance

Dance is the hidden language of the soul.

Martha Graham

Twyla Tharp Dance Company


5/125Modern Dance

spc-The area occupied by a dancer or dancers,and how dancers move in and around this area.

The concept also includes how the choreogra-pher chooses to mold and design the aspectsof space. Space can be divided into aspects ofdirection, size, level, and focus.

syl- A structure or form used to createmovement.

s c-Stage right, stage left (at theperformers right and left, respectively, whenviewed from the audience). Downstage (movingtowards the audience), upstage (moving awayfrom the audience). These terms come from the

Italian Renaissance theater of the late 1400s,when stages were raked, or constructed on adownward slant towards the audience. Thus,a performer was literally traveling uphill whenmoving upstage.

tbl-A static composition that does not move,a freeze or living sculpture which creates afrozen moment in time.

tm- An element of dance involving rhythm,phrasing, tempo, accent, and duration. Time

can be metered, as in music, or based on bodyrhythms, such as breath and heartbeat.

Ql mm-Energy (or force) propelsmovement. While it initiates movement, some-times energy is also needed to stop action.Energy in dance can be channeled in six dif-ferent ways, or qualities: sustained (smooth),percussive (sharp), suspended (hover), swinging(arc), vibratory (shaking), collapsing (release).

Bckp-The images, colors and designs thatmight be projected on the cyclorama (a drop

used to create the illusion of infinite space) atthe rear of the stage.

Cpy-The creation and compositionof dances by arranging or inventing steps,movements, and patterns of movements.

Cpc m- A method that a choreog-rapher uses to determine the structure of adance. Certain characteristics are commonto a well-developed dance: unity, continuity,transition, variety and repetition.

fl p-The use of space, including theroad map of the dance.This includes lines,circles, diagonals, zig-zags, and spirals.

g-The movement of a body part orcombination of parts, with emphasis on theexpressive aspects of the move.

M cl-A class offered by a professionaldancer and designed to share his or her back-ground, experience, and characteristics of thedance form with students.

M-A distinctive and recurring gesture usedto provide a theme or unifying idea.

Pp-An object separate from a dancers cos-tume that is part of the action or design in adance.

Key Movers inModern Dance (c)

L h(1906-1953)Hortons technique

was based on creat-ing a flat back atthe waist by tiltingthe body horizon-

tally to the side or bending forward.He chose to work in southern Californiarather than New York. Horton formedthe first American multi-racial dancecompany. Alvin Ailey danced in hiscompany.

Kdm (1909-)Dunham was oneof the first African-Americans to attendthe University ofChicago, where she

earned her bachelor, master and doc-toral degrees in anthropology. Dunhamblended African and Caribbean danceforms to create a technique of her own.

McCm

(1919-)Cunninghamcreated a styleof choreographycalled chance.

His dancers learn many combinationsof movement but do not know howthe music sounds or in what orderthey will perform until right before theperformance.

Pl tyl(1930-)

Taylor was asoloist withMartha Grahamscompany whenhe formed his

own troupe, the Paul Taylor DanceCompany. Taylor studied ballet underAnthony Tudor and also danced forGeorge Balanchine, a prominent chore-ographer of American ballets.

A Mondavi Center Arts Education Master Class

Words to KnoWt cclm , y wll c w bl p.Blw w.


6/126 Modern Dance

profIcIentnmUse the letters in each students name to provide the motivation for movement. Have the stu-dents trace the shapes of the letters in their names in the air using different body parts. Keep

it simple: start with a finger, then move on to the arms; incorporate the legs, head and, finally,full torso. (1.4 proficient) More: Create movement phrases by having the students break intogroups of three or four and teach each other their letter-based movement sequences. Eachgroup performs these movement sequences for the classroom audience.

rcpPrior to this learning experience, have students bring in the recipe for their favorite food.(Encourage students to include a variety: i.e. baked goods, entrees, drinks.) Working in smallgroups, students brainstorm movements that correspond to the action words (chop, blend,whip, grate, simmer, boil) found in their recipe. Students then put the action words together ina movement sequence that follows the order of the recipe. Each group performs their complet-ed dance for their classmates. Have the classroom audience guess the action words and type ofrecipe. (1.4 proficient)

advancedsl-pPrior to this learning experience, each student seeks out five individuals to identify three wordsthat describe the students personality. Using the 15 words collected, each student creates ashort movement sequence interpreting the adjectives that describe them. Choreography shouldinclude use of qualities, elements, space and form. Each student performs their movementsequence for his or her classmates, and the classroom audience tries to identify the descriptivewords. (1.4 proficient, 2.1 advanced, 5.2 advanced)

opp

Prior to this learning experience, create a series of 3x5 cards, each with two words identifyingopposites (light/heavy, passive/aggressive, quiet/loud, staccato/legato, summer/winter). Dividethe students into partners. Give each partner group one card. Each partner then works individ-ually on a dance sequence which conveys one of the words on the card. After they view eachothers sequence, they put the two together and create a studyof duet relationships. Students make choices on how toblend the two movement sequences together. For exam-ple: students might perform the sequence side by side, orat opposite ends of the performance space. At some pointin the sequence, the partners may relate to each other,combine movement sequences or make a physical connection.(1.4 proficient, 2.1 advanced, 2.6 advanced)

These learning experiences can be done before or after attending a perfor-mance, or just as an opportunity to use dance in the classroom.

standards addressed:ac Pcp: 1.4 Demonstrate clarity of intent while applyingkinesthetic principles for all dance elements. (proficient)C ep: 2.1 Create a diverse body of works of dance,each of which demonstrates originality, unity, clarity of intent, anda dynamic range of movement. (advanced)C ep: 2.6 Collaborate with peers in the developmentof choreography in groups. (proficient)

al aly(1931-1989)

The Alvin AileyAmerican Dance

Theater is credited with opening doorsfor many African-American and Asiandancers. Aileys dances fused modern

with elements of jazz, ballet, andAfrican dance, and drew heavily uponAfrican-American themes.

t Bw(1936-)

Brown works withmathematical andgeometrical struc-tures. Her early

works were oftensite-specific and performed in suchsettings as roof-tops, rafts on a lake, oron the sides of buildings.

twyl tp(1941-)

Tharp danced withPaul Taylor beforeforming her own

company. She hasdeveloped a dis-

tinctive technique using a wide varietyof dance styles mixed with ballet andmodern dance. Tharp has choreo-graphed for her own company, balletcompanies, Broadway shows and film.

Mk M (1956-)Known early in his career as the bad-

boy of moderndance becauseof his flamboyantpersonality and

outspoken criticismof other choreog-raphers, Morris isnow thought of

as one of the worlds leading moderndance choreographers. Sometimesirreverent, often humorous, Morris

work is known for its musicality andstructure.

Key Movers inModern Dance (c)

Paul Taylor Dance Company

standards-Based classroomlearnIng experIences


7/127Modern Dance

Before the performance

Q : How many of you have ever been to a dance performance? What dance performances have you seen? How many of you have taken a dance class? What kind of dance classes have you taken? Can you describe the dance form(s) that you have seen or studied?

tc:Have students share their preconceived notions of modern dance.Create a list to be reviewed following the performance. Also have stu-dents make predictions about what the types of costumes, music andbackdrop they will see or hear during the performance.

i pp m cl:Have students do research on-line or in the library about the master

teacher. Look for the following information: Style of modern dance. Background. Companies performed with. Noted dances performed in or created.

durIng the performance

t eqThere is a specific etiquette for watching a live dance performance. Be on time. There is no seating during a dance. Use the restroom before the performance. If you have to leave, you may not be allowed back into the hall until intermission.

Refrain from wearing perfume. Leave food and drink at home. Leave cameras at home. Refrain from talking during the performance. Turn off cell phones and pagers. Stay seated during the performance. Show your appreciation for the performers by applauding at appropriate times.

The bus ride to the theater or the wait in line provides a good time to reviewbehavior expectations. It is also a good time to remind students of things tolook for.

t h s Lk f How do the dancers use pc? What l p or levels do you see? What is the qly mm: soft, flowing, sharp, percussive, incorporated vibrations, swings or collapses? What kind of music is used? Is the music live or recorded? Does each dance use music, or sometimes words, sounds, or silence? How do the costumes make the dance more interesting or help define a character? Do the dancers utilize pp or bckp of any sort? What role do they serve? Which yl of modern dance is being performed? Do you notice any variations in cpc m? Did you notice a recurring m?

Whats Importantto KnoW?

My art is just an effort

to express the truth of

my being in gestureand movement.

Isadora Duncan


8/128 Modern Dance

Clm eqThere is a specific etiquette for attending a class with a master teacher. Be properly dressed. Be respectful. Refrain from talking to fellow students. Stay focused. Stay with it, do not give up, and do not leave class early. No sitting, unless directed by the teacher. Applaud teacher when finished (accompanists as well, if any).

ac s Be attentive to cues the master teacher gives to improve your execution of

the movement.

How can you internalize information the teacher is giving you to become a betterdancer or enjoy the experience more?

What did the master teacher tell you about his or her experience that tells youwhy he or she became a dancer? Why have they chosen this style of modern dance?

tc: Listen for things the master teacher says about his or her dance background fordiscussion following the master class. Watch for teaching strategiesutilized by the master teacher.

I see dance being

used as communication

between body and soul,

to express what is toodeep to find for words.

Ruth St. Denis

Whats Important to KnoW?durIng the master class

Mondavi Center Arts Education MasterClasses with Dance Theatre of Harlem(above and right.)


9/12

Q s

What was your favorite part of the performance and why?What was your least favorite part of the performance and why? Describe the modern dance style you observed.What type of music was used, if any?What type of costumes were worn? Were they complimentary to the dance or did they distract from it?What role did the costumes play in the creation of the movement?Was your attention drawn to a specific dancer? Explain why.What proper audience etiquette did you observe? Can you give examples?

tc: Compare the items on your previous brainstorm list to the actual events that occurred.What differences and similarities are there?

after the performance

after the master class

Q sWhat personal history did you learn about the master teacher,

i.e. where they studied or their professional experiences? Based on your prior knowledge about the master teacher,

were your expectations for the class met?What tips or information from the teacher affected

you personally?What modern dance style did the teacher present?

Do you see yourself continuing with classes in this particularstyle? Why or why not?

tc: Return to one of the learning experiences you did previ-ously and repeat. Compare how the performance or master classhas influenced the students decision-making with regard to move-ment choices.

dancing is a spiritual

exercise in physical form,

andwhat is seen is what

it is. Merce Cunningham

Whats Importantto KnoW?

documentIng the experIence

It is often a good idea for students to document their experience following a danceperformance or master class.

Upon returning to the classroom, engage in reflective writing about the perfor-mance or master class. Using steps from the performance or class, combine them to create a new move-ment sequence. Share personal interpretations of modern dance with classmates.

A Mondavi Center Arts Education Master Class with Mark Morris Dance Group

Alvin Ailey American Dance Theater

9Modern Dance


10/12

1.0 artistiC PerCePtionProcessing, Analyzing, and Responding to Sensory InformationThrough the Language and Skills Unique to Dance. Students

perceive and respond, using the elements of dance. They dem-onstrate movement skills, process sensory information, anddescribe movement, using the vocabulary of dance.

dlpm M skll tccl ep1.1 (ac) Demonstrate highly developed physical coordina-tion and control when performing complex locomotor and axialmovement phrases from a variety of genres (e.g., refined bodyarticulation, agility, balance, strength).

dlpm dc vcbly1.5 (Pc) Apply knowledge of dance vocabulary to dis-

tinguish how movement looks physically in space, time, andforce/energy.

2.0 Creative exPressionCreating, Performing, and Participating in Dance. Studentsapply choreographic principles, processes, and skills to createand communicate meaning through the improvisation, composi-tion, and performance of dance.

applc Cpc Pcpl Pc C dc2.2 (ac) Use dance structures, musical forms, theatricalelements, and technology to create original works.

Cmmc M dc2.4 (Pc) Perform original works that employ personalartistic intent and communicate effectively.

3.0 historiCaL and CuLturaL ContextUnderstanding the Historical Contributions and CulturalDimensions of Dance. Students analyze the function and devel-opment of dance in past and present cultures throughout theworld, noting human diversity as it relates to dance and danc-ers.

dlpm dc3.2 (ac) Analyze the role dancers and choreographers playin the interpretation of dances in various historical and culturalsettings.

hy fc dc3.3 (Pc) Explain how the works of dance by major cho-reographers communicate universal themes and sociopoliticalissues in their historical/cultural context ( e.g., seventeenth-cen-tury Italy, eighteenth-century France, the womens suffrage move-ment, dance in the French courts, Chinese cultural revolution).

4.0 aesthetiC vaLuingResponding to, Analyzing, and Making Judgments About Worksof Dance. Students critically assess and derive meaning fromworks of dance, performance of dancers, and original worksaccording to the elements of dance and aesthetic qualities.

dcp, aly, Ccm dc4.1 (Pc) Describe how the qualities of a theatrical produc-tion contribute to the success of a dance performance (e.g.,music, lighting, costuming, text, set design).

4.3 (ac) Analyze evolving personal preferences aboutdance styles and choreographic forms to identify change anddevelopment in personal choices.

5.0 ConneCtions, reLationshiPs, aPPLiCationsConnecting and Applying What Is Learned in Dance to Learningin Other Art Forms and Subject Areas and to Careers. Studentsapply what they learn in dance to learning across subject areas.They develop competencies and creative skills in problem solvingcommunication, and management of time and resources that con-tribute to lifelong learning and career skills. They also learn aboutcareers in and related to dance.

Cc applc ac dcpl5.2 (ac) Compare the study and practice of dance tech-niques to motion, time, and physical principles from scientificdisciplines (e.g., muscle and bone identification and usage;awareness of matter, space, time, and energy/force).

dlpm L skll C Cmpc5.3 (Pc) Explain how dancing presents opportunities andchallenges to maintain physical and emotional health and howto apply that information to current training and lifelong habits.

the calIfornIa state vIsual andperformIng arts content standardsaddressed By thIs guIde

Ronald K. Brown

10 Modern Dance


11/12

rb mi mic pi aThe Robert and Margrit Mondavi Centerfor the Performing Arts at UC Davis servesas a resource for the campus and the region,reinforcing the universitys status as acomprehensive university of the first orderby raising the profile of its arts andhumanities programs to that of its top-rankedscience programs. Opened in October 2002,

Mondavi Center features the state-of-the-art,1,800-seat Barbara K. and W. Turrentine

Jackson Hall, and the 250-seat Studio Theatrefor more intimate productions. MondaviCenter is the largest presenter of theperforming arts in the Sacramento region,bringing more than 70 of the worldsgreatest artists and lecturers each season.

In addition to the artists and speakerspresented as part of its annual Season ofPerforming Arts, Mondavi Center alsohosts productions by the UC Davis Music

and Theatre and Dance departments andother campus academic programs, as wellas those of regional arts organizations

such as the Sacramento Ballet and theSacramento Philharmonic Orchestra.

www.MondaviArts.org

530.754.5000

d miThe Department of Music at UC Davis

features a distinguished faculty andaccomplished visiting artists, and providesoutstanding instruction to students majoringin music as well as more than 1,200 non-majors each academic year. The programincludes opportunities to study and perform

music of all styles and periods, with studentsmajoring in music focusing on a specialinterest area such as composition, analysis,history, performance, or secondary schoolteaching. All students may participate ina wide array of performance activities,including the University Symphony, theUniversity Chorus and Chamber Choir,University Concert Band, the Early MusicEnsemble, and chamber music ensembles.

music.ucdavis.edu

530.752.5537

uc di aBiIn response to educational funding cutbacksand the erosion of formal arts training in thepublic schools, the University of California

and the state of California have joinedforces to expand ArtsBridge, an innovativearts outreach program that began at theIrvine campus in 1996. ArtsBridge pro-vides scholarships for undergraduate andgraduate arts students to work with K-12teachers in developing arts activities thatsupplement the core curriculum. The suc-

cess of the program prompted lawmakersto include a $1.5 million line item in the1999 state budget to facilitate the expan-sion of ArtsBridge to all of the UC cam-puses. Presently UC Davis students fromthe departments of Art, Theatre and Dance,Music, and Design are active in classroomsat several area schools, including school

districts in Woodland, Winters, and Dixon.

artsbridge.ucdavis.edu

530.754.8477

mi c a eiMany of the artists appearing duringMondavi Centers season also participatein a range of educational outreach activitiescoordinated by the centers Arts EducationProgram. These activities include schoolmatinees, master classes, lecture demon-strations, open rehearsals, curriculumdevelopment, teacher training, and in-schoolartist residencies. These outreach activities,which benefit more than 25,000 area schoolchildren, college students, educators, andcommunity residents every season, consti-tute a major commitment to arts education

in the region and underscore UC Daviscommitment to the artists and audiencesof the future.

www.MondaviArts.org/education

530.754.5431

d t dThe Department of Theatre and Dance atUC Davis offers undergraduate and graduate

degrees in conjunction with an aggressiveand artistically adventurous productionseason. Courses and productions providestudents with consistent opportunities tocreatively engage with professional direc-tors, designers, and choreographers. Thedepartment, in collaboration with theGranada Television network, is host of

the Granada Artists-in-Residence program,which brings distinguished theater artistsfrom the United Kingdom to UC Davis.A stellar faculty, state-of-the-art facilities,and talented students make UC Davis aleader in arts education.

theatredance.ucdavis.edu

530.752.0888

si n a pjThe Sierra North Arts Project (SNAP)fosters the professional development of

kindergarten through post-secondary teachersby employing the model of teachers teachingteachers. SNAP addresses the priorities ofThe California Arts Project (TCAP) involv-ing direct engagement with the artistic pro-cess, direct applications to classroom teach-ing, and the development of teacher lead-ers in arts education. The Sierra North ArtsProject is one of six California Arts Projectregional sites throughout the state, and itserves a twelve-county area extending fromthe Central Valley to the Lake Tahoe basin.The goals set forth by SNAP cover four keyobjectives: (1) to deepen and strengthen

teachers subject matter knowledge; (2) toprovide opportunities for teachers to con-nect with their personal creativity and todevelop connections within the arts learn-

ing community; (3) to enhance and expandSNAP within the region and create a widevariety of leadership opportunities for SNAPmembers; and (4) to develop strategies andtechniques for translating research experi-ences into classroom practice.

education.ucdavis.edu/SNAP/

530.752.9683

11Modern Dance

arts educatIonat uc davIs


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Mondavi Center expresses gratitude to

its partners at the California Arts Council

and Sierra North Arts Project, Region III

of the California Arts Project at UC Davis,

for bringing together a team of educators

to design and develop curriculum guides

for Mondavi Centers Wells Fargo School

Matinee Series. The following individualsparticipated in the development of materials

for the guides:

uc di ciSarah AnderbergDirector, Sierra North Arts ProjectCRESS Center, School of EducationUC Davis

Linda BuettnerCoordinator, Sierra North Arts ProjectCRESS Center, School of Education

UC Davis

aJoanne Bookmyer, Ph.D.Research Analyst

CRESS Center, School of EducationUC Davis

tRuth RosenbergDance Educator/Arts Consultant

Founder, Ruth Rosenberg Dance EnsembleSacramento

Debi RobertsDance EducatorSheldon High SchoolElk Grove Unified School District

Robert and Margrit Mondavi Centerfor the Performing ArtsUniversity of California, DavisOne Shields AvenueDavis, CA 95616-8543

MondaviArts.org530.754.5000

Curriculum Guide Dance

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