A RESOURCE PACK FOR TEACHERS AND STUDENTS PRIMARY SCHOOLS EDITION

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National Dance Company Wales (NDCWales) is committed to working with young people, many of whom will be experiencing contemporary dance for the first time, and to develop their dance appreciation by watching, participating in and talking about dance. NDCWales presents opportunities for the public to experience contemporary dance in different ways. Through participation in various engagement activities on tour, such as workshops or interactive performances, audience members experience an introduction to the art form in a relaxed and open environment. This pack has been compiled to assist students studying or watching NDCWales work, focusing on Tuplet by Alexander Ekman, which forms part of the basis of our participatory work. It is designed to help students in primary schools/groups to help them understand the work, to try out some of the dance ideas for themselves, and to talk about dance in the classroom. It also provides information on the work and structure of the company and information on our current Autumn Tour. Contained in this resource is information on…

Content THE COMPANY – Page 3 AUTUMN TOUR 2015 – Page 4 THE WORK TUPLET – Page 5 ABOUT THE CHOREOGRAPGHER ALEXANDER EKMAN – Page 7 THE CREATIVE PROCESS (Interview with rehearsal director, Lee Johnston) – Page 9 THE DIFFERENT ELEMENTS OF THE WORK – Page 11 Movement Music Lighting SECTION BREKDOWN – Page 13 Scene by scene. PHYSICAL AND CREATIVE TASKS – Page 14 Ideas for warming up/preparing to move in a specific style Solo tasks Duet Tasks Group work LINKING DANCE TO THE CURRCIULUM – Page 16 Creating Choreography and Rhythm Suggested Tasks (GCSE/BTEC/AS & A2/DEGREE) BEHIND THE SCENES AT NDC WALES – Page 18 Meet the Dancers Meet the Marketing and Production Staff Interviews (With Suzanne Carter)

Glossary – Page 22 Useful and Supporting Information – Page 27

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ABOUT THE COMPANY National Dance Company Wales (NDCWales) is an awardwinning company presenting work by some of the most celebrated international choreographers alongside new creations by emerging choreographic talent.

NDCWales creates dance which engages and resonates with audiences by being extraordinary and inclusive. We bring the best dancers and choreographers from across Wales and the world to make dance for stages large and small, in unusual spaces and online.

NDCWales is committed to working with young people, many of whom will be experiencing contemporary dance for the first time, and to develop their dance appreciation by watching, participating in and talking about dance.

NDCWales presents opportunities for the public to experience contemporary dance in different ways. Through participation in various engagement activities on tour, such as workshops or interactive performances, audience members experience an introduction to the art form in a relaxed and open environment. Pre or post-show talks, Workshops, Watch Dance Class and Open Rehearsals are other great opportunities for audiences to discover more about the process involved in creating a work, hear about the inspiration for a piece, or just talk about dance.

Recent productions include choreographers Stephen Shropshire, Stephen Petronio, Eleesha Drennan, Angelin Preljocaj and Christopher Bruce. Current performances include works from Johan Inger, Alexander Ekman and Jeroen Verbruggen. The Company has recently appointed a new Artistic Director, Caroline Finn and Chief Executive, Paul Kaynes.

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AUTUMN TOUR 2015 The company’s autumn tour brings together three unique pieces of dance created by three very distinctive, European choreographers. The three pieces work together to create a fantastic and enjoyable evening for dance lovers to get their teeth into.

TUPLET By Alexander Ekman A piece focused on rhythm, the connection between movement and rhythm and the many different rhythms found in life. A piece for 6 dancers that includes: body percussion, theatrical lighting and a multi layered soundscore.

WALKING MAD By Johan Inger A highly theatrical work set to Maurice Ravel’s Boléro and Arvo Pärt’s Für Aline. A piece for nine dancers, incorporating humour, physicality and a mixture of mesmerising group work. The piece also features a large wall which the dancers manipulate and navigate

A MIGHTY WIND By Jeroen Verbruggen A high energy piece exploring the concept of “Rock chic” set against the use of wind as a force, a movement, and a catalyst for change. The music, features a fusion of alternative rock with more classical scores creating a work that is both slick and humorous To find out information about a performance near you, please visit www.ndcwales.co.uk or you can find information on the company on the following social media websites 

Twitter: @ndcwales

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Facebook: http://www.facebook.com/NDCWales

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Vimeo: http://vimeo.com/NDCWales Instragram: ndcwales

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ABOUT THE WORK TUPLET

Choreography: Alexander Ekman Music and Sound: Mikael Karlsson, Featuring Fly Me to the Moon, performed by Victor Feldman, from the album “Jazz at Ronnie Scott’s.” Lighting Design: Amith A. Chandrashaker Costume Design: Nancy Haeyung Bae Costume Maker: Louise Edmunds Dancers: 6 Dancers include: Matteo Marfoglia, Mathieu Geffré, Joseba Yerro Izaguirre, Àngela Boix Duran, Elena Thomas, Josef Perou, Mathieu Geffré, Camille Giradeau, David Pallant, Josie Sinnaduri and Ed Hygill.

Tuplet is a swift, pulsating, eighteen-minute tour-de-force for six dancers using a score created in collaboration with their own rhythmic impulses and employing their bodies as percussion instruments. The soundscape is integrated with original electronic music composed by Mikael Karlsson as well as elements of the dancer’s own

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rhythmical impulses and body percussion, made live on stage.

Originally created on Cedar Lake Contemporary Ballet in 2012, Tuplet displays all the trademark elements of Ekman’s work including: 

fast paced timing

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innovative use of sound and composition to form the dance

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clever and concise transitions

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witty humour, intentional sarcasm and characterization

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integrated used of props/setting

The piece and the aural score go hand in hand. The composition bounces back and forth between the live body sounds of the dancers and the recorded score in combinations of irrational rhythms and groupings, to stunning visual and aural effect.

When asked what the work is about Ekman states,

“The whole piece is dedicated to rhythm…Why do certain rhythms work for you, why do some not work for me…I’m attempting to find a fraction of an answer to an extremely large question: What is rhythm? In my world of music and dance this theme is a huge challenge and continual exploration for me. Tuplet endeavors to understand a small fragment of this quest,”

Re-staged by NDC Wales as part of the Autumn Tour in 2014. This was a significant moment, as this was the first time a UK Company had the opportunity to perform and tour the work of this prolific choreographer; who is largely considered one of the most exciting artists currently creating work on the international contemporary dance scene.

Ekman states that he feels excited in being able to show Tuplet to UK audiences as he feels that “the UK understand the humour in my work as Scandinavian humor and humor in the UK is very alike…I’m happy about that!”

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ABOUT THE CHOREOGRAPHER Alexander Ekman Born in Stockholm in 1984. Ekman trained at the Operans Balettelevskola 1994-2001. From 2001-2002 he danced at the Royal Opera House in Stockholm. He later joined Netherlands Dans Theater II and spend three years there as a dancer During his performing career he worked with a variety of choreographers in various contexts including: Jiří Kylián, Hans van Manen, Nacho Duato, Johan Inger and Mats Ek.

Between 2005-2006 Alexander joined Cullberg Ballet where he had his first breakthrough receiving a prize at the international choreographic competition in Hannover for his piece The Swingle Sisters, for which he also claimed the critics’ prize. In the same year he was chosen as one of the dancers to create a work; Unknown art? for Cullberg Växtverk project, which was performed in Stockholm and Malmö in April 2006. During the autumn of the same year Ekman created choreography, set and music to Flock Work for NDT II, which premiered in November 2006 and marked his international breakthrough as a choreographer. Since then he has devoted his time creating pieces, which both entertain and question the observer. He aims to transform the atmosphere in the auditorium and to always surprise the audience.

Ekman has been associate choreographer at Nederlands Dans Theater (NDT) since 2011-2012. A choreographer of international reputation, he has made work for various international companies including Cullberg Ballet, Compañia Nacional de Danza, Goteborg Ballet, Iceland Dance Company, Bern Ballet, Cedar Lake Contemporary Dance, Ballet de l’Opéra du Rhin, Royal Swedish Ballet and the Norwegian National Ballet. He also created for festivals as the French Europa Danse and the Athens International Dance Festival.

In 2010 Ekman created his first full evening for the Cullberg Ballet. Triptych is a study of entertainment: it received great response, and is still touring the world. In 2011 Ekman also worked as a teacher / choreographer at the prestigious Juilliard School in New York City.

His 2010 NDT 2 work, Cacti, was an instant hit and has been performed by NDT 2 in the Netherlands and on tour world-wide to great acclaim. Cacti was also nominated for the Dutch dance prize Zwaan 2010 and for the National Dance Award (UK) 2012. Last spring, the piece premiered in Australia and Germany. Sydney Dance Company, Dresdenb Ballet and Dortmund Ballet have now also added the successful piece to their repertoire.

In his years as a choreographer, Ekman also proved to be a multi talented artist, often making film productions. Though usually integrated in his choreographies, these productions also gathered more and more interest on their own. In 2009 Ekman created the dance film 40 Meters Under for and with Cullberg Ballet, which was broadcasted on National Swedish television. That autumn he collaborated with the Swedish renowned

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choreographer Mats Ek on video projections for Ek’s play Håll Plats. Ekman also created an installation for the Modern Museum in Stockholm with dancers of Cullberg Ballet.

In 2013 Ekman created his first commercial dance video for the flooring company, Bolon which uses the floor as a tool for making costumes, set design, and as food. This work has won the design award in Milano and is currently nominated for the big design award in Sweden.

In 2014 Ekman created his own version of Swan Lake in which he filled the stage with 6000 litters of water creating a real lake on stage. A new take of the most famous ballet of all time, A Swan Lake received enormous attention and praise world wide and returns to the Oslo Opera House in 2016.

2015 shows signs of continued success for Ekman. In April, he presented a new work with The Royal Swedish Ballet and in May, was nominated for a Benois De La Danse Award and presented a solo entitled Thoughts at The Bolshoi discussing the high and lows of his career in the dance industry thus far. Choreographic Repertoire includes: 

Midsommarnattsdröm (2015) for the Royal Swedish Ballet

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Nude (2014) for Staatstheater am Gärtnerplatz

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Fontängruppen (2014), pop up installation in Stockholm

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A Swan Lake (2014) for The Norweigan National Ballet

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Contradiction of Silence (2013), video work for flooring company Bolon.

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Definitely Two (2013) for Netherlands Dance Theatre

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Maybe Two (2013) for Netherlands Dance Theatre 2

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Tyll (2012) for The Royal Swedish Ballet

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Cacti (2010) originally for Netherlands Dance Theatre, also performed by Sydney Dance Company, Dresden Ballet, Dortmund Stadstheater and Boston Ballet

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Ekman’s Trptych (2010) for The Cullberg Ballet

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40m Under (2009), full length film danced by the Cullberg Ballet

To see Ekman talking about the process of working with NDC Wales, check out this interview https://vimeo.com/111116462

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THE CREATIVE PROCESS Before NDC Wales head out on their national tour the company have been rehearsing the Autumn tour programme back at home in the Dance Studio. Here we chat to Lee Johnston, Rehearsal Director as she gives us some insights from the studio as well as talking about her role in the company and how she has rehearsed Tuplet. What does your job as Rehearsal Director involve? When a new dance work is being made it is my job to know the framework of every role in the piece, all musicality, spatial arrangements and costume/ prop/ technical requirements. This is so that once the choreographer leaves I am able to maintain the quality of the piece, recast if a dancer leaves or gets injured, or remount if the piece needs to be performed again in the future. I also take care of the dancer’s overall training by making sure they have appropriate dance classes (ballet or contemporary) and crosstraining (pilates, strength & cardiovascular in the gym, yoga) to support what they need to achieve in their performances.

What is a typical Rehearsal Day like? Each day will start with a one & a half hour class of either contemporary or ballet technique. Following this the dancers will take a 20 minute break to refuel, followed by a 2 hour rehearsal, an hour’s lunch & then another 3 hour rehearsal with a 20 minute refuel break. In rehearsals we will either be creating new sections of a dance work, ‘cleaning’ sections that have already been created, or doing full runs of completed works & doing ‘notes’ afterwards. ‘Cleaning’ is a process of practicing every single movement until everyone has the same understanding of the artistic, physical, spatial and musicality components of each moment to bring the overall piece to the highest quality. After a run of a work, or sections of a work, I give ‘notes’ which are feedback & corrections for individuals or groups on their performance – again this covers artistic, physical, spatial & musicality components.

Let’s talk about Ekman’s style within Tuplet, any thoughts? Tuplet has all the hallmarks of Ekman’s style – it is a ‘classic’ Ekman piece – it has fast paced timing, witty humor and a subject everyone can relate to. Did you ever think ‘Ok, this might be tricky to rehearse?’ The blackout vignettes involve the dancers keeping a body rhythm that needs to stay consistent as the phrases of

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movement fit within landmarks on the soundtrack & lighting cues. If they take too long they become late in the soundtrack & out of sync with the lighting patterns. Even trickier to manage is that there are multiple casts of Tuplet & each cast has a slightly different body rhythm that needs to be rehearsed!

What do you think were the major challenges for the dancers in restaging the piece? The Blackout Vignettes are a scene of random images and the dancers found it difficult to remember what came next as there was no logic!

The Names section was a challenge as there was no other way to learn the section other than lots and lots of repetition.

A lot of the roles are double cast so dancers had to learn two sets of rhythmic patterns as each role is different. The physicality involves extreme sharpness and clarity of movement yet artistically they are required to impart easygoing joy, lightness and humour, which can create a contradictory dynamic mode in the body.

Why do you think audiences love and engage with Tuplet? Tuplet engages audience because the notion of rhythm in daily life is something everyone can relate to. Ekman delivers this theme in a light-hearted yet touching way - when combined with lighting design, which is visually striking, Tuplet is a lot of fun to watch!

What has been your favourite or most inspiring time during the rehearsal period so far? We are currently re-casting some roles with our Apprentice dancers from London Contemporary Dance School and it’s really fun to see their personalities come alive in this piece.

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DIFFERENT ELEMENTS OF THE WORK Movement As the piece is about rhythm, the movement vocabulary is mainly created through the use of body percussion; at various times within the piece the dancers use their bodies as way of making sounds. These sounds are then layered with various gestures and/or actions to emphasis the noise they make or to match the accompanying soundscore. Key physical elements of the work include: 

A sense joyfulness and carefree

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Elements of virtuosity

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Clear sense of personality/characterization – name solos

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Quick shifts of weight

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Use of the floor

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Grounded earthy movement

The piece is formed from a variety of different choreographic devices. Key structures seen within the work include 

Canon

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Unison

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Counterpoint

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Duet/Contact work

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Improvisation

Ekman says that he “believes in honesty on stage…if a dancer is having an experience on stage then I think its honest and we can feel that as an audience”

Music Mikael Karlsson’s detailed electronic score works perfectly in tune with the dancers’ own rhythmic impulses, their bodies as percussion. Various noises are used within the work such as stomps, claps, laughs, and breath to create a powerful drumming soundtrack, that is layered and textured with a sense of character…almost as if it has a mind of its own… as well as the familiar and evocative jazz sounds of ‘Fly me to the Moon’.

At times the music and movement relationship exist in direct correlation, the dancers appear to be controlled by the electronic voice, as one calls out rhythmical noises and instructions they respond with matching movement.

Lighting The lighting within the piece aims to strengthen the relationship between movement and rhythm. Within the opening section, the lighting is very non theatrical, which aims to set up an everyday environment where the 11

dancers set the space and set the scene. Towards the end of section 1 the lighting condenses, focusing in and becoming much sharper, more theatrical before fading to black. In opposition to when the dancers set the scene, this brings a sense of theatricality and allows the audience to question and think on what is coming next.

Within Section 2, the dancer is silhouetted against a stark white backdrop. This section aims to highlight the connection between the body of the dancer and the voice controlling him. Whilst the soloist moves we are unable to see his facial features but rather focus on an outline of the various shapes he makes in space.

Within section 3 and 4, the lighting returns to the highly theatrical state. The dancers are lit in a very focused and intense line bright against a heavy blackout throughout the rest of the stage. Within the blackout vignettes, the lighting again works to emphasise the rhythms within the soundscore and explores how lighting can be used to make rhythm.

Within section 6, we begin to see an almost filmic state emerging. The dancers are lit in a sepia tone, creating a a sense of being in a jazzy environment which aslo makes reference to the song, “Fly me to the moon” which can be heard at this point. Within the section the dancers also experiment with using light. They stand downstage left and right, and use handheld lights to focus on in the duet, casting their shadows onto the backdrop.

Towards the ending we see the lighting return to a very simple dark state that creates a sense of intimacy between the dancers and audience. We also see the film scenes of everyday rhythms projected onto the backdrop. At the very end the dancers form a line downstage and are lit by single lights whilst they scat and jig to their own rhythms. The lighting becomes very focused on their facial features, highlighting them as individuals, strengthening the idea of rhythm and movement as being a “common human experience”

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SECTION BY SECTION You can use this step by step guide to help with the structure of the piece as a whole when viewing or discussing the work. Section 1- Setting the scene

Section 2- Voice solo

Six white squares are arranged in a neat line at the front of the stage. The dancers enter the stage on by one feeling an unheard rhythm, almost as if they have their own headphones in. Two film loops of lips speaking silently, and fingers signing are projected onto the back wall. Once all the dancers are on stage the Lights cut to black as electronic beeping begins. Against a clear white background (cyclorama) a solo dancer orchestrates his body. He articulates his hips, back, legs and flicks his hands all the while responding to the call from the voice and the human noises made within the soundscore.

Section 3- Blackout vignettes

Six dancers in black tops and blue trousers stand on white square mats arranged in a neat line at the front of the stage. To the sound of beat-boxy voices they throw body shapes and semaphore moves that are witty, willful, controlled and extreme. We see various motifs from the stamping and slapping of the thighs; to the quirky little walks they do in a square around their mat. The use of blackout is again commanded by the voice within the soundscore and used to reveal and remove the dancers and segment their different scenes. Within the changes of the blackout the dancers form various different relationships with each other.

Section 4 – Names

Spoken names are drawn and signed in explosive calligraphic convulsions of the body, It’s like patting your head and rubbing your belly at the same time. Again the voice within the score mixes and matches different parts of the dancers names to create various different musical patterns

Section 5- Contained solos and What is rhythm duet

Again the dancers break the fourth well as they move to set up a scene change. Almost as if released from something, they explode and scatter across the stage, turning and turning whilst holding the squares of white flooring. Some exit the stage but two soloists remain dancing within their white squares upstage, almost back within their own world, grooving along to their private rhythms. A conversation begins within the soundscore that asks questions about what is rhythm? and where do we find it? This happens whilst two dancers enter and perform a duet that builds in physicality. They jump, turn and throw each other around, pulsated by the drive of the conversation they pick up on numbers and rhythms discussed with the voices above them

Section 6 – Clapping unison and films

Section six begins with a soft electronic underscore. Videos of bands playing, drummers, trombonists, and jazz musicians are projected diagonally onto the back wall. The dancers enter one by one, all are facing different directions. With a sudden vocal cue from one of the dancers they begin to sway in unison, shifting their weight from one side to another. Accompanying this movement these use the sounds of the breath and, stomping and slapping of their thighs slapping of their thighs in various different rhythms and counts. The piece ends with the dancers forming a line at the front of the stage, silhouetted against the films. They return to their own little jigs and rhythms making scatting noises, each one is different. As the music and lights fade, the dancers turn to face the back and watch the videos play out, before leaving one at a time.

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PHYSICAL AND CREATIVE TASKS In this section you can use some of the suggested ideas to try making some of your own creative responses to rhythm or work in the style of Ekman’s Tuplet and might be a good idea to use after seeing an NDC Wales performance. SOLO TASK  Working on your own, pick 12 different parts of your body and create a movement for each one. Try to be as creative as possible and use lots of different body parts for example the back of your knee, your shoulder, the side of your head, the chin, the left elbow, the right hip and so on. You can create anything you want, you can use different levels (high, medium or low) and different body parts but remember it has to stay on the spot. 

Give each movement a different dynamic or rhythm. (It can be fast, slow, sharp, smooth, straight/curved, small, big, harsh, gentle)… anything you can think but each separate movement has to be different

WARM UP TASK Style Specific- try to move and use as many different body parts that you can think of to make as many different noises as possible. Begin slowly, take time to notice all the different noises you can make. You can shake your arms, clap your hands, stomp your feet). Think about how you and are mindful not to cause any injury to yourself or other From this you are then changing you movements from making noises to writing you name with different body parts in silence. As the task progresses you can use your voice to accompany the small movements you are doing. Ensure that you physically warm up all the necessary body parts (arms, shoulders, back, legs, stomach muscles) DUET TASK  First work on your own to make a little rhythm that uses your body to make lots of different sounds. You can use claps, stomps, whistles, speaking and any other noises you can thing off. 

Think about how you make each noise and the movement that happens when you make your noise. Play with how you can make this movement bigger, imagine that your family are sat right at the back of the theatre. You want to make the noises and movement as big as possible so that they can see them.

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Go back to working with your partner, learn each-other’s moves and rhythms and now think about how you can use your partner to make your rhythm of noise…Do you clap out a beat on their chest, can you stomp around together at the same time? Use each-others moves and rhythms to make a little duet dance together.

You can try and use Canon: where one person goes after another Unison where you both do something together at the same time. Repetition: repeating something Retrograde: make something go backwards, doing it in reverse. Travelling: make the phrases move across the room rather than on the spot.

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GROUP TASK  Everyone needs to create 1 move for each different part of their name. (1 move for the birth name, 1 for their middle name and 1 for their surname) Be sure that’s its something short so that it can be performed quickly. Try to use different dynamics (smooth, sharp etc.) 

Write down on separate pieces of paper each different element of everyone’s name moves. Elect 1 person to arrange the names into a different order. Each person performs their movement when their name or part of their name was called. You can play with saying part or all of a name. Vary the speed at which the names are said and the pattern they are said in.

POINTS FOR DISCUSSION These questions can be used as a guide to stimulate discussion about Tuplet and/or a visit to an NDC Wales performance. For more suggested tasks and ideas on merging dance with in the curriculum, please see pages 17 & 18.

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CAN YOU THINK OF ONE WORD TO SUM UP THE PERFORMANCE OF TUPLET?

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WHAT WAS YOUR FAVOURITE MOMENT IN THE DANCE AND WHY?

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CAN YOU THINK OF THREE WORDS THAT DESCRIBE THE WAY THE DANCERS MOVED?

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IS IT SIMILAR OR DIFFERENT TO ANYTHING ELSE YOU MIGHT HAVE SEEN IN THE THEATRE? LINKING DANCE TO THE CURRICULUM

Within this section there are some suggested ideas about how you may link elements of the work and/or a visit to see an NDC Wales performance with particular areas of the curriculum as well as developing students interest in and around dance & performance. These ideas can also be used with the physical/creative tasks and points for discussion provided on pages 15-16 in order to develop a detailed lesson plan. For more information on Dance specific terms, please see the Glossary on Pages 24-27.

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LINKING DANCE TO THE CURRICULUM Within this section there are some suggested ideas about how you may link elements of the work and/or a visit to see an NDC Wales performance with particular areas of the curriculum as well as developing students interest in and around dance & performance. These ideas can also be used with the physical/creative tasks and points for discussion provided on pages 15-16 in order to develop a detailed lesson plan. For more information on Dance specific terms, please see the Glossary on Pages 24-27.

PHYSICAL TASK CURRICULUM LINKS: Group work, Music and rhythms, Physical Education (Dance)

Creating choreography and rhythm 

Using the tasks provided on pages 11-14. You might want to think about making a piece of choreography together with students. Get them to create lots of different phrases so that you have a bulk of movement material to play with.

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You can set students a research task to find lots of different pieces of music with different rhythms (2/4, 4/4, 3/4, 6/8, 5/4, 9/8). You can also ask them to bring their favourite piece of music and identify what rhythm is. You could also ask them to recall the music used within Tuplet, and to find a different piece by a different composer that sounds similar. Play with arranging the different movement phrases you have made with the music and rhythms you have collected. You could put solos and duets together. Getting peers to teach their phrases to one another can create unison.

(This task will not only allow students to develop their numeracy skills in that they must be able to count and identify rhythms, but will also challenge them to develop their logical thinking in the way the patterns and shapes can be created and encourage them to work as part of a team, to problem solve and to self manage and think creatively)

SUGGESTED TASKS WRITTEN TASK CURRICULUM LINKS: Literacyappreciation and analysis, creative writing

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USING THE WORDBANK BELOW CAN YOU WRITE A SHORT DESCRIPTIVE REVIEW OF THE PERFORMANCE YOU HAVE SEEN?

This allows students to develop their appreciation and analysis skills and create a written response. To develop literacy skills when describing dance, encourage them to use imagery and metaphors and adjectives to explain the way the dancers moved or

the patterns they saw within the choreography or the effect of the lighting and sound. This will allow students to become reflective and to make decisions and judgements as well as allowing them to write in the past tense and use descriptive language. Graceful Rhythm Canon Stomps

Quick Body noises Unison Claps

Humorous Percussion Powerful Voice

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Physical Characters Strong Names

WRITTEN/DESIGN TASK CURRICULUM LINKS: Literacy- using factual information and persuasive language Numeracy: numerical data, times, dates Art – creation skills.

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CAN YOU DESIGN AND CREATE POSTER ADVERTISING A PERFORMANCE OF NDC WALES IN YOUR TOWN? DRAW PICTURES AND BE SURE TO INCLUDE ALL THE RELEVANT INFORMATION YOU THINK AUIDNECES WILL NEED TO KNOW.

This simple task allows students to handle factual information and use persuasive language to attract an audience. Students will be independent enquirers as they find answers, solve problems, plan and research

information to put on their posters. This allows them to produce a creative response to the work. This task also encourages students to develop digital literacy skills in using the Internet to source information available, including tour details and photos/images of the pieces (Information can be found at www.ndcwales.co.uk)

WRITTEN TASK CURRICULUM LINKS: Career pathways/ lifestyles, choices and decisions. Art and Design – creative skills

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WATCH OUR INTERVIEWS ONLINE WITH OUR COMPANY DANCERS TALKING ABOUT REHEARSING AND PERFORMING THE WORK. IF YOU WERE TO PACK A SUITCASE FOR A DANCER GOING ON TOUR AROUND THE WORLD, WHAT THINGS WOULD YOU PUT INTO IT? AND WHY?

This task allows to students to think about what it might be like to be a dancer with a professional touring company and develop an understanding of the different roles of those involved in dance production. It will challenge them to make choices and decisions on items they think every dancer needs and to provide reasons. This can include drawings and designs of items, clothing etc. they think dancers should take.

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BEHIND THE SCENES At NDC Wales a whole team of highly creative people work together to help create and tour the work. The company works with dancers, directors and choreographers, technicians, designers, programme managers, marketing and participation consultants and many more. In this section we’ll introduce to some of the people who are the driving force behind NDC Wales. At the heart of the performance work are our company of 10 dancers; lets get to know them a bit… Josef Perou Born in Sussex, Josef trained at Laban and Central School of Ballet graduating in 2008. During his final year he performed in Pinocchio and Faeries by Will Tuckett for ROH2 as well as touring with Ballet Central. He toured with Bare Bones in 2009 and later that year joined Phoenix Dance Theatre. He was a member of Henri Oguike Dance Company from Spring 2010 to Spring 2011, as well as reviving Faeries. Josef returned to Phoenix as a Guest Artist in the summer and joined NDCWales in August 2011. Camille Giraudeau Originally from Oxford, Camille joined NDCWales in August 2011 as an apprentice as part of the MA programme at London Contemporary Dance School. Camille attended Arts Educational School before studying at Trinity Laban Conservatoire of Music and Dance, where she graduated in 2011 with a first class degree in dance. Camille started dancing professionally for the company in 2012. Matteo Marfoglia Originally from Pesaro, Italy, Matteo trained at the Accademia Nazionale Di Danza in Rome and graduated from Rotterdam Dance Academy. From 2007 to 2011 Matteo worked in Introdans having performed pieces by Jiri Kylian, Lightfoot & Leon amongst others. In 2010 Matteo won second prize at the Certamen Internacional De Coreografia Burgos, New York, for his choreography Just A Breath. In 2012 he danced in the multi-disciplinary project Nierka in London, directed by Tupac Martir and choreographed by Fernando Hernando Magadan. Matteo joined NDCWales in May 2012.

Mathieu Geffré Mathieu studied modern dance from 2001 to 2006 at the Conservatoire National Supérieur de Musique et de Danse de Paris. After graduating he danced for several choreographers in France. In January 2009 he joined Dansgroep Amsterdam under the artistic direction of Itzik Galili and Krizstina De Chatel. In July 2011, Mathieu started

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dancing for Noord Nederlandse Dans and in August 2012 he joined National Dance Company Wales. Alongside the works created as part of 2013, 2014 and 2015 Alternative Routes programs, Mathieu was commissioned to create a piece for Monmouthshire Youth Dance Company in 2014 and recently a site specific work with his fellow company dancers as part of the Artes Mundi 6 lunchtime performances at National Museum Cardiff. Elena Thomas Originally from Nancy, North East France, Elena trained at Ecole Nationale Superieure de Danse de Marseille and the Conservatoire National Superieur de Musique et de Danse de Lyon. Straight from training she started performing with Jeune Ballet Conservatoire National Superieur de Lyon. In 2007 Elena spent 5 months with Europa Danse before joining Ballet National du Rhin where she performed works by Mathieu Guillaumon, Jo Strømgren, Alexander Ekman amongst others. In 2009 she moved to Spain to work with La Mov' in Zaragoza where she was introduced to Company Chameleon when they choreographed on the company. Elena joined Company Chameleon in 2012 before moving to National Dance Company Wales in December 2013. Àngela Boix Duran Originally from Barcelona, Spain, Àngela trained at Ballet Conservatoire for 5 years and later joined IT Dansa Companyia in July 2010 where she was directed by Catherine Allard. In July 2012 she worked at Noord Nederlandse Dans, performing many pieces by Stephen Shropshire. In 2010 Àngela won first prize for her contemporary dance piece in the Castellon National Dance contest. Àngela joined NDCWales in autumn 2013. Joseba Yerro Izaguirre Originally from Pamplona, Spain, Joseba trained at the Institut del Teatre in Barcelona, graduating in 2011, that same year he was awarded the 1st Prize at the National Dance Competition in Castellon. Joseba danced with IT Dansa Jove Companyia from 2011 – 2013 under the artistic direction of Catherine Allard. As a freelancer, he has also performed works by Israel Aloni & Lee Brummer and Ronald Wintjens & Stefan Ernst. Joseba joined National Dance Company Wales in July 2014. David Pallant Originally from Farnham, Surrey, David trained at Central School of Ballet, London before specialising in contemporary dance at the Conservatoire National Supérieur de Musique et de Danse de Paris. In 2011 he

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joined Oper Graz, Austria, working with choreographers including Natalia Horecna, Itamar Serussi, James Wilton and Dong Jie. In 2013 he moved to Heidelberg, Germany and performed for two years with the Nanine Linning Dance Company, during this time also creating and performing his own work.

Apprentice Dancers Edward Myhill Ed joins NDCWales for a year long apprentice from this Autumn. From London, Ed grew up in Leeds and went to Hammond Secondary School in Chester, followed by three years at Rambert School of Ballet and Contemporary Dance. Josie Sinnadurai Josie Sinnadurai grew up in Brecon and was a student of Mid-Wales Dance Academy for 6 years as well as being a National Dance Company Wales (NDCW) Associate for three years. She trained at London Contemporary Dance School (LCDS), graduating with a first class BAHons degree in 2015. While at LCDS, Josie performed works by renowned choreographers including Ohad Naharin, Richard Alston, Hofesh Shechter, Didy Veldman and Sasha Waltz. Josie has performed at LCDS as well as in Spain and has trained with many prestigious teachers including Alejandra Velasco, José Garcia, Juan Ogalla, Pastora Galván, Mercedes Ruiz, Marco Flores, Rosario Toledo, Inmaculada Ortega, Javier Latorre and Nuria Garscia.

To watch interviews of our dancers talking working and performing as part of NDC Wales as well as some of their favourite moments within the works please visit https://vimeo.com/ndcwales

Meet the Marketing and Engagement Staff NDC Wales aims to engage with audiences and believes in taking them on a journey of discovery and offer a range of extra activities as a way of accessing the art form and developing a greater understanding, insight and extra involvement in the work we do. Here we chat with Suzanne Carter, Marketing and Engagement Manager, as she gives an insight to the work NDC Wales does outside of the studio and on tour What does your job as Marketing and Engagement Manager involve? At National Dance Company Wales I am responsible for managing both teams. The Marketing team is responsible for promoting all NDCWales activities and engage with audiences and people who engage with our work at our home at the Dance House or on tour around the UK. The role varies every day from managing the website and

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social media channels; creating posters and flyers about our tour; creating press release and stories of interest, programmes and helping to generate adverts to promote the shows. Through our Engagement work we also look at ways for people to engage with us and how we can enthuse and help them develop an interest in dance. We run workshops, classes, courses as well as opportunities for people to come and see how we make work through our Open Rehearsals and Open Dance Class. What is the best part of your job when a new piece is being created? It’s wonderful to see how a piece is created, the process in the studio, how we communicate this and then seeing the reaction people have to seeing something new to them. It really is something special. Why do you think audiences love and really engage with Tuplet? Its so fun, quirky and people really relate to the reactions and gestures of the dancers in the piece. It really shows that dance is fun and accessible and not to be taken too seriously.

Lets imagine that I’ve never seen contemporary dance before and I come to watch NDC wales on tour…what am I going to see? Something for everyone. Each piece offers a fun and accessible style whether you like rock, classical or jazz plus you will be amazed by the agility and energy by this company. There are so many mesmerising bits to watch out for!

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GLOSSARY These terms have been compiled to help both teachers and students to develop their understanding of what dance is and the specific terminology associated with dance and performance. It will hopefully allows you as teachers to talk about dance more in the classroom, to introduce and explore new ideas and encourage creativity.

Balance Base of Support

Binary

Body

Canon

Choreography

Choreographic devices

Choreographic intention

Choreographic processes

The equal distribution of weight. Harmonious arrangement of parts. Base of support is a two dimensional area bounded by the points of contact of the body with the ground. The larger the area of the base of support the easier it is to achieve and maintain balance. A two part choreographic structure with an A theme and a B theme (AB). The binary form consists of two distinct self-contained sections that share either a character or quality i.e. the same tempo, movement quality, or style. As an element of dance it encompasses developing an awareness of: —the body parts that support the rest of the body e.g. when standing the feet are the body base —legs, arms, head torso, hands, feet —weight transference, travelling, turning, rising, falling —curved, straight, open, closed, symmetrical, asymmetrical. A choreographic device that reflects the musical form of the same name in which individuals and groups perform the same movement phrase beginning at different times. The art of planning and arranging dance movements into a meaningful whole; the process of building a composition; a finished dance work. Tools of the choreographer. Used to make the dance. Can include: canon, motif, contrast, accumulation, repetition, reversal, retrograde, inversion, The purpose behind the choreography or performance of movement. Sometimes it can also be called the meaning. The methods for creating dances.

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Choreographic structure

Components of dance (Constituent Features)

Contemporary dance

Contrast

Culture

Dynamics (energy qualities)

Energy

Focus

Fragmentation

Structures that a choreographer uses in the creation of a dance such as AB (binary), ABA (ternary), rondo (ABACA), theme and variation (A, A1, A2, A3), and narrative. These may be grouped together in four main categories: —body, energy, space, time —music, poetry, clapping, silence, soundscape, costumes, props, lighting, performance area —number of dancers, age, gender, size. Contemporary dance is a broadly inclusive term to describe an approach to dance that draws on modern dance elements, classical ballet, release work and other forms of dance often reflective of the creative innovations of particular dance choreographers and directors. Contemporary dance may also draw on other dance forms including popular dance and forms from other cultures and times. Many contemporary dance pieces reflect explorations of structure and body dynamics in space/time. A choreographic device where dance elements are altered to create oppositions, thus making contrasts such as high/low, big/little. The values, attitudes, customs, practices, language and conventions commonly shared by a particular group that forms a part of their identity as a group and contributes towards a sense of shared understanding. Shadings in the amount of energy, intensity, or power, subtle variation in the treatment of contrasts. The manner in which energy is applied, continued, or arrested. Energy qualities can be described as: floating, swinging, sudden, smooth, sharp, percussive, vibratory and explosive. By manipulating the energy in a movement the choreographer creates certain qualities e.g. a light free flowing movement may create a dream-like quality, and constrained movement may create an aggressive mood. As an element of dance it focuses on the weight and force of power needed to produce and/or manipulate a movement.

Conscious attention toward a certain point; with eyes, body parts, or the direction in which the dancer faces. Focus is not just confined to the eyes. It also involves the use of the whole body focus to communicate the intention of the dance. A choreographic device where only a part of the movement sequence/motif is manipulated. A 23

movement is broken down into smaller units. Genre

Historical context

Improvisation

Levels

Motif (movement idea)

Movement Phrase

Movement Sequence Musicality

Narrative Placement Repetition

A specific category of dance that has a tradition or history and is identifiable by specific characteristics, social and cultural contexts (e.g. classical ballet, jazz, contemporary, tap). The historical context focuses on when the dance was made. The relevant developments in that era may influence the dance Improvisational structures permit the dancer elements of freedom and creativity in making movement and dances. The dancer can employ any number of compositional strategies and creative responses to pursue an outcome where the result is not fully known, for example a floor plan which is ‘scored’ but in which the movement is unknown; or the reverse, where the movement is designed but the floor plan is open and the dancer is given the freedom to make the spatial decisions. Other decisions might affect the timing, the choice of music, in fact any elements of BEST. The altitude of a movement in relation to its distance from the floor. The height of the dance floor.  LOW: close to the floor, downwards  MEDIUM: e.g. the level of everyday walking.  HIGH: any movement done with elevation, A movement or gesture or short movement phrase which has the potential to be developed in the dance/work. A movement motif functions as choreographic device within the choreography. It can contain the essence for the completed piece and is usually repeated with integrity and manipulated throughout the dance. Two or more movement ideas (motifs) linked together. A series of movements linked together to make a distinctive pattern. A series of movements, longer than a phrase but shorter than a section of a dance. The music elements of a dance performance. Attention and sensitivity to the musical ear while creating or performing. A choreographic structure that follows a specific storyline. A balanced alignment of the body, hips, torso, limbs, head, knees, rib cage. A choreographic device whereby a movement or motif are repeated exactly for emphasis or to 24

gain interest. Retrograde

Reversal Style

Technique

Unison Warm-up & Warm down.

Another of the choreographic devices used in creating dance compositions that produce variations on a movement phrase. The movement phrase is performed backwards, as if rewinding a video. The performance of the movements of a motif or sequence in reverse order A style can sometimes be located within a genre. A style can be the distinctive features in different patterns of movement or choreography.. For example, ballet (genre) may be identified as romantic, classical or modern in style. More specific styles may relate to the country or origin or the company or community by whom the dance is performed. Choreographers also have their own distinctive styles (which may change and develop over time). The physical skills dancers use to help them perform moves. Can include, posture and alignment, strength, stamina, flexibility and agility. Two or more people performing the same movement at the same time. Warm ups are Activities that raise the core body temperature loosen the muscles and to focus in before dancing. Warm downs, or cool downs can include light activity and stretching to allow the body to return to its normal state.

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What is contemporary dance? Contemporary dance can be described as lots of things. Often it’s a form of dance that brings together lots of different styles and other influences to create something new. Within contemporary dance we can often see a blend of different dance styles (elements of ballet, jazz, hip hop, breaking, folk dance etc.) Within performance it can sometimes be used to tell stories, sometimes its used to explore different themes or ideas.

Mind maps are a great way to engage students to think about dance. SUGGESTED TASK: Before coming to watch the performance ask students to work in small groups to create words to describe what they think dance is or what they saw within the piece?

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USEFUL WEBSITES AND SUPPORTING INFORMATION www.ndcwales.co.uk information on the company, tour schedule, get involved programme. www.vimeo.com/ndcwales video footage of the pieces on tour as well as interviews with dancers and choreographers www.alexekman.com information on Tuplet choreographer, Alexander Ekman www.johaninger.com information on Walking Mad choreographer, Johan Inger www.v3rbrugg3n.com information on A Mighty Wind choreographer, Jeroen Verbruggen

CREDITS Written and compiled by Luke Ganz in consultation with NDC Wales Photo credits: © National Dance Company Wales (NDCWales) 2015 Dance House National Dance Company Wales, Wales Millennium Centre, Pierhead Street, Cardiff CF10 4PH Tel: +44 (0)29 2063 5600| Fax: +44 (0)29 2063 5601| Email: [email protected] | www.ndcwales.co.uk

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