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Home My WebLink About2014-319 Arts - Estes Hills Elementary School PTA for Spring 2014 Arts Grant Agreement $1,000 C a � �� j I�■� �r ORANGE COUNTY ARTS COMMISSION _ v RANGE COUNTY b R Y 5 SPRING,2014 GRANT AGREEMENT COMMISSIOR o 0 n THIS AGREEMENT, entered into this 16th day of June, 2014, by and between Orange ColintX ("County"), by and through the Orange County Arts Commission("Arts Commission") and Estes Hills Elementary School PTA("Grant Recipient"). WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of local arts experiences by providing funding and support for diverse high quality programs and proj ects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizavons coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission �,Oh funds from the Grassroots Program of the North Carolina Arts Council, an agency of the Department of Cultural Resources and the National Endowment for the Arts. WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the Spring Arts Grant through the procedures duly adopted by the Arts Commission; and WHEREAS, both parties wish to promote and maintain the integrity and clarity of the Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the County; NOW, THEREFORE, the County and the Grant Recipient, for the consideration and under the conditions hereinafter set forth, agree as follows: 1. Approved Grant Project. Grant funds are provided under this Agreement for the project ("Project") described in the Grant Recipient's Grant Application, attached hereto and incorporated herein as Exhibit A. 2. Grant Award. Grant funds in an amount not to exceed one thousand dollars ($1,000) have been awarded by the Arts Commission to the Grant Recipient for the appro-ed Project. These funds must be matched at least dollar-for-dollar with cash from the Grant Recipient's funds not derived from either Orange County appropriations or the North Carolina Arts Council. 3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots Program funding to the Arts Commission. Final decisions on Grassroots Program funds to the North Carolina Arts Council are subject to approval by the North Carolina General Assembly. 4. Responsibilities of the Grant Recipient 1 Revised May 2012 A. Implementation. The Project implementation shall take place between JulN 1, 2014 and June 30, 2015. The Project shall be implemented in the manner described in Exhibit A. Time is of the essence in the implementation of the Project. B. Modifications to project. Grant Recipient shall present major changes to the original proposal, including but not limited to changes in design, implementati011 schedule and increase in Project budget by more than 10%, in writing, to the A rt s Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt the-col'. Consent to project modifications shall not be unreasonably withheld. Arts Commission's decisions shall be in writing. In the event the Arts Commission fails to approve or disapprove the requested modifications within the time stated herein,the modifications shall be deemed approved. C. Non—assignment. The grant cannot be assigned or transferred to a different project or artist without prior written approval of the Arts Commission. D. Records. Grant Recipient must maintain records and other evidence pertaining; to costs incurred and revenues acquired during the Project implementation. Grant Recipient shall maintain financial records pertaining to the Project for three (3) years from the date of this Agreement, in case of audit. E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding taxes or other debts of any nature. The grants shall be utilized solely for the purpose of implementing the Project and Project related expenses. F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Rer)ort on July 6, 2015 . The Final Report shall be in the format required by the North Carolina Arts Council. Failure to submit the Final Report or late submission of the Final Report, for any reason, shall be grounds for denial and/or cancellation of grant funds for the Project and future grant proposals. 5. Responsibilities of the Arts Commission A. Payment. The Arts Commission shall release the grant funds in the amount o f $1,000 to the Grant Recipient. 6. Publicity A. Acknowled ement. Credit must be given to the Orange County Arts Commission using the Arts Commission logo and if State funds are received to the North Carolina Grassroots Program in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. When no printed intbrmation is used, verbal credit shall be given. In addition, all print and promotional material must include the following credit line (check all that apply): 2 Revised May 2012 i. County Funds Only. "This program is supported by the Orange County Arts Commission. " ii. x North Carolina Arts Council Funding. "This program is supported by Me Orange County Arts Commission with funds from the Grassroots Program o/ the North Carolina Arts Council, a state agency. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on the ExploreChape1Hi11ARTS.com website and display ExploreChapelHilIARTS.com publicity materials (postcards, brochures, etc.) prominently and consistently at their venue or performance space. In addition, the Grant Recipient must add a link to the ExploreChapelHillARTS.com (ExploreChapelHillARTS.com logo preferrcd) to their main webpage. The Grant Recipient shall contact the Orange County /�rt s Commission for replacement ExploreChapelHillARTS.com publicity materials. 7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the Arts Commission and the North Carolina Arts Council and their officers ands employees from any and all claims or actual injury, damage or loss to a person, or real or personal property that results from or is in any way connected to the use of the grant fiunds. 8. Independent Contractor. The Grant Recipient is an independent contractor and not an employee, agent or other representative of the County and/or the Arts Commission. Nothing contained in this Agreement shall be construed to create the relationship of principal and agent, or employer and employee, between Grant Recipient and Arts Commission or Orange County Government. Grant Recipient understands and agrees that he/she is not authorized to incur any expenses or any liability whatsoever on behal f of the County or the Arts Commission and has no authority, expressed or implied., to obligate or make representations on behalf of the County or the Arts Commission. In addition, Grant Recipient agrees to maintain his or her own worker's compensation insurance for himself/herself and his or her employees for the duration of the art work's installation. 9. Termination A. In the event of any of the circumstances set forth below(hereinafter referred to as "default"), the Arts Commission may immediately terminate this Agreement: (i) Any fraudulent representation in any verification required. to obtain payment under this Agreement or other dishonesty on a material matter relating to the performance of services under this Agreement. (ii) Nonperformance, incomplete service or performance, or failure to satisfactorily perform any part of the Project or to comply with any provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised May 2012 (iii) Failure to adhere to the terms of applicable county, state or federal law;, regulations, or stated public policy. B. In the event of default by the Grant Recipient, the Arts Commission has the discretion to elect to terminate this Agreement, in whole or in part and/or require the Grant Recipient to repay the grant funds within seven (7) from written notice of default or allow the grant recipient the opportunity to cure the default. This clause shall not be interpreted to limit the County's or the Arts Commission's remedies in law or in equity. 10. Miscellaneous. A. Entire Agreement. This Agreement and the attachments contain the final and entire understanding of the parties with respect to the subject matter of this Agreement. All modifications and amendments to this Agreement shall be in writing. This Agreement shall be binding upon the parties, their heirs, successors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the hi"s of the State of North Carolina and the Orange County. IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant Agreement, effective on the last date this Agreement is signed by both parties as indicated by the dates set forth under signatures below. For and on behalf of the Grant Recipient Estes Hills Elementary School PTA Date For and on behalf of Orange County Government Frmtk W. , County Manager Date For and on behalf of Ora a County Arts Commission/approved as to technical content Steve Brantley,Economic IT lopment Director Date As orm and legal sufficiency ore, Staff Attorney Date 4 Revised May 2012 This instrument has been pre-audited in the manner required by the Local Government Budget and Fiscal Control Act ua'� A Clarence G. Grier,Administrative and Financial Services Date 5 Revised May 2012 I I, ♦ --�♦ Arts in Education Grant - Spring 2014- 15 Application Form ORANGE COUNTY ARTS Orange County Arts Commission COMMISSION Promoting the artistic and cultural development of Orange County, North Carolina Evaluation Criteria • Artistic merit of program. • Populations served—impact for geographic& traditionally under-served populations. • Feasibility of proposed activity & effectiveness in providing high-impact arts experiences in schoo s • Cooperation between schools and artists. • Evidence of feasibility of program, community support, and responsiveness to community needs. • Integration of arts program into grade-level appropriate curriculum. 1 Applicant Information Applicant Name Estes Hills Elementary School PTA Mailing Address 500 Estes Drive,Chapel Hill NC 27514 Daytime Phone 919-942-4753 Fax Number 919-969-2475 Email Address courtneysnooks @yahoo com Web Site www.chccs.kl2.nc:/estes Project Director Meredith Lassiter Title Cultural Enrichment Chair DUNS Number 109143768 2 Project Director Information Project Director Home Address 5 Tupelo Lane Chapel Hill NC 27514 Daytime Phone 919-259-8873 Evening Phone 919-259-8873 Email Address iowameredithc5-yahoo.com 3 Grant Request Summary Arts Program Grant Request $1,000.00 Total Cash Match $3,270.00 Total Organizational Budget 2012-2013 $3,721.00 (PTA/Cultural Enrichment 2013-2014 $3,289.00 Committee/Arts Program) 2014-2015 $3,735.00 Summary Statement for Proposed Uses of Arts in Education Grant We will use the grant to fund a portion of the artists' fees for four performances during the 2014-2015 school year: Orchid Ensemble (October 1, 2014/$850 for one performance for 3rd-5th grade); North Carolina Youth Tap Ensemble (November 18 20141$1,400 for two performances one for K-2"d & one for 3rd 5th). Bright Star Children s Theatre (February 9 2015/$575 for one performance for K-2"d); and Hobey Ford (March 11, 2015/$'1445 for two performances one for K-2"d&one for 3rd:5 Questions? Call us at(919) 968-2011 • Deliver Application to. 501 West Franklin Street, Chapel Hrl! NC s NARRATIVE SCHOOL PROFILE Founded in 1958, Estes Hills Elementary School is one of the oldest schools in the Chapel Hill-Carrboro City Schools district. Estes Hills is a neighborhood school in the truest sense, as many students from the surrounding homes walk or bike to school every day. This proximity to the nearby neighborhoods results in a high level of parental involvement in the school. In the current academic year (2013-2014), Estes Hills Elementary serves 507 children from kindergarten through fifth grade. The school has 22 traditional classrooms, and offers programs in Exceptional Education, Gifted Education, and English as a Second Language. Estes Hills also provides "specials" instruction in French, Art, Music, and Physical Education. Last year a Head Start pre-school program was added to the campus and it currently serves 13 children. Our student body is fairly evenly divided along gender lines (283 Male / 224 Female), and has a diverse racial composition: White (59%), Hispanic (14%), Black (13%), Asian (7%), and Multi-Racial (5%). For the 2014-2015 academic year, we anticipate a similarly structured study body. SCHOOL ARTS PROGRAMS • Estes Hills offers Art and Music instruction in accordance with the North Carolina Standard Course of Study for elementary school students, with a full-time professional in each "specials" discipline: Art, Music, and Physical Education (which incorporates Dance). • The volunteers leading the PTA's Cultural Enrichment Committee promote the cultural arts in education by bringing professional artists to perform at our school. During 2013-2014, the following performers visited Estes Hills Elementary School: Project Trio presented two performances, one for the K-2nd and one for the 3rd_5th grades. Project Trio, a passionate, high-energy chamber music ensemble comprised of three virtuosic composer/performers from Brooklyn, New York, brought instrumental music fused with hip-hop, rock, and pop to our school. Project Trio took our students on a journey through multiple genres and styles of music, including classical, jazz, rock, salsa, hip-hop, as well as their own original music. The group also encouraged full audience participation at various times throughout their shows. Felix Pitre performed twice, once for the K-2nd grade students and once for the 3rd- 5th grade students. Mr. Pitre presented his original work, "Stories & Songs of Latin America," during which he shared many of the Hispanic traditions that were passed down to him from his own family, bringing to life the culture of Latin America with puppetry, stories, songs, instruments, and dance. In his finale, audience members played Latin American percussion instruments as everyone joined in the Cuban favorite, Guantanamera. Li Liu brought her show "Traditions of Chinese Acrobatics" to grades K-2"d. Ms. Liu has dedicated her life to training and performing acrobatic skills all over the world, starting at the young age of six. Her performance included hand balancing, plate spinning, trick cycling, foot juggling, ribbon dancing and Chinese water bowl manipulation, while touching on various aspects of Chinese language, geography, and culture. During her show, students got a hands-on shot at trying some of the easier skills such as ribbon dancing and basic plate spinning. They also learned the Estes Hills Elementary School, Page 1 of 3 historical significance of traditional lion and dragon dances and were encouraged to think about what it might have been like to grow up in a different time and place. Bright Star presented the play "Lincoln and Tubman" to students in grades 3rd In this production, Abraham Lincoln and Harriet Tubman came together to share their roles in ending slavery in America and conveyed to the audience the importance of education. Bright Star's production delved into the childhoods of these two remarkable figures and recreated key moments and events that shaped bcth of their lives. The show celebrated the many contributions of these two heroic Ame,icans. During 2012-2013, the following performers visited Estes Hills Elementary School: Bright Star performed for our K-2nd grade students, bringing the stories of Johnrly Appleseed, Daniel Boone, and Paul Bunyan to life by combining traditional American Tall Tales with toe-tapping, old fashioned, southern style bluegrass music for an upbeat production that had our students fully engaged. Hobey Ford performed his "Migration" story twice, once for our K-2nd grades and once for our 3rd-5th grades. In his original story, Mr. Ford told about a Mexican girl named Beatriz ("traveler") and her family's migration from their home near Mexico City to the United States using realistic puppets that served to bring his story to life. Donna Washington —A vibrant, dynamic storyteller, Ms. Washington perfcrmed one show for our 3rd-5th graders using her incredible vocal pyrotechnics, dramatic facial expressions, and energetic physicality to make her stories come to life while at the same time conveying life lessons through her narratives. Jabali African Acrobats —The Jabali African Acrobats from Mombasa, Kenya performed two shows at our school, one for our K-2nd grades and one for our 3`d-5th grades. Making use of acrobatics, contortions, tumbling, human pyramids, chair balancing skills, and dance, they amazed our students and kept them on the edge of their seats, while exemplifying the link between athletics and the arts. During the 2011-12 school year, our students enjoyed the following performances: Transactors Improv performed a "Back To School" themed improvisational show for our 3rd-5th grades. The oldest active improvisational group in the South, Transactors Improv focused on emotion, physicality, character, commitment, teamwork, and fun. Doug Berky used storytelling styles from diverse cultures in his presentations at OLAr school. Mr. Berky made use of masks, mime, inventive costumes, and puppetry to introduce our students to a collection of wisdom stories from around the world. David Gonzalez presented "Cuentos —Tales from the Latino World," creating a vivid and captivating picture of the people and rich cultures of the Spanish-speaking world with colorful tales from the Caribbean, South America, and the Bronx. Farmer Jason presented a concert of sing-alongs and good-time songs for OLAr students. In his performances, Farmer Jason transformed family music, pulling from his own musical journey that pioneers the fusion of punk rock and country. Estes Hills Elementary School, Page 2 o* 3 PROPOSED USES OF GRANT FUNDS Over the past few years, income to our PTA and thus the Cultural Enrichment budget has decreased. This has been due in part to the nationwide economic downturn and in part to the closing of the Carrboro branch of the PTA Thrift Shop during construction of an entirely new building. While that building is now complete, operations are just beginning and fundraising to pay for the building remains ongoing. Thus, the Thrift Shop is still unable to provide district PTAs with the sustaining funds that they have provided in the past. As a result, grant funds are greatly needed and appreciated in order to provide our students with cultural opportunities that they otherwise might not experience. The Estes Hills PTA Cultural Enrichment Committee plans to use the grant to help fund four shows during the 2014-2015 school year. Performances will take place in the gymnasium during the regular school day, to best utilize the students' time and the committee's budget. For space considerations and developmental reasons, we divide the audience into two age groups consisting of the younger students (kindergarten through 2nd grade) and the older students (3rd grade through 5th grade). The 2014-2015 performances will be: Orchid Ensemble — On October 1St, 2014, The Orchid Ensemble will present one show, for grades 3rd-5th Featuring instruments, music, and stories from China, the Orchid Ensemble serves to promote a greater understanding of Asian culture. The Orchid Ensemble encourages student participation during their performance, drawing their audience into an exploration of Asian culture. Furthermore, using a combination of instruments and traditions from Asia as well as from the west, the ensemble also promotes cross-cultural collaboration. North Carolina Youth Tap Ensemble — On November 18th, 2014, the North Carolina Youth Tap Ensemble (NCYTE) will be performing twice, once for students in grades K- 2nd and once for students in grades 3rd-5th. The NCYTE offers non-stop percussive dance using a unique mix of vocals, pencil drumming, beat boxing, body percussion, and Taiko drumming, while incorporating stories, history, and facts about the various musical forms that they present into their performances. The troupe is made up of professional level dancers ages 8 through 18 years old. Bright Star Children's Theatre — On February 9th, 2015, Bright Star Children's Theatre will present "Aesop's Fables" in one performance for our younger students, in grades K- 2nd Entering their twelfth season, Bright Star is a North Carolina group based in Asheville. Their shows often use only two actors, each of whom can perform multiple roles in a play as needed. Bright Star's interpretation of Aesop's Fables is a fast-paced, high-energy production that includes favorites such as "The Fox and the Grapes," "The Tortoise and the Hare," "The Boy Who Cried Wolf," and "The Lion and the Mouse." Hobey Ford's Golden Rod Puppets — On March 11th, 2015, Hobey Ford's Golden Rod Puppets will perform two shows, one for students in grades K-2nd and one for students in grades 3�d-5th. Mr. Ford will be performing "Animalia," a show that explores the diversity of the animal kingdom. Mr. Ford's "Foamies," puppets carved from large blocks of foam that use intricate mechanical designs and details which give each puppet realistic movements, allow him to break out of the traditional puppet theater booth and turn the entire theater into a performance stage. Mr. Ford is skilled at creating a seamless, magical and hypnotic dance between the audience, the puppeteer, the life-like puppets, and his original artistic scenery. Estes Hills Elementary School, Page 3 of 3 ` � J�/ 2014-15 Arts in Education Application — Page Three G ORANGE COUNTY ARTS COMMISSION - Financial Information Please provide a projected budget for your proposed project utilizing the format below. Project Expenses Cash = Grant Amount + Applicant Expenses Requested Cash Match A Personnel Administrative staff Artistic staff Technical/Production staff B Outside Fees and Services Artistic contracts _$4,270 —$1,000 --$3,270___ Other contracts: C Space Rental D Travel E Marketing F Remaining Project Expenses G Total Cash Expenses _$4,270 = _$1,000 + _$3,270___ Project Income Cash Income A Admissions B Contracted Services Revenue C Other Revenue(specify) D Private Support Corporate support Foundation support Other private support E Government Support Federal State/regional(not including this request) Local (not including this request) F Applicant Cash —$3,270 G Grant Amount Requested —$1,000 in this application H Total Cash Income —$4,270 (must equal Total Cash Expenses, Item G above) 2014-15 Arts in Education Application — Page Four ORANGE COUNTY ARTS COMMISSION Signatures Signature of Project Director Date Meredith Lassiter Typed or Printed Name – Project Director r r 2 Signature of Authorizing Official date Courtney Limerick Typed or Printed Name – Authorizing Official INCOMPLETE APPLICATIONS WILL NOT BE FUNDED Estes Hills Elementary School 2013 — 2014 Enrollment by Grade, Ethnicity, Gender KINDERGARTEN FOURTH GRADE Male Female Male Female White 18 25 White 29 213 Black 4 7 Black 8 �? Hispanic 10 4 Hispanic 9 6 Asian 6 0 Asian 3 2 Native American 0 0 Native American 0 Q Multi Racial 2 2 Multi Racial 3 12 Total 140 138 1 1 Total 152 3) FIRST GRADE FIFTH GRADE Male Female Male Female White 30 15 White 35 2 7 Black 8 3 Black 6 4 Hispanic 14 15 Hispanic 4 1'1 Asian 2 2 Asian 2 'l Native American 0 0 Native American 0 0 Multi Racial 1 1 Multi Racial 3 3 Total 56 24 Total 50 47 SECOND GRADE ALL GRADES Male Female Male Female White 20 20 White 162 139 Black 5 5 Black 39 26 Hispanic 4 5 Hispanic 39 33 Asian 4 2 Asian 22 11 Native American 0 0 Native American 0 0 I Multi Racial 1 3 Multi Racial 13 '14 { Total 1 35 136 J Total 283 1 224 THIRD GRADE Male Female White 30 29 Black 8 5 Hispanic 5 4 Asian 5 4 Native American 0 0 Multi Racial 3 0 Total 51 43 ESTES HILLS ELEMENARY PTA ORGANIZATIONAL BUDGET 2008-2009 Cultural Enrichment Committee $ 4,500.00 2009-2010 Cultural Enrichment Committee $ 4,500.00 2010-2011 Cultural Enrichment Committee $ 5,075.00 2011-2012 Cultural Enrichment Committee $ 4,649.00 2012-2013 Cultural Enrichment Committee $ 3,721.00 2013-2014 Cultural Enrichment Committee $ 3,289.00 2014-2015 Cultural Enrichment Committee $ 3,735.00 ESTES HILLS ELEMENTARY SCHOOL ART AND MUSIC STAFF 2013-2014 Art Instructor: Michele Nelson (919) 942-4753 ext. 30263 mailto:mnelsonaa chccs.k12.nc.us Music Instructor: Joy Harrell (919) 942-4753 ext. 30269 mailto:jharrell @chccs.k12.nc.us Physical Education Instructor: Melissa Pearce (919) 942-4753 ext. 30271 mailto:mpearce @chccs.kl2.nc.us ESTES HILLS ELEMENTARY PTA BOARD CONTACT LIST 2013-2014 PTA Parent President Courtney Limerick 112 Summerlin Drive Chapel Hill, NC 27514 mailto:courtneysnooks@yahoo.com PTA Faculty President Kris Swanson 919-942-4753, extension 30258 mailto:kswanson(a)-chccs.k12.nc.us PTA Treasurer Jennifer Woods 430 Lakeshore Lane Chapel Hill, NC 27514 mailto:jennwoos a@yahoo.com PTA Secretary Annette Murray 106 Saddle Ridge Road Chapel Hill, NC 27514 mailto:annettemurray @ hotmaii.com Cultural Enrichment Meredith Lassiter Chair 5 Tupelo Lane Chapel Hill, NC 27514 mailto:iowameredith a�yahoo.com ARTIST CONTACT LIST Orchid Ensemble 1957 Venables Street Vancouver, BC V5L 2H9 Canada Phone: 1-604-255-2357 Fax: 1-604-255-2317 Email: Lan Tung lantung(corchidensemble.com Jonathan Bernard ibLcr_,orchidensemble.com http://www.orchidensemble.com North Carolina Youth Tap Ensemble Gene Medler, Artistic Director 1603 East Franklin Street Chapel Hill, NC 27514 Phone: 919-967-9624 hftp://www.ncyte.org Email: info ,loydartists.com Phone: 800-476-6240 (Loyd Artists) hftp://www.loydartists.com Bright Star Children's Theatre 565 Long Shoals Road, Suite 204 Arden, NC 28704 Phone: 336-558-7360 Email: David Ostergaard, Founder d avid Ca),,brig htstartheatre.com hftp://brightstartheatre.com Hobey Ford c/o Loyd Artists 126 Worley Cove Road Leicester, NC 28748 Phone: 828-683-1997 (Peggy Baldwin) Email: info[a@loydartists.corn http://hobeyford.com ARTISTS' RESUMES Home I I 'Music I Calendar I Educational Programs I Special Projects I Press i Downloads I Video I Contar r s I Home Musicians \tiIsk-i'ilis Chinese bio'PXf 1i French bio Lan Tung Crossing between Canada's new music,improvised music and world music scenes, Lan i,,ttie artistic director of the Orchid Ensemble,and at the same time a composer and concert producer c)rginally from Taiwan and trained extensively in Chinese music, Lan enjoys taking culturally specific rrateria s outside its context,fusing together various styles.Trained at Taiwan's Chinese Cultural University, _yr went on to study with erhu virtuosi Jiebing Chen in San Francisco and Zhang Funming in Beijing, -u o ,stani violinist Kala Ramnath in Bombay, Egyptian violinist Dr.Alfred Gamil in Cairo,and Uyghur fiddh} rrit.s( with Abdukerim Osman in western China in Urumqi. Lan has studied graphic score with Barre C 1'v in Switzerland and improvisation with Mary Oliver in Amsterdam.At the Vancouver Cre ct V• '11usiC Institute(2007-2009),she has studied and performed with such luminaries as Han Berl r�. (Holland), Barry Guy, Evan Parker,John Butcher(UK), Francois Houle, Paul Plimley(Canada). Lan has premiered numeours contemporary works and performed as a solo st with Orchestre Metropolitain,Symphony Nova Scotia,Turning Point Ensemble,Atlas Ens, I hl,-, Little Giant Chinese Chamber Orchestra, Nanjing Jazz Festival Orchestra at pretig ous venues i, is Sibelius Academy Concert Hall (Helsinki), Muziekgebouw(Amsterdam), Place des Arts(Montreal e Chan Centre for the Performing Arts(Vancouver),and National Concert Hall (Taipei). Lan hF, _)tfc;rmed with Magpie Music&Dance Company in Amsterdam,Xu Fengxia in Germany, Hossam c K('r in Egypt, and appeared as a guest with Huun Huur Tu (Tuva), Baka Beyond(UK), Khac Chi Ense -re (Vietnam) and Bill Bourne at fesitvals across Canada. Lan also performs Proliferasian,Tandava, Birds of Paradox, Mozaico Flamenco Dance Theatre, i tr e Vancouver Inter-Cultural Orchestra. (photo:Art Inman) Erhu erhu history compose for the erhu r Originated in Central Asia and introduced to China more than one thousand years ago,the erhu belongs to the large family of 1' stick fiddles that are found in many countries.The erhu is played while held on the lap.Its two strings are tuned to a fifth,with the bow placed between them.The erhu has no fingerboard.The player places the fingers on the strings without pressing them against the wood beck,giving the flaxibility to apply different degrees of pressure on the strings to alter the tone.The erhu is usually made of ebony,sandalwood or rosewood,with a snakeskin resonator.The folk versions vary in the shapes and materials of the sound boxes.A popular instrument in solo and ensemble music,erhu's expressive sound resembles the human voice and is deeply rooted in the vocal traditions. Yu-Chen Wang Yu-Chen graduated from Taiwan's Tainan National University of the Arts,where she studied the zheng with Dong-He Ling and Hao-Yin Huang and composition with Siao-Wun Jhuang and Chao-Ming Tung. Performing with precision and astonishing technique,Yu-Chen has premiered numerous contemporary works by many ground breaking composers in Asia and North America. Her own compositions blend western classical and Chinese traditional music and place the zheng in combinations of unconventional instrumentations. Yu-Chen has appeared as a soloist with the National Chinese Orchestra,the Kaohsiung City Chinese Orchestra,and the Tainan National University Chinese Orchestra. She has performed many solo recitals and has toured in Germany with the Little Giant Chinese Chamber Orchestra.Yu-Chen was recently a guest artist with Kansas City's newEar contemporary chamber ensemble, UMKC Music Nova. She is a member of Compost Q,which performs improvised music across the U.S. Yu-Chen has won numerous awards:the Gold Prize at the"Golden Lotus"International Youth Music Competition in Macau,a three-time First Prize winner at the Taiwan National Music Competition,First Prize at the Chinese Musical Instrument Association's Competition,and the winner of the Taiwan Young Concert Artist Competition. Zheng The zheng is a plucked half-tube wood zither with movable bridges,over which a number of strings are stretched.The parent instrument of the Asian long zither family,the history of the zheng can be traced back to more than 2500 years ago. While the ancient zheng had 12 or 13 silk strings, modern instruments usually have 16, 21 or 25 strings,constructed of metal,or steel wound with nylon.It is traditionally tuned to an anhemitonic pentatonic scale, but many modern scales range from combinations of different pentatonic scales,to diatonic and semi-chromatic scales. Jonathan Bernard Jonathan combines his background in Western percussion with a fascination for Asian traditions to create a unique sound palette, incorporating a myriad of instruments,techniques and styles. His interests span from orchestral music to contemporary chamber music to World Music. Having premiered over 70 compositions,Jonathan performs with Orchid Ensemble,Tandava,Vancouver New Music, Fringe Percussion,Turning Point Ensemble,and has performed with numerous orchestras including Vancouver, Victoria,Ottawa, National Ballet,CBC Radio Orchestras,and Vancouver Inter-Cultural Orchestra. Jonathan is the principal percussionist with the Vancouver Island Symphony,and he has performed as soloist in Tan Dun's Water Concerto in April 2011. He studied traditional and contemporary Chinese percussion in Beijing,Arabic percussion in Cairo,Carnatic rhythm in South India,and Flamenco compas in Spain,with the support of the Canada Council for the Arts and the BC Arts Council.Jonathan has toured in North America, Europe,and Japan. (photo:Nenad Stevanovic) Marimba The marimba is a wooden keyboard percussion instrument, tuned chromatically. The modern marimba was developed by Japanese and American builders based on the Hispanic-American traditional marimba. However, marimbas originated in Africa hundreds of years ago and were imported to South America in the sixteenth century. Modern uses of the marimba include solo performances and various chamber and orchestral settings. Contemporary composers have utilized the unique sound of the marimba more and more in recent years. Other mallet percussion instruments similar to the marimba includes vibraphone and xylophone. • Administrator • Login oinousnaIg peuaN Aq sojo4d o1gwasua lvw- r, mC W8 + � � � �.; " NJ n o n c -- 'm Cg[(A� ��y ppp z y ° y m Ca 'sT ffi.f8 it g 'yN a =V 70 R@ L°A �nC9S� g $:ma�i76SdE W�V�m ¢si E 8 �ciaD8 s z IN 7e: z; �m4e� .2 T y §_ WO 3 5N- VTC N su+i Si 4.fill rs_ 4 OF- { si 0:5a ° r �"`� � 8`- , u= R-1 !as fit N I �'� �rdut!F'�"i� �i � ��°., ' -�, �, � si n�&� - "k �.to i€•, gds I Oil oll icy Q� Ws q®p Wq +�■y! L¢ 0, tp T M� f � tl -Y4 � ••s' � 'i AAR' .: 9 xtl AR 104 its! WON' 0 u 67 c £ a ate." w c v - w•h C z 9 a SW y l..aG� �gp ..gSS22e Je� � e i 0 V' '':, j .E�' ':-,. � s h `,r North Carolina Youth Tap Ensemble Founded by JUBA award winning artistic director Gene Medler in 1983, The North Carolina Youth Tap Ensemble (NCYTE) entertains audiences with cutting-edge contemporary choreography along with traditional tap as it was danced in its prime. NCYTE is not your average youth dance ensemble; in fact it is not your average dance company at all. Imagine Stomp, Riverdance, Vaudeville, Fred Astaire and Bring In Da Noise all on the same bill -that's NCYTE! The style of percussive dances includes South African Gumboot, sand dancing, buck, a salute to vaudeville, body percussion, jazz and much i Photo -Cerl more.The music featured may be Blind Boy Fuller, Brubeck or Mozart. This non-stop percussive dance review is a trip through time and into the future of an American art form. The list of choreographers reads like a "Who's Who"in the tap world, including Michelle Dorrance, Brenda Buffalino, and the legendary Savion Glover. The company has toured or collaborated with the Greensboro Symphony, Squirrel Nut Zippers, Mallarme Chamber Players, the North Carolina Jazz Repertory Orchestra and many jazz musicians around the nation and world. They have toured internationally, performing in Rio de Janeiro, Vienna, Berlin, Heidelberg and Helsinki. NCYTE appears annually at the two largest tap festivals in the US, New York City Tap Festival and The Chicago Human Rhythm Project. Rhythm...funk...innovation...excitement: that's the North Carolina Youth Tap Ensemble. One of the best youth tap ensembles in the world, NCYTE features 40 dancers, ages 8 to 18,who hail from throughout North Carolina. Don't let the word "youth"fool you. These dancers tear up the floor with poise, passion and professionalism. NCYTE honors the traditions of this unique American form while infusing it with youthful energy, contemporary music, and innovative dances from some of the world's most talented choreographers. Photo Credit:Denise Cerniglia Rhythm...funk...innovation...excitement: that's the North Carolina Youth Tap Ensemble ( CYTE) . One of the best youth tap ensembles in the world, CYTE features 40 dancers, ages 8 to 18, who hail from throughout North Carolina. Don't let the word "youth" is fool you. These dancers tear up the floor with poe, passion and professionalism. "THE NORTH CAROLINA x f 1 39 YOUTH is one of the best percussive dance ensembles in the world-period. They dance with ferocity,technical virtuosity and maturity beyond their years which is a testament to the visionary leadership of Gene Medle Lane Alexander,Founder and Artistic Director,Chicago Rhythm Proji Founded by JUBA award winning artistic director Gen Medler in 1983, NCYTE honors the traditions of tap, abaft— fG' µ' t r uniquely American form, while infusing it with youthfi energy and contemporary music. The company perforn innovative dances from some of the world's most talente choreographers including Savion Glover and Michell Dorrance. NCYTE has toured throughout the U.S. and tt world, with performances in Austria, Brazi i ada, Chins Finland, Germany and Mexico. IINCYTE has that irrepressible ex losive ss of youth — so pure and honest. Y Yet they are technically adept,true to the integrity of the music and move with ensemble precision. Does anyone have a better time dancing?i don't think s ." ` - Linda Gelans(former dance critic, The News and Observer,Raleigh, NO �r CORPORATE EVENTS i _ •• • SCHOOL SHOWS * THEATER JPERFI) a FOR MORE INFORMATION LIKE US FOR BODING,CONTACT OY LOYD ARTISTS NORTH CAROLINA �'bydartists com ._._ n rice c ,. ._� . ■ RWW■anI'Iw W■ t ■.■ail'� Y■ ■■■b ■aW■a■II Lf1/\WI.IIV" ■WWI I■ ■"I 6■aw`■'Ilri■. , X2 GOOD VIBRATIONS This dynamic two-hour show offers a fast-paced performance emphasizing cutting edge choreography alongside traditional rhythm tap. Audiences enjoy a diverse show which includes live singing and Taiko drumming. The music ranges from Vivaldi to Fiona Apple to Old Crow Medicine Show. Dance styles include buck, body percussion, and jazz as well as pieces influenced by Broadway and hip-hop. TAPPING THE BLUES Enjoy the Good Vibrations show (described above) with the additional bonus of legendary blues musicians. This show emphasizes the roots of rhythm tap, as this dance form and blues music evolved hand in hand. Two renowned Music Maker Relief Foundation blues artists share the stage with NCYTE dancers, showing how the classics continue to be reinvented. PERCUSSIVE DANCE REVUE This informative 45-minute show brings the audience into the world of percussive dance. The performance features historically and geographically diverse dances including traditional rhythm tap, South African gumboot, Irish step dance, plus much more. The show—which can be tailored to a specific curriculum or needs of the educational institution—includes stories and history about the dances presented. An extensive study guide accompanies this educational concert which is appropriate for elementary, middle and high school. VENUES E CYTE HAS PERFORMED CE TLY INCLUDE., The John F. Kennedy Center for the Performing Arts, Washington, DC Symphony Space, New York, NY L MR Charlotte Country Day School, Charlotte, NC The Carolina Theatre, Durham, N( The ArtsCenter, Carrboro, NC Martin Middle School, Raleigh, NC St. Thomas More Catholic School, Chapel NIII, NC CORPORATE EVENTS 0 SCHOOL SHOWS 9THEATER PERFORMANCE FOR BOa(IR,CONTACT FOR MORE INFORMATION LIKE US Lo*y LOYD ARTISTS 111111111111 _ w_levdartiskam _Our History Welcome to Bright Star Touring Theatre!Our upcoming season(2014-15)marks our 12th anniversary of providing professional theatre to young audiences!This year we are touring from California to North Carolina, Florida to Massachusetts and all states in between expecting to provide more than 1000 performances to young audiences in nearly every imaginable venue.We have actors joining us from across the nation,thirteen brand new shows and we are thrilled to welcome our westward expansion. Bright Star Touring Theatre was launched to provide high `�dE � caliber, professional theatre at an affordable and all-inclusive price.Our objective has long been to make theatre as accessible as possible—and to reach as many young people as we could, a commitment we proudly stand by today. Our season is comprised of literary, curriculum-and a character-education based classics that are as entertaining as they are educational. From historical productions like Heroes of the Underground Railroad to character-education based works like The Lady of Bullyburg and Sadie's Spectacular Saturday, Bright Star offers something for everyone. In fact,this year we have over forty different productions hitting the road with our season including puppet, science, anti-bullying and so much more! The founder of Bright Star Touring Theatre, David Ostergaard, is no stranger to the theatre world.Committed to professionalism, he has assembled a talented and dedicated team of actors,directors and designers. He's an Emmy winning actor who's work has been seen at Cannes F iIm Festival,the Showtime Network in the Academy Award winning short-Two Soldiers and much more. We look forward to working with you and adding your venue to our ever-growing list of satisfied supporters. Connect with us today aboia winging professional theatre to your young audience! 66 'ft omdixton vms . ca abe die and-- le Midway fId'[fCntWfn' R mare from our fans> Winner of puppetry's highest honor,the UNIMA Citation of Excellence, and recipient of three Jim Henson Foundation grants, Hobey Ford is known for excellence in puppetry performance and craft. Hobey's intricate shadow puppetry work and creation of the original rod puppets,the"Foamies", have earned him a place on stages across the world. Hobey's performances incorporate a variety of puppetry styles including Bunraku, rod, marionettes, "Foamies",and shadow puppetry. Hobey adapts folk tales from various cultures for many of his performances,always adding a special"Golden Rod"twist. He uses his own voice to create characters and sound effects,tell stories,and sing. Hobey utilizes his artistic study at The State University of New York at Purchase and the University of North Carolina at Asheville to design and construct all of his Golden Rod Puppets and the beautiful sets that surround them. Hobey also draws on his early experiences growing up in coastal Connecticut or living in a Nevada Native American community in writing the scripts for some of his performances such as "Whale Walker"and"Turtle Island Tales". Hobey is considered both an innovator in puppetry craft and a master storyteller. He has created both the"Foamies"and the clever hand puppet known as"Peepers". The"Foamies"are large animal puppets carved from blocks of foam. After studying each animal's characteristic I movements, Hobey designs various control mechanisms to make the puppets themselves move in a life-like manner. The"Foamies"are F_ presented using both stage and house performance space. ,. Hobey Ford's Golden Rod Puppets maintains busy schedule performing and teaching in schools, performing arts centers, museums, libraries, and festivals. Hobey presents shadow puppet workshops for students and teachers. His teacher workshops include"Telling Folktales with Shadow Puppetry"and"From Larvae to Butterfly: Metamorphosis Through Puppetry". He lives in the North Carolina mountains with his wife, musician Sue Ford and their three daughters,all talented as well. ' SVie&veN uew _ THE KENNEDY CENTER FOR THE PERFORMING ARTS SINGAPORE INTERNATIONAL CHILDREN'S FESTIVAL t M li i� THE JIM HENSON INTERNATIONAL PUPPETRY FESTIVAL TAMPA BAY PERFORMING ARTS CENTER DETROIT INSTITUTE FOR THE ARTS CALGARY INTERNATIONAL CHILDREN'S FESTIVAL PEACE CENTER FOR THE PERFORMING ARTS NORTH CAROLINA MUSEUM OF ART ' BARDAVON 1869 OPERA HOUSE VENTURA COUNTY SCHOOLS,VENTURA CA OKLAHOMA CITY LIBRARIES PHILADELPHIA INTERNATIONAL CHILDREN'S FETSIVAL CONTEMPORY AMERICAN THEATER FESTIVAL PICCOLO SPOLETO SMITHSONIAN INSTITUTE � '4 THEATREWORKS USA AESTHETIC EDUCATIONAL CONFERENCE, � t BROOKLYN CHILDREN'S MUSEUM THE CHAUTAUQUA INSTITUTE iu FIRST NIGHT CHARLOTTESVILLE VA NEW HAVEN CHILDREN'S HOSPITAL OJAI STORYTELLING FESTIVAL - Loyd Artists P.O. 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Co U _ O r O North Carolina Youth Tap Ensemble - Programs Good Vibrations North Carolina Youth Tap Ensemble is considered one of the world's premier youth tap ensellihles. "Good Vibrations" is a fast paced performance of cutting edged contemporary choreography arid tra- ditional rhythm tap. The list of choreographers for the performance reads like a "Who's Who' rn the tap world including former NCYTE member Michelle Dorrance,Brenda Buffalino,and Savior (;lover. The performance is spiced with singing,pencil drumming,beat boxing,body percussion and e%en Taiko drumming. Music ranges from Vivaldi to Fiona Apple to Old Crow Medicine Show. This is riot your average tap ensemble! The company presents an incredibly unique performance every time witlr ;I wealth of history,talent and repertoire! The pieces included in this performance are a dance through the past and the future of percussi vc (lance, carrying audiences through time and around the world. Brenda Bufalino's "Jump,Monk" draws from BeBop, Savion Glover's "Feet,Just Do It"from Funk,and Margaret Morrison's "Song for mN Father" from the Latin tradition. Michelle Dorance's "Extraordinary Machine" is a quirky look forward in the world of percussive dance. Derrick Grant's "Vivaldi's Concerto for Two Violins and Cello in 17 Rlinor" blends the worlds of tap and classical music in a unique piece. Each performance of"Good V i brit ions" is designed for the audience and alive with the energy of talented youth! "if ever a tap company could take over the world, it just might be the North Carolina Youth Tap Ensemble!" North Carolina Youth Tap Ensemble Presents Percussive Dance Review This non-stop percussive dance review carries student,family and adult audiences into a wide %N orld of percussive dance. The performance is peppered with stories,history,and facts about the form- Oresent- ed. The performance includes pieces ranging historically and geographically from traditional rh}thm tap, South African Gumboot,French Canadian Waltz Clog,Irish Step Dance,a Tribute to Vauciccille throwing in a few unique twists from NCYTE including song, body percussion,pencil drumrn III g and even Taiko drumming! Students will be learning about dance from professional level dancers from 8 years to 18 years. An extensive study guide accompanies each educational concert of this production. Educational concerts are appropriate for elementary,middle and high school. NCYTE Lecture Demonstration North Carolina Youth Tap Ensemble is available for lecture demonstrations of the history and terms of percussive dance for students in smaller venues and smaller audiences. This lecture demonstration in- cludes many of the forms presented in the larger Percussive Dance Review. The dancer provides infor- mation on the form and a demonstration. Students will be learning about dance from professional level dancers from 8 years to 18 years.An extensive study guide accompanies these lecture demon strations. The lecture demonstration is best for 3rd to high school. What Folks Are Saying About the North Carolina Youth Tap Ensemble Two numbers by the North Carolina Youth Tap Ensemble were sophisticated and snappy, brief, brilliant and beguiling -Sid Smith, Chicago Tribune North Carolina Youth Tap Ensemble is Live Performance at its best. - Denise Cerniglia, Triangle Arts & Entertainment If ever a tap company could take over the world, it just might be the North Carolina Youth Tap Ensemble - Dance Spirit Magazine NCYTE is the definition of what a true youth tap ensemble should be. It has great leadership and tradition, and the alumni could be an all star team in themselves. I have NEVER seen NCYTE look anything less than stellar.! Every great home or company starts with the head, and Gene Medler is as good as they come!! I've made great friends from NCYTE, and gained family.!I love tap dance...I love Gene Medler...l LOVE NCYTE!! - Jason Janas NCYTE, founded by the brilliant Gene Medler, exceeds every notion of a "youth'program": developing technical skills, nurturing choreographic sensibilities, honing performance abilities, building stage presence, teaching musical awareness, encouraging improvisational sophistication, feeding brains and soles and never losing a sense of PLAYFULNESS. His mentorship and that company have forever changed the history of tap dance -Josh Hilberman NORTH CAROLINA YOUTH TAP ENSEMBLE is one of the best percussive dance ensembles in the world-period. They dance with ferocity, technical virtuosity and maturity beyond their years which is a testament to the visionary leadership of Gene Medler. - Lane Alexander, Founder and Artistic Director, Chicago Human Rhythm Project I had to rub my eyes. I knew I was looking at kids, but their maturity and commitment to the work is way beyond their years. NCYTE has that irrepressible explosiveness of youth — so pure and honest. Yet they are technically adept, true to the integrity of the music and move with ensemble precision. Does anyone have a better time dancing? I don't think so. - Linda Belans (former dance critic, News and observer, Raleigh, NC) I was stunned by the professionalism and competency of your young dancers. If I did not already know the ages of the performers and did not see them myself, I would have assumed they were on Broadway. The changing rhythms of each dance were perfectly synchronized, even without the use of music or of percussive sounds. The interest level was kept high at all points, because of the variety of music and steps. Our the- atre was completely quiet, because the children were mesmerized by the intensity of the sound and movement. I would recommend this group for any type of function. It is multi-generational as well. The rnag- nificent choreography took tap dance to a new level, while the energy and the personalities of the dancers complimented it on every routine. Our teachers and students en masse have requested the ensemble return as soon as possible! - Dr. Bonnie H. Duckworth, Charlotte Country Day School, NC PRESS Tap Ensemble `evolve' through talent, hard work The Herald-Sun Apr. 26,2013 @ 05:23 PM By SUSAN BROILI; Special to The Herald-Sun When the North Carolina Youth Tap Ensemble performs this weekend,expect an evolution.They call their program t- v, "Rhythm Evolved"for good reason. roi T "The seniors name it and put the program together," ensemble artistic director Gene ° Photo° Gerniglia Medler said."It's an interesting way to represent the way rhythms evolved but also the way dancers have evolved in their careers," ensemble senior Sarah Linden said. In their exploration of rhythms,they will be accompanied by a jazz trio featuring Robbie Link on bass; Jim Crew on keyboards; and John Hanks on drums. Both Linden and senior Laura Matrazzo credit Medler with teaching them tap basics that have enabled them to progress. "Gene has been such a good teacher. He is extremely patient and very, very calm. So,you try thrings that are out of your comfort zone," Matrazzo said. "When you get something and he sees you and says, `That's beautiful,'that makes you feel good" "We learn stage presence, how to project to an audience," Matrazzo said. And,they learn how to put on a show. "The ensemble is an incubator for the ins and outs,nuts and bolts and mechanics of putting on a big show," Medler said. "I tell my dancers, I'll teach you everything I know,open every door I can and just get out of your way." These seniors also say Medler is responsible for the longevity of the ensemble currently celebrating its 30th anniversary."It's all Gene - his dedication and his teaching style," Matrazzo said. "He works so hard and puts so much time into it," Linded added. Following his example, students learn to work hard,often practicing for hours on their own in addition to re- hearsals every Saturday.They learn to be mentors,too, by teaching routines to the youngest dancers. Ensemble members learn about the wide world of tap by attending such festivals as the Chicago Human Rhythm Project in the summer. "You meet tap dancers from around the world," Matrazzo said. Ensemble alumni, such as Michelle Dorrance,also return both to perform in shows and teach their own cho- reography to ensemble members. "Michelle is one of the most cutting edge tap choreographers in the world," Medler said.And,her creativity was evident even at age 8 when she joined the ensemble,he added. She's per- forming in the"Rhythm Evolved" show, which includes her three-part work,"Petite Suite." Linden named"The Machine"from "Petite Suite" as her favorite number in the program."It's intentlotially awkward with lots of falling,upper body movements and changes in direction. The rhythms are very iiiiique - hard to hit. She's always looking for something new . . .That's what makes her choreography so inters,t i ng," Linden said. "It's more like an adrenaline shot than a challenge," Medler said of the ensemble getting to know choreo gra- phers like Dorrance and their work. "I think the sky's the limit.They get excited and they want to be creative themselves." Linden and Matrazzo have done just that by creating the dance "Best Hip Hop Violin Beat in the World," which opens "Rhythm Evolved." Another guest artist,Matthew Shields,will demonstrate a particular tap style. "He's a slider. He slides. \ledler said. Instead of propelling himself with non-stop tapping,he uses his taps to glide. "It's one of the fe,,% nays tap dancers can sustain a note," Medler adds. The program also acknowledges tap's roots with choreography by Charles "Hopi" Coles anc. "The Gmidos Brothers' Indian Routine,"the dance Matrazzo named as her favorite in the program. Ensemble men,hers Luke Hickey and Max Vigotov perform it Saturday and Hickey and Austin Shank take the stage on Sunda� "It's so technically challenging. It's very innovative,so athletic,fast and extremely intriate," Matrazzo said. I io ro ri 000 � f - k � f �>_ U yo f y d _ w x��sy 6 � r a- i 115 E. s z = Ilkf r 3 a' January 2004 iz; ;_ ......�.. .L..4:.J Y ....-.:... .i_..... ..._. ....,.'.. ...... t i Z. A� 1 � N orth Carolina Youth Ta p Ensembl e j j A Guide for Teachers j 1 1 Z j ls� Greetings! The North Carolina Youth Tap Ensemble (NCYTE, pronounced "insight") welcomes this opportunity to share information with you that may enhance your students' experienc-:e j with our performance at your school. We realize that many have 1 never seen a live tap performance (or even a filmed one), and j S the show may take them by surprise. Our performances include j Z brief stories and information about a variety of styles of tap 1 dancing. In these pages you will find additional materials that cc-in be used to introduce tap dancing, answer some of the questions j 1 students may raise, and provide ideas for activities to channel j what will hopefully be some enthusiastic post-performance 1 interest in knowing more. The sections in this study guide includE� j 1� j Background and history..................................... I l Tap dancing 1 NCYTE j Artistic Director l S Discussion topics................................................15 j Class activities...................................................f3 j *N l * Integrate with the school curriculum..................1 1 j Details on some of NCYTE's dances .................. 12 j S 1* Vocabulary ....................................................16 j Z j +fit Resources for additional information on tap.......17 j A� 1*N �w.w.�►.w.w.i►.w.w.w.w.w.w.w.w.w.w_w_w_w.i►.w.w.w.i►_�►.i►.i►.w.w.i►.w.w_i►.i►.i►.i►_w.w.i►..n i► �►.�► i►_� Brief HiStory Tap Aof I I Born in America from the same roots as jazz music, tap dance emerged in 1 the mid-1800's from the fusion of African and European dance styles and I rhythmic sensibilities. In minstrel shows, Caucasian performers darkened their j A* faces with burnt cork and "acted black." By the 1890's, African-American I performers were being advertised as "authentic Negroes," darkening up their own faces and imitating the Caucasian performers who had been imitating I African-Americans. I � I Vaudeville--or variety shows--came from the minstrel shows and provided I an explosion of live theatre. The typical show had an orchestra and a 1 number of acts--singers, dancers, monologists, comics--and many led off I with an animal act. The typical tap act was eight minutes long and often the I performers played five shows a day. By the 1930s there were infinite I possibilities: elegant "class" acts, comic and eccentric dancers, acrobatic I dancers who flipped upside down off of most anything, and any number of 1 acts which combined other skills such as hat tricks, cane tricks, and spinning I plates and trays. The greatest vaudeville star, Bill "Bojangles" Robinson, I danced in a style which was upright, clearly European, yet always swinging. Classic movies of the 1930s and '40s showcased the great Caucasian 1 dancers of the day, while African-Americans were mostly excluded. The I Nicholas Brothers, whose daring exploits in flash and acrobatic tap were j always delivered with elegance, succeeded in spite of their skin color and I broke many color lines. Fred Astaire brought choreographic genius to tap I and set standards for filming dance. At this time, tap dance came down 1 1 from its toes into a syncopated, more sophisticated musical style know as I rhythm, or jazz, tap. I By the 1940s, tap dance I moved in two important I directions, onto the 1 concert stage and into the I S small music clubs where I 1� bebop was brewing. Paul Draper fused ballet with tap, gave concerts for 1 tap, piano, and I harmonica, and was j America's top concert 1 attraction for most of a I decade. Meanwhile in the I jazz clubs, African- I Z l � l North Carolina Youth Tap Ensemble - Guide for teachers 1 � l * American dancers were extending concepts for rhythm dancing in much the 1 same way as their peers were stretching out musically. The late dancer j James "Buster" Brown, for example, could sing along with most every jazz rune l ever written. j Z 1By the 1960s, tap dance was in decline. The "bible" of tap dance, Jazz l Dance by Marshall and Jean Stearns, ends with a "requiem for a dying art l form." In the 1970s a tap renaissance began, powered largely by middle- l aged Caucasian women who sought out the old African-American male j masters. Brenda Bufalino, a protege of the late Charles "Honi" Coles, has mentored several generations of tap dancers, produced documentary l footage on the great old timers, and pushed the choreographic limits of tap l like no one since Astaire. By the late 1970s Gregory Hines' career was back l 1 on track and paved the way for a whole new generation of young African- j American dancers, most notably Savion Glover. � j Z 1 Z j 1 1 1 1 Z l Z 1 Z l � 1 Z --- l � 1 Z l Today the world is busting out with tap dancers. In Germany, Spain, Brazil, j Australia and Japan there are fabulous dancers pursuing new avenues, ',,ach j influenced by their own cultures and histories. In America, repertory l companies like the North Carolina Youth Tap Ensemble help to build anc j maintain a repository of choreography new and old, and produce some- of 1 A* the finest dancers on the planet. As a mature, concert art form, tap dance may not be as visible to the public eye as it was in 1930's, but witr the j A* dedicated work of an international community, the legacies of the past l 1 pave the way for a future of unlimited creativity and artistic expression. j 1 (Written by Josh Hilberman) 1 � ►.i►.i►.i►.i►.i►.i►..i►.i►.i►.i►.i►.�►.i aYouth t hi►.C► . ni i .i►.i .i►.Gi► .i ✓r ►.i teachers i ..�►.i►.i►.i►J l i NCYTE H i story 5 1. � j 1 Founded in 1983 by Gene Medler, NCYTE is a unique, non-profit company that 1 represents all that is good about participation in the arts by young people. j Ensemble members are drawn from a wide range of ethnic, religious and j economic backgrounds and reflect North Carolina's diverse population. j Selected by audition each year, these young ambassadors for our state have 1 1 risen to an unprecedented level of performance skill that has been lauded j around the nation and abroad. The company serves to: j entertain and inform audiences about the universal nature of percussive dancing j ® preserve tap, an indigenous American dance form, and its j cultural origins j ® embrace the percussive dance forms of other cultures j ® explore and support the cutting edge of contemporary choreography 1 a give company members the opportunity to perform and be j recognized for their contribution to the quality of our lives j Members come from all over the state, but most of them live in the Raleigh- j Durham-Chapel Hill area. NCYTE holds auditions every September, and all j members are expected to audition each year. NCYTE members range in age 1 from 8-18. Some have as little as 2 years of dance experience before joining the j ensemble, while senior members may have 10 or more years of dancing classes j and experience. Regular rehearsals are every Saturday afternoon in Chapel Hill, j for about 3 hours. Additional rehearsals may be called in advance of some j Sperformances, and many members of the ensemble gather together on their 1 own, to learn new dances or brush up on their steps. In the spirit of learning and growing in technique and performance skills, j everyone in NCYTE is expected to be enrolled in tap classes (at a program/school of their choice) in addition to their regular NCYTE rehearsals. j *N Many members also take classes in ballet, jazz dance or modern dance. j Periodically, NCYTE brings in professional tap dancers and instructors from j around the world to conduct workshops for ensemble members and the larger j dance community. Occasionally music and drama teachers provide workshops to NCYTE to enrich their understanding of how music and dance effectively j � come together on the stage. j NCYTE is linked with the global tap community, and the ensemble commissions j S choreography from across the nation and abroad. Contributions to the 1 repertoire include works by Lane Alexander: Ira Bernstein, Brenda Bufalino, j Michelle Dorrance, Savion Glover, James Green III, Josh Hilberman, Gene j *N Medler, Michael Minery, Margaret Morrison, Jan and Eddie Owens, Zahi Patish j and Danny Rachom, Ruth Pershing, Sam Weber and Steve Zee. 1 l * - - - - - - - - - - - North Carolina Youth Tap Ensemble _Guide for teachers 3 j - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - � • � I As you can see from the map below, the ensemble performs nationally and 1 internationally. Performance venues range from retirement homes, schools crld j fairs to international festivals. NCYTE has been featured at Duke University w i l� l 1 the Squirrel Nut Zippers and makes regular appearances at the St. Louis Tap j Festival, and the Chicago Human Rhythm Project. Senior members of the 1 company were part of the founding cast and touring company of Cemmor, l Ground and have appeared in Tap In at the Town Hall Theater in New York City. j Z NCYTE was featured in the PBS documentary Juba! Master of Tap and j Percussive Dance. They have appeared at the New York City Tap Festival, the j 1 Vienna Tap Festival, Tap Encontro in Rio de Janeiro, Feet Beat Tap Festival in Helsinki, the International Tap Festival in Berlin and in Heidelberg, Germany. P�1 l recently, NCYTE toured North Carolina in Down Home with the Carolira Pops l (performing with a 60 piece orchestra) sponsored by Our State Magazine. j 7 r•��+.• fit:<:-,. �� ,� A� r, j Fi and -•tea''-�,. (: s.tar,'S';. 1 -.t- "'-:..- ,`,a •w •,Germany �. \ r neso Austria \ c? ,.. 1. Illinois'•:, ,� '� t ii, •? � iSsl New' ork S. i. Delaware Fir North Carolina `•'�='• South Carolina `u' Georgia {. A�. - t�C Y T E T riot the W ❑rld. j .; Av Brazil ` �• l � 1 � l S, 1 The same ensemble that received a standing ovation at the Town Hall Theater in New York City finds equal joy in performing for students at schools across the state and the l country. Under the artistic direction of Gene Medler, the company's members j understand and accept their responsibility for preserving tap dance, and they strive to share their love of this American art form with all their audiences. TJ�+ � � l Z l S North Carolina Youth Tap Ensemble - Guide for eachers l 1 l" NCYTE's artistic director, Gene Medler Gene Medler is founder and director of the North Carolina Youth Tap Ensemble 1 (NCYTE) and director of the North Carolina Rhythm Tap Festival. He teaches in j 1 the Department of Performing Arts at Elon University. Mr. Medler's previous j teaching credits include Duke University and Meredith College. He is on the faculty at The Ballet School of Chapel Hill and has taught master classes at the j tap festivals in the U.S. and worldwide. j Gene was an athlete for most of his life, playing baseball, basketball, and track in j middle and high school and then fencing at the University of North Carolina. 1 Between undergraduate and graduate school he got interested in acting which j led to dance classes and ultimately tap dance class. Loving movement for its j own sake and having always wanted to learn to play an instrument, tap dancing j was the perfect art form for him. He was fortunate to be learning when many of j the old masters were starting to teach again. Gene worked with masters like 1 Clayton "Peg Leg" Bates, Charles "Honi" Coles, Cholly Atkins, Bunny Briggs, and j contemporaries like Brenda Bufalino, Sam Weber and Savion Glover. His passion j for tap dancing coupled with his desire to teach led to the creation of NCYTE. A* Selected career highlights include: 1 Appearance in Duke Ellington's Nutcracker at j Page Auditorium, Duke University & Memorial j Hall, UNC j Appearance in Ellington's David Danced, j Duke Chapel 1 "Poor Butterfly" soft shoe choreo-graphed by j Brenda Buffalino at Colorado Dance Festival j • Appearance in Great Tap Reunion (Boston), j Charles `Honi" Cole choreography j 1 Appearance with the Squirrel Nut Zippers 1 Appearance with Brenda Bufalino, World j Dance Festival New York City j Grants from the Durham Arts Council, the S North Carolina Arts Council and the Orange j County Arts Commission j • Featured in Dance Teacher Now magazine j Featured in Southern Living magazine • Received the 1998 Indy Award for contribution to the arts from 1 Independent Magazine j • Profiled in the September/October 2001 Carolina Alumni Review j 14* • Named Tar Heel of the Week by the News and Observer j 4* • Seen nationwide in PBS special, Juba! Masters of Tap and Percussive Dance � l North Carolina Youth Tap Ensemble - Guide for teachers 5 j piscussion Topi c s i � j Z l NCYTE performances are often followed by a question and answer j period. The questions below are typical of the things students want to j know about. You might find these helpful to guide your own discussion 1 after the show. j Z l Q. What kinds of shows does NCYTE perform, and where? j A. NCYTE performs regularly at school shows like the one j performed today. The ensemble also performs at dance festivals 1 both in the U.S. and overseas, local arts festivals, retirement j homes, hospitals, concert series, fund-raising activities and j seasonal events. Each year NCYTE has a show of their own (it the Carolina Theatre in Durham, North Carolina. j Q. Where can someone learn to tap dance? 1 A. Classes are usually offered at dance studios that also teach j ballet, jazz and modern dance. Sometimes the county parks and recreation program will offer dance classes. Any type of j dance is potentially useful to someone who is interested in j learning tap. It is also possible to learn on your own. j [note to teachers: In advance of the performance, you might j familiarize yourself with local options for tap classes, so that you j can mention these, as appropriate.] 1 Q. Why are there not as many boys in NCYTE as there are girls? j 11V A. In this country, boys don't tend to take dance classes as j often as girls do. This doesn't mean that boys aren't as good as j girls are at dancing. It does mean that there are fewer boys who 1 audition to be in NCYTE. If you think about it, it used to be that j girls didn't do much with sports, but this has changed. NCYTE j hopes that someday more boys will get involved in dance, and j there will be more boys that audition and join the company, Q. Who are some famous tap dancers? 1 A. Probably the most well-known tap dancer today is named Savion j Glover. He has a dance company in New York City, and performs cell over the world. When he was a kid, he appeared regularly on Sesame Street. Other well-known tap dancers include Gregory Hines, Fred 1 Astaire, Ginger Rogers, Gene Kelly, Shirley Temple, Bill "Bojargles" ± j Robinson (see additional resources page) j tv North Carolina Youth Tap Ensemble - Guide for ieachers �� Jj SIs there a difference between tap dancing, clogging and Irish dancing? 1 1 A. Percussive dance in inevitably tied to the music to which it is j 1 performed, and thus reflects the rhythms inherent in that music. The j movement vocabulary and rhythms are different for each style j because the music is different. Tap is, however, the most flexible, in 1 part because tap dancing is done to the widest range of music. j Z � 1 1 1 1 - l S 1 � - l � 1 NCYTE performance in Berlin, 2002 j Q. What can you do with tap as a profession or career? j *N A. Some professional dancers who make their living from performing at j A* dance shows, musicals, and other events. Most dancers probably also 1 teach, either privately, or at schools, colleges or universities. j j Q. What does a tap shoe consist of? How is it made? j A. Any good sturdy shoe can be made into a tap shoe by attaching j A* taps, which are two metal pieces, one attached to the toe of the shoe A* make one attached to the heel. Different designs for these metal pieces j A* make different sounds. Some shoes are specially designed for taps to j be attached, but taps can be bought and attached to a wide variety j A* of shoes with different types and heights of heels. A* ,, l � � l � I _ _ _ _ North Carolina Youth Tap Ensemble =Guide for teachers 7 ass ACtIv ies ltl l Z j Your students may be itching to do some rhythm activities after the 1 performance, and we have a number of ideas that you might consider trying. j Some are noisier than others, but we hope you'll not let that deter you. j Although these activities could be done either before or after the show, in j some cases we've indicated a recommendation. Z j ZScat-singing j Scat singing can be done in a spoken tone or sung, rather than using lyric=s. j A few nonsense syllables replace all the words, but in the same rhythm as the j words would have been sung. For example, "Row, row, row your boat," might become Shoo, Shoo, Shoo, Be Doo." j Choose a song that is known to the class. Younger grades might choose c 1 nursery rhyme (e.g., Mary had a Little Lamb), while middle-school or high- j schoolers might use an American folk song or patriotic song (e.g. Row Your Boat, My Country 'tis of Thee), or even a current popular song from the raciic: or j movies that the kids know. Have them choose a few syllables that they'll uYD j S, to scat the song, and write them on the board. Examples: Shoo, Be, Doo, j Wah, Bop Z j � Ask them to "sing" the song together, replacing the syllables in the original j song with the agreed-upon scat syllables. They can use them in whatever j combination of syllables they choose, but at first should keep the same rhythm j as the original song. Then they can experiment with doubling up the rhythrr,, j or adding sounds on the off-beat. 1 Point out that the tap dancers are making similar rhythmic sounds with thei,- 1 feet. There are a variety of sounds that can be made with the tap shoes, I_mt j they are more limited than speech. Some steps make a sliding sound, SOME' 1 have a hard slap, some are soft, etc. j Students could take this exercise a step further and experiment with making 1 different types of rhythmic sounds with their feet. j � Make your own tap shoes 4J*j Children who are keen to take tap dancing a step further could make their 1 own tap shoes by gluing several pennies near the toe and heel of some old j S shoes (with parents' permission and help). Islip j North Carolina Youth Tap Ensemble - Guide for teachers 9 j Dance Brainstorm and Crosswalk This is a good warm-up activity to take place before the show, if you have 10- I I S 15 minutes to spare. It also could be divided into two parts, with the S brainstorming before the show, and the crosswalk afterwards. If you do the I entire exercise before the performance, you can revisit it afterwards, to see if 1 the students would like to make some modifications based on what they j learned at the show. j Z j Brainstorming: Ask the students to call out different types of music, and write 1 A* these in one column on the board or flipchart. They may think of current j A* popular distinctions (e.g. hip-hop, rap), and if so, you can suggest they also j *N think of "older" styles of music to get a wider range (e.g. classical, blues). j Z j Ask the students to next call out different styles of dance, and write these in I *N another column to the right of the first one. Again, students may think initially of current dance styles, but encourage them to think more broadly. Crosswalk: Ask the students to match up the types of music most associated j with the types of dance, drawing lines between the two columns, as shown in the example below. You might give them an easy example first, such as j A* classical music matched with ballet. j Z j *N Example of Brainstorm Crosswalk j Music Dance l PO ular T'a There are no right or wrong 1 p p answers. Not all forms of music will j 1 Country Ballet be closely identified by your I students with a particular form of I *N Classical Hip-hop dance, and some students might j consider that any dance can be 1 A* Jazz Clogging done with any music. NCYTE j � dances include music of many I A* Bluegrass Swing genres that some might not associate with tap (e.g. bluegrass, j classical). The crosswalk exercise j may help students to recognize this, as well as point out that all types of j 1 music are fair game for a tap treatment. A* Rhythms of Life S j Rhythm is all around us every day, and tap dancers have taken some of their j AV inspirations from the sounds they noticed as part of their everyday lives. Ask 1 Z j - - - - - - - - - - - - - North Carolina Youth Tap Ensemble =Guide for teachers 9- - I - - - - - - - - - - - - - - - - - - - - - - - - - - - . � 1 Z j � the students to think about things in their world that have regular and j irregular rhythms. A list below can help you get started, or keep things gong j if they get stuck. It is interesting to think about differences in rhythmic sounds j in the city, as compared to the country, or indoor sounds compared to 1 outdoor sounds. j Windshield wipers Dripping faucet Church bells 1 Bird calls Cars honking Hammer or saw j 1 Clock ticking Phone ringing Oars on a rowboat Body rhythms 1 Z j The body can be used as an instrument to make many rhythmic sounds. Are j activity that is silly and fun, yet also instructive, is to let the children j experiment with different ways to make these sounds. Many sounds can, of course, be made using the mouth, such as lip smacking, tongue clicking. j Different sounds can be made by clapping the body in different ways. A j 1 hand thumped on the chest will sound different than a hand thumped j against the thigh. Using the body as a percussive instrument is sometimes referred to as playing the "hambone" or "patting Juba." j Start with having the children repeat back a rhythm that you clap with your j hands, using their hands. Then ask them to repeat the same rhythm clapping j against their leg, then their chest, to notice how the sounds of the rhythmi:-- 1 pattern are the same, but the tone is different. j Repeat this with mouth sounds (whooshing, whistlin g- purring through the lips). 1 Instead of the teacher setting the rhythms, the children could takE� turns j clapping or vocalizing a rhythm that the class then mimics. 1 Finally, an "improv jam" would allow kids to improvise their own body 1 rhythms, one at a time, or as a group. They could repeat a set rhythm, usir,(,) j their own "instrument," or everyone could devise their own rhythmic patterns j that fit within a dominant beat that you provide by clapping your hands. Tap dancers have a tradition of "challenging" each other to repeat a 1 *N rhythmic pattern that one person sets. The person repeating the pattern then j tries to return the challenge by changing the pattern and making it more j difficult. If this listening exercise is working well, you might let them try a 1 "challenge" with either yourself or some of the students leading off. j � l j � r Nor th Carolina Ta r E nsemble - Guide for teachers l j ' Curriculum Integration j j � 1 With a bit of planning (but spur-of-the-moment inspirations work, too), 1 NCYTE's performance could serve to enrich your curriculum, particulary j music, social studies, math, and physical education. j 1� Involving the music teacher at your school could add an extra dimension to j the performance. Tap dancing is a form of working with and creating music, j and a bit of tap infusion could perhaps help make some of the points j included in the school's curriculum. If you have an opportunity to involve j 1 your music or social studies teacher she/he will certainly have a number of j AVideas. If you're on your own, consider thinking about: j *N Music, Math 1 A* Rhythmic concepts: Tap is all about rhythm, and a number of basic rhythmic j ls� concepts, such as syncopation and marking time, can be easily identified in j A* tap dancing. These concepts could be emphasized by asking students to 1 practice demonstrating with their feet (hand claps are great, but why not j A* consider stomps!). From a math perspective, rhythmic patterns can be used j 1 to demonstrate principals such as division, fractions and sets. Music, Social Studies Music types: A connection with the music curriculum as well as social studies j 11� could be found in considerations of the different types of music featured in j 41, your school's NCYTE performance (e.g. blues, classical, bluegrass, old-time, j folk, Latin, jazz). These music traditions have historical perspectives and some have a specific geographic identification. Can the students recognize these j types of music or the composers? Do they know the historical roots? (See j the Dance Details section for more information.) j S j Physical Education A number of physical education activities naturally include rhythm. Jumping j 1 rope can be done rhythmically. Students can try bouncing a ball to different j rhythms, hopping, skipping, orjust plain old experiment with making noise j with their feet. Some of the body rhythm exercises on page 10 could be j good to do in the physical education class. � � l AV 1 � North Carolina Youth Tap Ensemble - Guide for teachers 11 j " � I Z l � 1 s on DanceS Detaij Z l A* NCYTE draws on a repertoire of over 24 dances in choosing a selection 1 for school performances. Below is a bit of information on some of the l dances that could be included in the performance at your school. j A* Slaughter on 10th Avenue 1 A* Choreography: Carrie Barnett and Elena Steponaitis (2003) A* Style: Rhythm j Music: Slaughter on 10th Avenue (Richard Rogers) l l This dance is the most recent addition to the repertoire. It was j choreographed by two senior members of NCYTE to be performed with the North Carolina Symphony Orchestra. Z * j The Condos Brothers' Indian Routine j � Choreography: Steve and Nick Condos (1938) j A* Reconstruction and staging: Sam Weber (2003) 1 Music: War Dance for Wooden Indians (Raymond Scott) l The Condos Brothers was a flash tap act that relied on virtuoso 1 tapping rather than acrobatics. The Condos brothers were j A* among the most advanced tap dancers of their generation. This 1 A* routine, which is legendary among tap dancers for its virtuosity, j speed and difficulty, was featured in the 1938 20th Century Fox l movie Happy Landing starring Sonja Henie and Don Ameche. j The Hunt l Concept and Arrangement: Gene Medler l Choreography: Carrie Barnett, Rachel Kiel and Elena Steponaitis (2002) 1 A* Style: Rhythm j It* Music: Allegro assai from the "Hunt" String Quartet in B-flat Major, K:, 458 A* (Wolfgang Amadeus Mozart) j This dance was choreographed by members of the ensemble and 1 added to NCYTE's repertoire in 2002, to be performed with the j A* Malarme Chamber Orchestra. � l Z 1 � l Z j S North Carolina Youth Tap Ensemble - Guide for teachers 12 l kiwi►_i►_i►_i►.i►.i►.w.i►_w.i►.i►_w.w.w.w.w_w_w.i►.w.w.w.w_i►.i..w.w_w.w.w.i►..►.i►_w.i►.i►.i►.i. w � i►_w.i►.� j Bod y Beat A* j l A* Choreography: Zahi Patish and Danny Rachom (2001) j *N Style: Body Drumming, Vocalization, Hip-Hop j Music: a cappella This dance was choreographed by members of Sheketak (Tel 1 Aviv), an Israeli dance group that takes its name from Hebrew j words for silence (sheket) and sound (tak). Sheketak dancers j and instrumentalists combine body drumming, tap, hip-hop, j vocalization, and live music into their internationally acclaimed performances. j 4� Blue Rondo a la Turk j Choreography: Sam Weber (2000) j Style: Rhythm 1 Music: Blue Rondo a la Turk (Dave Brubeck) j A� j Blue Rondo a la Turk is based on the Turkish 9/8 meter, one of the j *N Dave Brubeck quartet's most famous experiments with non- j traditional meter (the most famous was Take Five). This dance began as a technique exercise for practicing even or unbroken j rhythms. The choreography demands the dancers first tap the j straight rhythms of the melody and then switch to a medium j swing blues as three extra beats are added to each measure. j After building to a frenzy of double-time rhythms and turns in the 1 blues section, the piece returns to 9/8 for a dizzying finish. (Sam j Weber) j j Traditional Copasetic Soft Shoe j Choreography: Brenda Bufalino (1999) 1 Style: Vernacular j 1 Music: Me and My Shadow (Al Jolson and Dave Dreyer) j Serenade in Blue (Harry Warren and Mack Gordon) The Copasetics Club was formed in 1949 by a group of j legendary dancers to honor the memory of Bill "Bojangles" j Robinson. Copasetic was a word favored by Mr. Robinson, j being used to describe things that were perfect. The first part of j this dance is a soft shoe, staged by Ms. Bufalino as it was performed by the Copasetics during the 1950s and 1960s. In the j second part, Ms. Bufalino weaves together past and present, j blending traditional soft-shoe steps she learned from the j Copasetics into her own distinctive choreography. 3 j North Carolina Youth Tap Ensemble - Guide for teachers 13 j Z j p► Isicathulo j Choreography: James Kelly Green III (1999) j Style: South African Gum Boot j A* Music: a cappella j S 1 First performed at missions when dancing was outlawed, this j A* South African gum boot dance was a form of protest. Today it is j A* very popular among mine workers. Usually performed by men, j AN the dancers wear Wellington boots, black trousers, a colored 1 A* vest, and a beret. The humming and shouts of the dancers j 11* accompany the stomping of their boots, while a guitarist plays a j A* basic rhythm of a few chords with little pretense to melody. j j � A Jump, Monk l j Choreography: Brenda Bufalino (1998) j Style: Polyrhythm j A* Music: Jump, Monk (Charles Mingus) j This composition is described by Mingus as a profile, not a 1 A*complete picture, of Thelonious Monk, but one aspect of a A* complex personality. The eight-bar, many-voiced section that 1 alternates with the melody mirrors the emotional, earthy quality j found in both subject and composer, and this feeling is reflected j in the movements of the dancers. The compositional techniques A* are also important. Along with given melodic figures, the j A* composer creates form and mood by giving the musicians and j dancers scales on which they can build their own figures. These j figures must appear in certain places in the composition and maintain its mood. j Z j A Step it Up and Go j *N Choreography: Ruth Pershing (1993) 1 A* Style: Piedmont Buck A* Music: Jitterbug Rag (Blind Boy Fuller) 1 Is, "This dance is based on the individual style of one buck dancer, j 1 John Dee Holeman, from Durham, North Carolina. The dance j begins with the rhythm of hand slapping, which was often the 1 only music for buck dancing. Tap-like steps then give way to j 1 longer patterns. The dancers trade steps in a call-and-response j *N section, then split into two train cars using steps Mr. Holemar j invented to imitate a steam train, with one person shoveling coal North Carolina Youth Tap Ensemble - Guide for teachers 14 j 1 in between. The trios at the end are like the intimate little 1 challenges at house parties." (Ruth Pershing) j Z j '? My Own House Waltz j Choreography: Ira Bernstein (1992) Style: Traditional French Canadian Waltz Clog j Music: My Own House Waltz j My Own House Waltz is a French Canadian waltz clog, also j A* known as Quebec's waltz clog. As with the jig, this form of clog 1 dancing stresses intricate footwork with a minimum of upper j body movement. j � 1 �► St. Patrick's Day in the Morning Choreography: Traditional steps arranged by Jan and Eddie Owens j (1988) j Style: Traditional Irish Jig j Music: St. Patrick's Day in the Morning Tap is a unique form of dance created in America through the blending of traditions of immigrants from the British Isles and j Africa. Almost three hundred years ago the Irish were j performing a style they called step dancing. Step dancing is 1 characterized by a stiff upper body, arms at the sides, head j straight forward, and no smiles. St. Patrick's Day in the Morning is j an Irish jig. A jig is a particular combination of music and steps, j and is the first dance taught to students in Ireland. 1 1 j Cole's Stroll & Shim Sham 1 Choreography: Charles "Honi" Coles, Leonard Reed, and Willie Bryant j (1950's/1930's) j Style: Vernacular j Music: Take the A-Train (Billy Strayhorn) This dance consists of two traditional pieces of choreography. The first 1 is the Cole's Stroll, choreographed in the 1950s by Charles "Honi" j 1 Coles. The second part is called the Shim Sham, which was created in the 1930s by Leonard Reed and Willie Bryant. The Shim Sham is j affectionately referred to as the tap dancers' "national anthem." The j Cole's Stroll is always danced to the Duke Ellington/Billy Strayhorn tune j Take the A-Train and the introduction was and is: "If you can walk, you j can dance..." Z j North Carolina Youth Tap Ensemble - Guide for teachers 15 j r vocabu l a ry f " This vocabulary includes terms used in reference to aspects of dance, j especially tap. 1 Z l a cappella: performance of a tap dance without musical accompaniment Ballet: a choreographed presentation of a story or theme performed to music by 1 ballet dancers 1 * l 1 Blues: a style of music using 12-bar phrasing, originating in the U.S. and closely associated with tap l j Choreographer: one who plans out the specific steps and movements that j dancers are to make Clogging: a style of dancing common in the Appalachian U.S., most often 1 danced to traditional bluegrass or mountain folk music. j Funk: an urban style of dancing, crossing jazz and hip-hop Improvisation: made up on the spot; something danced without preparation (-'r l pre-determination of particular steps to follow j Z l Jam session: dancers spending time together doing improvisation and working 1 on dances, usually with no set objectives other than enjoyment Jazz: both a style of music and associated style of dance. j Z j Latin: a style of music and a style of dance, identified by rhythmic patterns traditionally associated with Latin America. l *N Modern dance: initially a rebellion against the rigid structure of ballet, stressinc1 1 more emotion - how the movement felt rather than how it looked. j l S, Percussive: to hit or shake in order to make sound l Rhythm tap: the style of tap dancing that stresses rhythmic patterns as a way to j j express oneself- to create interest, excitement and feeling Scatting: repetition of rhythmic patterns substituting nonsense syllables for words 1 Softshoe: a tap style characterized by slower and smoother movements j � l Syncopation: accenting the weak beat in a musical phrase S l A.* North Carolina Youth Tap Ensemble - Guide for teachers i h 1 � w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w w .► w w w w �► w w w 1 ReSOU rj 1 Books: j Stearns, Marshall, The History of Jazz Dance, American Vernacular l Dance. 1 Frank, Rusty, TAP! j 1 Ames, Jerry and Jim Siegelman, The Book of Tap, Recovering 1 America's Long Lost Dance. j Knowles, Mark, Tap Roots: The Early History of Tap Dancing. 1 Glover, Savion and Bruce Weber, My Life in Tap. j Popular films that include famous tap scenes: j The Little Colonel (1935) Bill "Bojangles" Robinson, Shirley Temple j 1 Singin' In The Rain (1952) Gene Kelly 1 Tap (1989) Gregory Hines, and a HOST of others j Top Hat (1935) Fred Astaire, Ginger Rogers j White Nights (1985) Gregory Hines, Mikhail Baryshnikov 1 Stormy Weather (1943) Bill Robinson, Nicholas Brothers j Z l Documentary films: j Z Fred Astaire: Puttin' on His Top Hat l No Maps on My Taps (SBN 1 -55974-055-8) 1 Juba! The Masters of Tap & Percussive Dance j Exploring the World of Music. Vol.5 Rhythm (www.learner.orq) 1 Dance Sense. Tape 3 - Tap. (www.ket.org) About Tap (hosted by Gregory Hines. Direct Cinema, Ltd.) l � l 1 Websites: www.ncyfeonline.org; www.tapdance.org j Z I � I Z l � l � l A* North Carolina Youth Tap Ensemble - Guide for teachers 17 j UT as �P Ae 04 Bright Star Tourinci Theatre _ About the show: Aesop's Fables are a number of short moralistic stories cred- ited to an ancient storyteller named Aesop. These, tories,filled with personified animals, all showcase a particular character trait or moral judgment that can be a valuable lesson for the reader. Dating back some 2,600 years, Aesop's .Fables have �y been celebrated throughout history and carefully studied by stu- dents across the globe! Aesop was an African slave who lived in Ancient Greece from 620-560 BC. Little is known about his life, but his name ap- pears with much frequency throughout the works of his con- temporary playwrights and fellow writers, showing up in pieces by Aristophanes, Plato and more. He comoiled fables from both ' his own imagination as well as Ancient texts. Throughout his- tory,other writers dappled in the art of fable writing, but none left their mark as much as Aesop. Today virtually every bookstore and library contains at least one volume of Aesop's works filled with hundreds of fables credited to him. Our production opens with Lenny and Mabel,two Elizabethan traveling actors who happen upon an audience on their travels and decide to perform an impromtu slow of some of their favorite material -Aesop's Fables! While our set design reflects the feel of Ancient Greece(the birthplace of the fable), our characters are traveling performers from the 1600s--a time in England when Aesop was ex- tremely popular. We chose this time period for the play for many reasons, mainly because of its colorful and entertaining qualities for a young audience. In the Bright Star Theatre production, we scoured through hundreds of fables in order to find ones that carry both a familiar quality as well as an accessible message to a young audience. Phrases that have long peppered our vernacular and characters that we have seen r so many cartoons growing up are found within the very pages of this ancient text. We hope that your young people will discover the magic of these stories and perhaps be inspired to pull this 2,600 year old book off the shelf and discover them for the first time. Words to Know: Seeing the Play: Theatre is a form of storytelling that has been en- Attending the theatre is very different than going to tertaining people for thousands of years. Theatre the movies or watching television. For one thing, has its own kind of language. Here are some the actors are real people who can hear and see terms that actors, directors, and other "theatre everything that's happening in the audience. It's people" use all the time! important to know a few rules before seeing a play: Audition: A hopeful actor will either read, sing * Please be quiet and respectful during the per- or dance (or sometimes all three!) in order for the formance so that those around you can hear director to decide which actor she wants to cast in what's happening. a particular role. * If something's funny, it's okay to laugh! Director: The director reads the script, and tells the actors where they should go and what they *If you like the play, be sure to clap at the end. should do. Each director has a different way of tell- ing a story from every other director,and this means What else can you add to the list? that each play will be unique from every other play! Set-. All of the scenery on the stage is part of what is called the "set." It helps to paint a picture of where the story takes place, so it is easier for the audience to follow the play. For Aesop's Fables, our actors use a backdrop, which is the colorful painted background. Costumes: All of the clothes that are worn onstage by the actors are costumes. The hats, the wigs, the coats, and even the shows are all part of the costumes! Props: Anything that an actor carries during the show is a prop. Can you remember any of the props used by the actors in this play? P P X O Q F G T G G Q H F J T Rehearsal: Once the cast of the play is set, O X O F A C Q R O W O L F F B everyone on the show needs to practice to get S D F L N B A H L R H R W ready for the show. This can take weeks, and Q B that gives time for the sets and costumes to be E O A Y Q P P U G E T E P C W built, and for the actors to learn their lines. A P B L E Y N N E L G O Y F U Actors: These are the people that you see on A W L S E Z F U I M K P I I O stage.They each have a character to play, and they I N E R N B S U Q J B H T S J spend a long time rehearsing before they perform. C C S W W O A J L C A O G S E They have to learn where they should walk, when H T C D P J W M I P X L A X B they should talk, and how their characters should act. It's a lot of work! F A Y E E G I Y T U Z L I J A and of course - L Y K S L S T B M B H Q D o B I M U P Q V Z C G X A O M O N Audience: Perhaps the most important ele- B O V T M X F F G I R A Y W K ment in the show! The audience consists of the M M P Z O V N Q S F E B L L D people who come out to watch the play. You were J L T L T K S E C G Y L Q S O our audience for Aesop's Fables! Classroom Activities : Create an Aesop's Fables Newscast! Fill In the Blanks! This activity incorporates creative thinking, Each one of Aesop's Fables ends with a lesson or a writing, and performance! moral - and many of those lessons have become familiar sayings that we still use today! Using the 1. Break students into small groups. Have each words below, fill in the blanks to complete some of group create a segment of a newcast about Aesop's best known sayings! Aesop's Fables. The possibilities are endless 1. Beauty is only skin and the more creative, the better the result! 2 of a feather flock together. Ideas for segments could include:an interview with the people of the town in "The Boy Who 3. Don't your chickens Cried Wolf," a cooking show with recipes for before they've hatched. grapes, an follow-up story on the friendship 4. Look before you between the Lion and the Mouse - even the 5. Slow and steady wins the weather and commercials could be tackled! 2. Discuss all the things that make a play pos- 6. before you act. sible. Have each group think about how cos- 7. often are deceiving. tumes, props, and the set could help bring their g. Little friends may become_ friends. news segments to life. If there's time,try to cre- g. Th'r v s are not alway what they ate some of these props or costume pieces from everyday items! *think * e * leap at 3.Time for performance! Have each group per- bir ear * c deep form their segment of the news. Before you begin the "newscast" have students warm up ,tea ReS Net! their voices with an Aesop's -themed tongue twister (act this a e. : Online c d, ed by moral "Six short slow rds" -or- ? "Lions licki g lime and lemons" °$'ht ng fa Remind r students about being good ww php audie m ers while they watch their Flash '°' rovedby friends o e! Yo ish ie ites for'ct� i t! Write your own review! Your assignment is to write a review of Aesop's Fables. If you were writing a review for a newspaper, here are some items that you would need to include: * Your reader may not have seen the performance. Start by placing your reader in the middle of the action by describing some of the high points. * Was there a scene or character that you especially liked? Write about what made that character or scene special to you. * Most reviews comment on the acting, the direction, the sets,the script, and the costumes. Choose at least three from the list to include in your review Create a headline for your review: Byline(your name): It would be a great honor if your class sent us pictures, drawings and writings about our play! We cannot thank you enough for them - and neither can our performers! Bright Star Touring Theatre National Touring Division 136 Round Top Road Asheville, NC 28803 m ` www.brightstartheatre.com ► © <x �. .� - Common Core Curriculum Standards Supported by Bright Star Theatre's Aesop's Fables Production and Study Guide Applicable English Language Standards listed by grades K through 5 Note: This production includes a variety of lessons in Character Education and Social Studies in addition to supporting Standards in Reading: Literature, Informational Texts and Foundational Skills, Speaking and Listening and Language English Language Arts Standards-Reading: Literature • Kindergarten Key Ideas and Details: CCSS.ELA-Literacy.RL.K.1 CCSS.ELA-Literacy.RL.K.2 CCSS.ELA-Literacy.RL.K.3 Craft and Structure: CCSS.ELA-Literacy.RL.K.4 CCSS.ELA-Lite racy.RL.K.5 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.RL.K.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Literacy.RL.K.10 English Language Arts Standards-Reading: Literature • Grade 1 Key Ideas and Details: CCSS.ELA-Literacy.RL.1.1 CCSS.ELA-Literacy.RL.1.2 CCSS.ELA-Literacy.RL.1.3 Craft and Structure: CCSS.ELA-Literacy.RL.1.4 CCSS.ELA-Lite racy.RL.1.5 CCSS.ELA-Literacy.RL.1.6 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.RL.1.9 English Language Arts Standards-Reading: Literature . Grade 2 CCSS.ELA-Lite racy.RL.2.1 CCSS.ELA-Lite racy.RL.2.2 CCSS.ELA-Literacy.RL.2.3 Craft and Structure: CCSS.ELA-Literacy.RL.2.4 CCSS.ELA-Lite racy.RL.2.5 CCSS.ELA-Literacy.RL.2.6 Integration of Knowledge and Ideas: CCSS.ELA-Lite racy.RL.2.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Lite racy.RL.2.10 English Language Arts Standards-Reading: Literature •Grade 3 Key Ideas and Details: CCSS.ELA-Literacy.RL.3.1 CCSS.ELA-Literacy.RL.3.2 CCSS.ELA-Literacy.RL.3.3 Craft and Structure: CCSS.ELA-Lite racy.RL.3.4 CCSS.ELA-Literacy.RL.3.5 CCSS.ELA-Literacy.RL.3.6 Integration of Knowledge and Ideas: CCSS.ELA-Lite racy.RL.3.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Literacy.RL.3.10 English Language Arts Standards -Reading: Literature •Grade 4 Key Ideas and Details: CCSS.ELA-Literacy.RL.4.1 CCSS.ELA-Literacy.RL.4.2 CCSS.ELA-Literacy.RL.4.3 Craft and Structure: CCSS.ELA-Literacy.RL.4.4 CCSS.ELA-Literacy.RL.4.5 CCSS.ELA-Literacy.RL.4.6 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.RL.4.7 CCSS.ELA-Literacy.RL.4.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Literacy.RL.4.10 English Language Arts Standards-Reading: Literature •Grade 5 Craft and Structure: CCSS.ELA-Literacy.RL.5.4 CCSS.ELA-Literacy.RL.5.5 CCSS.ELA-Literacy.RL.5.6 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.RL.5.7 CCSS.ELA-Literacy.RL.5.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Literacy.RL.5.10 English Language Arts Standards-Reading: Informational Text • Kindergarten Key Ideas and Details: CCSS.ELA-Literacy.RI.K.1 CCSS.ELA-Literacy.R1.K.2 CCSS.ELA-Literacy.R1.K.3 Craft and Structure: CCSS.ELA-Literacy.R1.K.4 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.R1.K.8 CCSS.ELA-Literacy.RI.K.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Literacy.RI.K.10 English Language Arts Standards -Reading: Informational Text •Grade 1 Key Ideas and Details: CCSS.ELA-Literacy.R1.1.1 CCSS.ELA-Literacy.R1.1.2 CCSS.ELA-Li to racy.RI.1.3 Craft and Structure: CCSS.ELA-Literacy.R1.1.4 Integration of Knowledge and Ideas: CCSS.ELA-Li to racy.RI.1.7 CCSS.ELA-Literacy.R1.1.8 CCSS.ELA-Literacy.R1.1.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Lite racy.R1.1.10 English Language Arts Standards-Reading: Informational Text e Grade 2 Key Ideas and Details: CCSS.ELA-Literacy.R1.2.1 CCSS.ELA-Literacy.R1.2.3 Craft and Structure: CCSS.ELA-Literacy.R1.2.4 CCSS.ELA-Lite racy.R1.2.6 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.R1.2.7 CCSS.ELA-Literacy.R1.2.8 CCSS.ELA-Literacy.R1.2.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Literacy.R1.2.10 English Language Arts Standards-Reading: Informational Text • Grade 3 Key Ideas and Details: CCSS.ELA-Literacy.R1.3.1 CCSS.ELA-Literacy.R1.3.2 CCSS.ELA-Literacy.R1.3.3 Craft and Structure: CCSS.ELA-Literacy.R1.3.5 CCSS.ELA-Literacy.R1.3.6 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.R1.3.7 CCSS.ELA-Literacy.R1.3.8 CCSS.ELA-Literacy.R1.3.9 Range of Reading and Level of Text Complexity: CCSS.ELA-Literacy.R1.3.10 English Language Arts Standards-Read ing• Informational Text •Grade 4 Key Ideas and Details: CCSS.ELA-Literacy.RIA 1 CCSS.ELA-Literacy.RI.4.2 CCSS.ELA-Literacy.RI.4.3 Craft and Structure: CCSS.ELA-Literacy.RI.4.5 CCSS.ELA-Literacy.R1.4.6 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.R1.4.7 CCSS.ELA-Literacy.RI.4.8 CCSS.ELA-Literacy.111.4.9 English Language Arts Standards-Reading• Informational Text •Grade 5 Key Ideas and Details: CCSS.ELA-Literacy.R1.5.1 CCSS.ELA-Literacy.R1.5.2 CCSS.ELA-Literacy.R1.5.3 Craft and Structure: CCSS.ELA-Literacy.R1.S.5 CCSS.ELA-Literacy.R1.5.6 Integration of Knowledge and Ideas: CCSS.ELA-Literacy.R1.5.8 CCSS.ELA-Literacy.R1.5.9 Range of Reading and Level of Text Complexity: English Language Arts Standards-Reading: Foundational Skills • Kindergarten Print Concepts: CCSS.ELA-Literacy.RF.K.1 b Phonological Awareness: CCSS.ELA-Literacy.RF.K.2 Phonics and Word Recognition: CCSS.ELA-Literacy.RF.K.3 English Language Arts Standards-Reading: Foundational Skills •Grade 1 Print Concepts: CCSS.ELA-Literacy.RF.1.la Phonological Awareness: CCSS.ELA-Literacy.RF.1.2 Phonics and Word Recognition: CCSS.ELA-Literacy.RF.1.3 Fluency: CCSS.ELA-Literacy.RF.1.4 CCSS.ELA-Lite racy.RF.1.4a CCSS.ELA-Literacy.RF.1.4c English Language Arts Standards-Readino: Foundational Skills •Grade 2 Phonics and Word Recognition: CCSS.ELA-Literacy.RF.2.3 Fluency: CCSS.ELA-Literacy.RF.2.4 CCSS.ELA-Literacy.RF.2.4a CCSS.ELA-Literacy.RF.2.4c English Language Arts Standards-Read ing• Foundational Skills •Grade 3 Phonics and Word Recognition: CCSS.ELA-Literacy.RE 3.3 Fluency: CCSS.ELA-Literacy.RF.3.4 CCSS.ELA-Literacy.RE 3.4a CCSS.ELA-Literacy.RE 3.4c English Language Arts Standards-Reading: Foundational Skills •Grade 4 Phonics and Word Recognition: CCSS.ELA-Literacy.RF.4.3 Fluency: CCSS.ELA-Literacy.RF.4.4 CCSS.ELA-Literacy.RF.4.4a CCSS.ELA-Literacy.RF.4.4 b CCSS.ELA-Literacy.RF.4.4c English Language Arts Standards-Read ing• Foundational Skills •Grade 5 Phonics and Word Recognition: CCSS.ELA-Literacy.RE 5.3 Fluency: CCSS.ELA-Literacy.RE 5.4 CCSS.ELA-Lite racy.RE 5.4a CCSS.ELA-Literacy.RE 5.4c English Language Arts Standards-Writing • Kindergarten Text Types and Purposes: CCSS.ELA-Lite racy.W.K.1 CCSS.ELA-Lite racy.W.K.2 CCSS.ELA-Lite racy.W.K.3 Production and Distribution of Writing: CCSS.ELA-Lite racy.W.K.5 CCSS.ELA-Lite racy.W.K.6 Research to Build and Present Knowledge: CCSS.ELA-Lite racy.W.K.8 English Language Arts Standards-Writing • Grade 1 Text Types and Purposes: CCSS.ELA-Lite racy.W.1.1 CCSS.ELA-Lite racy.W.1.2 CCSS.ELA-Lite racy.W.1.3 CCSS.ELA-Lite racy.W.1.5 CCSS.ELA-Lite racy.W.1.6 Research to Build and Present Knowledge: CCSS.ELA-Lite racy.W.1.8 English Language Arts Standards-Writing •Grade 2 Text Types and Purposes: CCSS.ELA-Lite racy.W.2.1 CCSS.ELA-Lite racy.W.2.2 CCSS.ELA-Lite racy.W.2.3 Production and Distribution of Writing: CCSS.ELA-Lite racy.W.2.6 Research to Build and Present Knowledge: CCSS.ELA-Lite racy.W.2.7 . CCSS.ELA-Lite racy.W.2.8 Range of Writing: English Language Arts Standards -Writing •Grade 3 Text Types and Purposes: CCSS.ELA-Lite racy.W.3.1 CCSS.ELA-Literacy.W.3.la CCSS.ELA-Lite racy.W.3.1 b CCSS.ELA-Lite racy.W.3.2 CCSS.ELA-Lite racy.W.3.2a CCSS.ELA-Lite racy.W.3.3 CCSS.ELA-Lite racy.W.3.3a CCSS.ELA-Literacy.W.3.3 b CCSS.ELA-Lite racy.W.3.3d Production and Distribution of Writing: CCSS.ELA-Lite racy.W.3.4 CCSS.ELA-Lite racy.W.3.5 CCSS.ELA-Literacy.W.3.6 Research to Build and Present Knowledge: CCSS.ELA-Lite racy.W.3.7 English Language Arts Standards-Writing •Grade 4 Text Types and Purposes: CCSS.ELA-Literacy.W.4.1 CCSS.ELA-Lite racy.W.4.la CCSS.ELA-Lite racy.W.4.lb CCSS.ELA-Lite racy.W.4.2 CCSS.ELA-Lite racy.W.4.2a. CCSS.ELA-Lite racy.W.4.2 b CCSS.ELA-Lite racy.W.4.3 CCSS.ELA-Lite racy.W.4.3a CCSS.ELA-Lice racy.W.4.3 b CCSS.ELA-Lite racy.W.4.3d Production and Distribution of Writing: CCSS.ELA-Lite racy.W.4.4 CCSS.ELA-Lite racy.W.4.6 Research to Build and Present Knowledge: CCSS.ELA-Lite racy.W.4.7 CCSS.ELA-Lite racy.W.4.8 CCSS.ELA-Lite racy.W.4.9 CCSS.ELA-Lite racy.W.4.9a CCSS.ELA-Lite racy.W.4.9b English Language Arts Standards-Writing • Grade 5 Text Types and Purposes: CCSS.ELA-Lite racy.W.5.1 CCSS.ELA-Lite racy.W.5.la CCSS.ELA-Lite racy.W.5.1 c CCSS.ELA-Lite racy.W.5.2 CCSS.ELA-Lite racy.W.5.2a CCSS.ELA-Lite racy.W.5.2 b. CCSS.ELA-Lite racy.W.5.2c CCSS.ELA-Lite racy.W.5.3 CCSS.ELA-Lite racy.W.5.3a CCSS.ELA-Lite racy.W.5.3 b CCSS.ELA-Lite racy.W.5.3d Production and Distribution of Writing: CCSS.ELA-Lite racy.W.5.4 CCSS.ELA-Lite racy.W.5.6 Research to Build and Present Knowledge: CCSS.ELA-Lite racy.W.5.7 CCSS.ELA-Lite racy.W.5.8 CCSS.ELA-Lite racy.W.5.9 CCSS.ELA-Lite racy.W.5.9a English Language Arts Standards-Speaking & Listening • Kindergarten Comprehension and Collaboration: CCSS.ELA-Lite racy.S L.K.1 CCSS.ELA-Lite racy.SL.K.la CCSS.ELA-Literacy.SL.K.1 b CCSS.ELA-Lite racy.S L.K.2 CCSS.ELA-Literacy.SL.K.3 Presentation of Knowledge and Ideas: CCSS.ELA-Li to racy.S L.K.4 CCSS.ELA-Literacy.SL.K.5 CCSS.ELA-Literacy.SL.K.6 English Language Arts Standards-Speaking & Listening •Grade 1 Comprehension and Collaboration: CCSS.ELA-Literacy.SL.1.l CCSS.ELA-Literacy.SL.1.la CCSS.ELA-Literacy.SL.1.lb CCSS.ELA-Literacy.SL.1.lc CCSS.ELA-Literacy.SL.1.2 CCSS.ELA-Literacy.SL.l.3 Presentation of Knowledge and Ideas: CCSS.ELA-Lite racy.SL.1.4 CCSS.ELA-Literacy.SL.l.5 CCSS.ELA-Lite racy.S L.1.6 English Language Arts Standards-Speaking & Listening •Grade 2 Comprehension and Collaboration: CCSS.ELA-Literacy.SL.2.1 CCSS.ELA-Lite racy.S L.2.1 a CCSS.ELA-Li to racy.S L.2.1 b CCSS.ELA-Lite racy.SL.2.lc CCSS.ELA-Lite racy.SL.2.2 CCSS.ELA-Lite racy.SL.2.3 Presentation of Knowledge and Ideas: CCSS.ELA-Literacy.SL.2.4 CCSS.ELA-Lite racy.SL.2.6 English Language Arts Standards-Speaking & Listening • Grade 3 Comprehension and Collaboration: CCSS.ELA-Literacy.SL.3.1 CCSS.ELA-Literacy.SL.3.la CCSS.ELA-Lite racy.SL.3.lb CCSS.ELA-Literacy.SL.3.lc CCSS.ELA-Literacy.SL.3.ld CCSS.ELA-Literacy.SL.3.2 CCSS.ELA-Literacy.SL.3.3 Presentation of Knowledge and Ideas: CCSS.ELA-Literacy.SL.3.4 CCSS.ELA-Lite racy.S L.3.6 English Language Arts Standards-Speaking & Listening •Grade 4 Comprehension and Collaboration: CCSS.ELA-Literacy.SL.4.1 CCSS.ELA-Literacy.SL.4.la CCSS.ELA-Lite racy.S L.4.1 b CCSS.ELA-Lite racy.SL.4.lc CCSS.ELA-Lite racy.SL.4.1 d CCSS.ELA-Literacy.SL.4.2 CCSS.ELA-Literacy.SL.4.3 Presentation of Knowledge and Ideas: CCSS.ELA-Literacy.SL.4.4 CCSS.ELA-Literacy.SL.4.6 English Language Arts Standards-Speaking & Listening •Grade 5 Comprehension and Collaboration CCSS.ELA-Literacy.SL.5.1 CCSS.ELA-Lite racy.SL.5.la CCSS.ELA-Lite racy.SL.5.lb CCSS.ELA-Literacy.SL.5.lc CCSS.ELA-Literacy.SL.5.1 d CCSS.ELA-Lite racy.SL.5.2 CCSS.ELA-Literacy.SL.5.3 Presentation of Knowledge and Ideas: CCSS.ELA-Lite racy.SL.5.4 CCSS.ELA-Literacy.SL.5.6 English Language Arts Standards-Language • Kindergarten Conventions of Standard English CCSS.ELA-Literacy.L.K.1 CCSS.ELA-Literacy.L.K.ld CCSS.ELA-Literacy.L.K.1 f Vocabulary Acquisition and Use: CCSS.ELA-Literacy.L.K.4 CCSS.ELA-Literacy.L.K.4a CCSS.ELA-Literacy.L.K.5 c CCSS.ELA-Li to racy.L.K.5 d CCSS.ELA-Lite racy.L.K.6 English Language Arts Standards-Language •Grade 1 Conventions of Standard English: CCSS.ELA-Lite racy.L.1.1 CCSS.ELA-Literacy.L.1.lj CCSS.ELA-Lite racy.L.1.2 Vocabulary Acquisition and Use: CCSS.ELA-Literacy.L.1.4 CCSS.ELA-Literacy.L.1.4a CCSS.ELA-Literacy.L.1.5 CCSS.ELA-Lite racy.L.1.5 c CCSS.ELA-Li to racy.L.1.5 d CCSS.ELA-Literacy.L.1.6 English Language Arts Standards-Language •Grade 2 Conventions of Standard English CCSS.ELA-Literacy.L.2.1 CCSS.ELA-Literacy.L.2.1f CCSS.ELA-Literacy.L.2.2 CCSS.ELA-Literacy.L.2.2 a CCSS.ELA-Literacy.L.2.2c Knowledge of Language: CCSS.ELA-Literacy.L.2.3 CCSS.ELA-Literacy.L.2.3 a Vocabulary Acquisition and Use: CCSS.ELA-Literacy.L.2.4 CCSS.ELA-Literacy.L.2.4a CCSS.ELA-Literacy.L.2.4c CCSS.ELA-Literacy.L.2.5 CCSS.ELA-Literacy.L.2.5a CCSS.ELA-Literacy.L.2.5b CCSS.ELA-Literacy.L.2.6 English Language Arts Standards-Language •Grade 3 Conventions of Standard English CCSS.ELA-Literacy.L.3 CCSS.ELA-Literacy.L.3.1 i CCSS.ELA-Literacy.L.3.2 CCSS.ELA-Literacy.L.3.2 a CCSS.ELA-Literacy.L.3.2 c Knowledge of Language: CCSS.ELA-Literacy.L.3.3 CCSS.ELA-Literacy.L.3.3a CCSS.ELA-Literacy.L.3.3 b Vocabulary Acquisition and Use: CCSS.ELA-Lite racy.L.3.4 CCSS.ELA-Lite racy.L.3.4a CCSS.ELA-Lite racy.L.3.4c. CCSS.ELA-Literacy.L.3.5 CCSS.ELA-Li to racy.L.3.5 a CCSS.ELA-Li to racy.L.3.5 b CCSS.ELA-Li to racy.L.3.5 c CCSS.ELA-Li to racy.L.3.6 English Language Arts Standards-Language • Grade 4 Conventions of Standard English CCSS.ELA-Literacy.L.4.1 CCSS.ELA-Literacy.L.4.if CCSS.ELA-Literacy.L.4.2 CCSS.ELA-Lite racy.L.4.2 a CCSS.ELA-Literacy.L.4.2 b Knowledge of Language: CCSS.ELA-Literacy.L.4.3 CCSS.ELA-Literacy.L.4.3a CCSS.ELA-Lite racy.L.4.3 c Vocabulary Acquisition and Use: CCSS.ELA-Literacy.L.4.4 CCSS.ELA-Literacy.L.4.4a CCSS.ELA-Literacy.L.4.4c CCSS.ELA-Literacy.L.4.5 CCSS.ELA-Literacy.L.4.5 a CCSS.ELA-Literacy.L.4.5 b CCSS.ELA-Literacy.L.4.6. English Language Arts Standards-Language •Grade 5 Conventions of Standard English CCSS.ELA-Literacy.L.5.1 CCSS.ELA-Literacy.L.5.2 CCSS.ELA-Literacy.L.5.2 d Knowledge of Language: CCSS.ELA-Literacy.L.5.3 CCSS.ELA-Literacy.L.5.3a CCSS.ELA-Literacy.L.5.3 b Vocabulary Acquisition and Use: CCSS.ELA-Literacy.L.5.4 CCSS.ELA-Literacy.L.5.4a CCSS.ELA-Literacy.L.5.4c CCSS.ELA-Literacy.L.5.5 CCSS.ELA-Literacy.L.5.5a CCSS.ELA-Literacy.L.5.5 b CCSS.ELA-Literacy.L.5.5c CCSS.ELA-Literacy.L.5.6 Hobey Ford's Golden Rod Puppets Hobey is part of the North Carolina Arts Council residency program and the cARTwheels program. "Funny, talented, wonderful, creative,delightful.Absolutely great to work with!" Clark Performing Arts Center, Springfield, OH Hobey Ford has never had another career. Internationally renowned in the puppetry field, and an award-winning performer and Kennedy Center Partner in Education teaching artist, Ford knew early on what ne wanted Jf to do after seeing a puppet show while still a youngster. He was bitten by Jill' the puppetry bug! While studying at an arts college, Hobey eventually found "... one of my cornerstones -that I would approach puppetry as storytelling with puppets." Ford designs and constructs all of his Golden Rod Puppets as well as the beautiful sets that surround them. Now a resident of Asheville NC, Hobey also draws on his early experiences growing up in coastal Connecticut or living in a Nevada Native American community in writing the scripts for some of his performances such as "Whale Walker"and "Turtle Island Tales." He first created the Golden Rod Puppets in 1980 and often adapts folk tales and global cultural traditions for his perfor- mances, always adding a special "Golden Rod"twist. His performances incorporate a variety of puppetry styles: Bunraku, rod, marionettes, Foamies and shadow puppetry. Hobey is quick to credit his audiences for completing the creative spark that is ignited with every live performance and he has brought his amazing talent to family audiences all over the world for over two decades. Ford has received the highest awards for his brilliant and priceless contributions to the world of puppetry:two-time winner of puppetry's highest honor, the UNIMA Citation of Excellence, recipient of three Jim Henson Foundation grants. and The Hermitage Fellowship, Hobey Ford is renowned for excellence in in his craft. Chosen as a Kennedy Center Partner to teach teachers (and other artists) how to use the performing arts in the classroom curriculum, Hobey not Orly performs his original works all over the world but offers workshops to teachers and students alike. Hobey is considered by his peers both an innovator in puppetry craft and a master storyteller. He created both the "Foamies"and the clever hand puppet known as "Peepers,"an imaginative, patented set of plastic eyes-for hands of any size-worn in several ways that turn the bare hand into an innovative and inexpensive instant puppet! The "Foamies" are large animal puppets that Hobey designs, carves and paints from blocks of foam. After studying each animal's characteristic movements, Hobey designs various rod control mechanisms to make the puppets themselves move in an incredibly life-like manner. The "Foamies"are presented using both stage and house performance spaces, often flying or"walking" right out over the audiences' heads! "Ford is a remarkably original and refreshingly authentic artist whose passion just happens to express itself through the rather unusual...medium of puppetry!" Tom Kerr, Marquee Hobey Ford's Golden Rod Puppets . PERFORMANCE DESCRIPTIONS (Teacher Study Guides are available for all performances) "Animalia" The quintessential favorite! Pre-K—6th grades and Family Hobey Ford's"Animalia"explores the magical world of animals. This performance features Hobey's original "Foamies"puppets carved from large blocks of foam with intricate mechanical design that gives each puppet realistic movements.Hobey breaks out of the traditional puppet theater booth turning the whole theater into his performance stage."Animalia"introduces students to the metamorphosis of a butterfly and a tadpole, various ecological systems and endangered animals. "Migration" 1st- 8th grades and Family In this sequel to Animalia,Hobey Ford returns to the natural world of animals to explore the wonders of migration through the story of a Mexican girl named Beatriz and her own migration to the United States. The story of Beatriz'journey is juxtaposed with the stories of other animals that migrate; Monarch Butterflies,polar bears,the Godwit bird and the Sperm Whale.The puppets in Migration are Hobey's original"Foamies,"carved foam rod puppets.These extremely realistic puppets are performed behind a thin circular theatrical scrim onto which is projected Hobey's original artwork. The scenes are animated to take the audience along on the _ journey of these incredible creatures. The puppets appear to be performing within the video projections. Hobey performs this production in full view in his role as storyteller,puppeteer and animator creating a seamless and almost hypnotic dance between the puppeteer,puppets and original artistic scenery.A gorgeous production with a touching story of hope and change,this is a performance that will thrill your students. "The Rainbow Bridge and Other Tales" 2010 UNIMA Citation of Excellence 1st—6th grades and Family This shadow puppetry production brings to life three folktales through Ford's unique presentational style combining stunning puppetry,storytelling and topical educational themes. Stories include"The Rainbow Bridge,""El Coqui"and"The Three Billy Goats Gruff,"with a finale of his Peepers Puppets,and his famous beautifully carved foam animal creatures("Foamies"). His productions touch on themes across the curriculum with an emphasis on his art form. The Rainbow Bridge - a Native American folktale of the Chumash,a tribe who inhabited the southern coastal regions of California. The tale recalls the origins of the Chumash on Santa Cruz Island.The people received the gift of fire and with it,the means to develop and flourish until they became overcrowded and were forced to migrate to the mainland on a rainbow bridge. The tale also tells of the ones who didn't make it across,but fell into the sea becoming dolphins. El Coqui- a Puerto Rican folktale about how the little tree frog got his song.The animals of the lush rain forest had become lazy on their island paradise until a race was set which forced the animals to get in shape.Little Coqui,being so small,worked extra hard,and his efforts led him to win the race.He was rewarded with his famous song: "coqui coqui,coqui..". The Three Billy Goats revisits the classic Nordic tale with humor and issues of the day.When the long winter has finally come to an end,The Billy Goats Gruff have exhausted the resources of their meadow and must migrate to the upper meadows. To do this they must cross a bridge where a troll stands guard to prevent their passage. They use the ploy of the original tale by sending the smallest first and begging the troll to let him pass as larger goats will soon be along providing an even bigger meal.From there all goes haywire as little billy goat turns the story on its ear with a surprise ending;for something has gone totally wrong in the environs of the upper pasture and while Big Billy Goat and the Troll are busy fighting it out little Billy Goat sounds the alarm that all is not well and that they should redirect their energies to preserve their world. "World Tales" K—5th grades and Family A collection of stories and puppetry techniques from around the world including an Aesop fable, a Native American story and an African story.The puppetry techniques include Bunraku from Japan,shadow puppetry from Asia,rod puppetry from Indonesia,and Hooey's own"Foamies" and Peepers puppets. "Turtle Island Tales" UNIMA Citation of Excellence 2nd-6th grade and Family Turtle Island Tales is a performance of songs and stories of Native Americans told r.hrough puppet This production was funded by the Jim Henson Foundation and utilizes shadow puppetry and a Iii ;i i.cd realistic Native American singer puppet. The shadow puppetry is performed before beautiful painted scenes. The production features three tales:"Raven Steals the Sun"(Haida),"The Gift of Fire" wdapted from Semu Haute,a Chumash elder),"Antelope Carrier and the Thunderbirds"(Arikara). T li i rr;,er char- acter leads us into the stories and returns to close. "Tales of Light" K- 5th Grades Master storyteller and puppeteer,Hobey Ford,shines the spotlight on three Native American tales teaching about light and life. December is the season of light as we celebrate the turn from the darkest day of the year back toward the sun and longer days of light to come.The native people told numerous stories about fire and the sun to teach not only about light and warmth but to shine a light on many life lessons."Little Grandmother Spider Woman"-A Cherokee animal tale from North Carolina about the danger of fire.The story is also about false pride and boastfulness,or in other words,bragging.Through the story,we also learn about an important craft of the Cherokees: pottery."Raven steals the sun"-This Haida tale tells of Raven the Trickster's antics in stealing back the sun from a selfish chief who keeps the sun in a box for 1>n himself. "The Gift of Fire"-After gifts were given to all creatures but man,hummingbird flies to the sun to bring back a gift t(%i nuur. Man discovers the uses and dangers of fire in this catiti m.tn tale. "The Ant and The Grasshopper and More!" 2nd-6th grade and Family The Ant and the Grasshopper and More is a show of folk tales and variety inclu,l i n_ tried and true acts that Hobey has performed for years at various venues to entertain all age,, rl audiences. This performance can be staged outdoors for festivals or indoors for libraries an,.] ,�hurls. The performance includes The Ant and the Grasshopper from Hobey's show "Work Little Grandmother Spider Woman from World Tales,Hobey's Peepers Puppets,Chests r t I is I>og,The Roving Elf and Hobey's original rod puppets,the Foamies.In this show,The RoN i r I I I and the Foamies come right out into the audience. TEACHER WORKSHOPS AND INSTITUTES - Hobey is a teacher in conjunction with she Kenned c nter's Partnership in Education Program and is listed in their touring directory. Hobey has three teacher workshops that are ava i I;ihic for three to four hour sessions. The Magic of Peeper Puppets: Exploring Story Writing Through Puppetry - Ford believes puppetry is a m.:t uI teaching tool that activates students'creative thinking through play.In this workshop,he introduces participants to his patented lYcper, Puppet. Discover how to help your students learn the basics of creating numerous characters using the Peepers Puppet and hm� tr tc.tch your students to write and perform simple scripts, gaining knowledge about basic story structure,story sequence and the po\\L.1 t rt story in their lives--- by creating theater with just their hands. From Larvae to Butterfly:Metamorphosis Through Puppetry -using Hobey's"Foamier"Puppets or shadow puppci I--\.teachers create a unit to teach metamorphosis through puppetry. Telling Folktales with Shadow Puppets - Combining storytelling with shadow puppetry brings a variety of cultures i I t r i n the classroom through folktales. During this workshop,teachers become familiar with folktales from many cultures. Partici punt, learn shadow puppetry performance techniques and how to construct their own shadow puppets. Hobey Ford discusses the co r�truction of a shadow puppet theater,scripting a folktale into a play,and organizing a performance with students.Teachers may choose 10 �\ork with students to develop their own productions or to use the skills and knowledge to deepen the students'understanding and cnj(r\anent of folktales and literature from the curriculum. STUDENT WORKSHOPS - Hobey teaches two two hands-on workshops for students 2nd to 8th grades. Shadow Puppetry -Hobey combines storytelling with shadow puppetry and brings a variety of cultures to life in the cl.t,,n v m through folktales.During this workshop,Hobey will demonstrate shadow puppetry and teach students to make a simple' r,rlf puppet; basically a character's body on one or more sticks.Students will become familiar with tales from several different culture,. ul ti mately choosing one to illustrate with their own easily-made shadowpuppets and learn shadow puppetry performance technique, Writing Stories With Peepers -a workshop exploring story development and creative writing using Ford's patented l re r:v puppets. What the Presenters and Audiences are saying about Hobey Ford's Golden Rod Puppets "Hobey was fantastic!A true pleasure to work with. Our teachers are still raving to me about what they learned and his teaching techniques. He was very professional,knowledgeable,and downright fun!" Chelsie Taylor Thompson,Director of Operations,Renaissance Performing Arts,Mansfield,OH "Animalia was visually and aurally engrossing; it was a gentle show. In these days when our children are bombarded with thousands of images per minute,frequently deafening sound and high-tech effects,the show was in startling counterpoint— it progressed at a non-hurried pace with soothing and delightful music. It reflected the quiet, steady,yet inexorable pace of nature itself.The children seemed to respond to every nuance,delighting in the playfulness of the animals and in you, too,as you made the animals swoop over them or land on their heads.The realism of the animals' movements was truly amazing . . . It was a pleasure to work with you. . . . the feedback was overwhelmingly positive. I know one teacher who used the materials and puppets before the end of the week! Christine Brown,Director,Center for the Arts, University of Massachusetts,Lowell "Hobey,you got away so quickly on Friday that no one was able to tell you how much we enjoyed your performance at the Hughes Main Library for our Summer Reading Kickoff. It was a huge success. We had 620 people in attendance! I think it was our best kickoff yet. I wasn't able to see much of the performance as I was needed elsewhere but I was told that the audience was really engaged in your show, much more than ever before.Thank you so much for giving our young patrons such a treat." Eva Putnam,Greenville County Library "The show was wonderful.The puppets (as always) were beautiful,expressive, well manipulated. The stories were well chosen . . . the various narrators created a world of story enchantment." Michael Nelson,Artistic Director,Puppeteers of America "I think the evaluations speak to our wonderful week together.You remain true to form; patient, knowledgeable,passionate about your art form,and a wonderful teacher." Tricia Cook,North Carolina Center forAdvancement of Teaching "Funny,talented,wonderful,creative,delightful. He was absolutely great to work with." Clark Performing Arts Center,Springfield,OH "Hobey is a delight.This show (Turtle Island Tales) is my favorite so far." Theatreworks,Inc.,Jacksonville,FL ". . . thank you for the two wonderful performances of"Tales for the Very Young" . . .You entertained both the children and adults with your beautifully handcrafted puppets bringing to life a delightful selection of short stories perfect for the youngest of viewers." Diana Phillips,North Carolina Museum of Art,Raleigh,NC "Awsome workshop! Mr. Ford knows his stuff." Teacher Workshop Participant,Detroit Institute of Art "Hobey was absolutely fantastic! The audience was very engaged and very happy,kids loved Dint. His community event for the disabled group was extremely special,even the teachers were very surprised as to how involved and captivated the kids were with what he was doing on stage. Hobey himself is a great guy,it was a pleasure having him here." Aseel Al-Shafei,Economic Development Board,Bahrain "Wow!!! This guy is great! The presentation was wonderful,and his Q and A was so thorough. He relates to kids really well. Send Hobey anywhere he wants to go . . . the audience loves him! Thanks for your help in getting him to us. Teacher,Knoxville,TN What Educators say: You've certainly made quite an impression on a school that has been really struggling to find/maintain its identity — I think your visit has reinvigorated the teachers and shown them that the arts can del i\er joy and pride,as well as curriculum content,to their students. It was such a pleasure working witli }oll and getting to know you this week. I look forward to having you back in the future! Courtney Reilly,Assistant Director of Cultural Arts, University of North Carolina Wilmington We LOVED this performance! The student's and staff are still talking about it! Many teachers to ok this opportunity to involve students in an engaging writing activity following the performance. Students were so excited to go back and write about the performance!Again,we thoroughly enjoyed the show a ri d �N i I I request it again next year! Thank you so much for this wonderful opportunity! —Sloan E.Browning,Principal,Aberdeen Primary School Hobey's show was exceptional.The kids LOVED it. Probably the best received performance in the s e e n years I've been here. Excellent! Informational,dazzling visuals,humor.This had it all. I would highly recoil mend this to any elementary program,and I'm sure he could tailor it to older groups,too. GREAT' —Jay St.John,Headmaster,Episcopal Day School Thank you for sending Mr Ford to spend time at our school. The staff and students were impressed with his presentation. It was creative,engaging and informative. We all learned something from those puppet! I hope he can visit again next year. Maybe we can coordinate it a science unit being taught. We appreciate the invest- ment in our school. I'm still playing with my "eyes" (Peepers Puppets)! —Dante Poole,Principal Intern,Robbins Elementary The students really enjoyed Hobey Ford's show last week. It was the first time that I had seen this performance and I thought it was great...definitely not your ordinary puppet show. Seth Powers,Principal,West Pine Elementary School Wow! Hobey Ford was awesome and his show just knocked everyone off their feet. Kim Sobat,Youth Program Coordinator,Arts Council of Moore County,NC PRESS Ford to perform "Animalia' at Maguire Theater By Robert Kelly-Goss The Daily Advance Thursday, June 23, 2011 Magic. Hobey Ford's world is magic. His puppets are magic. They are instruments of his art, bringing to life a vision that he has nurtured since he was an an student in the mid-1970's. It is a vision that incorporates the visual and performing arts on stage, before your eyes,telling stories - in this case the story of the animal kingdom - using beautifully crafted puppets that have a tradition dating back hundreds of years, coming from a variety of cultures. Ford will bring his vision in the form of a show"Animalia,"to the stage at the Maguire Theater today and tomorrow. "It's really not what you would expect from puppetry,"says Ford,who is based in Waynesville, NC, in the western part of the state. "First of all, I perform for all ages. ...It plays to a wide range of audiences." And it does play to a wide range of audiences. His performance, "Animalia,"explores the animal kingdom's delights from a tadpole growing into a frog to a caterpillar's journey to cocoon to butterfly. And it's all done as the puppet master performs on stage, with the puppets in a non-verbal performance he likens to a ballet. "The puppets are carved, foam rubber sculptures," he days. "The foam is very rubbery and elastic so when I manipulate the puppets with rods it looks very realistic." And it does indeed look realistic. Once the tadpole reaches maturity and becomes the frog, the very real motions of his puppets, accompanied by soothing background music, have hypnotized you. His world also explores the life of birds, an undersea ballet of whales, frolicking dolphins and otters. And while these are very much puppets, many who are not familiar with the world of puppetry might be somewhat bemused by the style Ford uses on stage. Don't be. His style is actually reminiscent of Jim Henson's Muppets, the use of rods being a form to manipulate movement. But more- over, this beautiful style comes from the Japanese puppet tradition of Bunraku. "It goes back a couple of hundred years,"says Ford. "Like opera, it's a classical theatre traditionally for adults." And that's something Ford wants people to keep in mind. Puppetry is not strictly a children's experience.