France

BelgiumGermany

England

The Netherlands

About The Artwork:In 1972, choreographer Jirí Kylián first saw Aboriginal

dancers while watching a documentary. Ten years later he

was able to observe the Aboriginal culture firsthand by

traveling to Groote, an island off the northern coast of

Australia. It was there that the largest gathering of Aborigines

had been assembled by the Aboriginal Cultural

Foundation. He experienced the inspirational Aboriginal

dances known as “stamping.” All ages participate in the

ritual and ceremonial dances that represent the individuality

of each tribe, as well as providing them with a common

language. Jirí Kylián studied these dances in order to find

“new” ways to move, stamp and communicate the essence

of animal characteristics through dance gesture.

Creative Process of the Artist or Culture: In the creation of this dance, Jirí Kylián first did on-site

research by attending the Aboriginal ceremonial dances

and finding out their historical and cultural meanings

through conversations with tribal members. He later

went into his studio to experiment

with different animal qualities

and movements; these he matched

with the personalities and natural

energy and gestures of his

individual dancers.

Jirí Kylián Choreographer

Background Information:Jirí Kylián began his dance training at the ballet school

of the Prague National theatre in 1947, when he was

nine years old. From the age of fifteen he studied at the

Prague Conservatory, and in 1967 he went to the Royal

Ballet School in London with a scholarship from the

British Council. There he came into contact with the

most important developments in choreography in ballet,

as well as contemporary dance. Consequently, John

Cranko, a major choreographer of this period and direc-

tor of the Stuttgart Ballet, offered him a dancer’s contract

and encouraged Kylián’s ambition to create his own

dance works. After choreographing his first piece for the

Nederlands Dans Theater, he was soon hired as Artistic

Director, creating more than 50 dance works. After a few

years, he established himself as one of the most ingenious

choreographers in the world with dances such as

Symphony of Psalms, Forgotten Land and Stamping

Ground. Since the late eighties, Kylián’s artistic view and

style have moved towards abstraction and surrealistic

images. His choreographies defy academic categorization

because he blends elements as he sets his creative boundaries.

His work is very much based on music and the universal

ideas and emotions that are at the core of the human

experience. Although he is no longer the Artistic

Director of NDT, his influence continues to be an

inspiration to the company.

“The roots (of both Aboriginalsand modern cultures) comefrom the same place - from theinside of the human being.”

Photo: Joris Jan Bos

Title of Work: Stamping Ground

Creators:Company: Nederlands Dans Theater (NDT)Choreography: Jirí Kylián, 1938-Music: Carlos Chavez

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

DANCE

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®

The Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

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Sample Experiences:LEVEL I• Using clapping, snapping and stamping, find different body

percussion combinations that you can repeat. Share ideas.

• Work with a partner in a mirroring experience. Each person

will take turns creating the movement and then duplicating

the partner’s movement. Next, try having dance conversations.

• Respond to selected sounds using different movement words

that are associated with each. For example: a finger cymbal

will elicit turns; a hand clap will indicate a strong jump and freeze.

LEVEL II• Create an improvised duet by selecting one or two gestures

or motifs from the male/female duet. Think of your dance in

terms of a “call and response” in which each dancer does a

movement motif or rhythmic phrase that is echoed by the partner.

• “Peeling the Stage” - Divide the class into three or four

groups of 8-10 people. Group 1 enters an empty space; each

person creates a different abstract animal shape using 8 counts.

A second group enters and assumes one of the shapes of group

1. Then, group 2 will have 8 counts to transform from the

first shape into their own animal shape. Repeat with group 3.

• Research paintings of animals, done in an abstract or primitive

style. Brainstorm words that these images evoke. Use these

words to capture the essence, energy, actions, mood and char-

acteristics of the animal. Alone, in partners or groups, create a

short, theatrical dance piece inspired by one or more animals.

LEVEL III• View a dance using Aesthetic Valuing strategies.

• Create a “Dance Canvas,” where students stand around the

edges of an empty space, in the arrangement of a rectangular

frame. Students enter the canvas space on cues, or in their own

timing, and create different body shapes to resemble segments

of a natural environment. Other students add designs onto

the original shapes with the intent of extending the natural,

sculptural environmental designs.

LEVEL IV• Creation myths are found in almost every ancient culture.

Research Aboriginal creation myths, and in small groups,

interpret one through dance.

• Use small (14" or 16") garden sticks, one per pair. Both

partners place an index finger on one end of the stick using the

right amount of tension to keep it balanced between them.

They must maintain this connection as they explore a variety

of ways to move cooperatively with smooth, flowing energy.

Indicates sample lesson*

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Discussion Questions: After the video has been viewed:• What are the similarities and differences between the

ancient Aboriginal dances and the contemporary dances?

• What animals can you identify in either the Aboriginal

dances or the contemporary work? Describe the characteristics

that connect the dancer to a specific animal.

• The female soloist has an extremely long, limber body.

What type of feeling or emotion is evoked? What images

of creatures come to mind? Support your answer.

• What words came to mind as you watched the male and

female duet? What surprised or impressed you?

• In your opinion, what value is there for today’s

choreographer to study the dance and traditions of an

ancient culture?

Multidisciplinary Options:Through research, Mr. Kylián found that there are several

important elements to Aboriginal stamping: the ability of

the dancers to jump suddenly in the air without preparation;

and the use of counter movements and weight which give

each physical move more length and drive. Many of the

Aboriginal dances are derived from the movements of

animals. This leads to multiple styles of walking.

However, the most vital element of their dances is the

actual stamping which provides the sounds that accompany

their performances. Using Mr. Kylián as a model, select

an ancient culture that interests you and research the

dance and music. Discover the instruments that were

played, find sculptures or murals that show the postures,

costumes and instruments in particular contexts, such as

a ceremony or social gathering. Highlight specific aspects

that are fundamental to this culture and make their

music and dance unique.

Audio-Visual Materials:• Artsource® video excerpts: Road to the Stamping

Ground, an RM Arts/NOS TV, Holland Co-Production.

• Photos: Courtesy of the Nederlands Dans Theater.

Additional References:• Jonas, Gerald. Dancing. Harry N. Abrams, Inc.,

Publishers, New York in Association with Thirteen/WNET.

• Dancing Series, a production of Thirteen/WNET in

association with RM Arts and BBC-TV.

• Nederlands Dans Theater Web Page: http://

www.balletcompanies.comNederlandsDansTheater/ - 1k

• Road to the Stamping Ground /NDT video. RM Arts.

LEVEL I Sample Lesson

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INTRODUCTION:Stamping dances are an integral part of life for the Aboriginal tribes, and all ages participate. These dancesrepresent the origin and individuality of each tribe and serve as a means of communication among themsince there is no common language.

Regardless of which tribe is dancing, these dances are usually performed in groups where all membersachieve synchronization and oneness with the other dancers, while still dancing for themselves. This ultimately leads to a more emotional performance.

Sometimes dancers move independently (alone) and sometimes they move in unison (together) with apartner or group. This lesson focuses on the necessary skills needed by students to work in unison witha partner. In Part I, students will take turns creating slow, continuous and clear movement that is precisely “mirrored” by their partner. Part II gives them the challenge of having a movement conversationwith a partner.

Hopefully, students will discover ways to move that emanate from a flow of consciousness. They havethe opportunity to be a leader and the responsibility of being a follower. It is important to be able to experience both roles and to feel confident in each one.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Express a variety of different movements using smooth, flowing energy. (Creative Expression)

• Demonstrate the dance forms of mirroring and conversation styles using improvisation. (Artistic Perception and Creative Expression)

• Incorporate the dance elements of level, direction, sharp and smooth, slow and fast into their studies.(Artistic Perception)

• Demonstrate focus, physical control, and accurate reproduction in performing axial (in place) and locomotor (traveling) movement. (Artistic Perception)• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• The Artsource® video excerpt of Stamping Ground.

• Any type of smooth, flowing musical CDs or audio tapes. Suggestions include: classical, New Age, guitar,flute or didgeridoo music. It recommended that music without words or vocals be used.

THE HUMAN FAMILYCREATE AND DUPLICATE MOVEMENT

DANCE

PROGRESSION:

• Give some background on the -*Stamping Ground video using the information and questions on page1. After viewing the video, use the “Discussion Questions” on page 2 to give students a chance to expresstheir responses to what they saw.

PART I

• Ask students to create movement that is slow, continuous, smooth and clear. Ask for a volunteer to leadthe class in a warm-up exercise called “mirroring.” The leader stands in the front and faces the class.He/she will create movements that are slow, continuous, smooth and clear. It helps to ask them to drawlines in space that are smooth and clear, using different directions and parts of the body to initiate themovement. The challenge for the group is to observe and simultaneously duplicate the movement of theleader as accurately as possible. The class should think of themselves as a mirror image of the leader. Thismeans that if the leader lifts his/her right arm, the class will lift their left arms.

• If there is interest for others to be leaders, have several students lead the mirroring exercise. It is alsohelpful to play music that is slow, continuous and expressive while they move.

• Divide the students into partners and have them select who is “A” and who is “B.” Ask them to sit orstand about 18 inches apart, facing each other. Direct “A” to lead “B” in a series of simple actions mov-ing slowly and smoothly. Actions can include raising one arm and lowering it, reaching out to the sideand back, circling shoulders, lifting a leg, circling both arms like a large wheel in front of the body, etc.Repeat this with “B” being the leader and “A” following. Emphasize that the partners should focus oneach other’s eyes rather than directly on the movement. This will help them stay focused and united.They will see the movement with their peripheral vision.

• When they have practiced how to create and duplicate movement that is slow, continuous, smooth andclear, direct them to think of a beginning, middle and end for each of their movement ideas. This wouldbe similar to verbal phrases or sentences done in movement. Also encourage them to change their levelas they move. Change roles several times. Appropriate music can add support, assist with the flow andphrasing of the movement, and encourage expression. Divide the class in half and perform for each other.

Task #1:Work with a partner, one leading and one following, to mirror each other’s movement phrases. Switchroles on a signal from the teacher.

Criteria:• movements must be smooth, slow and continuous• add changes of level• leader lead with very clear and large movements; be aware of keeping partner with you• follower duplicate the movement ideas clearly and in the same period of time• work cooperatively• test: is it hard to determine who is leading?

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Nederlands Dans Theater 2Stamping Ground

Choreographer: Jirí KyliánDancers: Tessa Cooke, Urtzi Aranburu

Photo: Joris Jan Bos

PART II

• Once students can confidently mirror with a partner, they are ready for the next challenge which is con-versational movement. This is where one partner “speaks” in a movement phrase while the other partnerlistens, then the second partner responds. This idea moves back and forth between the two partners, justas a conversation does. This concept is similar to the duet done by the male and female dancers inStamping Ground.

• It works best in the beginning stages to give a specific number of counts for each partner to move. If adrum is used, the teacher can beat the head of the drum for partner #1 and the rim of the drum for partner #2.These movements can be quick and rhythmical. The movement vocabulary can include: jumps, turns,sharp gestures, reach and bend, twists, shaking, and locomotor movements such as walk, run, skip.

TASK #2:In partners, do an improvisation using a conversational style. One partner will move for four countswhile the other partner freezes and observes intensely. Then the roles switch with the second partnerspeaking with movement while the first partner stops and observes. This “conversation” switches backand forth several times.

CRITERIA:• Work cooperatively• Move for 4 counts and then hold still for 4 counts (or 6 or 8 cts.); one partner moves while the other is still• Use different changes of levels and directions• Find variety in the movement choices• Add stops or pauses• Change the spatial arrangement, such as near and far, or away and toward, around or in front of.• Maintain focus and concentration

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EXTENSIONS:

•After the class has practiced the mirroring many times, a bigger challenge for them is to change the lead-ership role without stopping the movement or talking. It requires them to “sense” when the role is chang-ing and to work intuitively.

• In the mirroring experience, students can increase the space between them, so that they must stay intouch while 20 or more feet apart, increasing the observational and awareness skills.

• Have two sets of partners work together in a square formation where each person is in a corner of thesquare.Each one takes a turn leading and then “passing” the movement to the one on their right.• In the conversation partnerships, extend the time from four counts to eight counts. Try different stylesof music.

• After doing these two experiences, replay the video to see if they are able to observe more things thatcan connect with what they did in their own improvisations.

VOCABULARY: mirror, smooth, continuous, clear, phrase, sense

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the mirroring experience and what made it a “mirror” rather than a “shadow.”

DISCUSS: Discuss what things made the mirroring experience successful. What made the conversationexperience successful?

ANALYZE: Identify the challenges they faced when working with a partner and what they could do toovercome them.

CONNECT: Discuss how their dance movement experience related to the dance video they saw.

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RUBRIC FOR MIRRORING - task #1:

Advanced:• Consistently focused• Highly original movements with clear intent• Highly consistent in performing slow and smooth movements • Excellent cooperation between partners as they work in both role

Proficient:• Focused most of the time• Some original movements with clear intent most of the time• Mostly consistent in performing slow and smooth movements• Good cooperation between partners as they work in both roles

Approaching Proficient:• Inconsistent focus• Movements lack originality and intent• Inconsistent in performing slow and smooth movements• Cooperation between partners is lacking

RUBRIC FOR CONVERSATIONS - task #2:Advanced:• Consistently focused• Highly original movements with lots of variety• Consistently moves for four beats and freezes for four beats at correct time • Excellent cooperation between partners as they work in both roles

Proficient:• Focused most of the time• Some original movements with some variety• Mostly consistent in moving and holding for four counts at correct time• Good cooperation between partners as they work in both roles

Approaching Proficient:• Inconsistent focus• Movements lack variety• Inconsistent in moving and holding for correct number of beats and at correct time• Cooperation between partners is lacking

LEVEL II Sample Lesson

INTRODUCTION:

Aborigines live close to the earth and have strong connections tothe natural world. Their religion is deeply involved with theland. They believe it is the mother of all living things to whichthe spirit returns for rebirth after death. Aborigines do not ownthe land; it owns them. They are its custodians, believing that theancestral beings of the Dreamtime, or Dreaming, created lands,animals, people and places. Some of these are sacred to men,others to women, some to both. These ideas are also expressedin their art where earth tones of clays and ochres as well as charcoal convey specific meanings.

The land on which the Aborigines live has a wide variety of animals, many of which are not found on other continents. Theseanimals include: marsupials (meaning pouch) - kangaroo, wallaby, koala, opossum, numbat, wombat, badicoot, echidna,duck-billed platypus and Tasmanian devil. Other Australianfauna include the crocodile, the dingo (wild dog), lizards, andbirds such as the beautiful budgie, kookaburra and emu.

In the duet on the Artsource® video, you can see the dancersdoing jumping and punching movements that represent kangaroos, and an Aboriginal girl imitating an animal. In theirdances, the Aborigines are masters at miming the movements ofmany of these animals.

This lesson will focus on animals and their characteristics. The challenge will be to capture the weight,energy, postures, focus and timing of specific ones.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Identify and discuss the characteristics of different Australian animals (Artistic Perception)

• Interpret selected characteristics of specific Australian animals through dance (Creative Expression)

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

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POWER OF NATUREANIMALS REVEALED

Nederlands Dans Theater 2Stamping Ground

Choreography: Jirí KyliánDancers: Miguel Rodriquez, Urtzi Aranburu

Photo: Joris Jan Bos

DANCE

MATERIALS:

• The Artsource® video showing the excerpts from Stamping Ground

• List of Australian animals and their characteristics on pages 12-14.

PROGRESSION:

• Show the class the Artsource® video of Stamping Ground and discuss it using the “DiscussionQuestions” on page 2.

• Introduce a few (3-4) of the animals from Australia and give background information on them.Show pictures, if available.

• Write down the name of each animal on the board and create a list of characteristics and actions foreach one. An example of this would be:

Kangaroo: Glider Possum Emujumps upward and forward climbs trees tall and heavy - walksboxes with short arms steers with its tail fast runner, doesn’t flybalances/sit on tail swoops and lands upright good swimmer

• Have students spread out to find a space so they can move easily. Direct them to move like each animal, being aware of whether it is heavy or light, fast or slow and improvise the different actions eachcan do. Also, explore poses and shapes that each can take.

Task:After taking time to be specific and work toward capturing the characteristics of each one, have eachstudent select one animal. Give them eight counts (16 counts for older or more experienced students)to choreograph a dance study for that animal. Ask them to begin and end in specific shapes or posesthat suggest the animal.

• Divide the students into three groups of 8-10. Ask group 1 to be the first performers and go into thespace and take their beginning shape. Use hand claps or a drum to beat 8 spaced out counts of time,such as: 1.... 2.... 3.... 4.... 5.... 6.... 7.... 8. Students perform their animal studies simultaneouslywith the others, holding their final pose on count 8.

Group 2 moves out into the space and takes the ending pose of group 1. Group 1 exits using fourcounts, while group 2 holds the shapes for these four counts. Then Group 2 has four counts to transformthe shape into the beginning shape for their dance study.

This is then repeated with group 3. When group 3 completes their study, groups 1 and 2 join a groupadding their ending animal shapes to the others.

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Criteria:

• clear beginning shapes that capture the essence of the specific animal• 8 counts of movement that show the nature, weight, timing and actions of the animal• contrast of energy, focus, stillness and motion or levels• clear ending shapes that capture the essence of the specific animal• duplicate the shape of another animal when indicated• combine animal shapes for the final ending

Ground Rules for Performers Ground Rules for Audience- maintain strong focus throughout - give respect and active attention to performers- perform with energy and clear intent - keep silent- do very best work - clap, but don’t shout when performers are done- work for unity with your group

• Have the students discuss their response after all groups have performed. Also, use the criteria as a pointof departure for the discussion. Suggestions for questions that elicit thinking, rather than one wordanswers, include:

• What did different people do to convey the essence of their animal choice? What did they do that gave you clues about the animal they represented through artistic movement?

• Did they have contrast in their idea? Was this shown in the element of space, time or energy?• What most impressed you about the shapes and about the motion?• What constructive suggestion would you have to improve the artistry of their work?

EXTENSIONS:

• Extend the animal study into a 16 or 32 count phrase.

• Have students work together, combining their animal phrases and doing some of the motifs in unisonor a call and response form, similar to the duet in the Artsource® video.

•Watch the Artsource® video again and discuss what they see after choreographing their own animal dance.

VOCABULARY:

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the words you used to motivate your animal study?

DISCUSS: Discuss the feelings you got when portraying your animal?

ANALYZE: Discuss some of the differences you observed when watching people do their animal study?

CONNECT: Discuss how the traits of animals relate to the traits of people.

AUSTRALIAN ANIMALS AND THEIR CHARACTERISTICS:

MARSUPIALS:

Kangaroo: There are over 50 species of kangaroo, which are named after the Aboriginal word,“kang guru” which means “there he goes.” The kangaroo belongs to a group of marsupials calledmacropads which means “big feet.” Kangaroos sleep during the heat of the day and search forleaves and plants to eat at night. They can travel over long distances going up to three weeks insearch of water and can dig holes three feet deep to find it. When overheated, they pant and licktheir paws like cats do. A baby, called a joey, lives and grows in its mother’s pouch until it is aboutsix months old. However, even after that age it will stay close to its mother, diving head first intothe pouch when scared. When danger is sensed, one kangaroo will sound a “thump” to alarm oth-ers, sending them scattering, stopping intermittently to focus in several directions before bound-ing onward. Kangaroos travel in groups called “mobs.” Each one has a “boomer,” or leader, whodefends his position against other males. Although kangaroos are timid and easily scared, they arefierce fighters, using a boxing style with their short, strong forearms and kicking with their hindlegs. They can bound up to ten feet upward and cover a distance of 20 feet in one jump. Theyalways move their back feet together, except when swimming. Good at hopping and jumping,they move like a pogo stick, but are awkward when walking. Their tail serves as a counterweight,moving up and down, and can also be used as a prop for sitting.

Wallaby: The wallaby is a close relative of the kangaroo, but is smaller. Some resemble rabbits andcan move easily and quickly, swerving from side to side. One type that is particularly interestingis the “organ grinder” wallaby which, when threatened, will extend its forearms sideways, circlingthem as it leaps to safety.

Koalas: The koala gets its name from the Aboriginal word, “koo-la,” which means “one who doesnot drink.” They rarely drink water directly, but get their intake from the dew on eucalyptusleaves, their main diet. They live in eucalyptus trees in the Eastern Australian forests. Contraryto popular belief, Koalas are not bears, although they have a long, black snout, small dark eyes,and thick, soft grayish fur. They have no tail, but do have sharp claws on three fingers and twothumbs. Being nocturnal, they feed during the night and snooze in the fork of tree branches during the day. Before eating, the koala must inspect each leaf, for some leaves contain hydrocyanic acid which can be fatal to them. Their babies live in the mother’s pouch until aboutsix months, then ride on their mother’s back. But, when a baby misbehaves, the mother gives ita terrible spanking on its bottom; it cries and screams, sounding like a human baby.

Possums: 25 different kinds of possums live in Australia, ranging in size from three inches to thesize of a house cat. Most have pink noses and thin, hairless ears. Their mouth, with 50 teeth,is larger than a human’s. Their prehensile (“good for wrapping around and grasping”) tail, is long,curly, rough and scaly. Young possums can be seen hanging by their tails from tree branches; theyhave a “toe” that acts like a thumb for grasping. Like other marsupials, they are nocturnal andhave a good sense of smell and night vision. But, unlike the other marsupials, they eat insectsand flesh as well as nectar and fruit. Their long, strong claws allow for expert climbing and theycan be found residing in tree trunks, abandoned nests or underground burrows. As adults, theytend to travel alone and are rarely seen with other possums.

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AUSTRALIAN ANIMALS CONTINUED

MARSUPIALS CONTINUED

Glider Possum: The Glider Possum is not related to the flying squirrel, but resembles one. It hasa flap of skin between its front and back legs, so that when jumping, the legs spread to stretch theskin tight. It forms a parachute that allows them to glide gracefully from tree to tree. The tailhelps them steer and balance. A glider swoops just before landing, allowing it to stop upright. Allgliders are fighters, screechers and chirpers.

Numbat: Numbats are small, reddish-banded anteaters with bushy tails. They use their powerfulclaws to shred wood in order to find termites which they retrieve with sticky tongues. Unlikeother marsupials, they hunt during the day and live in hollow logs. Although they are friendlycreatures, they refuse to defend themselves from predators. Needless to say, their number is dwindling.

Wombat: This vegetarian animal is medium-sized, curious and friendly. It is heavy and resemblesa brown, furry pig, but it can run on its short, sturdy legs up to 25 miles per hour. A Wombatbaby rests in a pouch that opens to the back. The babies are playful and active, running, rolling,jumping, nuzzling and bumping, but can burrow quickly below the surface, forming one hundredfoot tunnels. Because they feed on bark and plants, their teeth grow continuously, grinding downand sharpening as they eat.

Bandicoot: Bandicoots are rat-sized, marsupial moles which are unattractive, but friendly. Theylive underground, getting there by digging, diving and swimming just below the surface. Theymove above ground by scooting on their stomachs and pushing with their back feet.

Tasmanian devil: This animal is a vicious carnivore with a huge appetite. It can eat five times itsweight at one sitting. They are black, shaggy creatures which grow to be the size of large housecats. They have enormous jaws and are strong, persistent hunters. They can swim long distancesunderwater with babies in their pouches. Known for their horrible tempers, the Tasmanian devils are prone to sudden rage; they scream, snarl, whine and growl.

Duck-billed Platypus: The platypus, along with its cousin, the echidna, are the only egg-layingmarsupials. The platypus has a bill shaped like that of a duck, teeth and a tail like a beaver. Itsfeet are webbed and it is covered with thick fur. It lives in rivers and eats insect larvae.

Echidna: The echidna is an anteater with a long, slender snout that is covered with spines. Itfeeds on ants and termites, gathering them up by inserting its nose into their nests and drawingthem out with its long sticky tongue.

Goanna: Almost every type of lizard lives in Australia. The goanna is a large, active lizard that is an impor-tant character in many aboriginal stories. Also called a Monitor Lizard, it is an excellent hunter andclimbs trees in search of birds and eggs to eat. It hatches its own eggs outside its body and has a snake-like tongue. Action words that describe it would include: slithering, climbing, twitching, waiting and lis-tening, scurrying.

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AUSTRALIAN ANIMALS CONTINUED

Crocodile: The crocodile is a cousin to both the dinosaur and the alligator. It can grow to be as long as25 feet and weigh as much as two tons. Some live to be as old as 100 years. The main difference betweenthe croc and the gator is that the crocodile snout is more narrow. It has a big, toothy grin and is coveredwith skin that is scaly, leathery, and bumpy. Although they can be grumpy and cranky, they do get alongwell together. They are cold-blooded, which means their body temperature is the same as their surroundings. Upon hatching her babies, the mother croc will take the babies into her mouth in a specialpouch. When they are older, she will let them ride upon her back as she sunbathes. A dominant malerules the banks and must give permission for other crocs to pass. If they want to pass, they must raisetheir heads to expose their throats. When walking, the croc sways in a side to side manner rather than upand down. While swimming, the croc uses its webbed feet to paddle, moving its tail ferociously to gainspeed. It either sinks low in the water and waits motionless until its sees something to snatch or, glidesslowly like a log, then rips, tears and swallows the prey it has been watching. Since it can breathe under-water, it can also drown its victim.

Dingo: Originally brought to Australia by the Aborigines three to four thousand years ago, the dingo is a descendent of the Asian wild dog. Most of these wild domestic dogs weigh up to 45 pounds and haveshort reddish or yellowish hair, a long tail, perky ears, sharp teeth and a sharp muzzle. It doesn’t bark,but does make a crying sound. They travel in “packs” and are hunters who prey on kangaroos, wallabies,wombats, rabbits and sheep.

Budgie: Often appearing in Aboriginal folktales and myths, the name for this bird comes from theAborigine word, “budgerigar” meaning “good bird and food.” This tells us that it was considered a tastytreat. They come in a huge assortment of vivid colors and have hooked bills. They travel and nest in largeflocks and change locations according to the seasons.

Kookaburra: The Aborigines supposedly believed that the kookaburras called the sun up from its bed eachmorning with their noisy, hysterical laughter. They are also often heard singing in groups. This com-munal chorus also performs again at dusk. White and dark brown, they nest near water in gum trees;after swooping down to catch their food of shrimp, frogs or insects, they beat it against a hard object untilit is ready to eat.

Emu: The large, flightless emu is much like an ostrich. A nomadic bird, it can be between five and sixfeet tall and weigh up to 125 pounds. It has a powerful kick, both sideways and backwards and is also aswimmer and runner, reaching up to thirty miles per hour on land.

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RUBRIC FOR ANIMAL STUDIES:

Advanced:• excellent focus throughout the performance• extremely clear, original animal shapes • inventive, expressive movements• fulfill animal energy and perform with purposeful intent• movement captures weight, postures and timing of the animal for an 8 count phrase • all shapes held with active stillness; moved at appropriate times during transitions• excellent cooperation between all members of the group

Proficient:• mostly good focus throughout the performance• mostly clear, original animal shapes • some inventive and expressive movements • mostly fulfills animal energy and performs with clear intent• movement sometimes captures weight, postures and timing of the animal for an 8 count phrase• most shapes held with active stillness; mostly moved at appropriate times during transitions• good cooperation between all members of the group

Approaching Proficient:• focus was not consistent throughout the performance• animal shapes lack clarity and originality• movements lack inventiveness and expression• rarely fulfills animal energy and performs with clear intent• movements did not capture the weight, postures and timing of the animal; didn’t move with an 8 count phrase • shapes were not held with active stillness; did not move at appropriate times during transitions• lack of cooperation between members of the group

Jirí Kylián, Nederlands Dans TheaterPhoto: Dirk Buwalda

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LEVEL III Sample Lesson

INTRODUCTION:

When they have an opportunity to discuss a performance after viewing it, students will understand it better and gain more more satisfaction from the experience. Viewing dance is kinesthetically stimulatingand often stirs our emotions. Many images and thoughts may come to mind as we watch the danceunfold. When this experience extends to a discussion about what was seen and experienced, awareness isheightened and many connections can be made. Aesthetic valuing is about thinking in ways that help astudent make aesthetic judgments, analyze, think critically and make comparisons.

This lesson highlights some ways of approaching these discussions and helps the teacher select the typesof questions that will elicit reflective and thoughtful responses from students. This will help them construct their own meaning.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Demonstrate knowledge of the dance elements, vocabulary and choreographic processes in discussing and analyzing a soloand duet. (Aesthetic Valuing)

• Discuss how ancient cultures can providesource material for modern work.(Historical & Cultural Context)

• Describe, discuss, analyze and interpretStamping Ground, an authentic ritualdance by an Aboriginal culture and JiríKylián’s research, creative process and workbased on that culture. (Aesthetic Valuing)

• Demonstrate the ability to make connections between specific experiencesand knowledge and how they relate toone’s life. (Connections, Applications,Relationships)

ENDURING VALUESFIND MEANING IN DANCE THROUGH DISCUSSION

DANCE

MATERIALS:

• Artsource® video showing excerpts from the Stamping Ground..

• VCR and monitor.

• Background information on the choreographer, the Nederlands Dance Theater and the process usedin researching and creating the dance (page 2).

PROGRESSION:

• The Artsource® video shows excerpts from the video, Road to the Stamping Ground. For a more in-depthstudy, it is recommended that you order the full video (see page 2). In this excerpt you will see:

• some footage of the authentic Australian Aboriginal Tribal Dances• some of Kylián’s experiences and reflections as he observes these authentic dances• some of Kylián’s exploration of the concepts he identified• a glimpse of Kylián’s choreographic process to translate the authentic rituals into the medium ofconcert dance• two excerpts of the ballet, Stamping Ground

This lesson will describe a solo (from Part I) and a duet (from Part II) featured in the Artsource® videoexcerpt. • Give an introduction to the video before students watch it and also background on the choreographerand his work. It is essential that you view the video ahead of time so you are familiar with the segmentsand can direct students to observe key aspects that they will discuss.

As you view the video, write questions, thoughts and impressions about the excerpts, and especially thesolo and duet. The following descriptions and questions may be helpful in your preparation.

Assessing Prior Knowledge: • Ask students to define the word Dance. Define the term choreographer.

• Ask them to describe tribal dance. Describe Contemporary Dance.

• What is a solo? What is a duet? What is an ensemble?

• Who are the Aborigines? What do you know about their culture? Where do they live? (Show a mapof Australia.)

• What fauna is indigenous to Australia? (kangaroo, koala , wombat, opossum, numbat, duck-billed platypus, Tasmanian devil, crocodile, dingo, kookaburra, emu, goanna lizards, etc.)

• Identify and discuss some of the reasons people dance.

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FEMALE SOLO (There are five solos in the ballet and this is the third one)

Description: The third soloist enters upstage left through the black curtains with her arms stretched outdiagonally forward and connected. This position allows her arms and hands to carefully guide her towardsher new environment while she maintains a downward focus. Her long, limber body produces unimaginabletwisting and connecting shapes. Some of these medium level shapes are frozen and others move throughthe performing space. Afterwards, she performs spider-like stretching movements where her hair becomesan extension of her multi-level shapes and movements.

When the fourth soloist enters from stage right, the third responds as if she is being chased out of thesacred territory and quickly exits stage left while making, soft, percussive sounds.

Topics for Discussion:

• How and where does the soloist enter the stage?

• Where is her focus when she enters the stage?

• What mood is immediately established?

• How does she use arm and leg combinations?

• What type of percussive sounds does she make as she moves?

• What type of feeling or emotion is evoked by watching this solo?

• How does flexibility enhance the ability of the dancer to portray an image?

• What animal or creature images come to mind as you watch her?

• How does her hair contribute to her solo?

DUET BETWEEN A MALE AND FEMALE (The same soloist just seen)

Description: Part I has no musical accompaniment, but body percussion and sliding sounds can be heard.Part II begins with music and the entire dance ensemble enters the stage from different points off stageand surrounds the male dancer who enters from backstage center. Each dancer freezes in one of theirshape motifs performed in their solos. The fifth soloist reacts to the entrance of the other dancers and,while he is exiting, the center male dancer gestures towards him. Gradually, three of the dancers exit thestage leaving the center male and the third female soloist. However, she eventually exits stage left andreenters on stage right to perform a duet with the male dancer.

The duet begins with the dancers performing in unison, but like a echo, facing forward and then backwards.Creating a type of conflict, they begin to react to each other’s movement. While pushing and pulling awayfrom each other, they react by creating a sudden movement or shape. During these special movements,it is evident that the music was personalized to enhance the movement of each dancer. Finally, the duetconnects by creating shapes and movement.

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Topics for Discussion:

• Describe the dancers’ reaction to the music.

• How and where did the dancers enter the stage?

• Describe the repeating rhythmic or movement patterns in the choreography. Can you identify the motifs?

• In the duet, what type of animal-like movement were you able to identify?

• How does the music relate to the movement? How does this differ from the solo which was without music?

• Analyze the dialogue/conversation between the two dancers.

General Questions:

• What impressed you most about the video and the work?

• What have you learned about the Aboriginal culture from this dance?

• What would you need to know about a culture if you were to create a dance about it?

• What do you think is important in researching a culture? What would you need to protect, feature orportray?

• What do you think Kylián intended to express in Stamping Ground? Did he accomplish what you thinkhe intended? Why? How?

EXTENSIONS:

• Use the “Guide to Aesthetic Evaluation for Viewing Dance” as another approach to initiating discussion.

• Use Level I, II and II Sample Lessons to guide students in exploring movement and creating originalchoreography.

VOCABULARY: aesthetic, solo, duet, choreographer, Aborigine, culture, kangaroo, koala, wombat, opossum,numbat, duck-billed platypus, Tasmanian devil, crocodile, dingo, kookaburra, emu, goanna lizard

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how the discussion of the performance helped in understanding the work of Jirí Kylián.

DISCUSS: Discuss the things that each person found to be more valuable after the discussion and viewingof the video.

CONNECT: Discuss the importance of researching ancient cultures and seeing how people throughouthistory have approached the universal questions and searched for answers.

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A GUIDE TO AESTHETIC EVALUATION FOR VIEWING DANCE

PERFORMANCE LEVEL• Were the performers skilled? In what ways?• Was the choreographic intent clear and well executed?• Was there a projection of power, flow, control?• Were the movements devoid of strain (except for intent to express feelings of tension?• Were the performer(s) charismatic in drawing you into content/performance?• Were the body types of the performers aesthetically suited to content/performance concepts?

STAGING EFFECTIVENESS• Were costumes, lighting, sets, and props used effectively? Address those that apply.• Why do you think the choreographer made these choices?

PERSONAL RESPONSE• Did the dance art work speak to you? In what ways?• Was it stimulating or boring? What parts did you respond to?• Was it inventive, daring or was it traditional and conventional?• Did it arouse a kinesthetic response? What feelings did you experience?• At the end, did it feel like the piece was completed, the choreography was communicative and satisfying?• What images, connections and personal meaning did you discover from the experience?

IMPACT OF CHOREOGRAPHY• Did the choreography arouse a feeling of personal involvement with the performers and movement content?• Did the choreography arouse memories of an experience, person, emotion or place?• Did the choreography evoke feeling that were congruent with social or religious concerns?• Did the choreography have a dramatic, emotional impact?• Did the choreography tell a story or event?• Did the choreography communicate the values of a specific culture? What were they?• Did the choreography present an inventive or surprising formulation of movement which addedenjoyment or curiosity?• Was the choreography/performers/performance physiologically exhilarating, bringing a sense ofexcitement, beauty and virtuosity in the execution of the piece as a whole?• Was there a sense of unity or did the work feel fragmented?

USE OF THE ELEMENTS OF DANCE• Were the shape designs for solo and groups staged effectively, with variety?• Was there a variety of use of space levels, pathways, and moving spatial designs?• Was there a variety in time-speed, from fast to slow to stillness?• Was there a variety of energy use of dynamic changes throughout?• Was the musical accompaniment, or lack of, appropriate? (Discuss volume, rhythm, mood,instrumentation, vocal sounds or words, dynamics, style, etc.)• Was there appropriate use of text, narrative, lyrics, etc.?

Source: Schrader, Constance. A Sense of Dance. Illinois: Human Kinetics, 1996.Additions to the Source: Susan Cambigue-Tracey 19

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LEVEL IV Sample Lesson

INTRODUCTION:

The Australian Aborigines had a symbiotic relationship with nature. They were hunters and gathererswho lived off a harsh desert land. Their livelihood depended on what the environment could providethem by way of shelter, food and water. Everything had its place and function in nature and they believedman to be included in this system as well.

In most Aboriginal creation myths, the period of creation was called ‘Dreamtime.’ In several of these stories, the world, man, animals, plants and nature were created and named by supernatural beings wholater disappeared into the earth or into the heavens. The universe was made from pre-existing materials.

In some myths, the earth starts out as a featureless plain that was transformed into the landscape by awakened beings such as giant serpents. These serpents pushed upward and writhed across the void, creating today’s landscape . Many of these supernatural beings were the ancestor-heroes of specifictotems* who taught their members the rituals they were to perform.

The structure of the Aboriginal universe varied little across Australia. It consisted of three planes: theearth, the sky and the underworld. Circular and flat, the earth was covered by the dome of the sky whichstretched out to the horizon. The sky was the plane upon which supernatural beings or the ancestral-heroes lived. It was also where the souls of people went after they died and it was believed that water wasplentiful there. The stars represented the campfires of the beings that lived up there. According to theirbeliefs, certain shaman, or medicine men, had the ability to travel between the earth and the sky.

*A totem is a natural object, often an animal, which is adopted as the emblem of an individual, a gender,clan, location or family. These totems allowed the Aborigines to cooperate with nature, structuring theirworld and providing a basis for their mythology.

* Information adapted from http://www.astronomy.pomona.edu/archeo/australia4/australia4.html - TheUniverse of the Aborigine by David Jensen

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss the creation myths of the Aborigine. (Historical & Cultural Context)• Discuss how ancient cultures can provide source material for

modern work. (Historical & Cultural Context)• Interpret an Aboriginal creation myth through dance. (Creative Expression.)• Demonstrate the ability to make connections between creation myths and how they relate to one’s life.(Connections, Applications, Relationships)

ENDURING VALUES AND THE POWER OF NATUREABORIGINE CREATION MYTHS

DANCE

MATERIALS:

• drum and beater

• Selected music

PROGRESSION:

• Assess students prior knowledge about myths and creation myths by asking them questions.

• Tell or read them the information about Aborigine culture and their creation myths, found at the topof this lesson.

• Do a warm up or anticipatory set that focuses the energy of the group. The mirroring exercise in theLevel I experience could work. Or, guide a “walk-about” where students all walk simultaneously, but inindividual paths. Direct them to stop on cues to do such actions as reaching, turning, bouncing, circlingdifferent body parts or opening and folding. These actions are done in-between the walking segments.

Task:Divide into groups. Explore the following ideas and find a way to interpret them through a group dance:• earth begins as a featureless plain• superhuman creatures transform the landscape and create rivers, mountains, trees, rocks, etc.• motions of pushing, lifting, writhing, shaping are used in the creation of nature• three planes are created: sky, earth and underworld

Criteria:• use the element of space: levels, directions, focus, size, path• demonstrate contrast of energy• use the element of time: metered or non-metered, body percussive sounds or silence• include actions of pushing, lifting, writing, shaping or carving• dance should be about one minute in length• work for variety and unity • work cooperatively with all group members

EXTENSIONS:

• Refine and develop each dance and find a way to connect all the groups together. Sometimes this canmean that all do some of the movements in unison.

• Add authentic Aborigine didgeridoo music.

• Perform the work for other classes. Add narration and theatrical elements.

• Research creation myths from other cultures. Discuss the similarities and differences.

• In groups, select another myth from the research done and interpret it through dance.

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Nederlands Dans Theater 2, Stamping GroundChoreographer: Jirí Kylián

Dancers: Catherine Riesi, Dylan NewcombPhoto: Joris Jan Bos

VOCABULARY: myth, creation myth, ancient, culture, totem

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the process your group went through to create your dance.

DISCUSS: Discuss the challenges your group faced and how you dealt with them.

ANALYZE: Analyze the differences and similarities between the various interpretations.

CONNECT: Discuss the importance of researching ancient cultures and seeing how they approached theuniversal questions and answers for which all people search.

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when she finally sank beneath the horizon theywere panic-stricken, thinking she had desertedthem. All night they stood frozen in their places,thinking that the end of time had come. After whatseemed to them like a lifetime the Sun Motherpeeked her head above the horizon in the East. Theearth’s children learned to expect her coming andgoing and were no longer afraid.

At first the children lived together peacefully, buteventually envy crept into their hearts. They beganto argue. The Sun Mother was forced to comedown from her home in the sky to mediate theirbickering. She gave each creature the power tochange their form to whatever they chose.However she was not pleased with the end result.The rats she had made had changed into bats; therewere giant lizards and fish with blue tongues andfeet. However the oddest of the new animals was ananimal with a bill like a duck, teeth for chewing, atail like a beaver’s and the ability to lay eggs. It wascalled the platypus.

The Sun Mother looked down upon the Earth andthought to herself that she must create new creatures lest the Father of All Spirits be angered bywhat she now saw. She gave birth to two children.The god was the Morning Star and the goddess wasthe moon. Two children were born to them andthese she sent to Earth. They became our ancestors.She made them superior to the animals becausethey had part of her mind and would never want tochange their shape.

African Bushmen Creation Myth

People did not always live on the surface of theearth. At one time people and animals lived underneaththe earth with Kaang (Käng), the Great Master andLord of All Life. In this place people and animalslived together peacefully. They understood eachother. No one ever wanted for anything and it wasalways light even though there wasn’t any sun.During this time of bliss Kaang began to plan thewonders he would put in the world above.

Australian Aboriginal Creation Myth

There was a time when everything was still. All thespirits of the earth were asleep - or almost all. Thegreat Father of All Spirits was the only one awake.Gently he awoke the Sun Mother. As she openedher eyes a warm ray of light spread out towards thesleeping earth. The Father of All Spirits said to theSun Mother,

“Mother, I have work for you. Go down to theEarth and awake the sleeping spirits. Give themforms.”

The Sun Mother glided down to Earth, which wasbare at the time and began to walk in all directionsand everywhere she walked plants grew. After returning to the field where she had begun herwork the Mother rested, well pleased with herself.The Father of All Spirits came and saw her work,but instructed her to go into the caves and wake thespirits.

This time she ventured into the dark caves on themountain sides. The bright light that radiated fromher awoke the spirits and after she left insects of allkinds flew out of the caves. The Sun Mother satdown and watched the glorious sight of her insectsmingling with her flowers. However, once again theFather urged her on.

The Mother ventured into a very deep cave, spreadingher light around her. Her heat melted the ice andthe rivers and streams of the world were created.Then she created fish and small snakes, lizards andfrogs. Next she awoke the spirits of the birds andanimals and they burst into the sunshine in a glori-ous array of colors. Seeing this the Father of AllSpirits was pleased with the Sun Mother’s work.

She called all her creatures to her and instructedthem to enjoy the wealth of the earth and to livepeacefully with one another. Then she rose into thesky and became the sun.

The living creatures watched the Sun in awe as shecrept across the sky, towards the west. However

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What we see is only the outside form or body.Inside is a living spirit that we cannot see. Thesespirits can fly out of one body into another. Forexample, a woman’s spirit might sometime fly intoa leopard; or a man’s spirit fly into a lion’s body.

This may be part of the reason that animals playsuch an important role in their myth.

Japanese Creation Myth

Long ago all the elements were mixed together withone germ of life. This germ began to mix thingsaround and around until the heavier part sank andthe lighter part rose. A muddy sea that covered theentire earth was created. From this ocean grew agreen shoot. It grew and grew until it reached theclouds and there it was transformed into a god.Soon this god grew lonely and it began to createother gods. The last two gods it made, Izanagi andIzanami, were the most remarkable.

One day as they were walking along they lookeddown on the ocean and wondered what wasbeneath it. Izanagi thrust his staff into the watersand as he pulled it back up some clumps of mud fellback into the sea. They began to harden and growuntil they became the islands of Japan.

The two descended to these islands and began toexplore, each going in different directions. Theycreated all kinds of plants. When they met againthey decided to marry and have children to inhabitthe land. The first child Izanami bore was a girl ofradiant beauty. The gods decided she was too beautifulto live in Japan, so they put her up in the sky andshe became the sun. Their second daughter, Tsuki-yami,became the moon and their third and unruly son,Sosano-wo, was sentenced to the sea, where he creates storms.

Later, their first child, Amaterasu, bore a son whobecame the emperor of Japan and all the emperorssince then have claimed descent from him.

Source:http://www.cs.williams.edu/~lindsey/myths/myths_13.html

First Kaang created a wondrous tree, with branchesstretching over the entire country. At the base of thetree he dug a hole that reached all the way downinto the world where the people and animals lived.After he had finished furnishing the world as hepleased, he led the first man up the hole. He satdown on the edge of the hole and soon the firstwoman came up out of it. Soon all the people weregathered at the foot of the tree, awed by the worldthey had just entered. Next, Kaang began helpingthe animals climb out of the hole. In their eagernesssome of the animals found a way to climb upthrough the tree’s roots and come out of thebranches. They continued racing out of the worldbeneath until all of the animals were out.

Kaang gathered all the people and animals abouthim. He instructed them to live together peaceful-ly. Then he turned to the men and women andwarned them not to build any fires or a great evilwould befall them. They gave their word and Kaangleft to where he could watch his world secretly.

As evening approached the sun began to sinkbeneath the horizon. The people and animals stoodwatching this phenomenon, but when the sun dis-appeared fear entered the hearts of the people. Theycould no longer see each other as they lacked theeyes of the animals which were capable of seeing inthe dark. They lacked the warm fur of the animalsalso and soon grew cold. In desperation one mansuggested that they build a fire to keep warm.Forgetting Kaang’s warning they disobeyed him.They soon grew warm and were once again able tosee each other.

However the fire frightened the animals. They fledto the caves and mountains and ever since the peoplebroke Kaang’s command people have not been ableto communicate with animals. Now fear hasreplaced the seat friendship once held between thetwo groups.

The Bushmen of Africa believe that not only areplants and animals alive, but also rain, thunder, thewind, spring, etc. They claim:

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