ZOONATION A Resource Pack For Teachers

ZOONATION   A  Resource  Pack  For  Teachers   Commissioned  By  Mousetrap  Theatre  Projects  and  ZooNa9on  Wri;en  By  Rachel  Tyson  2011. 1 C...
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A  Resource  Pack  For  Teachers  

Commissioned  By  Mousetrap  Theatre  Projects  and  ZooNa9on  Wri;en  By  Rachel  Tyson  2011. 1

Contents INTRODUCTION  pg  3   THE  JOURNEY  OF  DANCE   Hip  Hop  dance,  how  it  all  began  pg  4 Dance  9meline  pg  5   Dance  pioneers  pg  6-­‐7   Hip  Hop  terminology  pg  8  

ZOONATION   Behind  the  scenes  pg  9-­‐10 A  dancers’  life  pg  11-­‐12 Inside  a  ZooNa%on  rehearsal  pg  13   Dance  defini9ons  pg  14   Into  the  Hoods,  bringing  Hip  Hop  to  the  West  End  pg  15  

SOME  LIKE  IT  HIP  HOP  -­‐  IN  THE  CLASSROOM   Inspira9on  for  the  classroom  pg  16-­‐19 So  you  want  to  be  a  dancer?  pg  20 Links  and  resources  pg  21  


IntroducBon ZooNa%on  is  a  ground-­‐breaking  Hip  Hop  dance  theatre  company,  bringing  together  a   professional  dance  company  with  training  and  performance  opportuni9es  for  young  people. ZooNa%on  believes  in  promo9ng  the  posi9ve,  life-­‐affirming  community  spirit  of  Hip  Hop  and  street   dance.   A\er   your   schools’   visit   bring   the   work   of   ZooNa%on   Dance   Company   directly   into  your   classroom  using  these  interac9ve  resources  and  worksheets.   These   resources  enable   teachers  and   students  to   further   explore   the  work  of   ZooNa%on   Dance   Company  and  the  evolu9on  and  influence  of  Hip  Hop  dance  as  a  contemporary  art  form.   Through   these   resources  pupils  can   develop   their   understanding   of   dance   and   go   behind   the   scenes  at  ZooNa%on  mee9ng  ar9sts  from   the  company.  Teachers  and  pupils  can  follow  links  to  Hip   Hop   dances   delivered   by   professionals   and   learn   dance   vocabulary   all   inspired   by   ZooNa%on   produc9ons. All  of  these  ac9vi9es  can  be  delivered  easily  by  teachers  in  a  classroom  se_ng  and  provide  an   interac9ve,  fun  and  crea9ve  pla`orm  upon  which  pupils  can  respond  imagina9vely  to  ZooNa%on’s   work.  Look  out  for  Think  About  ac9vi9es  listed  at  the  bo;om  of  pages,  Classroom  Ac7vi7es  are   contained  at  the  back  of  the  pack. Curriculum  Links   Worksheets  and   ac9vi9es  included   in  this  pack  cover   various  aspects  of   the  KS3,   KS4   and  KS5   curriculum  including  Ci9zenship,  English,  Dance  and  PSHE.  


Hip  Hop  Dance   Hip  Hop  and  street  dance  are  contemporary  dance  forms.  Hip  Hop  and  street  dance  refer  to  dance   styles  primarily  danced  to  Hip  Hop  music  or  that  have  evolved  as  part  of  Hip  Hop  culture.   Hip  Hop  dance  is  made  up  of  a  variety  of  old  and  new  dance  styles  and  has  many   influences  from   other  dance  genres  and  styles  including:  

The  Lindy  Hop Folk  Dance African  Rhythms Tap Swing Background,  Hip  Hop  Dance  

Hip  Hop  was  created  on  the  streets  of   the  Bronx,  New  York  in  the  early  1970s.  Dancers  broke  away   from  the  tradi9onal  dance  forms  of  the  1970’s  and  used  their  environment   as  inspira9on.  DJ’s  held   par9es  on  street   corners   in  the   Bronx   known  as  bloc   par9es.   DJ’s,   dancers,   musicians  and  MC’s   would  a;end  these  par9es  and  experiment   with  new  ways  in  which  to  express  themselves.     DJ   Lovebug  Starski  started  referring  to  this  culture  as  ‘Hip  Hop  ’     Dancers  who  were  part  of  the  Hip  Hop  culture  were  referred  to  as  B-­‐boys,  Hip  Hop  dance  became   known  as  B-­‐boying.  B-­‐boys  and  B-­‐girls  would   dance  to  breaks  in  the  beats  of   the  music  known   as   breakbeats.  B-­‐boys  and  B-­‐girls  would  compete  with  rival  gangs  in  the  Bronx,  always  experimen9ng   with  new  dance  moves  that  would  impress  other  dancers  and  win  street  dance  compe99ons.     B-­‐Boying  was  then  listed  as  one  of  the  five  pillars  of  Hip  Hop,  these  are:

1. DJ-­‐ing   2. MC-­‐ing   3. GraffiB 4. Breaking   5. Knowledge   Think  About:   Knowledge  is  listed  as  the  fi\h  pillar  of  Hip  Hop,  how  does  this  pillar  differ  from  the  other  pillars   listed  above?  


Dance  Timeline Dance  has  been  an  important  part  of  ceremonies,  rituals,  celebra9ons  and  entertainment  since   before  the  birth  of  the  earliest  human  civiliza9ons.  This  9meline  highlights  some  of  the  key   developments  of  dance  to  date.  Many  contemporary  dance  forms  can  be  traced  back  to  historical,   tradi9onal,  ceremonial  and  ethnic  dances. Ancient   Egyp9ans   danced   at   funerals  and  fes9vals.

15th  Century   Ballet  originates  in  Italian   renaissance   courts.   In   1581,   the   first   drama9c  ballet  was  performed. 19th   Century   African   dancing   is   observed   by   European   travelers   to  West  Africa.   1890s   Tango   dance   is  developed   by   lower   working   classes   in   Buenos   Aires,   Argen9na.   By   1914   it   had   travelled  to  the  US  and  Europe.   1930s  Jive  dancing  originates  in  the   1970s  Hip  Hop  dance  styles,  breaking,   popping  and  locking  are  created.  In  1973   B-­‐boying  is  listed  as  one  of  the  5  pillars  of   Hip  Hop. 1970   Disco   dancing   becomes   popular.

2000   The  dance  style  Krumping  is  created   in  California.  

Ancient  Greeks  perform  dances   when  telling  myths. 1672  The  Paris  Opera  is  formed   and  becomes  the  first  ballet   company.     1850s  Tap   dance  is  developed,   it   has   roots   in   Irish   step   dancing   and  black  slave  dances.   1920s  Swing   dance   is  developed.   A  popular  swing  dance  is  the  Lindy   Hop   developed   in   Harlem   in   the   late  1920s.  Swing  dancing  is  o\en   known  as  Ji;erbug  dancing   and   it   became  popular  across  the  US.   1950s   Modern   jazz   dance   emerges,   with   roots  from   Caribbean  tradi9onal   dance.   Every   individual   style   of   jazz   dance   has  roots   traceable  to   one   of   these  two  dis9nct  origins. 1980s   UK   Hip   Hop   dance   crews   form   and   start   performing   in   Covent  Garden,  London.   2008  George  Sampson  wins  Britain’s   Got  Talent  aged  14.  He  joins  the  cast     of   Into   the   Hoods   and   Hip   Hop   dance  enters  London’s  West  End.

Think  About: Which  of  these  events  do  you  feel  was  the  most  significant  in  the  development  of  Hip  Hop  as  a   leading  contemporary  dance  form?  Discuss  with  a  partner  and  explain  your  reasons.


Dance  Pioneers   Bob  Fosse  

June  23,  1927  -­‐  September  23,  1987 D i r e c t o r,   a c t o r,   c h o r e o g r a p h e r   a n d   screenwriter   Bob   Fosse   changed   the   way   audiences  viewed  dance  on  the   stage  and  on   screen  in   the   late   20th   century.   Fosse’s  work   was   provoca9ve,   entertaining   and   unlike   anything   ever   before   seen.   His   dances   were     physically   demanding  of   even  the  most   highly   trained  dancers,   his  works   addressed  the  full   range  of   human   emo9ons.   Through   his  films   he   revolu9onized   the   presenta9on   of   dance   on  screen,  he  won  an  Oscar   for  his  direc9on  of   the  film  Cabaret.  His  work  paved  the  way  for  a   whole   genera9on  of  film  and   video   directors,   showing  dance  through   the  camera  lens  as  no   one  had  done  before.  

Martha  Graham  

May  11,  1894  -­‐  April  1,  1991   An  American   dancer  and  choreographer,  Martha   Graham  was  a  contemporary   dance  pioneer  who   influenced   genera9ons   of   choreographers   and   dancers.   Her   emo9onally   charged   performances   single-­‐handedly   defined   contemporary   dance  as   an   art   form.   Graham’s   crea9vity   crossed   ar9s9c   boundaries,   her   groundbreaking   style  grew  from   her   experimenta9on   with   the   elemental   movements   of   contrac9on   and   release.   By   focusing   on   the   basic   ac9vi9es   of   the   human   form,   she   filled   the   body   with   raw,   electric   emo9on.   The   sharp,   angular,   and   direct   movements   of   her   technique   were   a   drama9c   departure   from   the   style  of   dance   at   the  9me.   Graham’s   revolu9onary   vision   had   a   deep   and   las9ng   impact   on   American   art   and   culture  and   the  contemporary  dance  world  today.  


Gene  Kelly

August  23,  1912  –  February  2,  1996 Gene  Kelly   was  an   American  dancer,   actor,   singer,   film   director,   producer   and   choreographer.   Gene   Kelly   was   known   for   his   energe9c   and   athle9c   dancing   style.   His   athle9cism   gave   his   moves   a   dis9nc9ve  broad  and  muscular   quality.   Gene   Kelly   brought   ballet   and   dance   to   wide   audiences   through  films  including  Singing  In  The   Rain  and  An   American   in   Paris.   His   many   dance   innova9ons   transformed   the   Hollywood   musical  film   industry.   Gene  Kelly   is  credited  with  bringing  the  ballet  dance   form  to  film  audiences  and  raising  its  popularity.  He   experimented  with  ligh9ng,  camera  techniques  and   special  effects  to  achieve   true  integra9on  of  dance   with   film,   and   was   one   of   the   first   to   use   split   screens,   double   images   and   live   ac9on   with   anima9on.

Janet  Jackson

May  16,  1966   Janet   Jackson   is   an   American   recording   ar9st   and   performer   known   for   her   socially   conscious   and   provoca9ve  records,  as  well  as  stage  shows,   television   and   film   roles.     The   youngest   child   of   the   Jackson   family,  she  began   her   career  with  the  television  series   The   Jacksons.   Having   sold   over   100   million   records,   she  is  ranked  as  one   of   the  best   selling   ar9sts  in  the   history   of   contemporary   music.   Jackson   drew   her   inspira9on   for   her   music   videos   and   performances   from  the  musicals  she  watched  in  her   youth,   and   was   heavily   influenced  by  the  choreography  of  Fred  Astaire   and  Michael  Kidd.  Janet  Jackson  paved  the  way  for  the   power   of   the  music   video   and   has  inspired   Rihanna,   Britney   Spears  and   Kelly   Rowland   who   watched   her   videos   as   they   grew   up.   Janet's   innova9ve   stage   performances  during   her   world  tours  have  won  her   a   reputa9on   as   a   world-­‐class   performer.   She   has   also   been  recognized   for   playing   a  pivotal  role   in  crossing   racial  boundaries  in  the  recording  industry. Think  About: Being  a  pioneer  and  an  inspira9on  to  others  is  an  important   role.  Who  are  the  major  influences   and  role  models  in  your  life?  It  could  be  a  poli9cian,   musician,   ar9st,  someone  in  your  family  or  a   community   member   whom  you  respect  deeply   and  inspires  you   in  the   choices  that  you  make.   Who  is  that  person  and  how  do  they  influence  and  inspire  you?  


Hip  Hop  Terminology Popping   was   created   in   California   and   is   based   on   the   technique  of   quickly   contrac9ng   and  relaxing  muscles  to   cause  a  jerk  in  the  dancer's  body,  referred  to  as  a  pop  or  a   hit.   Each  hit   should   be  synchronized   to   the  rhythm   and   beats  of  the  music.   Popping  also  includes  gliding,  floa9ng   and  sliding  which  are  lower  body  dances.

B-­‐Boying/Breaking   formed   the   founda9on   of   Hip   Hop   dance.   There  are  4   basic   elements:   top  rock,   down-­‐rock,   power   move  and   freezes/suicides.   A   B-­‐boy/B-­‐girl   stands   for  a  break  boy  or  break  girl.  A  B-­‐boy   dances  to  breaks  in   music   (breakbeats).   DJ   Kool  Herc  invented  the  break  beat   in   1973,   a  breakbeat  is   a  rhythmic   musical  interlude  of  a   song   that   has   been   looped   repeatedly   to   extend   the   breaks  in  the  track.  The  breaks  in  the  beats  gave  B-­‐boys  a   chance  to  show  off  their  skills.

Locking  is  a  funk  style  that  was  created  in  Los  Angeles,  it  is  a   playful,   character   dance   and   its   moves   include   the   lock,   points,   skeeter,   scooby   doos  and  stop  'n  go.   The  name   is   based  on  the  concept  of  locking   movements,  which  means   freezing   from   a   fast   movement   and   ‘locking’   in   a  certain   posi9on,   holding   that   posi9on  for   a  short   while   and   then   con9nuing  in  the  same  speed  as  before.  It  relies  on  fast  and   dis9nct   arm   and   hand   movements   combined   with   more   relaxed  hips  and  legs.  Locking  is  quite  performance  oriented,   o\en   interac9ng   with   the   audience   by   smiling   or   giving   them   a   high   five,   and   some   moves   are   quite   comical   in   nature.  A  dancer  who  performs  locking  is  called  a  locker.   Up-­‐rock   is  o\en  performed  in  synchroniza9on  to  the   beats   and   rhythms   of   soul,   rock   and   funk   music.   The   dance   consists  of  foot  shuffles,   spins,  turns,   freestyle   movements,   hand   gestures   called   burns  and   a  four   point   sudden   body   movement   called   jerk.   Uprock  is   a  compe99ve  dance  and   was  developed  when   rival  street  gangs  in  New  York   danced   to   each   other.   It   became   commonplace   to   see   gang     members   hanging   out   on   corners   dancing   against   each   other.   Think  About: Why  do  you  think  that  different  dance  styles  were  created  on  the  East  and  West  coasts  of   America?  


ZooNa0on,  Behind  the  Scenes   ZooNa%on   believes   in   promo9ng   the   posi9ve,   life-­‐affirming   community   spirit   of   Hip   Hop   and   street   dance.   ZooNa%on   originated  to   provide  a   place   where   a   community   of   dancers   could   meet,   train,   and  enjoy   their   shared  passion   for   dance.     Interview  with   Kate  Prince,   ZooNa0on   founder   and  Ar7s7c  Director Who  are  ZooNa0on?   ZooNa%on   Dance   Company   are   a   Resident   Company  at  Sadler’s   Wells  Theatre,  we  specialise   in   street   dance   and   Hip   Hop.   ZooNa%on   were   founded   in   2002,   we  are  the   company   behind   the  West  End  show  Into  the  Hoods.   How  did  ZooNa0on  Dance  Company  begin?   ZooNa%on   started   as   Zoo   Theatre   Company   producing  plays  at  the  Edinburgh  Fringe   Fes%val.   I   then   moved   to   London   and   became   more   interested   in   dance   as   opposed   to   plays   and   musical   theatre.   I   began   working   at   Pineapple   Dance   Studios   and   then   went   to   teach   street   dance   at  London   Studio  Centre,   Italia  Con%,  Arts   Educa%onal   School   and  Mountview.  I  put  all  the   dancers   I   met  together  into   a  show  and   it   grew   from   there.   In   2004   Sadler’s   Wells   Theatre   programmed   us   for   the   first   9me   and   in   2006   they   commissioned   Into   the   Hoods.   In   2008   ZooNa%on  Dance  Company  became  a  Resident  Dance  Company  at  Sadler’s  Wells  Theatre.   What  is  ZooNa0ons  goal?   We  have  2   very   dis9nct   branches,   ZooNa%on   Dance   Company   has  a  goal   to  bring   Hip  Hop   and   street  dance  on  an  equal  foo9ng  with  contemporary  dance  and  ballet,  its  a  long  road  ahead  but   we   have  made  the  first  steps,   we  want  to  make  sure  that  there  is  a  central  hub  for  Hip  Hop  as  a  dance   form  in  this  country.   We  have  an  educa9on  strand,   ZooNa%on   Academy   of   Dance,  giving  young   people   something   to   aspire   to,   crea9ng   career   paths   and   enabling   them   to   see   our   dancers   onstage  and  realize  that  they  can  do  that  for  a  living.   Who  are  your  inspira7ons?   My   first  one  is  Janet  Jackson,  I  love  her,  what  she  did  as  a  performing  ar9st   in  her  videos  and   her   live  shows   is  exactly   what  inspired  me  to  be  serious  about   dance,  I  know   she  is  an  R  and   B  pop   ar9st   but   her   videos  and  live  shows   were  so   crea9ve.   Choreographically   I  have  always  loved   Gene  Kelly,  Singing  in  the  Rain  is  my  favorite  musical  by  far.  


What  is  your  biggest  achievement?   It’s  the  change  I  have  seen  in   some  of   our   young   people,   seeing   how  dance   makes  them  more   confident   and   socially   interac9ve,   dance   gives   them   self   esteem   and   offers   them   amazing   opportuni9es  in   life  like  performing  for   Nelson   Mandela.  Seeing  young  people  being  employed   as   professionals  by  ZooNa%on  is  a  real  achievement,  it’s  the  best  bit! What  advice  would  you  give  to  someone  wan7ng  to  be  a  dancer?   Never   let  anyone  tell  you  that  you  cant  do  it,  there  is  always  a  way  around  it.  For  me  I  was  never  a   great  dancer  but  I  s9ll  managed  to  make  dance  my  life.  If  you  are  serious  about  dance  you  have  to   live  and  breathe  it  every  day.   Why  should  people  watch  ZooNa0ons  work?   Because  it  is  infec9ous,  the  energy  from  the  company,   the  comedy,  the  love  and  the  passion  is  so   infec9ous,   I  have  seen   coach  loads   of   teenagers  being   brought   to  Into   the   Hoods   si_ng   down   thinking   why   did   my   teacher   bring   me  here?  By   the  end  of   the  show  they   are   jumping   up  and   down,   laughing  and  giggling  pretending  to  be  characters  from  the  show,  it’s  invigora9ng  and  I’ve   seen   it   from   people  in   their   seven9es   too.   There’s  nothing   worse   then   watching   a   show   and   thinking  about  what   9me  it  finishes  and  yawning,  if  you  are  seeing  something  truly  good  then  you   should  be  totally  absorbed  in  it  and  my  guys  deliver  just  that.    

Think  About: What  goals  do  you  have  for  your  future,  how  do  you  hope  to  achieve  these?  


A  Dancers  Life,  Teneisha  Bonner   Te n e i s h a   w o r k s   a s   a   f r e e l a n c e   d a n c e r,   choreographer,   teacher   and   actress.   Her   work   includes   theatre,   television,   film,   music   videos,   commercials,  and  live  events.  


Originally   trained  in  all  dance  disciplines  at   London   Studio   Centre,   Teneisha   has   had   a   long   and   successful  career   both  commercially   and  in  theatre.   She   has   been   a   member   of   ZooNa%on   Dance   Company   since  2004   and  is  an   integral  part   of  the   company.  Whilst  working  with  them  she  created  and   played   the   role   of   Spinderella   in   Into   the   Hoods,     which   became   both   the   first   ever   hip   hop   dance   show   and   the   longest   running   dance   show   in   the   West   End’s   history.   She   also   had   the   honour   of   represen9ng   the   UK   at   the   Olympics   handover     Ceremony   in   Beijing.   Teneisha   proudly   joined   the   original   Swedish   company   Bounce   for   their   adapta9on   of   One   Flew   Over   the   Cuckoo’s   Nest   –   Insane   In   the   Brain,   where   she   again   created   and   played  the  fierce  role  of  Nurse  Ratched.  In  May  2010   Teneisha  made  her  ac9ng  debut  in  the  movie  Street   Dance  3D.

Commercial   credits  include  dancing  for   Kylie  Minogue,  Black  Eyed  Peas,   Rihanna,   Alesha  Dixon,   Bobby  Valen9no,  Take  That  and  Jamelia. How  did  your  dance  passion  begin?   When  I  was  twelve  my  next  door  neighbour  took  me  to  see  the  musical  Cats  and  that  started   everything  off.   What  dance  training  have  you  had?   I  started  at  Brit  School,  I  did  a  BTEC  Na9onal  Diploma,  I  then  went  to  London  Studio  Centre  and  did   a  BA  (hons)  degree  in  dance  theatre  and  then  went  straight  from  that  into  work.   How  did  you  get  involved  with  ZooNa7on?   I  met  Kate  Prince  (ZooNa9on’s  Ar9s9c  Director)  years  ago  and  we  used  to  hang  out,  we  would  put   dances  together  and  get  crea9ve,  she  was  a  teacher  at  my  dance  school  and  we  became  really   good  friends.  


What  is  the  rehearsal  process  as  a  dancer?   It  really  differs,  when  we  did  Into  the  Hoods  there  was  lots  of  workshopping,  development  and   input  from  the  cast  to  create  the  show.  With  Some  Like  It  Hip  Hop,  Kate  knew  exactly  what  she   wanted  and  our  ideas  were  channeled  through  Kate’s  vision.  What  comes  from  us  is  the  character   work.   How  does  it  feel  when  you  perform?   Amazing!  There  is  nothing  be;er   than  a  live  audience,   having  an  audience  you   can  see,  I  recently   did  a  job  where  there  were  so  many  people  in  the  audience,  it   was  like  a  sea  of  ants  and  you  could   not  really   see  anybody.   When  you  are  in  a  theatre  in   a  show  like  Some   Like   It  Hip   Hop,  seeing  an   audience  laugh  and  react  to  hear`elt  scenes  is  amazing.   Who  inspires  you  as  a  dancer?   Kate  Prince  founder   of   ZooNa%on   Dance   Company,   inspires   me   and  teachers  who  taught   me  in   school.  Bob  Fosse  is  really  amazing,  I  liken  him  to  me  in  as  much   as  I  haven’t  got  perfect  feet  or  a   perfect   body.   Bob  Fosse  made  the  things  that   were  not   perfect  for   him   specific   for   the  type  of   dance   that   he  created.   Then  everybody   else  wanted  to  adapt   themselves  and  be  like  him   and   having  the  perfect  feet  or  the  perfect  lines  was  not  so  important  anymore.   What  has  been  your  biggest  challenge  as  a  dancer?   There  are  so  many  different  things  I  have  done  that   I  have  felt  challenged  in,   doing  Into  the   Hoods   was  a  big  challenge  as  it   was   the  first   thing  I  had  done  were  the  characters  and  the  storytelling   where  more  important  than  the  dance.  I  then  worked  with  a  Swedish  company  called  Bounce   and   we  did  an  adap9on  of  One  Flew   Over   the   Cuckoo’s   Nest   ‘Insane   the   Brain’,  I  played  Nurse  Ratched,   both  roles  challenged  me  as  the  characters  where  polar  opposites  of  each  other.   What  a]racts  you  to  work  with  ZooNa0on?   It’s  a  good  job,   it’s  a  great  company  and  body   of  people  to  work   with,  I  enjoy  coming  into   work.   Everyone  is  of  the  same  mindset,   you  get  in,  you  have  fun  and  a  joke  but  the  idea  is  we  are  going   to  make  this  produc9on  come  to  life  and  all  be  on  the  same  page.  Our  mind  set  as  a  company  is  to   make  stuff  happen.   What  has  been  your  career  highlight?   I  did  a   film  Street  Dance   3D   and  I  played   a  hairdresser,   it   was   a  brilliant   a  character   that   I  could   really  get  my  teeth  into.   What  advice  would  you  give  to  someone  wan7ng  to  be  a  dancer? There   is  so  much:   focus   is  a  big   thing,   the  dance   industry   is  so  un-­‐lucra9ve  that  you  have  to  be   driven  by   love  if  you  are  serious  about  it.   Stay  grounded  along  the  way,  you  will  work  with  so  many   people.  Be  as  versa9le  as  possible  and  be  able  to  go  into  many  different   styles,  this  leaves  you  with   more  op9ons  to  work  with  different  choreographers.   Think  About: What  hurdles  may  a  dancer  face  in  their  life,  does  this  career  choice  hold  more  risks  than  other   jobs?  


Inside  a  ZooNaBon  Rehearsal  Room Discover  what  a  day  in  a  ZooNa%on  Dance  Company   rehearsal  room  involves.  A  dance  produc9on  would   tradi9onally  rehearse  for  7  weeks,  in  that  9me  the   dances  are  set  by  the  choreographer  and  learnt  by   the  dancers,  known  as  the  company.   In  a  rehearsal  room  you  expect  to  find,  the  director,   choreographer,  dancers,  a  dance  captain  and  a   deputy  stage  manager,  this  can  change  dependent   upon  the  size  of  the  produc9on.   To  follow  lead  cast  member  of  Some  Like  It  Hip  Hop,   Tommy  Franzen's  video  diary  of  rehearsals,  click   below. h;p://slihh.zoona9on.co.uk/


The   Company   arrive  in   the  rehearsal  room   and  warm   up  for   30   minutes.   Every  day  begins  with  a  warm  up  which  is  lead  by  the  dance  captain.  A  warm   up  ensures  that  a  dancers  body  is  ready  for  the  day  ahead.  


Run  through  all  the  dances  that  were  blocked  in  the  rehearsal  room   the  day   before,   an   opportunity   for   the   company   to   ensure   they   know   the   choreography   fully   and   for   the   deps  to   watch   the  rou9ne.   This   gives  the   choreographer   a   chance  to   see   what   areas  of   the  produc9on   need   more   work.  

11.30am   2.00pm 6.15pm  

Work   through,   Kate   Prince   works  through  the  choreography   that   she   has   designed  for   the  dance  sequence  being   rehearsed  that   day.   The  company   take   notes   in   a   book   of   the   blocking   so   that   they   remember   the   choreography   and  learn   it.   If  members  of  the  company   are  not   involved  in   the  rou9ne  being  rehearsed  they  will  move  to  a  breakout  space.   Con9nue  to  work  through  the  dance  rou9nes.    

The  company  will  complete  a  cool  down,  this  is  lead  by  the  dance  captain.

Elements  of  the  set  are  o\en  brought  into  the  rehearsal  space  so  that  the  company  can  rehearse   on  it,  this  makes  it  easier  for  the  company  when  they  move  from  the  rehearsal  space  and  into  the   theatre   for   a   produc9on.   Rehearsals   are   followed   by   technical   rehearsals,   dress   rehearsals,   previews  and  a  press  night  which  all  take  place  in  the  theatre.  


Dance  DefiniBons   Warm  Up  -­‐  A  warm  up  takes  place  at  the  beginning  of  the  day.  Similar   to  when  an  athlete  prepares   their  body   for  exercise,  a  dancer  will  warm  up  their  body  in  prepara9on  for  the  working  day  ahead.   A   warm  up  includes  cardiovascular   exercises   to  increase  the  heart   rate   and   get   blood  pumping   around   the   body,   stretching   to   warm   up   the  bodies   muscles   for   the   day   ahead   and   repe99ve   strength  exercises  to  increase  a  dancers  stamina  and  core  strength.   Dance   Captain   -­‐   A   member   of   the   company   who   maintains   the   ar9s9c   standards   of   all   choreography.  They   are  in  charge  of  no9ng  the  dances  and  leading  the  warm  ups  and  cool  downs,   a   dance   captain   will   work   with   the   company   and   run   through   dances   during   rehearsals   and   performances.   Rehearsal   Room  -­‐  The  room  in  which  the  rehearsals  of   a  produc9on  take  place,   a  dance  floor  and   mirrors   would   be   placed  in  a  room  to  aid   the   dancers,   some9mes   elements  of   the  set   will  be   brought  into  the  rehearsal  room.   Cool  Down   -­‐  At  the  end  of   a  rehearsal  day  the  company  will  cool  down  for  15  minutes,   stretching   their  muscles,  ensuring  that  their  bodies  stay  in  good  shape,  this  helps  to  prevent  injuries.   The  Company  -­‐  The  collec9ve  name  given  to  the  people  involved  in  a  produc9on,  this  includes  the   stage  management  team,  actors,  dancers  and  vocalists.   Choreographer  -­‐  A  person  who  creates  dance  composi9ons  and  arranges  dance  movements  and   pa;erns  for  a  dance.   Director  -­‐  A  theatre  director  oversees  and  orchestrates  the  moun9ng  of  a  produc9on,  they  work   with  all  elements  of  the  produc9on  from  the  cast  and  crea9ves  to  stage  management  and   producers  to  deliver  the  final  produc9on. Deps   -­‐  A  dep  is  a  member  of  the  company  who  is  depu9zing  for  a  lead  role  alongside  their  other,   o\en  smaller  role.  If  a  member  of  the  company   is  sick  or  has  a  day   off  the  dep  will  take  on  their   role,  ensuring  that  the  show  will  never  have  to  be  called  off. Ensemble   -­‐   A   group   of   suppor9ng   entertainers,   actors,   dancers   and   singers   in   a   theatrical   produc9on. Deputy  Stage  Manager  -­‐  A  DSM  sits  in  the  rehearsal  room  and  creates  ‘the  Book’,  this  is  where  the   cues  are  marked  on  a  script  and  the  staging  is  noted.  The  DSM  will  call  the  cues  including  ligh9ng   and  sound  during  a  produc9on.   Work  Through  -­‐  Working  through  the  scenes  in  a  produc9on,  the  company  learn  what  they  need   to  do  in  each  scene. Run  Through  -­‐  Running  through  a  scene  or  a  dance  rou9ne  from  beginning  to  end  without   stopping.  


Into  the  Hoods  -­‐  Bringing  Hip-­‐Hop  to  the  West  End   Into   the   Hoods   was   the   first   ever   Hip   Hop   dance   show   to   transfer   to   London’s   West   End.   Sadler’s   Wells   commissioned   the  piece   and  it  was  performed  for  the  first  9me  at   the   Peacock   Theatre   in  February   2006.   The  two   performances  were  so  warmly   received  that   Sadler’s   Wells   invited   ZooNa9on   to   further   develop  the  show  and  bring  it  back   for  a  full   week.    Following  this  run  and  a\er  a  sell-­‐out   five-­‐star   award-­‐winning   season   at   the   Edinburgh  Fringe,  the  produc9on  opened  on   the  West  End  stage  in  2008. Into   the   Hoods   became   both   the   first   ever   Hip  Hop  dance  show  in  the  West  End  and  the   longest   running   dance   show   in   the   West   End’s  history.   The  produc9on  featured  music  from:   Stevie  Wonder,  Massive  A]ack,  Jay-­‐Z,  Chaka  Kahn  and  Dizzee  Rascal. Into   the   Hoods   was  an  urban  fairytale  twist   of  Stephen  Sondheim’s  musical  Into   the   Woods.  The   produc9on  used  narra9on,  street  dance,   video  projec9on,  graffi9  and  music  to  tell  the  story  of  two   young  people  lost  in  the  Ruff  Endz  Estate.   80%   of   the   audience   who   a;ended   the   produc9on   had   never   been   to   the   theatre   before.   What  the  press  said:   “Flawless....the  perfect  show” “Pure  inven7on,  a  bona  fide  hit”   “Into   the   Hoods   must   be   one   of   the   most   West-­‐  End  friendly  hip  hop  shows  ever” “An  inclina7on  of  brilliance-­‐  Sondheim  gets  a   update  in   a   whi]y  hip  hop  edi7on  of  Into   the   woods  ”  

Think  About, Why  do  you  think  Into  the  Hoods  was  a  massive  hit  in  the  West  End?   Why  do  you  think  so  many  people  who  had  never  been  to  the  theatre  before  were  drawn  to   watch  the  show?  


Some  Like  It  Hip  Hop  -­‐  Classroom  acBviBes   Ac7vity  One,  Key  Themes   • Time                                                20  minutes   • Materials                                Flip  chart  paper  and  pens • Curriculum  Links      PSHE  and  Ci9zenship   Listed  below  are  some  of  the  themes  explored  in  Some  Like  It  Hip  Hop:  


Human  Rights Friendship

Authority Gender

IdenBty Forgiveness EducaBon


• Split  into  groups  of  4  and  think  back  to  the  produc9on  Some  Like  It  Hip  Hop.   • Look  at  the  themes  listed  above  and  as  a  group  choose  one  of  the  themes  to  explore  further.   • Take  some  flip  chart  paper  and  write  your  chosen  theme  as  a  heading  at  the  top  of  your  sheet.   • As  a  group,  discuss  where  you  saw   your  chosen   theme  being   explored  in  Some   Like   It   Hip   Hop.   List   the  characters  and  the   storytelling  methods  used  when  exploring   the   theme,  for  example:   song.   • What  did   the  produc9on   of  Some   Like   It  Hip   Hop   teach  you  about   your   theme   and  what   new   knowledge  have  you  gathered?  


Some  Like  It  Hip  Hop  -­‐  Classroom  acBviBes Ac7vity  Two  -­‐  Discussion  and  Debate   • Time                                                          25  minutes   • Materials                                          An  open  space   • Curriculum  Links                PSHE  and  Ci9zenship Get  your  students  involved  in  the  ideas,  themes  and  content  explored  in  Some  Like   It  Hip  Hop,  use   the  statements  below  as  a  star9ng  point  for   discussion  and  debate  in  the  classroom  in  response  to   the  performance.   In  Some   Like   It  Hip  Hop   the  Governor  in  the  City  believes  that  women  are  incapable,   the  women   who  live  in  the  City  are  treated  differently  to  the  men.   Read  the  following  statement  aloud: “Women  will  never  be  on  an  equal  foo0ng  to  men  in  the  UK  workplace” Members  of  the  class  who  AGREE   with  the  statement   should  move  the  le\   of  the  room  and  those   who  DISAGREE   should  move   to  the  right,   the  centre  of   the  room  means  you  do   not   feel   pulled   either  way.   Ask  selected  members  of   the  class  what  has  mo9vated  them  to  choose  their  posi9on  in  the  room,   ask   them   to  comment   on  the  reasons  behind  agreeing  or   disagreeing   with  the  statement.   Once   four  of  five  people  have  spoken   to  the  class  and  explained  their   reasoning   see  if  anyones’  opinion   has  been  swayed  and  ask  if  they  want  to  move  to  the  other  side  of  the  room. Further  statements  to  explore  as  a  group:   • Everybody  living  in  the  UK  has  the  same  human  rights  AGREE/DISAGREE   • Women  are  not  represented  equally  in  Hip  Hop  culture  AGREE/DISAGREE   • If  you  see  somebody  being  oppressed  or  bullied  you  should  always  speak  out   and  confront  the   bully  AGREE/DISAGREE • Everyone  should  be  en9tled  to  self  expression  in  whatever  form  they  choose  AGREE/DISAGREE • Hip  Hop  culture  is  linked  to  nega9ve  stereotypes  AGREE/DISAGREE


Some  Like  It  Hip  Hop  -­‐  Classroom  acBviBes Ac7vity  Three  -­‐  Shared  Recall   • Time                                                20  minutes   • Materials                                Flip  chart  paper  and  pens • Curriculum  Links        PSHE  and  Ci9zenship Organize  the  class  into  groups  of  4/  5   and  give  each  group  a  large  sheet  of  paper  and  some  pens.   Assign  each  group  an  area  of  the  produc9on  to  explore  such  as:   Dancing Direc7ng The  Set Costume Each  group  should  write  their  chosen  area  of  the  produc9on  as  a  heading  on  their  flip  chart  paper.   Each   group   then   has  five  minutes  to  brainstorm   thoughts   and   comments  around   their   assigned   area  of  the  produc9on,  no9ng  them  in  a  spider  diagram  on  their  flip  chart  paper. Once  five  minutes  is  up  each  group   must  pass  their   paper   onto   the  next   group   and  repeat  this   process  un9l  every  group  has  commented  on  all  areas  of  the  produc9on  listed  by  the  class.   These  sheets  can   then  be  photocopied  and  handed  out.   You  could   also  put   the  sheets  up  in  the   classroom  for  inspira9on  when  discussing  Some  It  Like  Hip  Hop.  

Ac7vity  Four-­‐Crea7ng  the  mood   • Time                                                30  Minutes   • Materials                                Paper,  pens,  magazines,  newspaper,  glue,  scissors  and  cra\  materials • Curriculum  Links        Art  and  design A   mood  board  is   a   tool  o\en  used  by   designers,   performers   and  directors.  It   is  a  large  sheet   of   paper  that  has  been  covered  in  images  (from  magazines  and  newspapers)  They   represent  a  mood,   atmosphere  or  feeling  of  a  scene  and  s9mulate  thought  about  the  mood  created  in  a  produc9on.   Think  back  to  your  visit  to  see  Some  Like  It  Hip   Hop,  then  choose  a  moment  in  the  piece  that  had  a   direct  affect  on  you,  it  may  have  s9rred  up  a  par9cular  feeling  or  emo9on  inside  you.   Pick   a   character   from   the   moment   that   you   are   thinking   of,   reflect   upon   how   you   think   the   character  felt  within  that  chosen  moment. Create  a  mood  board  to  express  the  characters  feelings  at  this  point   in  the  piece.     You  may  want   to  use  magazines,  newspapers,  fabric  and  paper  to  create  the  mood  board.  


Some  Like  It  Hip  Hop  -­‐  Classroom  acBviBes Ac7vity  Five-­‐Essay  Ques7on  

• Time                                                30  Minutes   • Curriculum  Links          PSHE  and  English In   the   Some   Like   It   Hip   Hop   rehearsal  room,   quotes  from  the  poli9cian   and   peaceful  protester   Ghandi  were  placed  on   the  wall,   Ghandi  prac9ced  non   violence   and   truth  in  all  situa9ons.   The   quotes  were  placed  in   the   space  by   Kate  Prince  with  a  purpose  to  inspire  the  company   and  help   them  think  further  about  their  characters  and  their  roles  within  the  story  of  Some  Like  It  Hip  Hop.   Read  the  following  Ghandi  quotes:   “Be  the  change  that  you  want  to  see  in  the  world”   “A   small   body   of   determined   spirits   fixed   by   an   unquenchable   faith   in   their   mission  can   alter  the   course  of  history”   “An  eye  for  an  eye  only  ends  up  making  the  whole  world  blind”   Answer  the  following  ques9on  in  essay  form: How  do  you  think  Ghandi’s  teaching  and  his  messages  listed  above  influenced  the  development  of   Some  Like  It  Hip  Hop?


You  Want  To  Be  A  Dancer?   Reading  the  interviews  with  dancer   Teneisha  Bonner  and  ZooNa%on   Ar9s9c  Director,  Kate   Prince   offer  an  insight  into  the  life  of  a  dancer.   If   you   have   been   inspired   by   the   work   of   ZooNa%on   Dance   Company   why   not   learn   some   ZooNa%on  rou9nes  with  your  friends  and  classmates  by  watching  these  online  Hip  Hop  tutorials.   So  You  Think  You  Can  Dance  rou9ne:  

 h]p://www.youtube.com/watch?v=FUhi0Ki74fY Southbank  Flash  Mob  rou9ne:


If   you   want   to   be  a  dancer   then   get   started   today,   get   dancing   with   your   friends,   family   and   classmates. If   you   are  inspired   by   ZooNa%on   produc9ons,   explore  the  site  below   and   find   out   more  about   joining  ZooNa%on  Academy  of  Dance,  its  open  to  all  young  people  aged  4-­‐21  years.   Classes  take  place  every  Saturday  during  term  9mes  and  in  the  holidays  too.  



Further  links  and  resources   If  you  like  the  work  of  ZooNa%on  and  want  to  find  out  more  about  Hip  Hop  and  street  dance  check   out  the  following  websites:  

ZooNation Dance Company http://www.zoonation.co.uk

Sadlerʼs Wells Theatre http://www.sadlerswells.com/

Breakin Convention http://www.breakinconvention.com/

Banksy Street Artist http://www.banksy.co.uk/

Breaking Cycles http://www.breakingcycles.co.uk/


Mousetrap Theatre Projects offers young people with limited resources and access, the opportunity to engage with the best of London’s live theatre. We are an independent charity, working with theatres in the West End and across London. Since 1997, we have taken nearly 100,000 young people to the theatre. We create innovative and exciting theatre access, education and audience development programmes. Young people take part with their school or youth group, their family or their friends.

Mission Statement We believe that all young people should have the opportunity to attend outstanding theatre, irrespective of their cultural, social or economic background. Our mission is to increase young people’s access to the best of live theatre in London (particularly those young people with limited resources, opportunities or support) and to enable them to engage creatively with that experience. As an independent charity, Mousetrap Theatre Projects is in a unique position to select the appropriate or relevant theatre productions in and beyond the West End that stimulate and inspire young people. We devise programmes that use theatre as a catalyst to explore ideas, learn new skills, develop creativity and offer new perspectives. At the heart of our education and outreach work is the desire to open doors to young people who might otherwise consider London’s rich cultural heritage closed to them.

Areas of Endeavour Access:

To provide young people with limited resources, support or a disability, the opportunity to attend London theatre, often as a first-time experience: The London Theatre Challenge for Mainstream Schools, Theatre Journeys for Special Schools, StageXchange, Family First Nights and Envision


To enable young people to engage actively with their theatre experience and to use theatre as an educational resource in and out of the classroom to stimulate creative work and to develop theatre-related skills: TheatreWorks, Play the Critic, Insight Sessions, WriteThinking, TechTaster, PowerPlay, StageSong and Stage Business

Audience Development:

To encourage a legacy of theatregoing among young audiences by reducing barriers and enhancing their knowledge and understanding of theatre: C145, West End for £10 and Mousetrap Mondays.

Creating Links:

To develop collaborations with young people, schools, teachers, artists, arts organisations, youth groups, community organisations and social service agencies with the theatre industry: Teachers’ Advisory Group, Teachers Preview Club, Youth Forum, Family Forum and training opportunities. Mousetrap Theatre Projects 23-24 Henrietta Street Covent Garden London WC2E 8ND www.mousetrap.org.uk Tel. 020 7836 4388