Artsource - Music Center

Artsource
The Music Center’s Study Guide
to the Performing Arts
TRANSFORMATION
ENDURING
VALUES
DANCE
MUSIC
®
TRADITIONAL
ARTISTIC PERCEPTION (AP)
CLASSICAL
CREATIVE EXPRESSION (CE)
CONTEMPORARY
HISTORICAL & CULTURAL CONTEXT (H/C)
EXPERIMENTAL
AESTHETIC VALUING (AV)
MULTI-MEDIA
CONNECT, RELATE & APPLY (CRA)
FREEDOM &
OPPRESSION
Title of Work:
Los Mitos (from Los Concheros)
Danza de la Reata & Jarabe del Amor Ranchero (from the
Mexican state of Zacatecas)
Creator:
Company: Ballet Folklórico de México
Artistic Director and Founder: Amalia Hernández b.1917
d. 2000
Background Information:
Amalia Hernández was fortunate to be born into a wealthy
family in Mexico, for it allowed her to pursue her artistic
vision. At the age of eight she decided to make dance her
life's work. This presented a problem, for her culture
considered dance an inappropriate profession for a young
woman of her social stature. However, her parents
supported her interest and designed a private course of
study for Amalia and her two sisters. Her father built a
dance studio near the family home and brought in the best
teachers available. They included Mme. Sybine, a principal
dancer in Anna Pavlova’s ballet company, and Mme.
Dambre of the Paris Opera Ballet. Amalia also studied with
La Argentinita, the brilliant flamenco artist. Studying these
dance forms gave her a strong classical foundation and
discipline, but her soul responded more to the folk music
and dance of her own country. Growing up on a ranch, she
had many opportunities to observe the dances done by the
workers and their families. These impressions ignited within
her an artistic vision encompassing this folklore.
Determined to develop as a dancer and impassioned by
these folk forms, Amalia began to study with Luis Felipe
Obregón, Mexico’s first folklorist, as well as with American
m odern dancers, Anna Sokolow and José Limon. In 1952
she left her position as a dance teacher at the National
Institute of Fine Arts in Mexico City to form the Ballet
Folklórico de México with a repertoire that captures the
heart and spirit of the Mexican people and their traditions.
THE HUMAN
FAMILY
THE POWER
OF NATURE
About the Artwork:
For more than three decades, the Ballet Folklórico de
México has been hailed as one of the premiere folk
dance companies in the world. In addition to presenting
authentic folk dances from different ethnic groups
within Mexico, Amalia Hernández creates exciting new
dances based on ancient traditions as well as modern
customs. Between the time of the Olmec Indians and
the birth of Modern Mexico, more than thirty distinct
cultures have flourished, each influencing Mexican
culture before being supplanted by another. Los Mitos
features the pageantry and ritual of indigenous cultures
before the arrival of the Spaniards and Danza de la
Reata and Jarabe de Amor Ranchero reflect the
influence of the Spanish and European cultures on the
indigenous groups, creating a distinctive Mexican style
called ‘Mestizo.’
Creative Process of the Artist or Culture:
Amalia Hernández says, “Folklore all over the world is
alive and influenced by its changing surroundings.”
In researching a piece, she goes to the source of the
folklore, then shapes the work to communicate her
perception. Some of the music is
inspired by ancient texts, while
some is based on popular songs of
and
revolutionaries.
lovers
Los Angeles
U.S.A.
“I try to go to the most
profound roots of folklore
and tradition, but my
intention is to create a
show-a show with Mexican
sources and Mexican blood.”
Amalia Hernández
MEXICO
Mexico City
CUBA
Discussion Questions:
note that the male dancers are wearing boots and the
women are wearing full skirts. The Spanish brought
horses and the Catholic religion and taught the indigenous
people a new way of life. The Mestizo is the unique
blend of European and native cultures and races which
represent the predominant Mexican people of today.
After the video has been viewed:
• After watching the dance, Los Mitos, what words
describe your impressions and feelings?
• How is this dance different from the Danza de la
Reata and Jarabe de Amor Ranchero? What do the
movements and the music of each tell you about the
people? How are they similar? Different?
• In the dance of the Zacatecas, what does the lasso
tell you about the type of work done by the people?
What is the lasso used for in their work? In the dance?
• What other work tools can you think of that could
be used as a prop in a dance (machetes, brooms, etc.)
• Many of the Mestizo dances are choreographed to
show romantic love between men and women. How
did the choreographer use space to get this feeling?
Background on Los Mitos:
Los Mitos (the myths) is part of a suite of dances
called Los Concheros. It is based on the ancient rituals
of some of the indigenous cultures, such as the
Toltecs and the Aztecs. These rituals connect each
dancer to life and the universe. The name, Los
Concheros, is derived from the blowing of large
conch shell trumpets. Although the Concheros still
enact their rituals today, they now reflect the Spanish
influence and have become a fusion of Christian and
pre-Hispanic traditions.
Background on Danza de la Reata and Jarabe de
Amor Ranchero:
Located almost exactly in the center of Mexico is
Zacatecas - a state of Mexico rich not only in gold
and silver but also in historical importance and
European influences. During the 19th Century the
troops of French-appointed Emperor Maximilian of
Hapsburg added a distinctly French and Austrian
flavor to this region. During the Mexican
Revolution, Francisco (“Pancho”) Villa defeated the
federal government in a decisive fight in Zacatecas.
These two dances, Danza de la Reata and Jarabe de
Amor Ranchero reflect the distinctively Mestizo life of
the caballero and ranchero, as well as the Mexican
attitude toward romantic love. It is important to
Audio-Visual Materials:
• Artsource® video excerpts: Los Mitos, Danza de la
Reata and Jarabe de Amor Ranchero courtesy of Ballet
Folklórico de México de Amalia Hernández and
Columbia Artist Music, LLC. © 1989.
• Artsource® audio recording: Baile de los Viejitos, Las
Iguiris, Xochipitzohuatl. Recorded by: Saul Sanchez,
Isaac de la Rocha and Lorenzo Martínez.
Sample Experiences:
LEVEL I
• Mexicans have a day in which
they go to the graveyards of their
friends and relatives to celebrate
them by feasting and partying. Learn
about “el Día de los Muertos.” Make skeleton puppets
and create a parade.
* • Explore how to portray old age in a humorous way
through dance. Learn an adaptation of dance patterns
from the dance, Los Viejitos, from the Mexican state of
Michoacan. (Music is on the Artsource® audio recording)
LEVEL II
* • Learn Las Iguiris, a Mexican Folk dance performed at
traditional weddings in Michoacan. (Music is on
Artsource® audio recording.)
LEVEL III
• Create a ceremonial dance based on an Aztec or
Mayan myth. Refer to “Additional References.”
• Learn Xochipitzahuatl an ancient dance fused with
modern ideas. Partners work with scarves or kerchiefs.
LEVELS I-III - MULTIDISCIPLINARY LESSON
* • Study the life of Mexican painter and muralist, Diego
Rivera and find examples of his paintings and murals
that depict the daily life settings, work and social
conditions of the common people. Learn the ‘scribble’
technique to create traditional scenes of dancers and
musicians in costume.
*
Indicates sample lessons
2
DANCE
BAILE DE LOS VIEJITOS (Dance of The Old Men)
THE HUMAN FAMILY
LEVEL I Sample Lesson
INTRODUCTION:
In the state of Michoacan in Mexico there is a dance called Baile de los Viejitos, a traditional dance of the
Tarascan people. This humorous dance, passed on through many generations, represents old men bent
over with age. They lean on crooked canes and then surprise us with their energetic jumps, leaps and
intricate footwork. It is a parody (a comic imitation) of aging, done with warmth and fun. But, its roots
lie in religious ceremonial rituals. It is believed that the old men’s spirits and death are scared away by
these vigorous little old men in costume. It is also thought that the Tarascans mimicked the Spaniards,
whom they considered old because they had light colored hair and beards.
The men, or women dancers portraying men, wear ribboned hats of palm on their heads, serapes around
their shoulders, canes and masks of carved wood or papier mâché. Under their serapes, they wear muslin
shirts and pants with colorful embroidery. The handles of the wooden canes are carved in the images of
animals to represent their affinity with the natural world. It is amazing that they are able to create intricate
sound patterns with their huaraches (sandals), which one would normally associate with boots with nails.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Discuss the historical and cultural background of Los Viejitos. (Historical and Cultural Context)
• Create different postures and movements of elderly people. (Creative Expression)
• Learn and perform an adaptation of the dance, Los Viejitos. (Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Artsource® audio recording of Los Viejitos.
• Chairs.
PROGRESSION: (This lesson can take several sessions. You may choose to teach either Part I, which is
creative, or Part II, which is traditional, or both parts.)
PART I (Historical and Cultural background and creative exploration)
• Present some background on Mexican folk dance and specifically introduce the concept of the dance Los
Viejitos from the state of Michoacan.
3
• Talk about the differences between a very old person and a young person. For example, how does each
stand and move? What is the difference in energy levels? Have the class talk about some of the postures
they might take if they were old and their spines were bent and their muscles and joints were stiff. Ask
the class to explore different ways they might show an old person (standing, sitting, walking, etc.).
• In exploring a character for dance or drama, think of the weight of the person (heavy or light); think of
whether the person is bent or upright; bound (tense) energy or free -flowing (easy) energy; jerky movements
or smooth ones; slow or fast tempo; confined space or free use of space. By varying these elements of
dance, different human characteristics can be communicated. It is the exaggeration of one or more of these
elements which abstracts an ordinary idea and transforms it into a dance.
• Challenge students to find three to five different postures that depict an elderly character. Encourage
them to find contrast through the use of level changes, body part placement, gestures, etc. Ask them to
sequence their ideas, then take four counts to move from one to the other.
A CHAIR DANCE
• Each person should take a chair and improvise a short sequence of sitting, standing and traveling around
the chair in the character of a old person. Give each person a phrase of sixteen counts for their improvisation.
Have five to seven people simultaneously share their improvisation. Discuss their phrases in terms of the
elements of dance stated above. Give suggestions on how these elements (timing, posture, energy, etc.)
could be manipulated to make the character more believable or more humorous.
• Introduce the artistic principle of contrast. To make something humorous, serious or tragic moments
are usually contrasted with a light moment.
EXAMPLES OF CONTRAST TO ACHIEVE HUMOR:
• Do a movement or gesture three times one way and then look as if you are going
to do the same again, but then surprise everyone by doing it differently. Timing
is essential, so on the fourth one, hesitate, look at the audience and either do a new
action, or don't do anything at all! Once a pattern of expectation has been established,
almost any variation can be funny.
• Move as if you were old and unable to perform much more than a shuffle, then
surprise the audience by clicking your heels in the air or do a somersault, then
immediately go back into your original bent-over position.
• Walk in a hesitating, laborious way and then break into a graceful turn.
Immediately revert into your character by being old and hesitating, perhaps even
looking suspicious or surprised at where the graceful movement came from. Look
back at the spot where it occurred.
• Holding a cane, shake your knees and try several times to get off the ground. Then after many failed
attempts, do a large leap or jump, landing as if you could barely stand again.
• Have students share their ideas with a partner, then combine the best of both their ideas.
4
• Ask several sets of partners (about 4 groups) to perform their work simultaneously while others actively
observe. Briefly discuss the ideas the observers found interesting and encourage them to discuss/analyze
why certain parts or movements worked well.
PART II Learn the traditional dance, Los Viejitos, as adapted by Carola de la Rocha, former dancer with
Ballet Folklórico de México. This is a simplified version.
• Give some background on the dance and what part of Mexico it is from.
PART A
The dance begins by moving in a progression through three different tempos (speed). It starts very slowly,
moves to medium tempo and ends in a very fast tempo.
• Entrance:
1. Very slow tempo:
Have students form a single line and move, one behind the other, like very old people (bent over and shaking).
If they have canes, they should hold onto the tip of the cane of the one in front of them. If they do not
have canes, they can hold onto the elbow of the person in front and place their left hand on the back of
their left hip. The leader of the line takes the group in a curving pathway (like a snake line) until they
break away from each other and spread individually throughout the space. It will occur for the first 9
measures of 8 counts of the music.
2. Medium tempo:
When the music speeds up, the students speed up their walking movements, taking smaller steps (they are
almost running). This lasts for 16 measures of 8 counts of the music.
3. Fast tempo:
When the fastest tempo occurs, students speed up even
more. This last for 16 measures of 8 counts.
4. Tempo gradually decreases until it is again very slow.
This lasts for 13 measures of 8 counts, followed by 2 faster
measures. At the end of the last two measures, the students
break from the snakeline formation, stamping their feet as
they go, and spread out to fill up the space as individuals.
Students should stand, leaning forward with both hands on
their cane.
PART B
1. Stamp right foot 3 times and left foot 1 time. Repeat.
2. Do 8 fast stamping steps in place with shaking knees.
5
3. Jump, crossing feet across, outward, and fall to ground.
(Some can fall all the way and some can fall part of the way.) Both groups shake their legs and the group
that is standing helps the ones on the floor to stand. (At this point the music will have four ascending
notes to accompany this action.)
• Practice this a few times and then perform.
• Use the points of discussion below to extend the students’ knowledge.
• This dance is performed in festivals throughout certain regions within Michoacan including Patzcuaro,
Tzintzuntzan and Ihuatzio.
EXTENSIONS:
• Learn other traditional dances, such as the ones in Sample Lessons, Level II and III.
• In the ‘Chair Dance’ have two or three people work with one chair, rather than have one chair for each
person. This offers different challenges and more creative possibilities.
VOCABULARY: Los Viejitos (little old men), baile (dance), level, contrast, gesture
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE:
Describe the costumes worn in the traditional dance, Baile de los Viejitos. See if you can draw your
version of these costumes from the description.
DISCUSS:
Discuss the traits of old people that you chose to portray in your original ‘Chair Dance.’ What did you
notice that was the same about the original dances and what were some big differences you observed?
ANALYZE:
If you have done both parts of this lesson, make comparisons between your version of old people dancing
and the adapted traditional version.
CONNECT:
Select another type of character (rock star, cowboy, policeman, basketball player, etc.) and think of how
they would be characterized in movement. Be specific in your description.
6
DANCE
LAS IGUIRIS - A Wedding Dance
ENDURING VALUES
LEVEL II Sample Lesson
INTRODUCTION:
Las Iguiris is a dance that accompanies a wedding celebration that has its roots in early Indigenous
ceremonies. In the more modern version, the bridal party accompanies the young couple, offering
support and love to celebrate their marriage. In one hand, each person carries a sword which has an
orange pierced on the tip. The orange is decorated with many brightly colored, paper flags (pápel pícado)
which represent the hope for many children to be born to the couple. This also symbolizes the unity of
marriage and the hope for new life. In the other hand, each person holds a long stem of white flowers,
representing purity.
The costume worn by men is a wide-brimmed hat that is round and flat on top, white muslin shirt and
pants embroidered with colorful threads, a sash around the waist, a serape (blanket) or an horongo (poncho)
and huaraches (sandals). The women wear the same hat, but worn over a rebozo (striped shawl), the brim
of which is decorated with fresh flowers. They wear an embroidered, short-sleeved blouse and a heavy,
dark blue or red pleated skirt. Underneath the skirt, they wear a beautiful, embroidered petticoat, with lace
or colorful ribbons. At the waist they wear an elaborate bustle-like belt which is also starched and pleated
like the skirt. In the front each woman wears an intricately embroidered apron and huaraches on their feet.
This dance has been adapted for children by Carola de la Rocha, a former dancer with Ballet Folklórico de México.
OBJECTIVES: (Student Outcomes)
The students will be able to:
• Know and discuss the background of a traditional dance from
the Purepecha people, who live at the edge of the Patzcuaro
Lake in the state of Michoacan. (Historical and Cultural Context)
• Learn and perform a simplified version of Las Iguiris. (Artistic
Perception)
• Describe, discuss, analyze and connect information and
experiences based on this lesson. Refer to Assessment at the end
of this lesson. (Aesthetic Valuing)
MATERIALS: (Need a large, empty space or move chairs to the
edges of the classroom. If space is limited, students can form
two concentric circles rather than form two circles side by side.)
• Artsource® audio recording of Las Iguiris.
• Wooden paint stirring sticks, two per child. One will represent the sword and the other the stem of the flower.
Los Concheros
Courtesy of Ballet Folklórico de México
7
PROGRESSION:
ENTRANCE:
A. Form two separate single lines, half the class in each one. These lines will enter from opposite sides of
the room. The steps they will use for the entrance are 7 small, light running steps, stopping to bow on the
8th count. Repeat the 7 running steps, but omit the bow and replace it with 2 step-lift steps in each of
four directions.
B. The ‘step-lift-step’ takes 2 counts and is done by stepping first with the R foot in place and lifting the
L foot (bent knee), then stepping with the L foot in place and lifting the R foot (bent knee). Each person
rotates to the right for a quarter turn each time, so that the 2 steps are done once in each of the four directions.
X
X
X
X
X
X
A
B
X
X
X
X
X
X
O
O
O
O
O
O
O
O
O
O
O
• Then, both lines facing in the same direction, travel forward with 7 small, light running steps, ending
with a bow (at the waist). Repeat the 7 running steps and the ‘step-lift-step’ pattern explained above.
FORMING TWO CIRCLES: ( If space is small and you are forming two concentric circles, rather than
two circles side by side, have fewer people in the inside circle and more in the outside circle.)
• The leaders of each line lead their group in a curving path to form a circle. There will be two circles,
one made by each line.
X
O
X
X
O
O
X
X
O
O
X
O
8
• As they form the circles, they will do small, fast running steps for 6 counts (3 running steps for each
count) and 4 stamping steps done with a bow from the waist. They will be traveling counterclockwise. 1-2-3,
2-2-3, 3-2-3, 4-2-3, 5-2-3, 6-2-3, Stamp, Stamp, Stamp, Stamp. (This is one set.)
• Do 4 sets, but on the 4th set, omit the bow and instead, quickly turn to face the opposite direction
(clockwise). Repeat the whole pattern facing in this new direction, turning to face inward on the last 4
stamps.
• Do 4 stamps to the R, 4 stamps to the L, 4 stamps to the center, end with a quick bow.
GRAPEVINE STEP (These steps are done slowly or in half time):
• Begin by crossing R foot over the L, step to the L side with the L foot, then cross the R foot behind the
L foot, step to the L side with the L foot. These four steps make one grapevine step. Repeat the grapevine
for a total of 4 grapevine steps. On the fourth grapevine, step the L foot next to the R.
• Do 4 grapevine steps traveling to the R. Begin by crossing the L foot over the R, stepping the R foot to
the R side, crossing the L foot behind the R and stepping the R foot to the R side. On the 4th grapevine,
step the R foot next to the L.
• Repeat the 4 grapevine steps to the L and then again to the R.
IN AND OUT OF THE CIRCLE:
• All face into the center of the circle, and travel backward using light running steps (step, step, step, step,
step, step) and ending with a bow. Repeat this pattern traveling forward into the center. Repeat the
pattern traveling outward. Repeat the pattern traveling inward. Repeat the pattern traveling outward. (A
combined total of 5 times.)
• Repeat the full pattern 5 more times, having boys stay in place for the first two, while the girls travel
inward and outward. Then switch and have the boys travel inward and outward. On the last one, they
all travel outward together.
GRAPEVINE REPEATED:
• Repeat the grapevine step, starting to the L for 4 times, R for 4 times, L for 4 times, and to the R for 4 times.
ENDING:
• Stamp 4 times, turning to face counterclockwise in the circle, then stamp 4 times facing clockwise, face
center (inward) and stamp 4 times and end with a bow.
• Sit the students down in a circle and use the ‘Assessment Questions’ to further their understanding of
the symbolic connection between the dance and the unity of two people and their families in marriage.
9
EXTENSIONS:
• Look at a map or globe and identify the country and state where this dance comes from.
• Perform this dance at a festival and hold artificial or fresh flowers in the left hand and hold a
styrofoam ball, painted orange, on a stick (to represent the orange) in the right hand. Girls should wear
full skirts, blouses and sandals; boys wear pants, shirts, serapes, sandals, a colorful sash and wide-brimmed
hats.
• The dance, when completed at a wedding, opens up and becomes a crescent so that the couple and their
wedding party can dance together in celebration of the marriage which is supported by family and friends.
This aspect can be added as an extension.
VOCABULARY: Michoacan, Tarascan, serape (poncho), huaraches (sandals), rebozo (shawl), grapevine
(dance step)
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the symbolic pieces carried in each hand of the dancers and what they represent.
DISCUSS: Find out if any students or their ancestors come from Mexico and locate the state and city
where they lived. Discuss any traditions or festivities that they know are celebrated in these regions.
ANALYZE: Discuss how the two lines coming from opposite directions unite into circles. How does this
symbolize the concepts of separateness and unity?
CONNECT: Think of other types of special occasions where people might choreograph a dance to
celebrate some aspect of a ceremony or to express such feelings as unity, love or thankfulness.
10
DANCE
FUSION OF ANCIENT AND MODERN TRADITIONS
TRANSFORMATION
LEVEL III Sample Lesson
INTRODUCTION:
Three of the most important indigenous groups of Mexico were the Olmecas, Toltecas and the Aztecs.
They shared a common language called Nahuatl. Some of these words still exist, as the names of cities,
areas, mountains, songs and dances. One of the words, Xochipitzahuatl, means small flower. Although
the Aztecs were warriors, they also cultivated flowers such as the rose, poinsettia and the gladiola. They
admired the beauty and the mystery of flowers and their development. In many dances women will wear
flowers in their hair to represent the beauty of womanhood.
This dance, Xochipitzahuatl, was created by the indigenous people and originally was a tribute to the
mother of the land (Mother Earth), represented by their deity, Tonanzin. But, after the Spanish conquest,
the indigenous people intermarried with the Spaniards and their children were called Mestizo. The new
religion, Catholicism, replaced many of their traditional beliefs, and the Virgin Mary became idolized as
the new mother for the Mestizo people. However, fragments of the ancient dances, music and symbolism
survived, but were changed as new cultural influences came into Mexico.
The Xochipitzahuatl song depicts the Virgin of Guadalupe which replaced the mother of the land,
Tonanzin. This particular version of the dance is from the central part of Mexico and is originally done
with ribbons on a pole to make a huge flower that represents the garlands of flowers worn on the heads
of young women. The intertwining of the ribbons represents the colorful and intricate design of the flower.
Although the music and dance was very strongly influenced by the Spanish, the Huastecan group retained
many ancestral elements in their culture, such as mood, language and way of thinking. There are various
versions of this song and dance according to the region in which it is performed. The following version
is an adaptation for children using brightly colored kerchiefs.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Perform a version of the dance, Xochipitzahuatl, that combines both old and new music and dance
traditions. (Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Ribbons or yarn 12 inches long or enough kerchiefs for every two students.
• Artsource® audio recording of Xochipitzohuatl.
11
PROGRESSION:
• Give some background on the Mestizos.
• Show Los Mitos as an example of the type of dancing done by the indigenous people of Mexico.
• Introduce the dance, Xochipitzahuatl.
• Teach the dance:
The step: heel toe, step, step, step (slow, slow, quick, quick, slow). Walking may be substituted. The leaders in front of the “Zurco” formation give the calls to go from one pattern to the next with a small yell to
which the rest of the participants imitate in unison.
Choreographic patterns:
Leaders.
“LA ENTRADA” (the entrance) Leaders say, “Uhoo!” Participants echo.
O O O O O O
X X X X X X
Partners line up in two lines, side by side. Partners hold the ends of a scarf between them. Repeating the
step above, partners come into the dance area as a unified group.
EL TUNEL (the tunnel)
The couple as the head of the line turns toward the group and ducks their heads to travel under the raised
scarves of the other partners. As the line moves forward, each couple in turn, ducks and follows the couple before them, traveling to the end of the line in the tunnel. Use a walking step here.
O O O O O
O
X X
X
X
X
X
LA CRUZ (the cross)
Partners divide into groups of four and form a cross by one set of partners holding their scarf diagonally
under the other partner’s scarf.
O
O
X
X
12
EL REMOLINO (the tornado)
Staying in groups of four, partners take turns lifting their scarf while the other partners duck under, then
switching roles and the other partners lift their scarf while the first couple goes under. This pattern alternates
back and forth. Use a walking step.
X
O
X
O
LA OLA (the wave)
All partners return to the large group with two lines. This pattern is similar to the tunnel, except that the
first couple turns and goes under the scarf of the couple first in line, then raises their scarf so the second
couple goes under the leaders scarf. This pattern of going under a scarf and then raising the scarf over the
next couple continues. Each couple in turn alternates between going under and then raising their scarf
over the next couple (under, over, under, over, etc.) Use a walking step.
O
O
O
O
O
O
X
X
X
X
X
X
LA SALIDA (the exit)
Just as the entrance led the group into the dance area, the exit leads the group in two lines off the dance
floor When everyone is off, the music stops and the dance is over (el fin). Use traditional step for the exit.
O O O O O
X X X X X
EXTENSIONS:
• Perform the dance for others.
VOCABULARY:
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Remember the sequence of the dance and describe briefly each part.
CONNECT: Discuss other traditions that are a fusion of ancient and contemporary.
13
DANCE
PAINTING THE PEOPLE
THE HUMAN FAMILY
LEVELS I-III Sample Lesson
Multidisciplinary
INTRODUCTION:
Diego Rivera is considered to be one of the most popular and well-known Mexican artists of his time
(1886 - 1957). He painted the Mexican people, their traditions and the life which surrounded them.
Often Diego depicted terrible scenes of war and oppression however, his painting Baile en Tehuantepec is
an example of one of the festive aspects of Mexican life. The common people of Mexico were of special
interest to him, and he helped them when they fought for improved conditions, fair wages and a better life.
Diego created an art form that was specifically Mexican, drawing strong, simple, expressive images which
were painted with bold colors. As a young man, he went to Paris to study art. While he was in Europe,
he also visited Italy and was greatly impressed by the church murals which showed various scenes, visions
and stories. When he returned to Mexico, he turned his energies to creating art in public places, making
murals rather than painting on canvas. He worked with a fury which left him exhausted, but he could
not stop the flow of creative energy which surged within his spirit. He considered murals as art for the
people - a way of telling them history in picture form.
The purpose of this lesson is to study Diego’s paintings of traditional scenes, particularily those showing
people in action. One of his techniques, used in his painting Baile en Tehuantepec, is to draw people on
diagonal lines, rather than horizontal or vertical ones. Also, introduced in this lesson is a simple and quick
method for sketching the human figure, called the ‘controlled scribble’ technique.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Discuss the cultural and artistic background of the great Mexican
artist/muralist, Diego Rivera. (Historical and Cultural Context)
• Investigate and discuss one of Diego Rivera’s paintings observing
how he depicts people in motion. (Aesthetic Valuing)
• Apply the ‘controlled scribble’ technique for sketching people. (Artistic Perception)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• A selection of reproductions of paintings and murals of Diego Rivera showing scenes of local life, work
and social conditions. Baile en Tehuantepec is a good example of a scene of traditional dancers.
14
• Reproductions or photos of paintings and murals of Diego Rivera (optional).
• Choice of pencils, black markers or oil pastels for drawing, watercolors, watercolor paper (colored pens,
crayons and regular paper are also options).
PROGRESSION:
• Present the students with some background on Diego
Rivera and show examples of his work, if available.
Discuss the bold use of color and how he drew
strong, simple, expressive images to communicate his
perceptions. The themes of many of his paintings and
figures revolve around activities of daily life, such as
working, playing and celebrating.
• Show reproductions of one or more of his painting of
people in action. Lead a discussion based on how he
used some of the elements of art, such as color, line
and space. Also, discuss the use of repetition and
rhythm in his paintings.
An example of repeated images
on the same diagonal.
• Pass out the art materials. On the board, demonstrate the ‘controlled scribble’ technique. Rather than
drawing an outline of the body, the body shape is filled in by using either parallel (straight) or overlapping
scribbles. Have a student assume a pose in front of the class while the others scribble the body position.
Ask the students to work quickly - placing their drawings on a diagonal, rather than vertical line. Direct
the students who are models to take simple, clear positions.
• Ask the students to draw one diagonal pencil line. Ask them to make several drawings of the same
figure along the same diagonal line. (See the example above.)
• Then, have them draw diagonal lines in two different directions, drawing some of the figures facing
different directions.
• Discuss the technique of putting people on diagonal lines, rather than vertical or horizontal ones. Ask
how this creates a sense of action. Discuss how repetition of line, pattern or people creates a sense of rhythm.
• Ask some students to take poses which show a traditional dance position.
They may vary the positions of their arms, legs and spine. Have the
class experiment by having some of the figures on a vertical line and
others on diagonal lines. Discuss the differences they observe.
• After the students have practiced these techniques and principles,
have them create a drawing of a folklorico scene using two or more
figures drawn on diagonal lines. A suggested technique is to draw in oil
pastels, markers or pencils and then color with watercolors or crayons.
A variation of the scribble technique.
• When the drawings/paintings are finished, ask the students to create
a title for their work and then display them as a group.
15
EXTENSIONS:
• Design a mural based on some aspect of Mexican life, a specific event in Mexican history or a traditional
celebration such as “Las Posadas” or “el Día de los Muertos.” The mural can be designed with a central
theme, then specific characters and scenes can be drawn and painted by small groups or individuals.
Research the event before the drawings are done.
• Choreograph a dance which reflects some aspect of the mural (theme, mood, colors, lines, shapes, etc.).
• Further research the work of Diego Rivera and other muralists who have shown the history of the
people through art rather than words. Share and discuss the findings.
• Research the paintings and life of artist Frieda Kahla, the wife of Diego Rivera. How are her paintings
different from those of her husband? Are there connections or similarities? If so, discuss them.
VOCABULARY: elements of design: line, shape, color, space; principles of design: repetition, rhythm (for
complete listing see Dance Glossary)
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe some of the things about the life of Diego Rivera’s life that most impressed you.
DISCUSS: Use the Discussion Questions under ‘Progression,’ bullets #1-2.
ANALYZE: Decide whether you were successful in your “controlled scribble drawings” and what you did
that made it work or not work.
CONNECT: What other kind of subjects
would you like to show in motion through a
drawing.
Danza de la Reata
Photo courtesy of Ballet Folklórico de México
16
MEXICAN VOCABULARY
CABALLEROS AND CABALLERAS:
Men and women who ride horseback.
CORRIDOS:
Songs that praise the deeds of the past.
FIESTA:
A Mexican celebration, a day of festivity.
MARIACHI:
A Mexican musical style that includes guitars,
violins and brass instruments. (See the Artsource
Unit, Natividad Cano.
RANCHERO:
A rancher.
RANCHO:
A ranch or camp.
GUELAGUETZA:
A word that means ‘offering’ in the Zapoteca
language.
RONDAS:
Circle dances, like ring-around-the-rosie.
JALISCO:
A state in Mexico known for its mariachi music and SOLDADERAS:
lively dances. Guadalajara is the capital city.
Mexican women who supported their men and
even bore arms during the Mexican Revolution.
EL JARABE TAPATIO:
More than simply women soldiers (soldadas), these
The national dance of Mexico, known in English as women followed the camps, cooked, cared for the
the Mexican Hat Dance.
ill and wounded and fought in the ranks when
necessary. They were engaged in this way during
LA BAMBA:
the Mexican Revolution and the famous battles in
A dance of love from the region of Veracruz. Young Zacatecas.
couples announce their engagement by dancing
intricate patterns, and using their feet, tie a bow in TARIMA:
a large ribbon on the floor.
A wooden platform for dancing that creates
resonant sounds from the dancers’ footwork.
LAS MUJERES:
Women.
ZACATECAS:
A state located in the heart of Mexico, famous
LOS CONCHEROS:
historically for its Austrian and French influences
The Concheros take their name from the large and for battles that took place during the Mexican
conch shell which they blow like a trumpet to begin Revolution.
their ceremonies. Practicing ancient rituals with
pre-Hispanic origins, the Concheros today also
embrace some Christian traditions.
LOS HOMBRES:
Men.
LOS HIJOS:
Children.
17
rtsource
A
The Music Center’s Study Guide
to the Performing Arts
A Project of the
Music Center
®
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in the event of a loss resulting from litigation.
Introduction
A RTSOURCE ®: T HE M USIC C ENTER’ S S TUDY G UIDE
TO THE
P ERFORMING A RTS
Artsource® highlights works of art and artists of stature from diverse cultures.
It represents early to contemporary art forms in the disciplines of
dance, music and theatre
and complements the programs and performances
of the Music Center’s resident companies and artist roster.
The arts are ancient, enduring and universal forms of communication.
Artists present their perceptions, reflections, and points of view which
influence, and are influenced by, the culture and period of time in which they exist.
Artsource Contributors
®
Project Director
Melinda Williams
Project Coordinator
Susan Cambigue-Tracey
Writers:
Dance
Susan Cambigue-Tracey
Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,
Barbara Leonard, Melinda Williams
Music
Rosemarie Cook-Glover
Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,
Connie Hood, Annette Simons, Marilyn Wulliger,
Diana Zaslove, John Zeretzke
Theatre
Barbara Leonard
Kathryn Johnson
Technical Production donated by
Layout and Logo* Design
Paul Tracey
Maureen Erbe Design
*Received the LULU AWARD for excellence in graphic design and advertising,
sponsored by the Los Angeles Advertising Women (LAAW)
Additional Artwork & Artsource® Logo Graphic
H. P. Law & Partners
The Music Center of Los Angeles County wishes to thank
the artists featured in this publication for their outstanding artistry and
their generosity in allowing us to share their creative spirit
in the classroom.
Sincere appreciation is also extended to the members of the Center’s
Board of Directors and Education Council for their guidance in developing
these resource materials,
Music Center volunteers for their help in organizing, proofing and editing
Artsource® units; the professionals who provided field review;
and the dedicated teachers who tested the
Artsource® units in their classrooms.
Mark Slavkin
Vice President for Education
Melinda Williams
Director of Education