Arthur & Polly Mays Conservatory of the Arts ■11700 SW 216 Street, Miami, FL 33170 ■ Mr. Martin T. Reid, Principal Tel. 305-233-2300 ■ Fax. 305-378-4705 ■ apmays.dadeschools.net

March 18, 2015 To Dance Now & Miami Children’s Trust: Thank you so much for giving Arthur & Polly Mays Conservatory the opportunity to work with Diego Salterini in an informative, educational & enriching Dance Residency. This was an invaluable experience for our students. All aspects of the residency expanded our students’ knowledge & cultural experience. The master classes reinforced the concepts that we teach every day. Students understood that techniques they learn in class transfer to other genres/dance styles. In addition, Diego spent time on classroom etiquette as well. Many of the lessons Diego taught not only focused on technique, but building character. Students can take these lessons imparted no matter what career they decide to pursue in their future. In addition, we are grateful for the time Diego spent with our students choreographing a piece entitled, “Stalemate.” Through this work, students were able to experience a concert dance piece with a professional from the dance community. Working with a professional choreographer exposed our students to dance from a different perspective. Through this piece, our students had to explore the importance of gestures, transitions & manipulation of choreographic elements & they had to dig deeper to interpret the piece. Although this new approach was challenging for the students at their current level of training/development, I think it changed the way they view dance & they will be more open when they view concert dance in the future. Also, working with the challenges of this piece allowed them to grow/mature as performers. Finally, the culminating activity, Dance Now’s Performance, was probably the most informative, all-encompassing lecture/demonstration-performance I’ve attended in my entire teaching career. First, I enjoyed the intimacy of the theatre because it enhanced the interactive nature of the lecture/demonstration. The class demonstration in the beginning of the performance clearly displayed the differences between the three western concert dance styles & the similarities/differences in technique & class progressions. Hannah clearly explained reasons for these differences from a historical context. In addition, this lecture also touched upon the elements of dance & clearly explained complex concepts such as pathway, direction, tempo, level, & dynamics. Afterwards, dancers were able to experience all these concepts in two contrasting pieces. The first was more traditional “Drops/Ripples” & the second was seemingly more simplistic with movement vocabulary (gestural), but was an intricate piece of choreography with an intriguing theme, “Head of the Table”. Both pieces were thought-provoking & engaging. It was wonderful how students were able to discuss each piece after performance. This was definitely a unique, educational experience & I’m hoping we have the opportunity to participate in this residency again in the future. Gratefully yours, Sylvia Padron, Dance Instructor

RONALD W. REAGAN/DORAL SENIOR HIGH SCHOOL 8600 N.W. 107 AVENUE

DORAL, FLORIDA 33178 305-805-1900 OFFICE 305-805-1901 FAX !

Juan Carlos Silva Alberto M. Carvalho Principal Superintendent !!Dr. Albert Payne Region Superintendent

Central Region Office !To Whom It May Concern:

It has been a great pleasure to host the DanceNow! Miami residency at Ronald W. Reagan/Doral Senior High School during the 2013-2014 school year. It was an outstanding experience for the dancers in our program and I was able to watch how, once again, the art of dance can affect and inspire students of all levels and abilities to achieve and improve.

Ronald Reagan Sr. High is a regular public high school (non-performing arts/magnet program) that consists of 250 plus students. Through this residency, our students engaged in dance and choreography that was delivered to them directly from a professional and established teacher and choreographer in the Miami dance community.

The students that participated benefitted greatly in many ways. They learned about what it means to be an artist, and what skills and knowledge an artist needs to be creative and productive. They learned skills they can use to express what they know in other subject areas as well. They developed insight and imagination and improved their sense of musicality and spatial and bodily/ kinesthetic awareness. Students at Reagan also gained knowledge of what a career in a professional dance company is like and were exposed to new dance styles.

As a teacher, observing another professional provided me with professional development of my own as I learned new approaches and techniques to incorporate into my own class. I was also able to see concepts that I had presented to my students reinforced and validated by another professional. Having another teacher conduct dance class also allowed me the chance to observe my students and their different learning styles. It provided insight into how I may adapt some of my own teaching methods.

The culminating choreography taught by Mr. Diego Salterini is a beautiful piece that taught the students as much about artistic expression as it did about dance techniques. The work provides the students with an opportunity to perform choreography created by a professional outside of the public school system. Overall I believe this has been an outstanding experience for both my students and me. I highly recommend the Dance NOW residency to any school interested in promoting dance and exposing their students to arts and arts integrated learning.

Sincerely,

!Christine Mazeppa

Dance/ Language Arts Teacher cmazeppa@dadeschools.net

! Cambridge Advanced International Certificate of Education (AICE) Center

Coral Reef Senior High Magnet Dance Program

10101 SW 152 Street Miami, Fl 33157 305-232-2044

April 25th, 2013

To Whom it may Concern, At Miami’s prestigious Coral Reef Senior High School, the Magnet Dance department is always looking to further our students education. We had the privilege this year to have Dance Now! directors, Hannah and Diego, come in and teach our dancers. It was a great way to introduce our students to careers in the professional dance world and for our dancers to experience different dance styles from what they are given each day. Both teachers from Dance Now gave technique classes which were both challenging and inspiring for the students, and they have benefited greatly through this exposure.

Our dance students, over 100 in total, gain entrance to our program through a rigorous audition process and continue in our program performing in a variety of performances throughout the year. This program prepares students for college and careers as professional dancers in various genres. Many have gone on to dance in professional dance companies, on movies, cruise ships, NBA dance teams, theme parks, music videos, tours with pop singers and have become dance teachers in Miami-Dade County Public Schools. Notably, we are an A school, have 3,345 students in attendance, and have been ranked top in the nation by Newsweek magazine year after year. Lack of funding has always been a hardship to our students and our program. We feel that this grant provided a unique experience for our dancers. We are so grateful to have had this opportunity with the Dance Now directors and appreciate the time spent helping further our dancers abilities and technique. If you have any questions please feel free to contact me at bsantalodance@dadeschools.net

Sincerely,

! Mrs. Rebecca Santalo Coral Reef Senior High Magnet Dance Directors

 

Academy of Arts and Minds 3138 Commodore Plaza

Coconut Grove, FL 33133

7/6/11 To Whom It May Concern, I am writing on behalf of the Academy of Arts and Minds, to support the grant proposal for Dance Now! As the director of the dance department at A&M, I was pleased to have Dance Now!, (and its directors, Hannah Baumgarten and Diego Salterini) teach master classes and workshops for our program. They are truly masters of their craft. Their creation of new works for our various performances were meaningful and rewarding experiences for the students in the program, and well received by our audiences. I have also heard wonderful feedback about the work done at Coral Reef Senior High by Dance Now! I support Dance NOW! Miami in their grant proposal and I was so impressed by the quality of the residency that I brought Hannah on as my part time dance faculty! I believe it is vital to infuse outside professionals in a school dance program, expanding the curriculum and providing a new voice for the children to learn from. We are fortunate to have such professionals, and a successful local company in our community. I do hope you consider their grant favorably. Thank you,

Karin Bejerano Director of Dance Academy of Arts and Minds kbejerano@aandm.net 305.793.4079

 

 

 Dance  NOW!  Miami  Diego  Salterini  and  Hannah  Baumgarten,  Artistic  Directors      

THE  DANCE  NOW!  PERFORMANCE  EXPERIENCE!  STUDY  GUIDE    In  addition  to  its  critically  acclaimed  performance  seasons,  Dance  NOW!  Miami’s    successful  school   outreach   program   was   developed   over   ten   years   ago   after   years   of   active  involvement   in   the  community,  bringing   the  company’s  repertory  and  expertise   to  public  schools  and  post  secondary  institutions  throughout  the  country.      The  careful  planning  of  program  offerings  are  based  in  the  idea  of  maximizing  the  skills  DN!  and  its  directors,  combining  them  with  the  diverse  needs  of  the  various  institutions.  Dance  NOW!   provides   a   list   of   the   project   components   in   early   discussions   with   Program  Directors  and  Administrators,  and  the  program  is  then  tailored  to  each  partners'  needs.  The  philosophy  of   the   outreach   is   based  on   three   elements:   the  Performance  Experience,   the  Classroom  Experience,  and  the  Creative  Experience.      The  Performance  Experience.    DNM  has  elaborated  an  emerging  international  style  inspired  by  western  dance  traditions  but   attracting   and   reaching   younger  multinational   audiences   through   eclectic   choices   of  music   and   contemporary   themes.   The   work   is   created   between   the   Directors   and   guest  choreographers   combining   ballet,   modern   dance   and   jazz   creating   a   unique   art,  approachable  yet  challenging,  varied  in  subject  matter  and  style  yet  cohesive  and  designed  to  challenge  the  highest  range  of  thinking  skills.  The  Performance  offers  an  opportunity  for  young  audiences  to  be  exposed  to  a  professional  contemporary  dance  performance,  many  for   the   first   time.  This   comprehensive  program  offers   a   social   and  historical  perspective,  teaches   the   important   role  of  art   in  becoming  a  proactive  and  socially  aware  citizen,  and  creates  an  appetite  for  participation  as  artists  and  as  audience  members.    Through   this   unique   visual   presentation,   your   students   will   have   a   tangible   tool   to  understand   the   historic   and   social   development   of   Western   Concert   Dance.   A   brief  introduction   to   dance   history   will   give   the   students   an   overall   understanding   of   the  evolution   of   Ballet,   Modern   Dance   and   Jazz,   from   the   court   of   Louis   the   XIV   in   France  through  to   the  modern  day  Hip  Hop  generation.  Understanding   the  role  of  contemporary  dance   as   derived   from   the   classical  will   also   aid   the   students   to   identify   similarities   and  differences  between  Ballet,  Modern  and  Jazz  dance  especially  as  it  pertains  to  the  work  of  Dance  NOW!.    

 Exploring  dance  as  a  universal  language  and  presenting  several  of  the  tools  used  in  creating  dance  also  demonstrates  how  artistic  expression  is  used  and  how  it  is  similar  to  the  forms  of  writing  and  visual  arts.      Learning  about   the   life  of   the  dancer  also  will   educate   the  children  on   the   importance  of  healthy  living,  exercise  and  body-­‐mind  centering,  while  the  question  and  answer  sessions  will  stimulate  critical  thinking  and  analysis.    PROJECT  COMPONENTS  AND  SUNSHINE  STATE  STANDARDS    Lecture/  Demonstration  and  Performance    The   Ensemble   presents   the   basic   differences   between  Ballet,  Modern   and   Contemporary  Jazz   in   a   visual   approach,   to   expose   the   audience   to   the   various   styles.   Dancers   will  demonstrate   how   the   same  movement   can   be   and  must   be   performed   differently   in   the  different   genres   and  will   also   illustrate   the   historic   and   social   development   of   one   style  from  another.  The   lecture  also  demonstrates   the  benefits  of  healthy   living  and  bring   into  discussion  anatomy,  physiology,  nutrition,  health  and  wellness  and  body  maintenance.    DNM   presents   repertory   work   in   its   trademark   fusion   of   contemporary   western   dance.    Ballet,   Modern,   and   Contemporary   Jazz   are   several   influences,   which   are   the   base   from  which  DNE  draws  its  movement  vocabulary.        Pre-­‐Performance  Questions:    

1. Which  came  first?  Ballet,  Modern  Dance  or  Jazz?  2. What  are  the  poles  called  that  the  Ballet  dancer  uses  for  the  first  part  of  class  3. What  are  some  of  the  most  distinct  differences  between  Modern  Dance  and  Ballet?  4. What  American-­‐borne  art  form  inspired  Jazz  Dance?  5. Which  form  of  dance  traditionally  uses  pointe  shoes?  6. What  does  “Pas  de  Deux”  mean?  7. How  many  days  a  week  does  a  dancer  practice?  

SSS  for  Lecture  Demonstration  and  Performances  (HS)  DAB  141,  DAC  141  (MS)  DAC  131,  DAC  133    Teach   the   similarities   and   differences   between   various   forms   of   dance,   the   historical  significance   of   the   events   in   the   development   of   western   contemporary   dance   and   the  relationships  between  events  in  dance  history  and  general  history.    SSS  for  Technique  Class  Demonstration  (HS)  DAA  141    (MS)  DAA  131      Teach  alignment,  strength,  flexibility,  agility.      

How  We  Make  Dances    Many  skills  play  a  part  in  the  art  of  making  dances.  Dance  NOW!  presents  the  tools  used  in  dance  composition.    Basic  concepts  such  as  levels,  dynamics,  floor-­‐patterns,  unison,  cannon,  symmetry,   tempo,   counterpoint,   the   use   of   the   stage   space,   and   entrances   and   exits   are  explained  and  explored.        Pre-­‐Performance  Questions:  

1. What  happens  when  a  dancer  moves  toward  the  audience?  2. What  is  a  floor  pattern?  3. How  many  spacial  Levels  are  there?  4. What  are  dynamics?  5. What  is  Tempo?  6. Why  do  people  make  dances?  7. What  is  a  cannon?  8. What  is  symmetry?  9. Why  are  props  used?  10. What  is  a  solo,  duet,  trio  or  quartet?  

 SSS  for  Choreographic  Seminar  (HS)  DAA  143,  DAA  241,  DAA  242,  DAA  243  (MS)  DAA133,  DAA  231,  DAA  232,  DAA  234  Teach  choreographic  structure  and  process,  the  use  of   improvisation  to  create  movement  sequences,  and  the  manipulation  of  choreographic  principles.    Teach   story   telling,   problem   solving,   creativity,   decision-­‐making,   expressing   thoughts,  ideas,  feelings,  and  interpretation  of  texts.      Question  and  Answer      This   component   is   incorporated   into   all   of   the   other   modules.   Students   are   asked   to  identify   both   style   and   themes   involved   in   the   work,   and   to   create   their   own  interpretations.  Participants  are  also  invited  to  discuss  the  artistic  and  technical  side  of  the  world  of  dance,  as  well  as  training  and  career  progression.      SSS  for  Journal  Writing  and  Essays    (HS)  LAB  141,  LAB  24,  LAC  14  The   maintaining   of   daily   activity   journals   challenges   the   students   to   use   a   variety   of  listening   strategies,   practice   effective   writing,   and   the   communication   of   ideas   and  information.          

BRIEF  HISTORY  OF  THE  FORMS    BALLET  

The   history   of   ballet   began   in   Italy   during   the  Renaissance.  Here,  court  ballet  was  a  compilation  of  the  arts:  dancing,  music,  painting  and  poetry.  Social  court  dances  became  popular,  and  powerful  Italian  families,  including  the  de  Medici  family,  tried  to  outdo  others  by  having  elaborate  court  dances.  Often,  the  plot  of  the  performance   centered   on   the   evening's  menu.   After  migrating   to   France,   King   Louis   XIV  founded   the  Academie  Royale   de  Danse   in   1661   and  performed   for   nearly   ten   years.  He  commissioned   Jean   Baptiste   Lully,   a   composer,   and   choreographer   Pierre   Beauchamp   to  devise  his  company's  performances.  Here,  the  history  of  ballet  vocabulary  was  introduced,  and  dancers  dared  to  try  spectacular  jumps  and  acrobatics  with  ballet's  realm.    MODERN  DANCE  

The   beginnings   of   modern   dance   in   the  United  States  and  Germany  are  traced  to  the  early  20th  century  to  a  group  of  dancers  such  as  Isadora  Duncan,  Loie  Fuller,  Ruth  St.  Dennis,  and  her  husband  and  partner  Ted  Shawn;  each  made   significant   contributions   to   this   new   type   of   concert   dance   in   America.   Their  dance  reflected  and  challenged   the  art,  philosophy,  and   issues  of   their   time,  explored   the  

cultures  of  other  places  and  times,  made  new  advances  in  theatrical  lighting  and  spectacle,  and  discarded  the  costumes  and  artificiality  of  ballet.  They  were  exploring  and  expressing  themselves  in  a  way  that  had  never  been  seen  before,  and  they  were  guiding  others  to  do  the  same.    This  group  not  only  away  from  the  conventions  of  Ballet,    but  also  from  whatever  rules  had  been  laid  down  by  their  predecessors.  Instead  of  borrowing  movement  from  other  cultures,  they  created  movement  based  on  the  experiences  of  their  own  era.  They  were  interested  in  presenting  the  inner  self  and  all  of  its  complex  emotions  on  the  concert  stage.  The  second  generation,   Martha   Graham,   Doris   Humphrey,   and   Lester   Horton,   among   others,   also  created   their   own   techniques,   which   they   taught   in   independent   dance   schools   and  universities.  Their  work  established  modern  dance  as  a  legitimate  art  form.      JAZZ  DANCE  

Many  of  the  dance  movements  associated  with  jazz  dance  can  be  traced  to  African  influences.  Slaves  captured  in  Africa  brought  their  dancing  traditions  across  the  Atlantic.  Once  in  the  new  country,  the  African  slaves  continued  to  use  dance  as  a  means  of  self-­‐expression  and  an  emotional  outlet,  despite  being  forbidden  to  dance  by  their  owners.      The  advent  of  jazz  music,  especially  in  the  clubs  of  New  Orleans,  advanced  the  dance  style.  From   vaudeville   to   the   origin   of   flappers,   the   informal   nature   of   jazz   dance   became   an  accepted   norm.   Dixieland   jazz   prompted   new   dance   forms   including   the   Charleston,   fox  trot,   rag,   and   shimmy.   In   the   1940’s   studios   began   teaching   the   form   and   it   became   as  popular   as   ballet   and   appeared   in   Broadway  musicals.    Like   the   music   from  which   it   is  derived,   jazz   dance   has   adapted   to   the   rhythms   of   time.   Different   types   of   current   jazz  dance  techniques  include  African,  break-­‐dancing,  hip-­‐hop,  lyrical,  modern  and  rock.      

 VOCABULARY    Barre:     A   pole   fixed   to   a   wall   horizontally   in   a   practice   room   to   which   the  

ballet  dancer  holds  for  support  in  the  first  part  of  the  ballet  class    Choreographer:     A  person  who  composes  dances    Jété:       A  jump  from  one  leg  to  another    Arabesque:     A  pose  in  which  the  dancer  raises  their  leg  directly  behind  their  body,  

with  both  knees  straight    Dance  Luminaries        

• Mary  Wigman:  One  of  the  founders  of  German  expressionism,  famous  for  dark  dances    

• Gregory   Hines:   Tap   dancer,   was   in   “White   Nights”,   with   Barishnikov,   influenced   by   Gene  Kelly  

 • Mikhail   Barishnikov:   Russian   ballet   star,   defected   to   U.S.,   partnered   Gelsey,   starred   in  

“White  Nights”    

• Rudolph  Nureyev:  Russian  Ballet  Star,  defected  to  U.S.,  partnered  Fonteyn  with  Royal  Ballet,  sexually  promiscuous  

 • Bob  Fosse:  Revolutionized  jazz  dance  for  musicals  and  concert  dance,    

 • Josephine   Baker:   Black   American  who  went   to   France   to   achieve   stardom,   showgirl   who  

danced  top  less,  adopted  many  children      

• Martha  Graham:  Danced  with  Ted  Shawn  and  Ruth  St.  Dennis   ,  created  her  own  technique  based  on  contraction  and  release    

 • Gelsey  Kirkland:  American  prima  ballerina,  danced  with  New  York  City  Ballet    and  American  

Ballet  theater,  partnered  Barishnikov,  was  anorexic,  and  cocaine  addicted      

• Gwen  Verdon:  1st  wife  of  Bob  Fosse,  won  Tony  Awards  for  All  That  Jazz  and  Chicago      

• Isadora   Duncan:   Grandmother   of  Modern   Dance   ,   followed   Grecian   style   and   philosophy,  created  school  called  “Isadorables”  

 • Virginia  Johnson:  Prima  Ballerina  with  dance  theatre  of  Harlem,  editor  of  Pointe  Magazine  

 • Ruth  St.  Dennis  :  Created  “  Global  Style”  Modern  Dance  had  company  with  Ted  Shawn    

 • Agrippina   Vaganova:   Trained   at   Imperial   Ballet   School,   and   created   own   style,   and   ballet  

technique    

 • Savion  Glover:  Tapper  who  studied  with  Hines,  created  choreography  for  Happy  Feet  

 • Frankie  Manning:    A  dancer  with  Savoy  Lindy  Hoppers,    from  Florida    

 • Katherine   Dunham:   Black   Dancer   and   anthropologist,   studied   people   and   dances   of  

Caribbean,  had  her  own  company  and  technique      

• Suzanne  Farrell:  Prima  Ballerina  of  NYC  Ballet,  Balanchine’s  most   important  muse   though  never  married  him,  currently  teaches    in  Florida        

   

• Maria  Tallchief:   Prima  Ballerina   of  NYC  Ballet,   first  wife   of   George  Balanchine,   1st  Native  American  Ballerina    

 • Allegra  Kent:  From  Miami  Beach,  danced  with  NYC  Ballet    and  had  3  kids    

 • Anna  Pavlova:  Famous  Russian  Ballerina,  created  the  pointe  shoe,  danced  the  original  Dying  

Swan        

• Mikhail   Barishnikov:   Russian   Ballet   Dancer   who   defected   to   the   U.S.,   partnered   Gelsey  Kirkland    

 • Gene  Kelly:  American  Actor,  singer,  and  dancer,  starred  in  great  movie  musicals    

 • Norma  Miller:  Savoy  Dance  Hall  Star,  toured  Europe  doing  Lindy  Hop  

 • Katherine   Dunham:   Black   Dancer   and   anthropologist,   studied   people   and   dances   of  

Caribbean,  had  her  own  company  and  technique      

• Alicia   Alonso:   Cuban   Prima   Ballerina   who   founded   Cuban   Ballet   Company     and   School,  became  blind  and  still  danced    

 • Josephine   Baker:   Black   American  who  went   to   France   to   achieve   stardom,   showgirl   who  

danced  to  please,  adopted  many  children      

• Michel   Fokine:   Joined   Imperial   Ballet,   wanted   to   make   dances   with   more   humanistic  gestures  and  authentic  costume    

 • Twyla   Tharp   :   Danced  with   Paul   Taylor   ,   founded   own   company   in   1965,   choreographed  

Hair,  and  Moving  Out