QBLEARN TEACHER’S RESOURCE KIT

E L EGA N C E

PRINCIPAL PARTNER

Artistic Director Li Cunxin

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CONTENTs

WELCOME to QBLEARN Attending a Queensland Ballet performance Queensland Ballet Artistic Director Li Cunxin

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ELEGANCE About the four short ballets Q&A with Li Cunxin IN THE CLASSROOM DANCE ANALYSIS SHEET: YEARS 9-12 ANALYSIS THROUGH TABLEAUX ACTIVITY: YEARS 9–12 suggested extended written tasks: YEARS 9–12

This Teacher’s Resource Kit has been written for Queensland Ballet by Education Consultant Rachel Richmond.

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ERSHTER VALS About Ma Cong and Ershter Vals Folk Dance in Ballet IN THE CLASSROOM THE HORAH FOLK DANCE ACTIVITY: YEARS 7–12 Functions of dance worksheet: YEARS 7–12 SUGGESTED EXTENDED WRITTEN TASK: YEAR 12

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THREE PRELUDES about Ben Stevenson OBE and Three Preludes 17 17–18 Choreographic Features in Three Preludes IN THE CLASSROOM CHOREOGRAPHIC ADAPTATION ACTIVITY: Years 7–12 19 COMPARISON ACTIVITY: Years 10-12 20 SUGGESTED EXTENDED WRITTEN TASK: Years 10–11 21 Sweet Beginnings about Gareth Belling and Sweet Beginnings 22 23 Costume Design Activity 24–25 Q&A with Gareth Belling IN THE CLASSROOM CONTACT IMPROVISATION WORKSHOP: YEARS 11–12 26 Verdi Variations about GREG HORSMAN and VERDI VARIATIONS 27 27 CLASSICAL BALLET: HISTORICAL CONTEXT AND FEATURES IN THE CLASSROOM CLASSICAL BALLET WORKSHEETs: Years 9–12 28–30 Classical Technique and Pas de Deux: Years 9-12 31 Ballet Vocabulary

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Cover – Dancers: Meng Ninging, Keian Langdon, Nathan Scicluna, Clare Morehen Photographer: Alexia Sinclair Ar t Direction: Alexia Sinclair and Designfront

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W E LC O M E to Q B L E A R N

Queensland Ballet is dedicated to sharing our love of dance with as many people as possible.

QBLEARN, our Education Program, aims to engage, enhance and inspire young and old alike, by bringing the world of dance to you, wherever you are. We do this through an exciting program of performances, dance workshops, training programs, public talks, industry experiences, online resources, and more. Events and activities for school groups and teachers aim to teach dance within and beyond the classroom. Our Schools Program is designed with teachers and students in mind. The programs are curriculum-relevant, highly enjoyable and connect to pathways for further learning in dance.

Dancer training has been part of Queensland Ballet since the very beginning. Our aim is to provide a clear career pathway through intensive training and to produce young dancers whose talent and abilities are internationally sought after. In addition to our three ongoing training programs, Pre-Professional Program, Junior Program, and the Queensland Dance School of Excellence, we host workshops and masterclasses.

QBLEARN is made possible through the generous support of our Program Partner, Tim Fairfax Family Foundation.

Above: QB Principals and Soloists Photographer: David Kelly

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Attendin g a Q ueensland B allet per f ormance

It is important to prepare your students for their excursion to the ballet, as they might not be aware of the particular etiquette expected when going to the theatre. The theatre experience is very different to the movies, watching TV and other entertainment events, therefore we have created a checklist to help your students know what to expect before, during and after the performance.

Before the performance • Discuss the difference between a live performance and a movie/TV show.

People on stage can see and hear the audience, so noise and movement might distract them. The dancers need to focus on dancing for your enjoyment, therefore you need to prepare yourself for sitting quietly in your seat for a long period of time.

• Outline your school’s expectations regarding appropriate attire for this excursion.

School uniforms are appropriate for matinee performances but you may allow your students to dress up for an evening performance. Smart casual attire is appropriate for an evening performance. Tell your students to make sure they wear something comfortable so they can enjoy the performance.

• Please explain to your students that you plan to arrive at the theatre at least 30 minutes prior to the performance. Latecomers may not be able to enter the theatre once the performance has begun. • Depending on the purpose for attending the ballet, you may want to give your students some guidelines of what to look and listen for during the performance.

This might be to purely enjoy the movement, music, setting, etc. or it could be more task-specific, such as trying to identify the dance components, etc. It is a skill to be able to watch something and remember different aspects of the performance and students need to practise this skill. Some schools do allow their students to bring notebooks into the theatre, however we encourage your students to be mindful of the other audience members and therefore watch and enjoy the performance – then discuss their assessment task and make notes after the performance.

• Outline to your students what they should not bring to the performance.

Bringing school bags is not encouraged, but if you need to, please arrive early enough to check these into the cloakroom. Students should not bring their iPhones, cameras, iPods, headphones, etc. into the theatre itself. All electronic devices should be turned off before entering the theatre. Food (including chewing gum) and drink are also prohibited inside the theatre.

• Please ensure your students visit the restrooms before the performance begins. • Queensland Ballet performances are often sold out, therefore the foyer will be very busy. Please encourage your students to stay with your group and be aware of the people around them.

During the performance • Explain to your students that they will know when the performance is about to begin as the lights dim, the music starts and everyone in the audience becomes quiet. • Let your students know that they can clap when they enjoy something – in a ballet performance it is customary to applaud when the dancer takes a bow and this often happens throughout the performance. • Explain to your students that they should try and let themselves to be taken on a journey to another time and place and to enjoy the movements, music, sets and costumes.

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Q ueensland B allet A rtistic D irector

L i C un x in

Li Cunxin (pronounced shwin-sing) is Queensland Ballet’s new Artistic Director, commencing with Season 2013. Having led a long and diverse career as a dancer, Li brings his passion for ballet, devotion to artistic excellence and international reputation and networks to Queensland Ballet’s rich 53-year history. He is the Company’s fifth Artistic Director and the first curatorial Artistic Director.

“I think Dance Education is about planting the seed in children’s hearts, as early as possible, ensuring their understanding and appreciation of dance. In hindsight, I missed out on that as a child. Before I went to the Beijing Dance Academy, there was no such thing as an artistic education. I really think it’s essential to involve young students in this art form.”

At the age of eleven, Li was selected by Madame Mao’s cultural advisors to attend the Beijing Dance Academy. In 1979 he joined Ben Stevenson’s Houston Ballet company as an exchange student and later went on to achieve the top rank of Principal in 1982. He moved to Melbourne in 1995 with his wife, dancer Mary McKendry, to join The Australian Ballet as a Principal Artist. Li retired from dancing in 1999, at the age of 38, but maintained his strong ties to the ballet community. Before taking on the role of Artistic Director

at Queensland Ballet, Li worked in Melbourne as a senior manager at Bell Potter, one of the largest stockbroking firms in Australia. He has been on the board of the Bionics Institute, and sat on the board of The Australian Ballet from 2005 until his appointment as the Artistic Director of Queensland Ballet. In 2003 Li published his international best-selling autobiography Mao’s Last Dancer, which has received numerous awards. The book was adapted as a feature film in 2009.

Li Cunxin

Above: Li Cunxin Photographer: Chistian Aas

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E L E GAN C E

INSPIRIN G, GR ACEFUL DAN CE

About the four short ballets…

Ershter Vals (First Waltz)

Celebrating the creativity of leading choreographers

• A poignant and uplifting work about the versatility and resilience of the human spirit.

from around the world,

• Graceful folk dances are skilfully woven with classical technique.

Queensland Ballet’s Artistic

• Performed to music from the Jewish ghettos of World War II: Es iz a klug, Rumkovski khaym, Kalt: a lid fin lodzger getto (from the album Yankele Nel Ghetto) and Ershter Vals, Fel Shara (from the album Klezroym).

Director Li Cunxin brings together four outstanding, diverse dance works in Elegance.

• Choreographed by US-based choreographer and Principal Dancer Ma Cong.

• Composer/Artist: Klezroym. • Première: Richmond Ballet (USA), work-in-progress 2009; complete work 2010.

Three Preludes • An award-winning ballet choreographed by Ben Stevenson in 1969. • As two dancers fall in love, the growing intensity of their relationship is eloquently expressed though lyrical, emotive dance. • Performed to music by Russian-born composer Sergei Rachmaninoff – Opus 32, no. 10, Opus 23, no. 1, Opus 32, no. 9. • Music will be performed live on stage by a pianist (Emma Lippa or Kylie Foster). • Première: Harkness Youth Dancers, 1969 at the Bob Hope Theater in Dallas, Texas.

Sweet Beginnings • Choreographed by Brisbane-based dancer and choreographer Gareth Belling. • A prequel of sorts, Belling’s new work, Sweet Beginnings, chronologically precedes his 2012 work, bittersweet. • Danced to the inspiring music of Baroque composer Antonio Vivaldi: The Four Seasons – Summer, Concerto No. 2 in G minor, Op. 8, RV 315, arranged by Benjamin Greaves and performed by Collusion. • This is the première of Sweet Beginnings.

Verdi Variations • Choreographed by Queensland Ballet’s Ballet Master Greg Horsman. • With virtuosic solos, dazzling pas de deux and ensembles, Greg Horsman’s Verdi Variations pays homage to the elegance and grace of Russian classical ballet. This grand and beautiful piece enchants with gentle humour and thrilling technique. • Performed to music by Romantic composer Giuseppe Verdi – Jérusalem, pas de quatre, pas de deux, pas solo, I vespri siciliani (Le quattro stagioni). • Recording: Verdi – Complete Ballet Music/Ponchielli – Dance of the Hours/Wagner – Tannhäuser, Overture and Bacchanal (Cat. No. Phillips 442 550-2), Orchestre National de l’Opéra de Monte-Carlo, conducted by Antonio De Almeida. • Première: Royal New Zealand Ballet, 2011.

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Q&A with L i C un x in

What does the overarching theme and title Elegance mean to you? The title Elegance simply means classy, stylish and beautiful. We are very pleased to be presenting a full program of elegant works, diverse in style but each of the highest standard. Three of the four short ballets you have chosen to include in the Elegance season have been choreographed relatively recently, within the last four years. This is quite a contrast to the first two ballets of your première season: the Classical ballet Cinderella and Romantic ballet Giselle. Why have you chosen to include these short modern ballets in your première season and what can audiences expect from this program? The reason for programming this collection of ballets is that they are technically very challenging, but also very exciting. I wanted to find the right balance of works, and the program to have a sense of freshness, of newness. It’s a chance for me to engage emerging, talented young choreographers. Cinderella and Giselle… they are classics. They have been beloved by generations of audiences, but these four works are representative of ballet today. So we are hoping to attract not only the traditional ballet lovers, but also the young-at-heart and especially the younger generation of audiences, to come to see us. The four ballets make a truly exciting program. Ershter Vals will open our program and the dance is absolutely beautiful with incredible movements. It’s very fluid and very musical. Ma Cong is one of the top international emerging choreographers. Following this is Ben Stevenson’s Three Preludes and a new ballet choreographed by Gareth Belling, a former dancer in the Company. I love the combination of Gareth’s brand new piece with a work that has lasted the test of time, but is still very fresh, romantic, technically impressive and incredibly beautiful.

We finish with Greg Horsman’s Verdi Variations, another relatively new piece. It’s highly technical and the costumes are tutus, and stylistically it’s in a neoclassical space. I think the balance of styles in this program is going to be wonderful. What do the four works have in common? The common thread is that they all have a neoclassical and contemporary feeling, and they also have a wonderful connection to the music. Even though each work uses quite different music, they all have the kind of music that really invites you to dance. All works exhibit the sense of elegance and beauty that I wanted to bring to this program. Each of the four short ballets is unique in its own way. They contrast with each other in costume, music, style of dance and lighting. So I think we are going to get different elements of enjoyment out of the whole program. What stylistic differences exist between the four works? Ershter Vals is a lot more contemporary than the others. It’s not danced in pointe shoes, the dancers wear ballet flats. That really allows the dancers to be completely free. They can throw their weight around to such extremes, which isn’t possible to do in pointe shoes. Style-wise, it’s really leaning towards the contemporary space. Think of the style of Jiří Kylián or William Forsythe, it’s similar to that. Three Preludes is very much a classical format, but it’s very pure and very engaging. You see two lovers falling in love in the studio. It’s simple, but it also gets your heart racing because of the chemistry between the two dancers… that’s very important in this piece.

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[At the time of writing] Gareth Belling’s work Sweet Beginnings is still a choreography-in-progress, but I am very confident in his choreographic talent. I think he will create a beautiful ballet for us. Verdi Variation’s style is neo-classical, perhaps influenced by people like George Balanchine, Frederick Ashton and Kenneth MacMillan. The work is artistic and beautiful, but it has a point of difference – Greg Horsman has brought a lovely, light sense of humour into it. It’s not just all serious dancing – it is serious in its artistry, but also interspersed with humour. RESEARCH TASK: Find out more about the style of the choreographers Li Cunxin has mentioned.

Would it be going too far to call Verdi Variations a parody of Classical Ballet? No – I think you could call it a gentle parody. What can audiences expect from Ma Cong’s work Ershter Vals and why have you chosen to include this work in Elegance? Ma Cong’s piece is very thoughtprovoking. Audiences might reflect on their own lives, perhaps feel a sense of privilege and of being lucky to be alive. The music is from the Jewish ghettos of the Second World War, sung by the Jewish people at the darkest moments of their lives. They probably thought that it was an utter miracle to live through that ordeal and they sang, danced and played music to keep their hope alive. The dance is very moving; Ma Cong has created a very sensitive ballet. It communicates many emotions: you can feel the frustration and the hope, the joy. Simply put, Ershter Vals is ‘First Waltz’ – it reminds us that there are beautiful things in life which we need to treasure.

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Q&A with L i C un x in C O NTINU E D

With its use of contemporary and folk dance, Ma Cong’s work sounds a little similar in style to Christopher Bruce’s Ghost Dances. Even though it shows such joy, it comes out of a story of oppression. Would you agree?

Can you explain the value of giving emerging choreographers such as Gareth Belling this sort of opportunity to create work with professional dancers and giving them exposure to audiences?

There is a definite similarity. I have danced Ghost Dances and it’s one of my favourite ballets. When you dance that piece, it’s meaningful and purposeful. I think with Ma Cong’s Ershter Vals, the dancers get that same sense out of it.

It’s very important for a Director to give young, emerging choreographers the chance to choreograph, to develop their choreographic skills and gain experience. I’m fully prepared for developing choreographers to make mistakes and even to fail at times.

What can audiences expect from Ben Stevenson’s work, Three Preludes, and why have you chosen to include this work in Elegance? Three Preludes is a ballet projecting simple elegance, musicality and romance. What I love about this piece is that it gives you nothing less than total enjoyment. Watching the ballet is very satisfying: there’ll be a smile on your face when it finishes and you’ll say to yourself, “Isn’t that beautiful! Aren’t they in love!” The dancers shouldn’t even feel like they are performing dance steps, they should be totally immersed in the romance… and I hope the audience will feel that as well. Gareth Belling is creating a new work for Elegance. What can audiences expect to see from Sweet Beginnings? Gareth Belling has great choreographic taste. His movements are very fluid. You can expect the unexpected. He knows our dancers very well – he has worked with them for many years, not only as a fellow dancer, but as a choreographer as well. The reason I have asked him to choreograph this piece is that last year he created what I thought was a masterpiece using the Winter movement of Vivaldi’s Four Seasons, so I want him to expand on that and eventually create a whole ballet using all four movements. I love this music, and Gareth has readily taken on the challenge to choreograph to it. I think he’ll create something equally beautiful to complement his first work, bittersweet.

I am fully committed to giving these young creative artists opportunities to experiment, to grow and develop by choreographing on a great company of dancers. I think Gareth is one of the most exciting choreographic talents in Australia. Young choreographers are the future of ballet, of all dance. If we don’t give them the opportunities right now, while they are still young, unafraid, bold and daring, we are going to miss the chance to help them along their journeys and gain as much experience as they can, experimenting with styles and concepts. What can audiences expect from Greg Horsman’s work, Verdi Variations, and why have you chosen to include this work in Elegance? I had heard a lot about Verdi Variations and when I watched it on DVD, it immediately captured my imagination. It is absolutely beautiful, and the dancers are challenged to do amazing technical feats. These movements are really hard to do well, but the dancers train every day to perfect their technical skills and this ballet will show off what they can do. You will sit back and marvel at how much they can do with their bodies and how they can interpret the music and dance with such freedom. I know Greg has worked intensively with our dancers and I am confident the audience will really enjoy this classically-inspired work. Verdi Variations is such a beautiful and exciting ballet to watch, it makes a perfect closing piece at the end of a contemporary program.

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What will the demands be for the dancers in these ballets? One of the most important things to keep in mind is that dancers have to be really challenged to push their boundaries and gain experience and maturity. I have to get that right for the dancers, especially the younger ones, from 17 to 20 years old, starting their careers. I ask myself, ‘Which ballets can I program to help them to mature into the best artists?’ It’s is a huge responsibility. Classical ballets like Giselle, Cinderella, Romeo and Juliet, Swan Lake, and The Sleeping Beauty need to be performed along with 20th century and contemporary ballets. Dancing a range of classical and contemporary works will enrich the dancers’ lives and experience and make them the best artists they can possibly be. Are some of the dancers performing in multiple works? Yes. Even in a full-length ballet like Cinderella, some of the dancers could perform two or three roles on a single night. It is very demanding on their bodies - and mentally as well. They must have great concentration and commitment, as the workload is huge. It is my responsibility to give the dancers a breadth of experiences through a wide variety of roles. That is the best way for them to mature and perfect their art form. Are all the costumes and sets being newly constructed for this season or are some borrowed from other companies? Some costumes will be newly made. But I firmly believe in collaboration, so working with other companies is an important element of our forward planning. We will make our own new costumes, investing for the future to accumulate assets for the Company, but if there are already beautiful sets available which we can rent from other companies, then we will consider that too.

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IN THE CL ASSROOM D A N C E A N A LY S I S S H E E T: Y E A R S 9 -12

Take a small note pad and pen with you to take notes at the theatre during intervals. Following the performance, complete the table to record your observations of the dance components, interpretations and evaluations.

TEACHER NOTE: Copy the following table to A3 to allow sufficient space for students to write.

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IN THE CL ASSROOM Dance Components

D A N C E A N A LY S I S S H E E T: Y E A R S 9 -1 2 Ershter Vals

Three Preludes

Sweet Beginnings

Verdi Variations

Visual

Number & groupings of dancers

Costumes

Sets/Props

Aural

Lighting/Effects

Music

Other sounds

Movement

Actions

Space

Dynamics

Form (structure, devices and style) Interpretation: In note form, explain the meaning of the dance (e.g. themes, story). Use symbols to refer to evidence above, e.g.* Evaluation: Did you like the dance work? Explain why/why not in note form.

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IN THE CL ASSROOM A N A LY S I S T H R O U G H TA B L E A U X A C T I V I T Y: Y E A R S 9 –12

Objectives: To identify the style, themes and dance components used in each of the four short works in Elegance. To identify some of the differences and similarities between the four short works.

In pairs or small groups, students are to create four tableaux (group freeze frames) to capture the styles, themes and dance components used in each of the four Elegance works. Students perform the tableaux one group at a time to a class audience. The teacher can use thought-tracking and audience questioning to help students verbalise their observations.

Thought-tracking While students are frozen in a tableau, the teacher taps students on the shoulder one at a time and asks them to think of a word or phrase to verbalise an observation about the particular work. For example, for Verdi Variations a pair could be frozen in a position like they are about to perform a lift, and students might say “classical”, “pas de deux” or “virtuosic”. If their tableau showed a difference in status between dancers, they might say “rivalry”.

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Reflection • What does the tableau show about the style of the dance work? • What does the tableau show about the theme, story or meaning of the dance work? • What does the tableau show about the dance components of the dance work? • What differences and similarities between the dance works were identified through contrast between the four tableaux?

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IN THE CL ASSROOM su g g ested e x tended written tasks: Y E A R S 9 –12

SUGGESTED EXTENDED WRITTEN TASKS (YEARS 9–10)

Part A

Part B

Part C

Choose two of the Elegance dance works to compare and contrast. Using a Venn diagram, write notes about the differences and similarities between the two works (two circles overlapping with similar features in the overlapping section and differences in each of the outer sections). Consider the style, themes and use of the dance components.

In two paragraphs, interpret the meaning communicated through the two dances, referring to one or two descriptions of the dance components to support your interpretation of each work. (2 x 150–200 words)

In a paragraph, evaluate which of the two dance works you preferred. Justify your opinion by defining your criteria (e.g. entertainment, visual interest, emotional/aesthetic response, communication of story, preference of style, development of choreography) and giving examples from the dance works. (200–250 words)

Possible Modification for Special Needs students Ask the student to draw a picture of two of the dances and to talk about what they have drawn. Record notes of verbal analysis derived through questioning.

SUGGESTED EXTENDED WRITTEN TASKS (YEARS 11–12)

Task 1

Task 2

Write an analytical essay comparing, contrasting and evaluating the use of the movement components (such as actions, space, dynamics and form) and one non-movement component (such as music, costume or set design) to communicate the intent of the dance in two chosen dance works from Elegance. (Year 11: 600-800 words / Year 12: 800-1200 words)

Write a review of Elegance to be published in Dance Australia magazine. • Briefly address relevant contextual information about Queensland Ballet, Elegance, the individual choreographers and their dance works, making appropriate reference to research sources. • Include a brief interpretation and evaluation of three of the four dance works and a more in-depth interpretation and evaluation of the work you believe was the most impressive, using descriptions of the dance components to support your judgements. (Year 11: 600–800 words / Year 12: 800–-1200 words)

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E RSHT E R VALS by M A C O N G

ABOUT MA CONG

ABOUT ERSHTER VALS

FOLK DANCE IN BALLET

Ma started his career at the Beijing Dance Academy, training as a Chinese Classical dancer before he joined the National Ballet of China in 1995, then Tulsa Ballet in the USA in 1999.

A poignant and uplifting work about the versatility and resilience of the human spirit, Ershter Vals is performed to music which originated in the Jewish ghettos during World War II. The work features engaging choreography to portray the light people find in their relationships and communities, even in the darkest and most difficult of times. Ma Cong’s captivating ballet, in which he weaves folk dance influences with classical technique, carries a strong message of redemption.

Folk dances are culturally-specific dances that are traditionally performed by members of a community at particular occasions and ceremonies. These dances usually serve a ritual function in the communities from which they originate. The purpose of the dance is often extrinsic to the dance - that is, the dance is performed with the belief that it will help achieve an outcome beyond the dancing itself, such as bringing about a good harvest or bringing happiness and everlasting love to a newly married couple.

He has worked with directors and choreographers from The Royal Ballet, Kirov Ballet, American Ballet Theater, New York City Ballet, and San Francisco Ballet. He has performed leading roles in works by Balanchine, Cranko, Robbins, Tharp, Duato, Kudelka, Kylián, Forsythe, MacMillan, and Hans van Manen. Ma has often appeared as a Principal Guest Artist on international ballet stages. As a choreographer, he has created original works for Tulsa Ballet, Houston Ballet, BalletMet, Ballet Florida, Smuin Ballet, Richmond Ballet, Ballet Nouveau Colorado, and Ballet Des Moines, among others. In 2006, he was invited to perform his work, Melodia, in the Grand Gala for Peasaro International Choreographic Festival in Italy and later at the Miami International Ballet Competition.

Ma Cong discusses Ershter Vals in this video: www.youtube.com/ watch?v=voUqmZFRz7E

While originating from a ritual context, folk dances from various cultures have long been adapted and reworked for use in an artistic context on the stage. For example, folk dance was frequently adapted for ballets of the Romantic era and became further developed and codified as the national or character dances of the Classical era. In the twentieth century, folk dance continued to be adapted to the artistic context by choreographers such as Leonide Massine in the Ballet Russes and Christopher Bruce, whose work Ghost Dances combined South American folk dance vocabulary with contemporary dance. Similarly, in Ma Cong’s Ershter Vals, folk dance is woven with contemporary vocabulary to create a unique style. While the folk movement is integrated with highly complex technique, the use of folk vocabulary adds a pedestrian, human element, which could be considered to make it easier for the viewer to relate to the movement, and empathise with the plight of the characters who find joy in their lives despite their hopeless oppression in the Jewish ghettos of World War II.

MA CONG

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IN THE CL ASSROOM T H E H O RAH F O L K D A N C E A C T I V I T Y: Y E A R S 7–12

Objectives To learn and analyse the dance components of the ritual folk dance, the Horah. To adapt the Horah to an artistic context. SAFETY NOTE Begin the lesson with a five-minute cardiovascular warm-up and stretches to prevent injury.

THE HOR AH

CLASS DISCUSSION

The Horah is often performed at Jewish weddings and other celebrations. It is very similar to dances performed at Greek weddings. Using the symbolism of wedding rings, the use of a circular formation and floor pattern represents never-ending love. The steps and kicks are performed with a bouncy, swinging quality, reflecting the joy of the occasion.

• Is this dance a ritual, social or artistic dance? Why?

As a whole class, students take the roles of a wedding party and wedding guests. They then learn the steps of the Jewish wedding celebration dance, the Horah:

• Describe the spatial formation and floor pattern. What does the circle represent? (Discuss the symbolism of wedding rings, which are forged in strong gold and are round without a beginning or end. This represents never-ending love, as does the formation.)

In a circle, with hands on the shoulders of the person next to them, the wedding party and guests perform a grapevine step (left, behind, left), then kick the right leg, step to the right, kick the left leg and repeat continuously travelling clockwise around the circle. Perform together or half the class at a time. If possible, accompany the dance with traditional Jewish celebration song, Hava Nagila.

• What is the purpose of the dance? e.g. to prepare for battle, to ensure a good harvest or to bring everlasting love and happiness to a newly married couple. • At what sort of occasion would this dance be performed? • Who would the dancers be? What would they wear? • Describe the music. What instruments are used? Is it fast and lively or slow and sombre? • Describe the actions, tempo and dynamic quality of the movement. • What mood does the movement communicate? Is it a happy dance or a sad dance?

ADAPTING THE HORAH FOR AN ARTISTIC CONTEXT In groups of four or more, students are given about 20 minutes to adapt the Horah to be performed as an artistic dance sequence of around 30 seconds. Students can rework the dance by incorporating jumps, turns, travelling steps and partner work from any artistic dance style and by using choreographic devices such as repetition, reverse, retrograde, directions, levels and formations. Groups perform their artistic version of the dance in front of a class audience. Reflection • What artistic steps did the group incorporate into the dance? • What choreographic devices did they use? • How do the changes made alter the meaning of the dance? • What does the artistic version of the dance communicate? • How could this be further adapted to create a short artistic dance, which still communicates the theme of joy and love?

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IN THE CL ASSROOM Functions o f dance worksheet: Y E A R S 7–12

Objectives: To identify/revise the contextual features of ritual, social and artistic dance. To classify dances and dance styles based on their functional context in society.

Which features and dances belong to which functions of dance? on the following worksheet, Draw lines to show which category they belong to. Use Internet research to find out about the dances if necessary. Some features and dances may belong to more than one function. Use multiple lines if you can justify your answer.

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IN THE CL ASSROOM Functions o f dance worksheet: Y E A R S 7–12 co n t i n u e d

Usually improvised

The Haka The Macarena

To entertain and/or achieve an aesthetic effect

Contemporary

Expresses spiritual, religious

Maypole dancing

and/or cultural beliefs

Danced in pairs or individually among a crowd of others

Ritual dance

Nutbush Ballet Salsa

Performed to popular music Giselle Performed to an audience The Hokey Pokey

which pays to see it

Gangnam Style

Culturally significant

The Horah Focus on participation

To achieve something beyond

Social dance

Ballroom Mexican Hat Dance

the dance itself, such as to ensure a good harvest, to mark a rite of

Thriller

passage, to prepare for battle, etc.

Morris Dancing Performed by highly trained professional dancers

The Bus Stop Cats

Usually performed inside a building

Danced by members of a community

Performed as a part of ceremonies

Folk Dance

Artistic dance

Indonesian Baris Pop and Lock

such as a wedding, change of seasons, prior to football game or battle, etc.

Ershter Vals Complex, highly technical

Tap

movement vocabulary

Whirling Dervish Requires special costumes Swan Lake Simple steps that everyone can do

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IN THE CL ASSROOM S U GG E S T E D E X T E N D E D W R I T T E N TA S K : Y E A R 12

Ma Cong’s Ershter Vals and Christopher Bruce’s Ghost Dances both communicate the triumph of love, joy and the human spirit, despite regimes of oppression.

In an essay, compare, contrast and evaluate the two dance works, with reference to the socio-political contexts inspiring each work, the choreographers’ choices of movement styles and the themes conveyed through the dance components. (Year 12: 800-1200 words)

Suggested essay structure

your interpretation. (150–200 words)

Introduction

Interpret the meaning of Ghost Dances. What theme, story or feeling is communicated through the dance components (e.g. actions, dynamics, music, costume, etc.)? Describe two examples from the dance to support your interpretation. (150–200 words)

Briefly outline the thesis of the essay. What is this essay about? (50–100 words) Paragraph 1 Include any relevant researched information about the sociopolitical contexts inspiring the two works. What regimes of oppression inspired these dance works? Try to paraphrase and only use direct quotes where necessary. Reference all sources appropriately and include a bibliography. (100–175 words) Paragraph 2 Discuss how cultural folk dances and contemporary vocabulary are used in the two dance works to create a unique, free and joyful style. In terms of style, how are the two works similar and how are they different? (100–175 words)

Paragraph 4

Paragraph 5 Evaluate the two dance works. Were they effective in communicating the intents of the choreographers? Did you have an aesthetic response to the dance works? i.e. Did they make you feel any emotion? Did you like each work? Why/why not? Did you prefer one to the other or were they equally impressive? Why? Give examples from the dance works to support your judgements. (200–250 words) Conclusion Briefly summarise the main points of your essay. (50–100 words)

Paragraph 3 Interpret the meaning of Ershter Vals. What theme, story or feeling is communicated through the dance components (e.g. actions, dynamics, music, costume, etc.)? Describe two examples from the dance to support

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THR E E P R E LUD E S by ben stevenson

About ben stevenson

OBE

BORN IN ENGLAND, BEN RECEIVED HIS DANCE TRAINING AT THE ARTS EDUCATIONAL SCHOOL IN LONDON. He appeared with Sadler’s Wells Royal Ballet and English National Ballet where, as a Principal Dancer, he performed leading roles in all the classics. In 1967, English National Ballet asked him to stage his first production, The Sleeping Beauty, which starred Margot Fonteyn. In 1968, Rebekah Harkness invited him to New York to direct the newly formed Harkness Youth Dancers. After choreographing Cinderella in 1970 for the National Ballet in Washington DC, he joined the company in 1971 as co-director. Ben Stevenson served as Artistic Director of Houston Ballet from 1976-2003, raising the company to an internationally acclaimed ensemble. For his contributions to international dance, Ben was named an Officer of the Order of the British Empire (OBE) in 1999. In 2000, he was presented with the Dance Magazine Award. In 2003, he was appointed Artistic Director Emeritus of Houston Ballet, and the company’s affiliated school was renamed Houston Ballet’s Ben Stevenson Academy.

Ben has received numerous awards for his choreography, including gold medals at the International Ballet Competitions of 1972, 1982, and 1986. In July 2003, Ben assumed the artistic directorship of Texas Ballet Theater.

ABOUT THREE PRELUDES The international award-winning Three Preludes was created by Ben Stevenson in 1969 and is performed to selections of Sergei Rachmaninoff’s Preludes. This popular work has been performed in the repertoires of many companies around the world, including American Ballet Theater, The Paris Opera Ballet, and La Scala Ballet in Milan. The gentle, loving pas de deux focuses on two dancers who fall in love while working in a dance studio. The three movements develop in both speed and intensity as the emotion between the dancers evolves into passion. Three Preludes was awarded the Gold medal for choreography at the International Ballet Competition in Varna, Bulgaria in 1972.

CHOREOGRAPHIC FEATURES OF THREE PRELUDES A distinguishing feature of the choreography in Three Preludes is Stevenson’s integration of the set into the dance. The set is comprised of a ballet barre, which not only helps establish the context of the love story, but is also integrated into the dance as a support to create differing levels and visual interest. Various choreographic devices are also utilised to create harmonious lines and symmetry between the two dancers. Some examples of choreographic devices employed by Stevenson include unison, reverse, direction, inversion and instrumentation. See the tableaux on the following page.

CLASS DISCUSSION • What other choreographic devices were used? Give an example of movement motifs from the dance. • What existing structures do you have access to in and around the classroom that could be integrated into choreography as sets or props and how could these be used? Consider whether barres, doorways, staging platforms/boxes, bench seats, chairs, desks, stairwells, etc. could be safely used in choreography and what precautions would need to be taken to prevent injury and damage. BEN STEVENSON

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THR E E P R E LUD E S by ben stevenson co n t i n u e d

CHOREOGRAPHIC FEATURES OF THREE PRELUDES

Unison Both dancers face the same direction and perform the same movement.

Reverse Both dancers perform a mirror image of the same movement, creating symmetry.

Direction Dancers face different directions and perform the same movement, creating symmetry of line.

Inversion One dancer’s legs are low, while the other dancer’s legs are inverted to a high position, creating a diagonal line together as they face different directions.

Instrumentation One dancer creates a line with a leg and the other creates the same line with an arm. Dancers: Ashleigh Bennett and Jack Lister from Queensland Ballet’s Pre-Professional Program 2013

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IN THE CL ASSROOM C H O R E O G R A P H I C A D A P TAT I O N A C T I V I T Y: Y ears 7–12

Objectives: To learn about choreographic devices used by Ben Stevenson in Three Preludes. To experiment with the use of choreographic devices to create visual effect. SAFETY NOTE Begin the lesson with a five-minute cardiovascular warm-up and stretches to prevent injury.

Mirroring Focus Exercise In Pairs, Students Face Each Other, standing about a metre apart. One student leads by improvising simple sustained movements facing his or her partner. The other student follows the leader by reversing the movement as if he or she is a mirror image of the leader. Pairs should try to move in unison so a viewer would find it difficult to tell which student is the leader. Pairs swap roles and repeat the exercise. Extension

When pairs have established good focus, the teacher asks the student following to answer simple questions such as “What did you eat for breakfast?” or “What is your favourite colour?” Students must attempt to maintain focus and keep up with their partners while answering the questions.

Phrase Adaptation using Choreographic Devices Students learn a short teacherchoreographed phrase (approximately 16 counts) in any dance style, which incorporates a range of diagonal arm and leg lines. In pairs or small groups, students adapt the sequence to create symmetry, asymmetry and harmonious lines using a combination of choreographic devices such as unison, reverse, direction, inversion, instrumentation and formations.

SUGGESTED CHOREOGRAPHIC TASK: YEARS 9–12

In pairs, students create a pas de deux, integrating set or props into the choreography and using a range of choreographic devices to create visual interest and communicate a chosen theme or emotion. Years 9–10: Approx. 60 seconds per pair Year 11: 1–2 minutes per student Year 12: 2–4 minutes per student

Students perform the adapted phrase in front of a class audience. Reflection • What choreographic devices did the group use? • What was effective about the group’s adaptation? • How could this be developed further to create a longer sequence?

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IN THE CL ASSROOM C O M PA R I S O N A C T I V I T Y: Y ears 1 0 -12

Objectives: To identify the features of Ben Stevenson’s Three Preludes. To identify the features of a range of other ballets. To compare and contrast Three Preludes to a range of other ballets.

Source material for this activity comes from the film Center Stage. Released in 2000, this teen drama film was directed by Nicholas Hytner. It focuses on a group of young dancers from various backgrounds who enrol at the fictitious American Ballet Academy in New York. The film explores how each individual copes with the stress and difficulties faced by professional dancers.

Watch the ballet excerpts from Center Stage. These include sections of Ivanov’s Swan Lake, MacMillan’s Romeo and Juliet, Balanchine’s Stars and Stripes, and two fictional modern ballets: Jonathan’s ballet and Cooper’s ballet. Research • When was each of these ballets choreographed? • When was Ben Stevenson’s ballet Three Preludes choreographed?

Class Discussion • To which era does each of the ballets belong? How is this evidenced in the style of each ballet? • Which motifs in the red section of Cooper’s ballet from Center Stage are borrowed from the classical ballet Swan Lake? • Which of these Center Stage ballets has the most in common with Ben Stevenson’s ballet Three Preludes? Discuss the similarities and differences between Three Preludes and the Center Stage ballets in terms of era, style, theme, actions, space, dynamics, form, choreographic devices, music, costumes and/or use of set.

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TE ACHER’S RESOURCE KIT ELEGA NCE

IN THE CL ASSROOM S U GG E S T E D E X T E N D E D W R I T T E N TA S K : Y ears 1 0 –11

In an essay, compare and contrast Ben Stevenson’s Three Preludes to the two short fictional ballets at the end of the film Center Stage. Evaluate which Center Stage ballet (Jonathan’s or Cooper’s) is most similar to Three Preludes. Describe examples from the ballets as evidence to support your opinion.

Year 10: Approximately 600 words Year 11: 600-1,000 words

Suggested Essay Structure Introduction

Explain what the essay is about. Provide brief, relevant, contextual information about Ben Stevenson’s Three Preludes and the fictional ballets in the film Center Stage. Reference sources appropriately if research is used. (100-200 words) Paragraph 1

Give a brief analysis and interpretation of Three Preludes, discussing: • the themes communicated through the dance, with one or two examples of the dance components conveying this; • the style of the movement, with an example to support; • the use of choreographic devices, with an example to support; and • the integration of set, with an example to support. (150-250 words) Paragraph 2

Identify the differences and any similarities between Three Preludes and the Center Stage ballet you evaluate to be least like Ben Stevenson’s work. (125-200 words) Paragraph 3

Identify the similarities and any differences between Three Preludes and the Center Stage ballet you evaluate to be most like Ben Stevenson’s work. (125-200 words) Conclusion

Summarise the main points made in your essay. Re-assert your opinion about which fictional Center Stage ballet is most similar to Ben Stevenson’s ballet Three Preludes and summarise the points you made to justify your evaluation. (100–150 words)

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S w ee t B e g i n n i n g s by Gareth B ellin g

About Gareth Belling Australian choreographer and dancer Gareth Belling joined Queensland Ballet in 2002. During his eleven years with the Company, he danced in works by François Klaus, Natalie Weir, Nils Christe, Timothy Brown, Paul Boyd and Young Soon Hue.

Gareth made his choreographic debut with Collusion Musical Arts in Evocations 2005. Since then he has created 16 works for Queensland Ballet. Gareth’s mainstage debut was Refraction, which premièred in Queensland Ballet’s ...with attitude, as part of the 2009 Brisbane Festival. He created and performed two solos with members of The Four Elements for the 2010 Tyalgum Festival of Music. In 2011 Gareth was mentored by Nils Christe through JUMP, the Australia Council’s program for emerging artists. His participation in the Swiss International Coaching Project for Choreographers in July 2011 was co-funded by JUMP and an Arts Queensland Career Development Grant. Upon his return he created Transition Sequence for Queensland Ballet. 2012 saw Gareth create two works for Expressions Dance Company’s LaunchPad, Scorched Earth in Brisbane Festival’s Dance Energy and Transient Beauty with Collusion in the Restrung Festival at the Brisbane Powerhouse.

This year, Gareth performed with Queensland Ballet as a guest artist in Cinderella and has been a frequent guest teacher for the Company’s Pre-Professional Program. You can find out more about Gareth Belling and see excerpts of his choreography at garethbelling.com

ABOUT SWEET BEGINNINGS Brisbane-based dancer and choreographer Gareth Belling created his first work in a series performed to the music of Vivaldi’s Four Seasons in 2012. bittersweet, danced to the Winter movement, premièred at Queensland Ballet’s International Gala. Sweet Beginnings is second in the series, but as it is danced to the Summer movement, it chronologically precedes the first work. Vivaldi’s famous concerto is performed by innovative Brisbane chamber ensemble, Collusion, with music arranged by violin player Benjamin Greaves.

GARETH BELLING

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S w ee t B e g i n n i n g s cosume desi g n activity

Gareth Belling hopes to eventually choreograph to the remaining two movements of Vivaldi’s Four Seasons to make a full-length ballet. Thematically the work will use the journey through the four seasons of the year as a through-line and there will be a correlating narrative following a couple’s journey from the beginning to the end of their relationship. The costumes will need to be relevant for the whole of the ballet, but still make reference to each of the four seasons as experienced in the context of the

Brisbane climate, perhaps through additional accessories that could be added or subtracted. Lighting could also be used to change appearance of fabric, using colours or projections. In sketch form, design costumes for the male lead dancer and female lead dancer. Accompany the sketch with notes detailing fabrics, colours and any lighting effects that could be used to enhance the costumes. (See examples below of costume sketches for Sweet Beginnings by Noelene Hill.)

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Q&A with Gareth B ellin g

What are you hoping to convey to the audience through your work? Is there a theme or storyline? The theme of the work is of the beginning of a relationship. Which Vivaldi composition(s) are you using to accompany the movement? I’m using the entire concerto of Summer from The Four Seasons. You’ve already choreographed bittersweet to Vivaldi’s Winter Movement. Is this new work part of a series? For Sweet Beginnings, I’m taking the pas de deux from bittersweet, which I choreographed last year to Vivaldi’s Winter, as a starting point. I’m looking at the relationship in that pas de deux, and the new ballet is like a prequel to it. Sweet Beginnings is the relationship in its infancy, whereas in bittersweet, it was like a goodbye or an ending. Could you give an example of a movement motif that communicates these ideas? For Sweet Beginnings, because it’s set to Summer, we’re working on the idea of heat; the sweatiness of the Brisbane summer and that kind of fluidity that you get with the humidity of summer. All of the movements are based on the idea of body contact, and melting and moulding together. There’s one movement motif from bittersweet, where each partner swipes down the spine of the other dancer while they’re facing away. It’s almost like waving goodbye in that duet. I’m going to take that one gesture and try to manipulate it, either retrograde or change the timing or pathway of it to imply that it’s a beginning, rather than an ending.

Did you use music, visual art or anything else as a stimulus for creating the work? What is your creative process in developing the work? It starts with music. Everything that I do is structured around how the music works, so that’s a really strong part of the process. I think it’s very important to build a gestural motif or something that builds the storytelling. I looked at trying to find something external that motivates the movements. In bittersweet we had wind - the Brisbane Ekka winds that come through in August – and all of the choreography was related to how the wind starts a movement. Now we will use heat to start the movement instead, and this will be the building block to start the creative process. From that key image, I build gestural motifs. I work quite collaboratively with the dancers in the studio. I very rarely prepare any actual movement. We make it all together. How does heat change the gesture? If we look at the gesture of swiping down the back, heat would change it from being a parting gesture in a cold situation. I think of the gesture being like the droplets of sweat running down the back of your neck and that gesture becomes a pathway of the sweat running down the spine of the dancer… where the sweat leads initiates a change in the body and initiates the next step. How would you describe the style of your choreography in general and more specifically in this work? I think that the best way to describe my style of choreography is contemporary ballet. It uses the framework and technique of classical ballet within this broader concept of finding an originating movement that comes from a modern and contemporary dance heritage.

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I like the use of the word ‘contemporary’ because contemporary dance tends to be more about real people. It has a really current aesthetic and I try to apply that to my ballets. They are ultimately about real people experiencing real things. There’s a freedom of the torso and the upper body so that while it does represent technique and positions, it moves through them. The movement pathways are a lot freer. I use a lot of figure-of-eight through positions, there’s a little bit of floor work, and parallel position is a really great way of showing that people are real. Most of the starting positions use a general, everyday, personable stance through parallel position. The movement uses the full range of the hip, from parallel into turn out and back into parallel. Will you be using pointe shoes for this work? The ladies will be in pointe shoes. It fascinates me as a choreographer, what they add to the movement and what they take away. This idea of the upper body being fluid while still being balanced on a shoe that’s really just a stick of wood and some paper maché is challenging, but it’s not particularly new. It comes from John Cranko and the choreographers working in the 1960s. One of my favourite choreographers is Glen Tetly. He fused modern dance, the Martha Graham influence, with classical ballet. What he made the girls do on pointe back in the 1960s was amazing. I’m lucky, because Rachael Walsh is just incredible at that style of movement. She moves through her feet and on and off pointe and through the torso. It’s really inspiring to me as a choreographer.

TE ACHER’S RESOURCE KIT ELEGA NCE

Q&A with Gareth B ellin g co n t i n u e d

How many dancers will perform in your work? Are there any lead roles or characters? Sweet Beginnings is essentially a pas de deux. There’s a lead couple. There are two other couples and their dance echoes what’s happened or projections of what the couple wants to happen. In a way, they’re the externalisation of the internal thoughts of the couple. Previously you have often used very contemporary music to accompany your choreography. Why have you chosen music by Vivaldi for this work? For me, this music really works with the idea of a journey through a relationship. The Four Seasons is a journey through the four seasons of the year, so there is a nice correlation there. Although I do normally work with contemporary music, The Four Seasons intrigues me because it is an iconic piece. How do you transfer something which was written so long ago in Europe, into the context of Brisbane in 2013? The fun of playing with our concept of what a Queensland summer is and what the seasons actually mean has been really interesting.

How will visual components such as costumes, lighting and any set be used to help achieve your choreographic intent? The costumes will be a version of the costumes from bittersweet. Long gauze dresses for the ladies and gauze tops and looser fitting pants for the men. The colours and detailing will be influenced by the idea of summer: they will have a warmth. The work will also be performed with the musicians on stage, on a raised black platform, lit so they look like they’re floating above the action. We did the same thing with bittersweet and it looked like a projection, like we had filmed them. Having live musicians injects a human element which is much more exciting.

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TE ACHER’S RESOURCE KIT ELEGA NCE

IN THE CL ASSROOM C O N TA C T I M P R O V I S AT I O N W O R K S H O P : Y E A R S 11 –12

Objectives:

Trust exercise in pairs

To explore the choreographic process used by Gareth Belling in bittersweet and Sweet Beginnings.

Students are divided into pairs of similar height and build to allow both students to share weight in the contact improvisation that follows. One student in the pair has to keep his or her eyes closed while the other spins them around in a few circles to disorient them. They then lead them slowly and carefully through obstacles in and around the classroom without speaking. They must move slowly so their partner can anticipate obstacles and only use touch and body language to guide their partner back to their starting place. Pairs swap roles and repeat.

To explore the use of gesture in choreography. To explore the use of body part initiation to create movement through improvisation. To explore the use of contact improvisation and weight sharing to create partner movement.

SAFETY NOTE Begin the lesson with a suitable cardiovascular or contemporary warm-up and follow with stretches to prevent injury.

Contact improvisation in pairs Explain that the improvisation should be slow and sustained so that students can anticipate their partner’s movement and be ready to give and take weight safely. Once a sequence has been established, students will be able to make choices about the speed and quality of movement.

Individual Improvisation

In pairs, students stand one behind the other, about 30cm apart. The student at the back performs the gestural motif explored in the individual improvisation and the other student improvises a reaction to this movement. For example, the student could lean into the hand or fall away forward into a lunge. Students continue the improvisation slowly, reacting to their partner’s movement and sharing each other’s weight. There is no need for any complex lifts. Students simply give and take weight in response to each other’s movement. Students can also use body part initiation to guide the movement, as previously explored individually. This could be teacher-led if students come to a stand-still and need further assistance to guide their improvisation.

Part A Individually, but imagining a partner in front of them, students learn the gestural motif described by Gareth Belling in the previous interview (a hand swiping down the spine of another dancer). Led by teacher instruction, students improvise adaptations of this motif, making it bigger, smaller, faster, slower, sustained, swinging, percussive, vibrating, suspended, collapsing, using a different body part, using a different plane, in retrograde, with two hands, incorporating finger movements, incorporating a lunge, jump or turn, etc.

After a minute or so, pairs can discuss what worked well and if there was anything they would like to add or avoid. Pairs attempt to replicate the improvisation and create a set contact sequence of at least 30 seconds. This can then be further adapted by varying the speed and quality of the movement. Students are given time to rehearse their sequence before performing for the class, two or three pairs at a time, to music from Vivaldi’s Four Seasons.

Part B Starting in parallel and led by teacher instruction, students improvise movement using different body parts to initiate the movement. For example, leading with the right elbow, followed by the left knee, right heel, left hand to the ceiling, left elbow to the floor, right hip, left big toe, chin, etc. In two groups, students then improvise for one minute, choosing their own body parts to initiate movement to music from Vivaldi’s Four Seasons.

Reflection • What worked well and what did not? • What did the contact sequence communicate about the relationship between the two dancers? Which movements communicated this meaning? • How could this be further developed to create a short dance work for film or stage?

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V e r d i Va r i at i o n s

ABOUT GREG HORSMAN

ABOUT VERDI VARIATIONS

Greg Horsman joined The Australian Ballet in 1982, rising to Principal Artist in 1987.

With virtuosic solos, dazzling pas de deux and ensembles, Greg Horsman’s Verdi Variations pays homage to the elegance and grace of Russian classical ballet. This grand and beautiful piece enchants with gentle humour and thrilling technique.

During his 12 years with the company, Greg performed in all of the classical repertoire, and worked with some of the finest choreographers at that time. He has been a guest Principal Artist with the Kirov Ballet and Royal Danish Ballet, among others. In 1994, Greg joined English National Ballet (ENB), creating principal roles and starring in spectacular productions at Royal Albert Hall. In 1998, Greg was appointed Artistic Director of Ballet Central at London’s Central School of Ballet. In 2001 he joined Northern Ballet Theatre in Leeds as Ballet Master, and in 2003 returned to ENB as Ballet Master and Répétiteur. In 2006 Greg became Ballet Master at Royal New Zealand Ballet (RNZB). He has been a guest teacher at many international companies. Greg has choreographed ballets for Ballet Central, ENB and RNZB, where The Sleeping Beauty in 2011 won wide acclaim. Greg joined Queensland Ballet as Ballet Master in 2013.

GREG HORSMAN

CLASSICAL BALLET: HISTORICAL CONTEXT AND FEATURES OF THE STYLE Developed from the early court dances of the Italian Renaissance, ballet had become an established art form in its own right by the nineteenth century. Following on from Ballet d’Action and Romantic Ballet, the Russian style of Classical Ballet became well established during the 1860s in St Petersburg, funded by the Russian Czar. The funding helped popularise ballet by making it more accessible to the masses through inexpensive ticket prices. Audiences were enthralled by the spectacle of the ballet, and ballet lovers who returned again and again were referred to as ‘Balletomanes’. This era of Classical Ballet continued until around the turn of the century, but the technique established during this period still continues to influence the training and performance of ballet in the present day. The most famous choreographer and ballet master of the Classical Era was Marius Petipa, who choreographed many renowned ballets, including Don Quixote and The Sleeping Beauty, often to the music of Russian composers such as Tchaikovsky. Petipa was known for creating long formulaic productions. The pas de deux was given a set structure, consisting of the entrée (introduction of the two dancers), followed by the adagio (slow, controlled movement and

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supported partner work, including lifts), two variations or solos (one for each dancer) and a coda (the finale or conclusion of the pas de deux, with the dancers usually returning to the stage to dance together). Classical Ballet employed strong technique, including held arm and head alignment, as well as virtuosic feats. Mime was relied on heavily to convey the storyline and tie together these spectacular displays of talent. Folk dances and technique from various countries were also used to denote the location of the story or the cultural background of a particular character. Accessories vaguely denoting the era and geographical setting of the story were added to standard costumes, such as the short classical tutu. The shorter, stiffer tutus of the Classical Era allowed female ballerinas to perform higher arabesques and more complex leg movements. The Romantic Era had seen the rise of the ballerina en pointe as the central figure of the stage and the Classical Era continued to showcase female principals, such as Virginia Zucchi, performing virtuosic physical feats. For example, in Swan Lake’s grand pas de deux, the female principal finishes the coda performing 32 fouettés en tournant. In contrast to the Romantic Era, however, the talent of the Classical male principal was also celebrated and showcased in solos featuring big leaps and turns. There was a perceived rivalry between dancers, who competitively strived to the best at their craft. Ballet had become less about conveying story, themes and emotion to the viewer and more about entertaining audiences through the display of virtuosic technique.

TE ACHER’S RESOURCE KIT ELEGA NCE

IN THE CL ASSROOM C L A S S I C A L B A L L E T W O R K S H E E T 1: Y ears 9 –12

Objectives: To revise knowledge of the Era of Classical ballet.

Part 1 Using your knowledge of Classical Ballet and referring to the information provided on the previous page, fill in the blanks below. The first answer and some letters are given.

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dances from various cultures. Classical ballets relied on F E A T S.

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involving slow, controlled, supported movements

showcasing each dancer individually through

; and the

or finale where both dancers usually returned to the stage. Ballerinas, such as , wore

, which allowed for higher leg extensions and complex

movement such as performing 32 consecutive

.

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IN THE CL ASSROOM C L A S S I C A L B A L L E T W O R K S H E E T 2: Y ears 9 –12 co n t i n u e d

Part 2 Find the answers from the previous task in the word-search below and use the remaining word-search letters to find the solution, which is a sentence about Verdi Variations. Write the solution here:

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TE ACHER’S RESOURCE KIT ELEGA NCE

IN THE CL ASSROOM C L A S S I C A L B A L L E T W O R K S H E E T S: Y ears 9 –12 co n t i n u e d

TEACHER’S NOTES

Solutions Part 1 CLASSICAL BALLET, ST PETERSBURG, EIGHTEEN-SIXTIES, RUSSIAN CZAR, SPECTACLE, BALLETOMANES, TCHAIKOVSKY, MARIUS PETIPA, TECHNIQUE, FOLK, MIME, VIRTUOSIC FEATS, SWAN LAKE, FORMULA, PAS DE DEUX, ENTRÉE, ADAGIO, VARIATIONS, SOLOS, CODA, VIRGINIA ZUCCHI, SHORT TUTUS, FOUETTÉS EN TOURNANT.

Part 2 VERDI VARIATIONS BY GREG HORSMAN EXPLORES THE ELEGANCE AND GRACE OF CLASSICAL BALLET THROUGH GENTLE HUMOUR AND THRILLING TECHNIQUE.

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IN THE CL ASSROOM C L A S S I C A L T E C H N I Q U E & PA S D E D E U X : Y ears 9 –12

Need help teaching ballet technique or partner work? Ask the Queensland Ballet EdSquad to visit your school to teach a ballet class. Phone Erin White, Education Manager on (07) 3013 6617.

Objectives: To introduce some basic ballet vocabulary and technique.

Centre work: Allegro

To explore the structural form of the Classical Ballet pas de deux.

Warm up feet with 32 changements in third position and follow with stretches for calf muscles and Achilles tendons.

To explore the use of choreographic devices to adapt sequences for partner work.

Students learn a simple petit allegro sequence, travelling side to side. For example: échappé sauté, pas de bourrée, glissarde, assemblé. Repeat to the other side. Students then learn an adapted grand allegro version of the same sequence, travelling on a diagonal. For example: pas de chat, pas de bourrée, glissarde, grand jeté. Repeat to the other side, heading on the opposing diagonal.

Warm-up: Barre Students learn or revise the positions of the feet and arms and correct ballet alignment with belly button drawing towards spine, shoulders relaxed and legs turned out comfortably from the hips. Students then learn basic barre exercises and terminology, appropriate to their level of experience, such as: battement tendu en croix, demi-pliés and rises in first, second, fourth and third, rond de jambe à terre en dehors and en dedans, développé en croix to 45 degrees and grand battement en croix.

Adaptation Exercise In pairs, students are given 20 minutes to adapt the sequences learned in class to create a Classical style pas de deux. Students should consider using choreographic devices such as unison, direction, reverse, inversion and level to create harmonious lines and moments of symmetry. Pairs then perform their adaptation in front of a class audience. The pas de deux should include:

Follow with stretches to prevent injury, such as hip flexor, quadriceps, hamstring, calf, gluteal, groin, back rotation, back extension (with care to draw belly button to spine), back flexion, neck and arm stretches.

• Ballet walks as the entrée; • Adage in which one dancer could support the other during the pivot; • Petit allegro solo for one dancer;

Centre Work: Adage

• Grande allegro solo for the other dancer;

Students learn a simple adage sequence in the centre with port de bras and legs à terre, appropriate to their level of experience. Focus on using turned rather than tilted poise of the head and strong, held arm positions to achieve a Classical style.

• Students’ own choice of a big finish, appropriate to their level of strength and technique; and • Reverence or bows to the audience. SAFETY NOTE: High legs, complex movements and lifts should be avoided unless students have appropriate strength experience.

For example: starting in preparatory position with left foot tucked behind, a little breather of the arms to demi-second and then four ballet walks forward with port de bras to second. Close back leg into croisé, arms remaining in second position. Battement tendu en croix, rond de jambe en dehors. Chasé en avant arms in fourth, pivot one full circle en dedans and then transfer weight back to fourth position, changing fourth arms. Transfer again to front leg changing arms to fifth, close back leg, battement tendu front leg to second, opening arms to second, close leg behind in croisé. Repeat to the left from the battement tendus.

Finish the lesson with this reflection, a stretch to cool down and reverence. Reflection • What choreographic devices did pairs use to create visual interest? • What is the stereotyped form or structure of a Classical pas de deux? • Name one ballet step learned in this lesson. Can you translate the term?

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B allet V ocabulary

Allégro [a-lay-GROH; Italian: al-LAY-groh]

Battement [bat-MAHN]

Chassé [sha-SAY]

Brisk, lively. A term applied to all bright and brisk movements. All steps of elevation such as the entrechat, cabriole, assemblé, jeté and so on, come under this classification.

Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petits battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and-lifted.

Chased. A step in which one foot literally chases the other foot out of its position; done in a series.

Battement tendu [bat-MAHN tahn-DEW]

(2) The final dance of the classic pas de deux, pas de trois or pas de quatre.

Battement stretched. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position. Battements tendus may also be done with a demi-plié in the first or fifth position.

Couru [koo-REW]

Arabesque [a-ra-BESK] One of the basic poses in ballet, it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. The shoulders must be held square to the line of direction. Assemblé [a-sahn-BLAY] Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth position. Attitude [a-tee-TEWD] It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. Balancé [ba-lahn-SAY]

Battement, grand [grahn bat-MAHN] Large battement. An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight. This must be done with apparent ease, the rest of the body remaining quiet. Bras bas [brah bah] Arms low or down. This is the dancer’s “attention.” The arms form a circle with the palms facing each other and the back edge of the hands resting on the thighs. The arms should hang quite loosely but not allowing the elbows to touch the sides.

Rocking step.

Chaînés [sheh-NAY]

Ballon [ba-LAWN]

Chains, links. This is an abbreviation of the term “tours chaînés déboulés”: a series of rapid turns on the points or demi-pointes done in a straight line or in a circle.

Bounce. Ballon is the light, elastic quality in jumping in which the dancer bounds up from the floor, pauses a moment in the air and descends lightly and softly, only to rebound in the air like the smooth bouncing of a ball.

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Coda (1) The finale of a classical ballet in which all the principal dancers appear separately or with their partners.

Running. As, for example, in pas de bourrée couru. Demi-plié [duh-MEE-plee-AY] Half-bend of the knees. All steps of elevation begin and end with a demi-plié. See Plié. Demi-pointes, sur les [sewr lay duh-mee-PWENT] On the half-points. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Also used in the singular, “sur la demi-pointe.” Devant [duh-VAHN] In front. This term may refer to a step, movement or the placing of a limb in front of the body. In reference to a particular step, the addition of the word “devant” implies that the working foot is closed in the front. Diagonale, en [ahn dya-gaw-NAL] In a diagonal. Indicates that a step is to be done traveling in a diagonal direction.

TE ACHER’S RESOURCE KIT ELEGA NCE

B allet V ocabulary continued

Échappé [ay-sha-PAY] Escaping or slipping movement. An échappé is a level opening of both feet from a closed to an open position. Échappés are done to the second or fourth position, both feet traveling an equal distance from the original centre of gravity. Élévation [ay-lay-va-SYAWN] Élévation is the ability of a dancer to attain height in dancing. The elevation is reckoned by the distance between the pointed toes of the dancer in the air and the ground. Entrechat [ahn-truh-SHAH] Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. Épaulement [ay-pohl-MAHN] Shouldering. The placing of the shoulders. A term used to indicate a movement of the torso from the waist upward, bringing one shoulder forward and the other back with the head turned or inclined over the forward shoulder. Fondu, fondue [fawn-DEW] Sinking down. A term used to describe a lowering of the body made by bending the knee of the supporting leg. Fouetté [fweh-TAY] Whipped. A term applied to a whipping movement. The movement may be a short whipped movement of the raised foot as it passes rapidly in front of or behind the supporting foot or the sharp whipping around of the body from one direction to another.

Fouetté rond de jambe en tournant [fweh-TAY rawn duh zhahnb ahn toorNAHN] Whipped circle of the leg turning. This is the popular turn in which the dancer executes a series of turns on the supporting leg while being propelled by a whipping movement of the working leg. Glissade [glee-SAD] Glide. A traveling step executed by gliding the working foot from the fifth position in the required direction, the other foot closing to it. Jeté, grand [grahn zhuh-TAV] Large jeté. In this step the legs are thrown to 90 degrees with a corresponding high jump. It is done forward to attitude croisée or effacée, and to all the arabesques. It may also be done backward with the leg raised either croisé or effacé devant. Pas de bourrée [pah duh boo-RAY] Bourrée step.

Port de bras [pawr duh brah] Carriage of the arms. Relevé [ruhl-VAY] Raised. A raising of the body on the points or demi-pointes, point or demipointe. Retiré [ruh-tee-RAY] Withdrawn. A position in which the thigh is raised to the second position en l’air with the knee bent so that the pointed toe rests in front of, behind or to the side of the supporting knee. Rond de jambe [rawn duh zhahnb] Round of the leg, that is, a circular movement of the leg. Sauté, sautée [soh-TAY] Jumped, jumping. When this term is added to the name of a step, the movement is performed while jumping. Tour en l’air [toor ahn lehr]

Pas de chat [pah duh shah] Cat’s step. The step owes its name to the likeness of the movement to a cat’s leap. Penché, penchée [pahn-SHAY] Leaning, inclining. Pirouette [peer-WET] Whirl or spin. A complete turn of the body on one foot, on point or demipointe. Pirouettes are performed en dedans, turning inward toward the supporting leg, or en dehors, turning outward in the direction of the raised leg.

Turn in the air. This is essentially a male dancer’s step. It’s a turn in the air in which the dancer rises straight into the air from a demi-plié, makes a complete turn and lands in the fifth position with the feet reversed. The turn may be single, double or triple according to the ability of the dancer. Tournant, en [ahn toor-NAHN] Turning. Indicates that the body is to turn while executing a given step. As, for example, in assemblé en tournant. Variation {va-rya-SYAWN] Variation. A solo dance in a classic ballet.

Plié [plee-AY] Bent, bending. A bending of the knee or knees.

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