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2017-071-E Arts - Carrboro Elementary School - Fall 2016 Arts Grant Agreement
WI DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 C ORANGE COUNTY ARTS COMMISSION �a a »v (r; 1 1∎iJ r J F 1 a FALL, 2 I6 GRANT AGREEMENT N ;,b; 0 u n THIS AGREEMENT, entered into this 17 day of January, 2017, by and between Orange County ("County"), by and through the Orange County Arts Commission ("Arts Commission") and Carrboro Elementary School ("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 projects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizations coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with 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 ($ 1000.00) have been awarded by the Arts Commission to the Grant Recipient for the approved 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 January 2017 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 A. Implementation. The Project implementation shall take place between January 1, 2017 and December 31, 2017. 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, implementation schedule and increase in Project budget by more than 10%, in writing to the Arts Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt thereof 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 Report on January 12, 2018. 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 of $1000.00 to the Grant Recipient. 6. Publicity A. Acknowledgement. Credit must be given to the Orange County Arts Commission and/or the North Carolina Arts Council using the proper logo(s) and credit line in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. Official Orange County Arts Commission and North Carolina Arts Council logos may be downloaded at www.artsorange.org/grantee-resources and may not be altered in any way. When no printed information is used, verbal 2 Revised January 2017 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 credit shall be given. In addition, all print and promotional material must include the following credit line and logo(s) (check all that apply): i. x County Funds Only. Orange County Arts Commission logo required. Credit line: "This program is supported by the Orange County Arts Commission. " ii. North Carolina Arts Council Funding. The Orange County Arts Commission and the North Carolina Arts Council logos are required. Credit line: "This program is supported by the Orange County Arts Commission through the N.C. Arts Council, a division of the Department of Natural and Cultural Resources. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on the ExploreChapelHillARTS.com website and display Orange County Arts Commission 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 www.artsorange.org (Orange County Arts Commission logo preferred) to their main webpage. 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 and 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 funds. 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 behalf 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. 3 Revised January 2017 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 (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. (iii) Failure to adhere to the terms of applicable county, state or federal laws, 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. Both parties agree that this Agreement shall be governed by the laws of the State of North Carolina. Provider shall at all times remain in compliance with all applicable local, state, and federal laws, rules, and regulations including but not limited to all state and federal anti-discrimination laws, policies, rules, and regulations and the Orange County Anti-Discrimination Policy. Any violation of this requirement is a breach of this Agreement and County may immediately terminate this Agreement without further obligation on the part of the County. This paragraph is not intended to limit and does not limit the definition of breach to discrimination. By executing this Agreement Provider affirms that Provider is and shall remain in compliance with Article 2 of Chapter 64 of the North Carolina General Statutes. By executing this Agreement Provider certifies that Provider has not been identified, and has not utilized the services of any agent or subcontractor, on the list created by the State Treasurer pursuant to G.S. 147-86.58. C. Entire Agreement and Signatures. The parties have read this Agreement and agree to be bound by all of its terms, and further agree that it constitutes the complete and exclusive statement of the Agreement between the parties unless and until modified in writing and signed by the parties. This Agreement together with any amendments or modifications may be executed electronically. All electronic signatures affixed hereto evidence the intent of the Parties to comply with Article 1 1A and Article 40 of North Carolina General Statute Chapter 66. [SIGNATURE PAGE TO FOLLOW] 4 Revised January 2017 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 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 r DocuSigned by: i� wn (A.St,VIAA BEB4474ro Elementary School Date For and on behalf of Orange County Government L b DocuSigned by: blAA/ut, tkeumMt,V'Stt,(1 2/12/2017 .dr r's:Bliallannersley, County Manager Date 5 Revised January 2017 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 is I' "'N/ FALL 2016 ORANGE COUNTY ARTS ARTS IN EDUCATION GRANT COMMISSION APPLICATION FORM II 1. APPLICANT INFORMATION Applicant Name Carrboro Elementary School Mailing Address 400 Shelton St.,Carrboro, NC 27510 Daytime Phone 919-968-3652 Email Address ilaserna @chccs.k12.nc.u€s Web Site http://ces.chccs.k12.nc.us/ DUNS Number 964181957 2. PROJECT DIRECTOR INFORMATION Project Director Name Lynn Weller Title PTA Cultural Arts Representative rr Home Address: 211 Wild Oak Ln is Daytime Phone 919-606-0836 Evening Phone is Email lynnweller @gmail.com DUNS Number 3. GRANT REQUEST SUMMARY Arts Program Grant Request $1,000.00 Total Cash Match $1,450.00 Total Organizational Budget Past Year $65,258.00 (actual) (Including PTSA/Cultural Current Year $54,035.00 (budgeted) Enrichment/Arts Program) Projected for Next Year $55,000.00 (estimated) Summary Statement for Proposed Uses of Arts Program Grant: CES is requesting funding assistance to bring two performance groups to our school in 2017. Mike Wiley is an acclaimed actor and playwright who strives to expand cultural awareness for young audiences through dynamic portrayals based on pivotal moments in African-American history. The NC Youth Tap Ensemble is a dynamic group of NC youth aged 8-18 that features rhythmic dance from a variety of genres as well as drumming and singing. 4. NARRATIVE Write a description (no more than three pages, single spaced)that describes the following under separate subheadings: • School profile—a brief overview of population and services. • School's arts programs—a brief list. • Proposed uses of grant funds—description, including location,date, artists involved. Include information concerning whether you have undertaken similar activities in the past. Include approximate number of audience per program;geography of audience; mix of race, ethnicity, age, and gender. Discuss how arts program will be integrated into the curriculum. 919 245 2335 1 200 S.Cameron Street,Hillsborough, NC 27278 I www.artsorange.erg DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 APPLICATION CHECKLIST (in this order;do not staple,bind, or put into individual folders) One co •1 sided,81/2"x 11", white paper Vpplication Form, including signatures rrative �= Budget Sheet ❑ Itemized Budget(if necessary) rW11 sumes of key artists and administrators involved in grant funded program(s) ganizational Budget for current AND past two fiscal years rtist contact list, including names, address, phone numbers, and email (if applicable)of a artists involved in grant funded activities Staff roster of all school art& music teachers with position title(s). Board contact list, including names, address, phone numbers,and email (if applicable) ci organization's board of directors 1:1_,C.opy of IRS Tax Exemption Letter, if private school iii Sample programs, press, or other materials from this or similar past programs Sample work by artist(labeled with artists' name,title of work, date of work) produced in the last three years: o Visual artists:CD, DVD, or high resolution photographs(5-10 images). Clearly label each piece with dimensions and media and indicate top of image o Dance or theater artist: CD or DVD, or link to high-quality online video (3-5 minutes) o Music and spoken word:CD, MP3 or link to high-quality online video (3-5 minutes) o Literary arts: Manuscript(10-15 pages)submitted by.pdf or hard copy 5. SIGNATURES Typed or Printed Name—Project Director: Lynn Weller (VePan —5 gnature of Project Director Date Typed or Printed Name—Authorizing Official: ono Via©� 1 S.'•ture of Authorizing Official Date ■ ICI 919.245.2335 1 200 S.Cameron Street, Hillsborough,NC 27278 I www.artsorange.org DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School Arts in Education Application School Profile Carrboro Elementary School (CES) has been serving PreK-5th grade students in the heart of Carrboro, NC for over 50 years. The school began as a community based school and continues in this tradition. The walk zone is large and the school participates in annual events to support walking and biking to school. Classes take walking field trips to local businesses and surrounding parks and natural areas. CES families and staff create inclusive events for the school community such as the Taste of Carrboro, where families share foods from their diverse cultures and countries, and our popular annual school fair. CES also has a strong parent organization, RISE (Radical Intervention to Support Education)that brings people together to discuss race relations and other social issues through Socratic seminars. Group leaders facilitate discussion groups for both adults and children to discuss an article about race together. CES takes pride in our exceptional school community and offers a number of distinctive features and programs including a Dual Language (DL) program and a focus on developmentally appropriate practices of educating the whole child. The DL program is an English-Spanish immersion program with the goal of bilingual/biliteracy and multiculturalism by the time students exit elementary school. The program is fully implemented with 2-3 classes at each grade level PreK-5. Current Kindergartners enter the program through a magnet model. New to DL classes this year is a bilteracy model which requires the strategic use of Spanish and English to plan for and enable students to use reading, writing, listening, P 9 p 9, g� 9, and speaking for a wide range of purposes, in two languages. In 2016-2017, Carrboro Elementary School is serving approximately 497 students PreK-5 with the demographics as below for grades K-5. Subgroup Number % of school population Total 497 100% White 278 56% Black 25 5% Hispanic 154 31% American Indian 1 .2% Asian 14 3% Multi-Racial 25 5% ESL (English as 2nd Lang.) 70 14% EC (Exceptional Children) 35 7% AIG (Academically& 40 8% Intellectually Gifted) EDS (Economically 32 6.4% Disadvantaged) Male 244 49% Female 253 51% DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School's Arts Programs Arts programming is an integral part of learning at CES and students are exposed to art, music, theater and dance. Our arts programs are an important way that students learn about other cultures. Students attend Art and Music classes for 45 minutes each week. In Music classes they learn about music through singing, listening, moving, composing, and playing instruments. Every year a grade level performs a mini-musical in December where each student presents a speaking part and participates in singing and moving to the songs in the program. In Art classes students use paint, drawing materials, clay, fibers and mixed medium. Students also study artists, cultures and types of art. ii In our extra-curricular theater program, students have created and produced full-length theatrical productions for the past five years including "The Jungle Book," "School House Rock," "Charlie &the C' Chocolate Factory and "The Wizard of Oz" after school, over a three-month period. In 2015, 149 students participated in the performance of"The Lion, the Witch and the Wardrobe" and this year the school is performing "The Little Mermaid." 5th graders at CES participate in a 24-hour play festival and get an intense 24-hour theatrical experience. Students can be either a director or an actor and within 24 hours they block, costume, prop and rehearse their specific play. This year seven plays were performed. CES has committed to installing new theater lights this year and has already raised over$4,000 in donations towards this project. In 2015/2016, CES had art programming in afterschool clubs where students experienced drumming, guitar playing, sewing, film, dance, cartooning and crocheting/knitting. An after school club was also offered called Young Rembrandts (run by an outside group)which teaches students drawing skills. Our summer programming includes a two-week Summer Theater camp and a Dance Camp run through Community Schools. Proposed Use of Grant Funds Carrboro Elementary School strives to bring diverse performers to our school community with unique perspectives on multicultural education through music, dance, and storytelling. We are requesting the assistance of the Orange County Arts Commission to bring two performance groups to CES in 2017 that we think will have a significant impact on our students. Mike Wiley is an acclaimed actor and playwright with fifteen years of credits in documentary theatre for young audiences, plus film, television and regional theatre. Wiley's overriding goal is expanding cultural awareness for audiences of all ages through dynamic portrayals based on pivotal moments in African- American history and, in doing so, helping to unveil a richer picture of the total American experience. See sample work here: htt :/I v ,r aut b .co iw tch`v 0 I O/V N4k Mike will be performing "Tired Souls"for CES 3rd—5th graders on January 20, 2017 at a cost of$1,020. "Tired Souls" introduces audiences to Rosa Parks, Jo Ann Robinson, Claudette Colvin and others instrumental in the Civil Rights Movement, changing the course of U.S. history. CES believes this show will complement CES December activities commemorating the Montgomery bus boycott, as well as what students will be learning during Black History month in February. The other group we would like to bring to our school is the NC Youth Tap Ensemble (NCYTE), one of the best youth tap ensembles in the world, NCYTE features approximately 40 dancers, ages 8 to 18, who hail from throughout NC. The NCYTE shows feature rhythmic dance from a variety of genres as well as onnunign Envelope ID:onrn1re*EuF-4n41+mo+Ae1Fo4xcF4o1 drumming and singing. NCYTE school performances also include brief stories about the history of tap dance and information about a variety of styles of rhythmic dance. See here videos of their performances: �ri[9kft 0sfdo-ypur-tinIl; _|teUls/bUCk-and-Ving/; .nC ongerto-kor- NVD-v nd-cd inOri We believe the NCYTE will bring our students a dynamic, educational and inspiring program performed by a diverse group of local young people that they can identify with. We plan to host two NCYTE shows for$1,430 on February 16, 2017. We are asking for$1,000 to help us host these two performance groups in our school's auditorium. The Carrboro Elementary PTA has raised funds to sponsor similar shows in the past. In the 2015-2010 school year xve hosted the Red Herring Puppets' science based show ''Be(thcitv." K8i���r(�'ebi|in���| "Electricity," show"Vamos a Ia Playa," and Didgeridoo Down Under. We typically have artists do two performances in our auditorium, one for grades K-2 and one for grades 3-5. There are about 240-250 students in each show. The demographics of the audience is described on page 1 of this application. CES is well equipped to host these groups. Our school has a performance stage that can easily accommodate the casts of each group. The administrative staff of our school fully supports our efforts to bring these groups to our school. Our PTA is prepared to host the events, and the art and music departments are prepared to help finalize details of the shows and assist performers with technical issues. Once funding is secure, the PTA will disseminate information to school administrators and teachers that describes the performances and includes study guides aligned with our curriculum goals. Both the Mike Wiley and the NCYTE performances closely align with our curriculum objectives at CES. We adhere to the North Carolina Standard Course of Study for guidance in curriculum standards. For mxamp|e, an essential outcome in the State arts curriculum is K.CR.1 Understand global, interdisciplinary, and 21st century connections with mmusic, NCYTE's show provides a connection with the music curriculum as well as social studies found in considerations of the different types of music featured in the performance (e.g. blues, classical, bluegrass, old-time, folk, Latin,jazz). These music traditions have historical perspectives and some have a specific geographic identification. Can the students recognize these types of music or the composers? Do they know the historical roots? The Mike Wiley performance will work well with the NC Social Studies Standards. In particular, 3.H.2 Use historical thinking skills to understand the context of events, people and places. The Mike Wiley performance is a study of historical events (the Civil Rights Movement)through the eyes of several different key characters. Students will begin to understand the significant role of the individual in shaping history and explore changes in communities and regions over time. Another standard that will work well with Mike Wiley's narrative performance is the encouragement of teachers to guide students in drawing parallels between contemporary issues and their historical origins. Carrboro Elementary is pleased to have the opportunity to apply for funding that would facilitate bringing these exciting performance artists to our school. The lives of our students and their families will certainly be enriched by students getting a chance to expand their knowledge of the world through arts programming. The Parent Teacher Association of CES is prepared to raise the matching funds if we were to be awarded monies from the Orange County Arts Commission. DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 I I/ FALL 2016 • --N/ ARTS IN EDUCATION GRANT ORANGE COUNTY ARTS BUDGET SHEET COMMISSION FINANCIAL INFORMATION Please provide a projected budget for your proposed project utilizing the format below. PROJECT EXPENSES Grant Amount + Applicant = Total Expense Requested Cash Match A Personnel Administrative staff Artistic staff $1,000.00 $1,450.00 $2,450.00 Technical/Production staff B Outside Fees and Services Artistic contracts Other contracts: C Space Rental D Travel E Marketing F Remaining Project Expenses G Total Cash Expenses $1,000.00 $1,450.00 $2,450.00 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 $1,450.00 G Grant Amount Requested in this application $1,000.00 H Total Cash Income $2.450.00 (must equal Total Cash Expenses,Item G above) 919.245.2335 200 S.Cameron Street, Hillsborough, NC 27278 I www.artsorange.org DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Mike Wiley Productions: Artist Bio/Mike Wiley goingbarefoot•inc. a presenter's point of view... an artist's standard of performance www.goi ngbarefoot.corn Stephen Barefoot 919.489.1541 stephen @goingbarefoot.com Mike Wiley Productions, Ltd. www.mikewileyproductions.com "A marvel to watch..." Robert McDowell, Triangle Theatre Reviews "More than mere versatility... It's virtuosity." American Theatre Magazine Mike Wiley is the NC-based playwright and actor whose distinctive original works in documentary theatre, film, educational residencies and performances for student audiences has been acclaimed across America and abroad. His dramas relay the stories of fugitive staves, civil rights game-changers, sports heroes and freedom fighters. Dynamic multi-character portrayals offer penetrating views into parallel lives whose roles within African American history have shaped a richer total American experience. Wiley's remarkable one-man "cast" sometimes introduces dozens of characters during the course of a single play. Morphing from young to old, man to woman, African American to white, his gripping stories enlighten and inspire audiences of every age to apply history's lessons to events and situations of the present. An MFA Graduate of UNC-Chapel Hill, Wiley's original theatrical repertoire includes DownRange: Stories from the Homefront, drawn from experiences of military spouses and families left at home when their family member is deployed, commissioned by Cape Fear Regional Theatre in Fayetteville. The Parchman Hour, Songs and Stories of the 1961 Freedom Riders, was premiered by Playmakers Repertory Company in Chapel Hill in 2011 and subsequently produced by other US regional theatres. One Noble Journey:A Box Marked Freedom relays the true story of Henry "Box" Brown, a slave who crated and mailed himself to freedom. Dar He: The Story of Emmett Till chronicles the murder, trial and confession of the men accused of the Chicago youth's lynching in Mississippi in 1955. Blood Done Sign My Name is Wiley's riveting dramatization of Tim Tyson's best-selling memoir of race and religion. Additional plays include Jackie Robinson:A Game Apart, about African American athletes who pushed the color barrier to its breaking point; Tired Souls: The Montgomery Bus Boycott, documenting men and women who stood up to Jim Crow segregation; Life Is So Good, about the amazing life of George Dawson who learned to read at the age of 98, and Brown v. Board of Education: Over Sixty Years Later on the high-impact ruling that desegregated schools. During the 2016 touring season, Wiley adds yet two additional compelling productions to his impressive repertoire. Breach of Peace shares the story of some of the brave visionaries involved in the Freedom Rides of the early 1960s, and playwright Howard Craft's adaptation of The Fire of Freedom allows Wiley to recount the remarkable life of Abraham Galloway, the slave who rose out of bondage to become one of the most significant and stirring black leaders in the South during the Civil War. DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 fi Mike Wiley has been featured as News and Observer's "Tar Heel of the Week," profiled in Our State magazine, spotlighted on UNC-TV's "North Carolina Now" and North Carolina Public Radio's "The State of Things" and was named the 2012 Indie Artist of the Year by the Independent Weekly. In the gripping independent film adaptation of his play DAR HE about Emmett Till, Wiley himself portrays more than 30 characters in a tour-de-force performance that garnered major film and acting awards at numerous film festivals across North America, Europe and Australia, including "Best Actor" at the Harlem International Film Festival. His extended educational residencies have been funded through grant programs of the North Carolina Arts Council, and his plays have been selected for spotlight showcases at major industry conferences including Arts Northwest, Performing Arts Exchange, Arts Midwest and ArtsMarket. During 2014, Wiley completed a 20+-performance tour of One Noble Journey in Ontario, Canada. Mike Wiley is a former 2014 Lehman Brady Visiting Joint Chair Professor in Documentary Studies and American Studies at Duke University's Center for Documentary Studies and the University of North Carolina at Chapel Hill. Artist site: www.mikewiteyproductions.com Artist booking: www.*oin•barefoot,corn Video compilation reel: https://www.youtube.corn/watch?v=Op0___5WON4k Abbreviated bio: Mike Wiley is a North Carolina-based actor, playwright and director of multiple works in documentary theatre, including THE PARCHMAN HOUR, DOWNRANGE: STORIES FROM THE HOMEFRONT, DAR HE: THE STORY OF EMMETT TILL, the theatrical adaptation of BLOOD DONE SIGN MY NAME and more. The film adaptation of Wiley's DAR HE, in which he portrayed 30+ roles, received more than 40 major film festival awards around the globe. THE PARCHMAN HOUR was selected as the closing event of the official 50th year anniversary commemoration of the Freedom Riders in Jackson, MS. Wiley has fifteen years credits in documentary theatre for young audiences plus film, television and regional theatre. An Upward Bound alum and Trio Achiever Award recipient, he is an M.F.A. graduate of the University of North Carolina in Chapel Hill and is a former Lehman-Brady Visiting Joint Chair Professor at Duke University's Center for Documentary Studies. He has conducted numerous educational residencies funded through grant programs of the North Carolina Arts Council and his plays have been selected for spotlight showcases by arts industry conferences including Arts Northwest, Performing Arts Exchange, Arts Midwest, Ohio Arts Presenters Network and ArtsMarket. During 2014, he completed a 20+ performance tour in Ontario, Canada. A gifted and visionary artist and communicator, Wiley's overriding goal is expanding cultural awareness for audiences of all ages through dynamic portrayals based on pivotal moments in African-American history and, in doing so, helping to unveil a richer picture of the total American experience. DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Gene Medler Resume NC Youth Tap Ensemble's artistic director Gene Medler is founder and director of the North Carolina Youth Tap Ensemble (NCYTE) and director of the North Carolina Rhythm Tap Festival. He teaches in the Department of Performing Arts at Elon University. Mr. Medler's previous 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 tap festivals in the U.S. and worldwide. • Gene was an athlete for most of his life, playing baseball, basketball, and track in middle and high school and then fencing at the University of North Carolina. Between undergraduate and graduate school he got interested in acting which led to dance classes and ultimately tap dance class. Loving movement for its own sake and having always wanted to learn to play an instrument,tap dancing was the perfect art form for him. He was fortunate to be learning when many of the old masters were starting to teach again. Gene worked with masters like Clayton "Peg Leg" Bates, Charles "Honi" Coles, Cholly Atkins, Bunny Briggs, and contemporaries like Brenda Bufalino, Sam Weber and Savion Glover. His passion for tap dancing coupled with his desire to teach led to the creation of NCYTE. Selected career highlights include: • Appearance in Duke Ellington's Nutcracker at Page Auditorium, Duke University& Memorial Hall, UNC • Appearance in Ellington's David Danced, Duke Chapel • "Poor Butterfly" soft shoe choreo-graphed by Brenda Buffalino at Colorado Dance Festival • Appearance in Great Tap Reunion (Boston), Charles 'Honi" Cole choreography • Appearance with the Squirrel Nut Zippers • Appearance with Brenda Bufalino,World Dance Festival New York City • Grants from the Durham Arts Council,the North Carolina Arts Council and the Orange County Arts Commission • Featured in Dance Teacher Now magazine • Featured in Southern Living magazine • Received the 1998 Indy Award for contribution to the arts from Independent Magazine • Profiled in the September/October 2001 Carolina Alumni Review • Named Tar Heel of the Week by the News and Observer • Seen nationwide in PBS special,Juba! Masters of Tap and Percussive Dance DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Budget for 2016.2017 for the Fiscal Year Ending June 30,2017 THROUGH OCTOBER 2016 2016-2017 2016-2017 DESCRIPTION BUDGET ACTUAL REVENUE: 2014.2015 CARRY-OVER Total Carry-over(including reserve) $39,669.17 $39,669.17 FUND RAISING Book Fair $3,000.00 r $0.00 Book Fair Expense ($1,600.00) $0.00 CubWear/Spirit Wear $2,500.00 $2,893.00 Cub/Spirit Wear Expense ($1,800.00) ($2,663.50) School Fair&Raffle $25,000.00 $0.00 School Fair&Raffle Expense ($6,000.00) ($85.26) School Pictures $1,000.00 $0.00 Thrift Shop $3,000.00 $0.00 Walk for Education $7,000.00 $2,650.95 Walk for Education Expense ($500.00) ($226,74) Back to School Bash $3,000.00 $728.25 Back to School Bash Expense ($800.00) ($489.94) Taste of Carrboro $1,000.00 $0.00 Taste of Carrboro Expense ($265.00) $0.00 Amazon.com Fund your PTA $200.00 $40.13 Harris Teeter $1,000.00 $0.00 Weaver Street $1,100.00 $348.25 Target(Take Charge of Education) $900.00 $0.00 Spirit Nights $600.00 $0.00 Other(Aug-refund of$159.50 from CHCCS for Camp for Kids) $0.00 $159.50 Net Fund Raising Income $38,335.00 $3,354.64 OTHER INCOME Dues and contributions received through membership drive $8,000.00 $8,933.00 Contributions for Supplies $8,000.00 $9,453.00 Whole School Gift Giving $4,000.00 ? $0.00 Whole School Gift Giving Expense ($5,000.00) $0.00 Sales Tax Refund $700.00 $0.00 Total Other Income $15,700.00 $18,386.00 NET REVENUE FROM ALL SOURCES $54,035.00 $21,740.64 NET REVENUE FROM ALL SOURCES+CARRYOVER $93,704.17 $61,409.81 EXPENDITURES: PTA OPERATING EXPENSES BANK CHARGES $10.00 $0.00 CREDIT CARD CHARGES $125.00 $35.14 INSURANCE CHARGES $315.00 $0.00 COMMUNICATION AND PAPER/SUPPLIES $600.00 $0.00 DUES AND SUBSCRIPTIONS PTA Council $50.00 $0.00 State/National PTA dues $800.00 $812.00 Total Dues $850.00 $812.00 PTA EXEC OFFICERS'DISCRETIONARY FUND PRESIDENT'S $250.00 $0.00 TREASURER'S $200.00 $0.00 Total PTA Exec Officer's Discretionary Fund $450.00 $0.00 TOTAL PTA OPERATING EXPENSE $2,350.00 $847.14 SCHOOL SUPPORT EXPENSES ADMINISTRATION'S DISCRETIONARY FUNDS Principal's Fund $2,000.00 $1,054.45 Assistant Principal's Fund $750.00 - $0.00 Total Administration's Discretionary Fund $2,750.00 $1,054.45 STIPENDS Bus/Cafeteria Duty Stipend $2,000.00 $0.00 DocuSign Envelope ID:06711 17B-0E3F-4541-A834-A91FC422F4D1 Budget for 2016 2017 for the Fiscal Year Ending June 30,2017 THROUGH OCTOBER 2016 2016-2017 2016-2017 DESCRIPTION BUDGET ACTUAL Club Stipend $5,200.00 $0.00 Total Stipends $7,200.00 $0.00 SPECIAL PROGRAMS AND PROJECTS Art Supplies $300.00 $0.00 Battle of the Books $200.00 ' $0.00 Book Room $2,000.00 $0.00 Classroom Supplies $8,000.00 $7,615.01 Cultural Arts Performances $4,325.00 $0.00 Field Trips $4,000.00 s $0.00 Fifth Grade Function $500.00 $0.00 Literacy/Non-Fiction+Book Bins/Time for Kids $4,000.00 $945.07 Makerspace $1,500.00 $0.00 Math/Science Support $1,000.00 $365.23 Media Center $2,500.00 $268.65 Music Program $300.00 ' $124.00 Physical Education $600.00 $0.00 Reading is Fundamental $1,200.00 $746.00 Reflections $100.00 ' $0.00 School Directory $200.00 ! $0.00 Science Olympiad(Jeanette Mauldin) $500.00 ` $0.00 Theater Production $700.00 > $0.00 Swivel Robot $500.00 $491.81 Coolers $300.00 $0.00 Auditorium Lighting $16,000.00 $16,214.29 Other(Oct-Kiss&Go Signs) $45.13 Total Special Programs and Projects $48,725.00 $26,815.19 HEALTH AND WELLNESS ACTIVITIES Wellness committee $700.00 ' $0.00 Snackmaster $100.00 $0.00 Safe Routes $1,200.00 $295.63 Total Health and Wellness Activities $2,000.00 $295.63 PARENT EDUCATION AND FAMILY OUTREACH Parent Education $500.00 $0.00 Camp for Kids(4159.50 that was returned from last year) $1,000.00 $0.00 Kids-in-Need $600.00 $0.00 MUA/RISE $750.00 $0.00 Helping Cubs(backpacks,etc.) $1,500.00 ` $160.93 Total Parent Education and Family Outreach $4,350.00 $160.93 HOSPITALITY AND APPRECIATION ACTIVITIES Teacher Appreciation/Delayed Openings $2,200.00 $250.49 Principal Coffees >$50.00 $12.70' Total Hospitality and Appreciation Activities $2,250.00 $263.19 SCHOOL BEAUTIFICATION Landscaping $2,000.00 $2,100.00 Total School Beautification $2,000.00 $2,100.00 COMMUNITY BUILDING Summer PTA meeting/pizza party 2016 $600.00 $623.68 Kindergarten playdate $50.00 $0.00 PBIS supplies $500.00 $282.97 New Family Night $100.00 $0.00 Total Community Building $1,250.00 $906.65 CONTRIBUTIONS SPENT FOR GRADE LEVEL TEAMS: Contributions spent:Kindergarten $760.00 $42.16 Contributions spent:1st Grade $768.49 ` $0.00 Contributions spent:2nd Grade $411.02 $0.00 Contributions spent:3rd Grade $509.16 $0.00 Contributions spent:4th Grade $755.00 $0.00 Contributions spent:5th Grade $733.33 $0.00 Total Contributions Spent $3,937.00 $42.16 INSTRUCTOR'S DISCRETIONARY FUND Atkins,Tami(OT) $ 300.00 $ - Barringer,Steve(IT) $ 200.00 $ - Berryhill,Betty(Eng Inter) $ 200.00 $ - Betts,Carmen(EC) $ 200.00 $ 105.99 Bigelow,Jessica(2) $ 300.00 $ 111.66 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Budget for 2016.2017 for the Fiscal Year Ending June 30,2017 THROUGH OCTOBER 2016 u I 2016-2017 2016-2017 DESCRIPTION BUDGET ACTUAL i Botero,Sandra(1) $ 300.00 $ 300.00 Carreno,Yeli(Culture) $ 200.00 $ - Cavelius,Katelyn(3) $ 400.00 $ - Cox,Deborah Lederer(Art/Theater) $ 200.00 $ - Crain,Rita(Nurse) $ 200.00 $ - Davis-Castro,Janet(Reading) $ 200.00 $ 53.74 Dealy,Rita(ESL) $ 200.00 $ - DevesaSanz,Esther(4) $ 300.00 $ 102.68 DiGiovanna,Jennifer(Psy) $ 200.00 $ 98.36 Dotson,Shelby(5) $ 300.00 $ 101.83 Evans,Aydee(3) $ 300.00 $ 239.65 Fonseca,Laura(2) $ 300.00 $ 160.22 Goodman,Whitney(EC) $ 200.00 $ 74.63 Greeson,Jill(1) $ 300.00 $ - Gutierrez,Maria(5) $ 400.00 $ 372.99 Harrison,Bethany(5) $ 400.00 $ 369.23 ■ Harrison,Katie(SW) $ 300.00 Henning,Mike(4) $ 300.00 $ - Hutchens,Brandy(AIG) $ 200.00 $ - Jackson(Kaudelka),Lindsay(2) $ 300.00 $ 117.75 Jones,Erika(4) $ 300.00 $ - Kochy,Emily(Math/Science) $ 200.00 $ - i Letriz,Zaile(Span Inter) $ 200.00 $ 67.59 Mabe,Mariella(1) $ 300.00 $ 142.39 Manning,Ellen(2) $ 300.00 $ 300.00 Manso,Alma(K) $ 300.00 $ 36.87 McCausland,Ingrid(ESL) $ 200.00 $ 156.15 McLean,Elise(ESL) $ 200.00 $ - McRae,Aaron(5) $ 300.00 $ - Moorman,Emily(Coaching) $ 200.00 $ 37.61 Moye,Jamilah(Pre K) $ 300.00 $ - Murray,Susan(1) $ 300.00 $ 186.15 Phyllis Norwood/Rolesha Harris(Speech) $ 300.00 $ - Oakley,Terrye(PE) $ 200.00 $ 36.00 Ortiz,Pedro(4) $ 300.00 $ 174.12 Oviedo-Sauls,Leah(ESL) $ 200.00 $ 157.15 Park,Grace(K) $ 300.00 $ 147.57 Pawlowski,Erika(Music) $ 200.00 $ - Porter(Huessy),Liz(Library) $ 200.00 $ - Romero,Alexandra(EC) $ 200.00 $ - Rath,Sarah(K) $ 300.00 $ 189.26 Serafin,Christina(K) $ 300.00 $ - Sevillano,Alicia(Pre K) $ 300.00 $ 149.65 Singer,Amy(Counselor) $ 200.00 $ 124.79 Soldner,Amanda(3) $ 300.00 $ 227.85 Taylor-Jones,Beverly(Prog Facilitator) $ 300.00 $ - Tisocco,Tony(4) $ 300.00 $ 132.35 Williams,Shawn(Pre K) $ 300.00 $ - Total Instructor's Discretionary Fund $ 14,000.00 $ 4,474.23 TOTAL SCHOOL SUPPORT $ 88,462.00 $ 36,112.43 TOTAL EXPENDITURES(PTA EXP+SCHOOL SUPT) $ 90,812.00 $ 36,959.57 Net Income(net revenue(including carry over)less total expenditures) $ 2,892.17 $ 24,450.24 To be held in reserve/carry over to fiscal year 2016-2017 $2.892.17 $24.450.24 Difference $0.00 I $0.00 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School PTA Budget for 2015-2016 for the Fiscal Year Ending June 30,2016 2015-2016 2015-2016 DESCRIPTION BUDGET ACTUAL rs REVENUE: 2014-2015 CARRY-OVER Total Carry-over(including reserve) $38,360.75 $38,360.75 FUND RAISING Book Fair $3,000.00 $2,804.65 Book Fair Expense ($1,600.00) ($858.92) CubWear/Spirit Wear $2,000.00 $3,645.00 Cub/Spirit Wear Expense ($1,500.00) ($1,997.15) School Fair&Raffle $22,500.00 $28,859.95 School Fair&Raffle Expense ($6,000.00) ($6,060.61) School Pictures $1,100.00 $1,011.13 Thrift Shop $2,500.00 $3,610.01 Walk for Education $8,000.00 $6,995.01 Walk for Education Expense ($500.00) ($431.33) Back to School Bash $3,000.00 $2,918.50 Back to School Bash Expense ($500.00) ($785.85) Taste of Carrboro $900.00 $1,091.00 Taste of Carrboro Expense ($250.00) ($262.20) Amazon.com Fund your PTA $900.00 $214.28 Community Garden $200.00 $0.00 Harris Teeter $1,700.00 $1,247.85 Weaver Street $900.00; $1,107.04 Target(Take Charge of Education) $250.00 $1,056.47 Spirit Nights (Nov-TCBY,Feb-IPI II,April-Al's Burger Shack) $500.00 $775.00 Great Clips $200.00 $159.00 Not So Normal Run $1,500.00 $0.00 Adjustment for check#2006 that was never cashed from April 2014) $0.00 $120.00 Other(Cultural Arts Grant-$1000/Sept) $0.00 $1,000.00 Other-Helping Cubs Contributions-$550 total $0.00 $550.00 Other-Just ASK!Grant(Safe Routes/Wellness)(April) $0.00 $500.00 Net Fund Raising Income $38,800.00. $47,268.83 OTHER INCOME Dues and contributions received through membership drive $7,500.00 $8,799.00 Contributions for Supplies $7,000.00 $8,321.70 Sales Tax Refund $100.00 $868.78 Total Other Income $14,600.00 $17,989.48 NET REVENUE FROM ALL SOURCES $53,400.00 $65,258.31 NET REVENUE FROM ALL SOURCES+CARRYOVER $91,760.75 $103,619.06 EXPENDITURES: PTA OPERATING EXPENSES BANK CHARGES $50.00 $15.00 CREDIT CARD CHARGES $50.00 $109.50 INSURANCE CHARGES $315.00 $315.00 COMMUNICATION AND PAPERISUPPLIES $600.00 $619.04 DUES AND SUBSCRIPTIONS PTA Council $50.00 $50.00 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School PTA Budget for 2015.2016 for the Fiscal Year Ending June 30,2016 2015-2016 2015 -2016 DESCRIPTION BUDGET ACTUAL State/National PTA dues $756.00 $812.00 Total Dues $806.00 $862.00 PTA EXEC OFFICERS'DISCRETIONARY FUND PRESIDENT'S $250.00 $73.71 TREASURER'S $200.00 $167.89 Total PTA Exec Officer's Discretionary Fund $450.00 $241.60 TOTAL PTA OPERATING EXPENSE $2,271.00 $2,162.14 SCHOOL SUPPORT EXPENSES ADMINISTRATION'S DISCRETIONARY FUNDS Principal's Fund $2,000.00 $1,905.93 Assistant Principal's Fund $750.00 ' $415.00 Total Administration's Discretionary Fund $2,750.00 $2,320.93 STIPENDS Bus/Cafeteria Duty Stipend $2,000.00 $1,822.22 Club Stipend $5,000.00 $5,200.00 Total Stipends $7,000.00 $7,022.22 SPECIAL PROGRAMS AND PROJECTS Art Supplies $300.00 $169.15 Battle of the Books $200.00 $201.87 Book Room $1,500.00 $130.64 Classroom Supplies $7,000.00 $7,919.19 Community Garden $400.00 $239.13 Cultural Arts Performances(4325 originally+1000 Art Grant Award in Sept) $4,325.00 $4,410.00 Field Trips $1,250.00 $682.42 Fifth Grade Function $700.00 $723.85 IT Room $300.00 $0.00 Literacy/Non-Fiction+Book Bins/Time for Kids $4,000.00 $2,281.35 Makerspace $5,000.00 $4,895.26 Math/Science Support $1,000.00 $729.08 Media Center $2,500.00' $2,466.58 Music Program $300.00 $300.00 Physical Education $600,00 $566.21 Reading is Fundamental $1,200.00 $1,200.00 Reflections $100.00 $100.36 School Directory $200.00 $185.00 Science Olympiad $500.00 $400.00 Theater Production $700.00 $366.96 Other $0.00 $0.00 Total Special Programs and Projects $32,075.00 $27,967.05 HEALTH AND WELLNESS ACTIVITIES Wellness committee $700.00 $532.96 Snackmaster $200.00 $74.77 Safe Routes $1,000.00 $867.71 Total Health and Wellness Activities $1,900.00 $1,475.44 PARENT EDUCATION AND FAMILY OUTREACH Parent Education $500.00 $483.86 Camp for Kids(+$166 that was returned from last year) $1,200.00 $889.40 Kids-in-Need $600.00 $641.97 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School PTA Budget for 2015-2016 for the Fiscal Year Ending June 30,2016 2015-2016 2015-2016 DESCRIPTION BUDGET ACTUAL MUA/RISE $750.00 $656.75 in contributions in Dec/Jan) 1 500.00 $860.98 Helping Cubs(backpacks,etc)(Onglnally$1500+$550 t ) $ $ Total Parent Education and Family Outreach $4,550.00 $3,532.96 HOSPITALITY AND APPRECIATION ACTIVITIES Teacher Appreciation/Delayed Openings $1,500.00 $2,036.58 Principal Coffees $50.00 $0.00 Total Hospitality and Appreciation Activities $1,550.00 $2,036.58 SCHOOL BEAUTIFICATION Landscaping $2,000.00 $1,332.94 Outdoor sign $500.00 $0.00 Other(Attic bins) $0.00 $470.17 Total School Beautification $2,500.00 $1,803.11 COMMUNITY BUILDING Summer PTA meeting/pizza party 2015 $525.00 $555.89 Kindergarten playdate $50.00 $0.00 Meet the Teacher and Open House $20.00 $0.00 PBIS supplies $500.00 $516.69 New Family Night $100.00 $25.80 Total Community Building $1,195.00 $1,098.38 CONTRIBUTIONS SPENT FOR GRADE LEVEL TEAMS: Contributions spent:Kindergarten $931.67 $996.11 Contributions spent:1st Grade $574.17 $428.13 Contributions spent:2nd Grade $412.50 $419.57 Contributions spent:3rd Grade $709.17 $684.12 Contributions spent:4th Grade $745.00 $536.30 Contributions spent:5th Grade $502.50 $308.14 Total Contributions Spent $3,875.01 $3,372.37 INSTRUCTOR'S DISCRETIONARY FUND Total Instructor's Discretionary Fund $14,000.00 $11,158.71 TOTAL SCHOOL SUPPORT $71,395.01 $61,787.75 TOTAL EXPENDITURES(PTA EXP+SCHOOL SUPT) $73,666.01 $63,949.89 Net Income(net revenue(including carry over)less total expenditures) $18,094.74 $39,669.17 To be held in reservelcarry over to fiscal year 2016-2017 $18,094.74 $39,669.17 Difference $0.00 ( $0.00 onnunign Envelope ID:onrn1re*EuF-4n41+mo+Ae1Fo4xcF4o1 Carrboro Elementary School PTA Budget for 201415 for the Fisca Year Ending June 30,2015 FINAL ACCOUNTING FOR pY2Ui4-2O15.` 2014-2015 DESCRIPTION BUDGET ACTUAL REVENUE: 2013-2014 CARRY-OVER Total (including reserve) $54,677.60 $54,677.60 �2&U5'A�m�nm/d for uncmmhwd checks 201�20i3^$235`44 ' � *54,913.04 FUND RAISING Book Fair $3.000.00 $3,332.34 Book Fair Expense $1.500.00 ($1,579.25) Cub Wear/Spirit Wear $3.00080 $2.065.00 Cub/Spirit Wear Expense $1.700,08 ($1.47010) School Fair&Raffle $17.500.00 $28.308.00 School Fair&Raffle Expense $6.000.08 ($6.622.42) School Pictures $1.800.00 $1,155.21 School Pictures Expense $8.00 $U 08 Thrift Shop $0.00 $0.00 Thrift Shop Expense $8.00 SO 00 Walk for Education $8.000.00 $8,154.97 Walk for Education Expense $1.000.00 ($330.87) Back to School Bash $3.000.00 $3.278.07 Back to School Bash Expense $2OOQO (��83.00) � Taste of Carrboro $800.00 $915.00 Taste of Carrboro Expense $300.00 (%211.57) Toy Sale $0.00 $0.00 Toy Sale Expense $0,00 $0,00 Amazon.com Fund your PTA $1.000.00 $930.48 Community Garden $200.00 $246.00 Harris Teeter $700.00 $1.830.95 Weaver Street $1.800.00 $002.50 Food Lion $0.00 $0.00 Target(Take Charge of Education) '� ' ` ^ `'� $0.00 $265.08 Elmo's $300.00 %0.00 Whole Foods $500.00 $12.540.00 Whole Foods ($11.913.00) Normal .,' � . . . 5K($15O0/AJh Burger _Ap�/ � Normal 5K($1880 '` � ` - ```` ' ^`' �` ��'' ' �` � ^ $0l0 $4,235.00 Net Fund Raising Income $31,000.00 $46,558.09 OTHER INCOME Dues and contributions received through membership drive $5.000.00 $8.870.00 Contributions for Supplies $0.00 $7.275.00 Sales Tax Refund $300.00 $89.23 Total Other Income $5,300.00 $16,044'23 NET REVENUE FROM ALL SOURCES $30,300.00 $83,602'32 NET REVENUE FROM ALL SOURCES+CARRYOVER $90.977.00 *117,515.36 EXPENDITURES: PTA OPERATING EXPENSE BANK CHARGES $100.00 $40.00 CREDIT CARD CHARGES(added to budget 5M115) ` $1.24 INSURANCE CHARGES $280.00 $315.00 COMMUNICATION AND PAPER/SUPPLIES $000.00 $0.00 DUES AND SUBSCRIPTIONS DocuSign Envelope ID:0671117B-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School PTA Budget for 2014-15 F for the Fiscal Year Ending June 30,2015 FINAL ACCOUNTING FOR FY 2014-2015 2014-2015 DESCRIPTION BUDGET ACTUAL I PTA Council $50.00 $50.00 State/National PTA dues $550.00 $756.00 Total Dues $600.00 $806.00 PTA EXEC OFFICERS'DISCRETIONARY FUND PRESIDENT'S $250.00 $58.83 I!'. TREASURER'S $200.00 $74.20 Total PTA Exec Officer's Discretionary Fund $450.00 $133.03 TOTAL PTA OPERATING EXPENSE $2,030.00 $1,301.27 SCHOOL SUPPORT EXPENSES ADMINISTRATION'S DISCRETIONARY FUNDS I Principal's Fund $2,000.00 $2,000.00 Assistant Principal's Fund $750.00 $750.00 Total Administration's Discretionary Fund $2,750.00 $2,750.00 STIPENDS Bus/Cafeteria Duty Stipend $2,000.00 $2,000.00 Translation Stipend(400 current year,500 prior year carry over) $900.00 $900.00 Club Stipend $3,300.00 $5,000.00 Childcare Stipend(PTA and other meetings) $300.00 $0.00 Total Stipends $6,500.00 $7,900.00 SPECIAL PROGRAMS AND PROJECTS School Directory $400.00 $440.00 Art Supplies $300.00 $308.27 Theater Production $600.00 $704.92 Battle of the Books $200.00 $203.05 Book Room $1,500.00 $0.00 Cultural Arts Performances $4,325.00 $4,925.00 Fifth Grade Function $700.00 $262.04 Media Center $2,500.00 $2,697.39 Field Trips(+117 prior year) $1,367.00 $1,249.84 Music Program $300.00 $293.77 1 Physical Education $600.00 $539.00 Reflections $200.00 $81.90 Reading is Fundamental $1,200.00 $1,187.26 Community Garden $400.00 $447.41 Science Olympiad $200.00 $190.00 Literacy/Non-Fiction+Book Bins/Time for Kids(+680 prior year) $4,480.00 $2,853.18 Math Night Series $200.00 $189.96 Reflex Math $200.00 $0.00 Classroom Supplies $3,000.00 $5,423.10 IT Room $300.00 $300.00 *Makerspace(added 3/14/15-$5000 this year,$5000 next year-not in original b $0.00 $5,007.90 Other Programs($500 donation to Grady Brown Elem PTA$1000 donation to Brooks $0.00 $1,500.00 Total Special Programs and Projects $22,972.00 $28,803.99 HEALTH AND WELLNESS ACTIVITIES Wellness committee $500.00 $681.01 Family Fitness Night $200.00 $0.00 Bike Brigade Storage and Maintenance $0.00 $0.00 Total Health and Wellness Activities $700.00 $681.01 PARENT EDUCATION AND FAMILY OUTREACH Parent Education $400.00 $437.90 Camp for Kids $1,000.00 $1,129.30 Kids-in-Need $500.00 $316.02 Helping Cubs(backpacks,etc)$500+$900 parent donation $1,400.00 $1,436.71 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 c I Carrboro Elementary School PTA Budget for 2014-15 1 for the Fiscal Year Ending June 30,2015 FINAL ACCOUNTING FOR FY 2014-2015 2014-2015 DESCRIPTION BUDGET ACTUAL Total Parent Education and Family Outreach $3,300.00 $3,319.93 HOSPITALITY AND APPRECIATION ACTIVITIES Teacher Appreciation/Delayed Openings $1,150.00 $1,538.32 I Popcorn machine supplies $100.22 $0.00 Principal Coffees $150.00 $27.49 Total Hospitality and Appreciation Activities $1,400.22 $1,565.81 SCHOOL BEAUTIFICATION Landscaping(+55 prior year) $2,055.00 $2,147.95 Outdoor sign $500.00 $0.00 Trashcans $350.00 $0.00 Auditorium podium $500.00 $0.00 Outdoor eating area $15,000.00 $13,000.00 Total School Beautification $18,405.00 $15,147.95 COMMUNITY BUILDING Summer PTA meeting/pizza party 2014 $500.00 $516.73 Kindergarten playdate $50.00 $0.00 Meet the Teacher and Open House $20.00 $0.00 PBIS supplies $500.00 $440.90 Other programs(New Family Night) $0.00 $98.99 Total Community Building $1,070.00 $1,056.62 i CONTRIBUTIONS SPENT FOR GRADE LEVEL TEAMS: 1 Contributions spent:Kindergarten $616.67 $557.10 Contributions spent:1st Grade $599.17 $467.53 Contributions spent:2nd Grade $844.17 $604.84 Contributions spent:3rd Grade(+511 prior year) $1,151.83 $1,178.40 Contributions spent:4th Grade $556.67 $404.53 Contributions spent:5th Grade $457.50 $457.50 Total Contributions Spent $4,226.01 $3,669.90 INSTRUCTOR'S DISCRETIONARY FUND Barringer,Steve $200.00 $200.00 Berryhill,Betty $200.00 $0.00 Betts,Carmen $400.00 $401.58 Bigelow,Jessica $300.00 $291.87 Boger,Marianne $200.00 $200.00 Bolas,Debbie $200.00 $0.00 Botero,Sandra $300.00 $307.47 Brees,Kendall $300.00 $256.71 Carreno,Yeli $200.00 $0.00 Castro,Janet Davis $200.00 $164.87 Catlin,Jean $200.00 $194.51 Comellas,Jamie $200.00 $0.00 Cox,Deborah Lederer $200.00 $0.00 Crain,Rita $200.00 $207.55 Dealy,Rita $200.00 $155.59 DiGiovanna,Jennifer $200.00 $198.77 Dotson,Shelby $400.00 $401.29 Evans,Aydee $300.00 $300.81 Fonseca,Laura $400.00 $400.00 Goodman,Whitney $200.00 $55.84 Goodwin-Brown,Hannah $200.00 $164.21 Greeson,Jill $400.00 $390.67 Henning,Mike $300.00 $288.04 Hutchens,Brandy $200.00 $200.00 Jones,Erika $400.00 $398.27 Kaudelka,Lindsay $400.00 $401.61 Kochy,Emily $300.00 $319.90 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School PTA Budget for 2014-15 for the Fiscal Year Ending June 30,2015 FINAL ACCOUNTING FOR FY 2014-2015 2014-2015 DESCRIPTION BUDGET ACTUAL Letriz,Zaile $200.00 $197.67 Little,Tate $300.00 $0.00 Mabe,Mariella $300.00 $287.22 Manning,Ellen $300.00 $102.49 McCausland,Ingrid $300.00 $276.53 McGregor,Jean $200.00 $80.61 McLean,Elise $200.00 $200.79 McRae,Aaron $300.00 $104.08 Mesen-Alvarado,Rebecca $400.00 $403.90 Moorman,Emily $300.00 $174.34 Moye,Jamilah $300.00 $175.59 Murray,Susan $300.00 $215.72 Oakley,Terrye $200.00 $0.00 Ortiz,Pedro(EPI) $300.00 $289.01 Oviedo-Sauls,Leah $400.00 $387.80 Park,Grace $300.00 $274.84 Pawlowski,Erika $300.00 $287.58 Prater(new teacher March 2015) $407.23 Protti,Melina $300.00 $200.00 Ramirez,Karla Sofia $300.00 $0.00 Raymond,Molly $200.00 $180.93 Regan,Eileen $200.00 $147.61 Rivera,Reyna $300.00 $300.28 Romero,Alexandra $200.00 $182.47 Serafin,Christina $300.00 $300.00 Sevillano,Alicia $400.00 $371.31 Singer,Amy $200.00 $203.02 Soldner,Amanda $400.00 $400.00 Tisocco,Tony $300.00 $308.73 Weatherly,Amanda $300.00 $298.82 Williams,Shawn $300.00 $300.00 Total Instructor's Discretionary Fund $15,800.00 $12,958.13 TOTAL SCHOOL SUPPORT $77,123.23 $77,853.34 TOTAL EXPENDITURES(PTA EXP+SCHOOL SUPT) $79,153.23 $79,154.61 Net Income(net revenue(including carry over)less total expenditures) $11,824.37 $38,360.75 To be held in reserve/carry over to fiscal year 2015-2016 $11,824.37 $38,360.75 Difference $0.00 $0.00 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School Fall 2016 Arts in Education Grant Artist Contact List Mike Wiley mike@mikewileyproductionscom Represented by: Stephen Barefoot, goingbarefoot inc. 1410 Shepherd Street Durham, North Carolina 27707 Office: 919.489.1541 Mobile: 919.614.1235 www.goingbarefoot.com North Carolina Youth Tap Ensemble Gene Medler,Artistic Director 1603 East Franklin Street Chapel Hill, NC 27514 info @loydartists.com 919-967-9624 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Carrboro Elementary School Arts Staff Roster Deb Lederer—Visual Arts Teacher,Volunteer Theater Director, grades K-5 Erika Pawlowski —Music Teacher,grades K-5 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 I' E 0 E U o q o' , E co o - 0) E m '' U co © E E -o c) a) o c L © c , N j, as a) m E co 3 L C a Co a) a) ! as ! N C a) o .c - a) a) N CO 0 O t9 o p N N N N ', N- C izs N U us� 0 '-I N ', 0 N a) N tu 0 0 0 0 0 E, U) Z Z Z Z Z ++ •E = c = E I = _o E N Q Q O.c n a) o '' .c o ' co = ! I— 0 0 0 0 0 V O k N W N ' •L Q o C ' ° Q) W ' > a) C (_U6 °- a o 'm a -i C7 c O = RI a) c- a) 0 `° Z ' w E -0 co M d co CO O v.- O O v- W O a) O co C -p Z C a) Q L s... c MI CO N = o -J Z I Z (f) a) tt3 Z a) C .42 sue. o N to C ii. 0 Z Y w "'" 4-C+ C i, o co C C in cn L... a _O � , a) u co ! 0- 0- o o 0_ 0 v 0 u) I- DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 M I ICE WILEY PRODUCTIONS Brown vs. Board of Education: Over Fifty Years Later Tired Souls: The Montgomery Bus Boycott Jackie Robinson: A Game Apart I ilt - i 1_ - t?r 0."m �� �:'., "rye heard about you like a storm on the ` horizon. My own kids, other children, ,; Y A , , teachers at the area schools..: ,;u , And you definitely lived up to the hype " ,emo,`s I)r. Charles Bagwell, Pi°incipal,Arcadia Elementary,Spartanburg,SC E 91-- DocuSign Envelope ID:0671117B-0E3F-4541-A834-A91 FC422F4D1 0 "In a matter of minutes, he won undivided attention and taught 1 1 more history than could be taught in a week. . . - . Mesmerizing. Truly a ift." Dr.Barry Redmond, Supt., Newton-Conover City Sc ools,NC Mike Wiley Productions currently offers seven distinctive theatrical works for student audiences. Created to encourage dialogue, heighten history's contemporary relevance and build human understanding, all the plays support curricular standards within today's educational platforms. Mike Wiley Productions empowers students of any age to grow in acute awareness of significant historical and cultural milestones, and to further appreciate the impassioned legacies that are portrayed. Audience talkback follows each performance, and study guides are available for all productions. "If you ever get a chance to see this man perform, go! Better still, take every child you can with you. " Gail Cesarini Ramsdell , Caldwell County Schools, NC "-: •JACKIE ROBINSON: A GAME APART - �� It's a glimpse into baseball legend Jackie Robinson's life during a bygone era of separate and unequal locker rooms, whites-only hotels and restaurant back doors. r Witness the hopeless humiliation of a star player showered with adulation on the ,' field but a second-hand citizen outside the stadium. Meet his compatriots fighting 4 the same battles between end zones, inside the ring and around the track. A Game t, ` Apart is a powerful lesson of courage through dedication, perseverance and leadership. 50 min.;adaptable for students from grades 2+ and general audiences. • BROWN VS. BOARD OF EDUCATION: OVER FIFTY YEARS LATER In 1952, the Supreme Court heard a number of school segregation cases, including Brown v. Board of Education of Topeka, Kansas. It ruled unanimously in 1954 that i'` segregation was unconstitutional, overthrowing Plessy v. Ferguson (1896), which set the "separate but equal" precedent.This play recounts the effects of the decision on the families who participated in the original court case, the impact of d the ruling on school systems at the time and the challenges still being made today. r . ' 50 min.;recommended for grades 6+and general audiences. ,- •TIRED SOULS:THE MONTGOMERY BUS BOYCOTT r A'3 µ 110 " fr Montgomery, AL, Dec. 1, 1955 Rosa Parks refuses to give up her seat to a white I 'i man on a city bus.This action inspires the black citizens of Montgomery to abandon ; : " all travel on city buses until they are no longer forced to sit in the back or stand • when a white person boards.There were more who came before, brave visionaries ft -,... who laid the groundwork for this pivotal moment. Tired Souls introduces audiences to Jo Ann Robinson, Claudette Colvin and others instrumental in the Civil Rights movement, changing the course of U.S. history forever. 50 min.;grades 3+and general audiences. goingbarefoot wwwgoingbarefoot.com 919.489.1541 MikeWileyProductions.com DocuSign Envelope ID:0671117B-0E3F-4541-A834-A91 FC422F4D1 (C)MIKE WILEY PRODUCTIONS 2005 emmEim Tired Souls: King and the Montgomery Bus Boycott ;, Major Characters: " r ,,, r 4 Martin Luther King Jr. — ,� ik Rosa Parks `` Frederick Douglass i Claudette Colvin E.D. Nixon Clifford Dunn � Jo Ann Robinson Setting: - 6 Montgomery,Alabama li . 1955 I fin The 1St Five Days of the - Montgomery Bus Boycott. N.. The Montgomery Bus Boycott until they could sit anywhere . ,. mow, officially started on December they wanted,instead of being 1, 1955.That was the day when forced to the back or even the blacks of Montgomery, stand when a white person Alabama,decided that they boarded would boycott the city buses It was not, however the ovement to desegregate buses started- In 1949 Jo Ann Robinson a black professor •AA. In the early 1950's a black pastor,Vernon Johns sat in the front of a segregated bus and then • tried to get other blacks to leave a bus in protest run off when a after he was forced to give up his seat to a white driver screamed at her for doing so.She man, attempted to start a political movement, but was brushed off,as only to have the other blacks tell him, the incident was called,"A You ought to know better. fact of life in Montgomery PAGE 1 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 li (C)MIKE WILEY PRODUCTIONS 2005 The is Montgomery ro e t Associatio is B er On Thursday, December 1, 1955, Rosa Parks boarded a city bus and sat with three other blacks in the t fifth row, the first row that blacks could occupy. A few stops later,the front four rows , were filled with whites, ' and one white man was left standing. According to law, blacks and whites could not occupy the Y same row, so the bus driver asked all four of the blacks seated in the fifth row to move. Three complied,but Parks refused. She 4. was arrested. When the boycott began,no one Martin Luther King,Jr., protest would be a success." expected it to last for very long. minister at Dexter Avenue He was pleasantly surprised Despite all the pressures to end Baptist Church,thought when bus after empty bus the boycott,blacks continued to that"if we could get 60 rolled past his house that stay off the buses. percent cooperation the morning."A miracle had They would no longer settle for taken place,"King would the moderate desegregation plan later write."The once that they had first proposed.Now, dormant and quiescent they would accept nothing less Negro community was now than full integration.The city fully awake."The group was fighting a losing battle.The from Friday night met again blacks were armed with the that afternoon and decided Brown V.Board decision,less to call themselves the than two years old,which said Montgomery Improvement that the"separate but equal" Association (MIA).They doctrine had no place in public elected King as president. education.Surely it must follow / that the doctrine had no place in any public facilities. When the city defended segregation by saying that integration would lead to violence,Judge Rives asked, Z:1E14, Is it fair to command one man to surrender his constitutional rights,if they are his constitutional `rte rights,in order to prevent another man from 01. committing a crime?"The federal court decided 2-1 in favor of the blacks,with the lone dissent coming from a Southern judge.The city,of course,appealed the ruling, but on November 13, 1956,the U.S.Supreme Court a upheld the lower court's ruling,declaring segregation on buses unconstitutional.The Montgomery Bus Boycott -�} L was officially over PAGE 2 I DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 I (C)MIKE WILEY PRODUCTIONS 2005 • Show appreciation by . �"a"' clapping. The actors love to hear applause. This ° shows how much you enjoyed it. a 'Don't leave your seat 0 41.., , until the cast has taken their curtain call at the k end. When the ti ? performance ends, wait patiently to exit. ' Be polite and attentive. How do we behave in the theatre even if it's a cafeteria • TURN OFF ALL cell or gymnasium? phones, pagers, • No talking or whispering beepers, alarms, any during the performance. thing that can disturb For Your Information- • Laughter at appropriate the production, actors This play is a solo-play times only. and the audience featuring one actor playing all the roles ' Clap with enthusiasm. members during the except for one, YOU, • One needs to be still, no performance. It is very THE AUDIENCE. shuffling, or getting up impolite to have it go during a performance. off during a Tired Souls: • Keep body movements to The Men me a minimum. You can't get performance. Bulloycoau up and move around ' . Mar.6,2008 during the performance. • No chewing gum or eating during the performance. In the theatre snacks are at intermission. One goes to the bathroom or gets a drink before seating for performance or at intermission ONLY. PAGE 3 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 _ 1 TIIt NORTH' r CAROLINA YOUH T T ENSEMBLE ® HOME® ® PERFORMANCES' MEDIA® MEMBERS NCRTF® SUPPORT' CONTACT WHO WE ARE f ircy4„ „---,,,,,„ i [ i , , ,„, , ,'ITT T ' ''''''' ' Fill , T , a,N 1' e■I"4 `(.1 rF "4',:e 7 e ' ,. P. , e, ee ke , 7¢:,$. , .-. T x h= ,r .PI I.,..b... I,x, ,".j,1,,fl ,., Z A . si1i`,:.,Ve ''.,. .x....3 L 1,, .; L',... . ,. 1 >on r:j Rhythm...funk...innovation...excitement: that's the North Carolina Youth Tap Ensemble(NCYTE). One of the best youth tap ensembles in the world, NCYTE features approximately 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. Founded by JUBA award winning artistic director Gene Medler in 1983,NCYTE entertains audiences with cutting-edge contemporary choreography along with traditional rhythm tap.NCYTE has toured throughout the U.S.and the world,with performances in Austria,Brazil,Canada,China,Finland,Germany and Mexico. The company has toured or collaborated with the Greensboro Symphony, Squirrel Nut Zippers, Mallarme Chamber Players, and the North Carolina Jazz Repertory Orchestra,among others. NCYTE alumni—including tap virtuosos Michelle Dorrance and Jason Janas—have gone on to Broadway and beyond.The list of choreographers who have created the company's repertory reads like a who's who in the tap world,including the legendary Savion Glover. VIDEO UPCOMING PERFORMANCES C... April 23&24:Rhythmic... -, p o0 21 FEB/0 COMMENTS 1- RHvT.w* June 10-12:NC Rhythm Tap... •''r 21 FEB/0 COMMENTS I AI July 23:MCA with IFTRA... 21 FEB/0 COMMENTS . " August 2:High Point Rec... 21,FEB/0 COMMENTS .® At en"Ici.e..IA/ell .-ra EUC DocuSign Envelope ID:0671117B-0E3F-4541-A834-A91 FC422F4D1 rep NORTH ANNI CAROLINA , YOUTH TAP ENSEMBLE HOME . PERFORMANCES" MEDIA" MEMBERS" NCRTF" SUPPORT" CONTACT ARTISTIC DIRECTORS e,Artistic Director,founded the North Carolina Youth Tap Ensemble in 1983. Gene teaches in the Department of Performing Arts at Elon University.His previous teaching credits include Duke University and Meredith r . College.He is on the faculty at The Ballet School of Chapel Hill and has taught master classes at the St.Louis Tap 1 Festival,the American Dance Festival,the Chicago Human Rhythm Project,Tap City in New York City,the Saratov a k Music Conservatory(Russia),Tap Encontro(Rio de Janeiro),The Hot Shoe Show(Vienna),Feet Beet(Helsinki),the ; Internationales Steptanz-Festival(Berlin)and the Heidelberger Steptanz Festival(Heidelberg).Gene has also taught at g �.1 the Broadway Dance Center in New York City. irrP Selected performances include solos in Duke Ellington's"Nutcracker,"Ellington's"David Danced,""Rising Stars of Tap"(Colorado Dance Festival),and'The Great Tap Reunion"(Boston)as well as an appearance with the Squirrel Nut Zippers.He has been seen nationwide in the PBS special,"Juba!Masters of Tap and Percussive Dance." 'NICYTE , Gene has received grants from the Durham Arts Council,the North Carolina Arts Council,and the Orange County Arts Commission.He has been featured in such publications as Dance Teacher Now,Carolina Alumni Review,Southern Living,and Our State. Gene has received many honors for his contributions to dance and his achievements as a dance artist.These include: "Tar Heel of the Week"from The News and Observe;an Indy Arts Award from The Independent;the North Carolina Dance Alliance Annual Award;and the JUBA Award from the Chicago Human Rhythm Project,the Academy Award of the tap dance world. Gene started dancing at the age of 28 and was quickly bitten by the tap dance bug.He was entranced by the combination of movement,rhythm,and sound. He started the ensemble because he wanted to offer his students more opportunities to perform and wanted to expand his own teaching and choreography. After nearly 30 years,he still loves mentoring young dancers and is thrilled with the journey NCYTE has taken him on. Al ', t; r.,may Assistant Director,is a Wake Forest native who graduated in May 2009 from Elon University with a BFA rT f � ' in dance performance and choreography. While at Elon,Rachel was a member of the Elon Dance Company and had I the privilege of performing the works of a number of applauded choreographers including Lauren Kearns,Jane Wellford,Linda Sabo,Amy Beasley,Lila York,Rebecca Hutchins,Gene Medler,Nina Wheeler,and Ava Vinisett. In * October 2007,Rachel traveled with keas dance project to assist with classes and perform with the ensemble as part rn ` of the North Carolina High School Day of Dance.Rachel has also performed at adjudication concerts at the American . ro College Dance Festival at the University of Mississippi in 2007 and Goucher College in 2008. She was co-director of rte j Elon University's all tap show,"Tapped Out"in 2008 and 2009 as well as a performer and choreographer. IlI"..,'"N-VJA Rachel has a passion for teaching and inspiring young dancers to reach their potential and realize their full artistic ability.She is on staff at The Dance Attic in Wake Forest Where she teaches all styles of dance.Rachel,who joined T 1 Jr r, NCYTE as Assistant Director in 2009,absolutely loves working with the ensemble.She enjoys getting to get to know the dancers,seeing their progress and watching them develop their craft as tappers. VIDEO UPCOMING PERFORMANCES f April 23&24:Rhythmic... `O O 21 FEB/0 COMMENTS RH T June 10-12:NC Rhythm Tap... I r - •f 21 FEB/0 COMMENTS I AI" July 23:MCA with IFTRA... 21 FEB/0 COMMENTS : August 2:High Point Rec... 21 FEB/0 COMMENTS a.......s C.,n,;l...... NIP` DocuSign Envelope ID:0671117B-0E3F-4541-A834-A91FC422F4D1 1=° Unprecedented talent of the North Carolina Youth Tap Ensemble in Rhythm Evolved by DENISE CERNIGLIA+•APRIL 28,2013 The dancers of the North Carolina Youth Tan Ensemble(NCYTE)brought their youthful exuberance and polished precision to an enthusiastic audience at the Carolina Theatre on opening night for their new show Rhythm Evolved.They'll be repeating the performance Sunday,April 28th at 2:00 pm and you would do yourself a favor to be there. The two seniors,Laura and Sarah,planned the show with the help of director Gene Medler and assistant director Rachel Teem.The pair of seniors also choreographed the opening number,entitled Rhythm Evolved.The apt name of the dance and program was given in recognition of tap's historical evolution to the present,the evolution of NCYTE over its 30 years,and the two seniors'personal tap journeys over the years with NCYTE,according to Laura. When the curtain lifted you could feel positive energy and a lightness in the theater.The dancers looked sharp in black dress clothes,uniform but individual. I found it impossible not to smile when I heard the Old Crow Medicine Show song Hard to Love and heavy footsteps coming from backstage that signaled the beginning of the Bluegrass Suite,one of two suites choreographed for the company by alum Michelle Dorrance.Petite Suite,a set of three dances is equally charming and quirky.The newest addition to Petite Suite,The Waltz is a laugh out loud dance full of show-offs with a Spanish flare. Dancers Luke and Max performed the demanding tap dance choreographed and made famous by Steve and Nick Condos in 1938,The Condos Brothers' Indian Routine.Sam Weber reconstructed and restaged the work in 2003.It's a dance full of unbelievably fast and challenging flash tap steps in which Luke and Max remained consistently in sync with each other and the music. The Taiko Drumming Dance is a new piece conceived by Medler based on traditional Japanese Taiko drumming.In this beautiful piece,drummers move slowly and cast long shadows,gradually increasing the tempo.They are joined by two dancers who add to the complexity of the drums'rhythm before finishing as one with the drums. Rhythm Evolved features guest artists Matthew Shields and Michelle Dorrance,who each dance alone and return to the stage together later in the show. Shields,currently based in Austin,TX where he is a principal dancer with Tapestry Dance Company,gave a whimsical performance to continuously changing music.His ease with slides and turns made it seem he was on ice.Shields danced in a familiar and understated way and worked his way up to super-fast taps that came from imperceptible movements. Dorrance's physical whole-body based tapping and authentic expression created an attention grabbing and captivating performance.I've never seen a tap dancer so connected to the sounds she produces.The sounds separated from her movement as smoothly as liquid mercury separates into droplets. Dorrance,who is a Bessie award winner and the first tap choreographer to receive a Princess Grace award,spoke as a former NCYTE member about the company's 30 years,its legacy,and the impact of Gene Medler as the director."He is developing artists,"Dorrance said of Medler.She also said the company is unprecedented in the world and throughout tap history. From the seniors to the youngest and newest,NCYTE members are creative in improvisation,precise and engaged in groups,and a joy to witness in action. These kids are top-notch artists you don't want to miss.Do yourself a favor and go see the Sunday performance. For ticket information visit:htto:t/www.ncyte.dreamhosters.coml?page id=43 See some pictures from a studio rehearsal at Artsview NC:A day with NCYTE DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 P i I a arolin• 1 Die , , ,,,..,....,,, ,,,;.,_,„, :..z. rth 6 801 ......, .,., ..,..._,,,:i.,,,,,,,,,,,41 , „. ,. .., , ,,,,:„., ,„.„ -'S a ,. ,, ,-2-..*A.:44,-;' .' h ,....._... ,,,,,,,,,„,„ 0 6 w " 411111..... €° "Iin.-.;-47-. ,_ ,t,-.-:,,,,,,,,-„,-. - �• t .k,A.;.w.c...;,....75!„..--, \ '' S . G I S "i7,,,`,.`•,'''.7-14::'',.i,•, ....\. . 7•:.'-',1•1,.....!:::"1":::i:•; .41 • Nh. .... • z Ul r,--... .',..,,...,::::: 7,1/ ' ,,.1;.,...:',,,,,,ii: { t ., ._, .2-:"-.:4,6 ; ' A 6 ers .,„*•,,,.,,,..,:e.,,, • ..,,_ ,„ .,_ , ..., rf i°9096 f---1.;.-„-': �, January 2004 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 1 . 1 carol ina Youth Tap Ensemble North 1 S A Guide for Teachers s l 1 S Greetings! The North Carolina Youth Tap Ensemble (NCYTE, l Spronounced "insight") welcomes this opportunity to share S information with you that may enhance your students' experience 1 S with our performance at your school. We realize that many have 1 S never seen a live tap performance (or even a filmed one), and j Sthe show may take them by surprise. Our performances include 1 S brief stories and information about a variety of styles of tap 1 S dancing. In these pages you will find additional materials that can 1 S be used to introduce tap dancing, answer some of the questions 1 S students may raise, and provide ideas for activities to channel 1 S what will hopefully be some enthusiastic post-performance 4 S interest in knowing more. The sections in this study guide include: 1 1 SBackground and history 1 1 S Tap dancing 1 S NCYTE 1 S Artistic Director 1 5 Discussion topics ..6 j S • S Class activities .8 1 1 Integrate with the school curriculum 11 1 S% 1 Details on some of NCYTE's dances 12 1 SVocabulary 16 1 S I S Se Resources for additional information on tap 17 1 Sl S ."0,,: ` DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 I4# ( B ri of History l A of Tap 1 1 Born in America from the same roots as jazz music, tap dance emerged in t the mid-1800's from the fusion of African and European dance styles and 1 1 rhythmic sensibilities. In minstrel shows, Caucasian performers darkened their j S faces with burnt cork and "acted black." By the 1890's, African-American 1 S performers were being advertised as "authentic Negroes," darkening up their 1 own faces and imitating the Caucasian performers who had been imitating 1 5 African-Americans. j S 1 Vaudeville--or variety shows--came from the minstrel shows and provided 1 S an explosion of live theatre. The typical show had an orchestra and a t number of acts--singers, dancers, monologists, comics--and many led off 1 1 with an animal act. The typical tap act was eight minutes long and often the j 5 performers played five shows a day. By the 1930s there were infinite j i S possibilities: elegant "class" acts, comic and eccentric dancers, acrobatic 1 1 dancers who flipped upside down off of most anything, and any number of 1 S acts which combined other skills such as hat tricks, cane tricks, and spinning 1 5 plates and trays. The greatest vaudeville star, Bill "Bojangles" Robinson, j Sdanced in a style which was upright, clearly European, yet always swinging. 1 1 Classic movies of the 1930s and '40s showcased the great Caucasian 1 dancers of the day, while African-Americans were mostly excluded. The 1 N Nicholas Brothers,whose daring exploits in flash and acrobatic tap were j 5 always delivered with elegance, succeeded in spite of their skin color and 1 1 broke many color lines. Fred Astaire brought choreographic genius to tap 1 1 and set standards for filming dance. At this time, tap dance came down 1 N from its toes into a syncopated, more sophisticated musical style know as 1 5 rhythm, or jazz, tap. j S By the 1940s, tap dance 1 moved in two important > ' directions, onto the 1 , ' concert stage and into the 1 1 y small music clubs where t 1 bebop was brewing. 1 Paul Draper fused ballet 1 1 with tap, gave concerts for 1 1 t tap, piano, and 1 �' harmonica, and was j '.a' America's top concert 1 S attraction for most of a j decade. Meanwhile in the jazz clubs, African- 1 l Z I S North Carolina Youth Tap Ensemble-Guide for teachers 1 l DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 1 SAmerican dancers were extending concepts for rhythm dancing in much the 1 S same way as their peers were stretching out musically. The late dancer 1 James "Buster" Brown, for example, could sing along with most every jazz tune 1 ever written. 1 S l SBy the 1960s, tap dance was in decline. The "bible" of tap dance, Jazz 1 S Dance by Marshall and Jean Stearns, ends with a "requiem for a dying art 1 S form." In the 1970s a tap renaissance began, powered largely by middle- j S aged Caucasian women who sought out the old African-American male j S masters. Brenda Bufalino, a protege of the late Charles "Honi" Coles, has 1 mentored several generations of tap dancers, produced documentary S footage on the great old timers, and pushed the choreographic limits of tap 1 S like no one since Astaire. By the late 1970s Gregory Hines' career was back j S on track and paved the way for a whole new generation of young African- 1 S American dancers, most notably Savion Glover. 1 1 l 1 1 l S l S l S S y. 1 S .� � l 1 Sri l ..rte I • S ,,,, , l Z 1 S Today the world is busting out with tap dancers. In Germany, Spain, Brazil, 1 S Australia and Japan there are fabulous dancers pursuing new avenues, each 1 S influenced by their own cultures and histories. In America, repertory j S companies like the North Carolina Youth Tap Ensemble help to build and j S maintain a repository of choreography new and old, and produce some of l the finest dancers on the planet. As a mature, concert art form, tap dance 1 S may not be as visible to the public eye as it was in 1930's, but with the 1 S dedicated work of an international community, the legacies of the past j S pave the way for a future of unlimited creativity and artistic expression. j 1 (Written by Josh Hilberman) 1 S S North Carolina Youth Tap Ensemble-Guide for teachers 2 1 Vvvv.."."* .."r► .".r ►,r ►. . ► , , , ►. ►. ..."." ".". .r►, vv..r►A ."i .,,r►, "., DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 i f � NCYTE Hi sto y r 1 Founded in 1983 by Gene Medler, NCYTE is a unique, non-profit company that 1 S represents all that is good about participation in the arts by young people. 1 5 Ensemble members are drawn from a wide range of ethnic, religious and 1 S economic backgrounds and reflect North Carolina's diverse population. 1 SSelected by audition each year, these young ambassadors for our state have 1 risen to an unprecedented level of performance skill that has been lauded 1 N around the nation and abroad. The company serves to: 1 1 Z 1 S entertain and inform audiences about the universal nature of 1 5 percussive dancing 1 s preserve tap, an indigenous American dance form, and its 1 5 cultural origins 1 1 • embrace the percussive dance forms of other cultures 1 explore and support the cutting edge of contemporary choreography 1 give company members the opportunity to perform and be 1 1 recognized for their contribution to the quality of our lives 1 5 Members come from all over the state, but most of them live in the Raleigh- 1 S Durham-Chapel Hill area. NCYTE holds auditions every September, and all 1 Nmembers are expected to audition each year. NCYTE members range in age N, from 8-18. Some have as little as 2 years of dance experience before joining the 1 5 ensemble, while senior members may have 10 or more years of dancing classes 1 S and experience. Regular rehearsals are every Saturday afternoon in Chapel Hill, 1 S for about 3 hours. Additional rehearsals may be called in advance of some 1 c performances, and many members of the ensemble gather together on their 1 1 own, to learn new dances or brush up on their steps. 1 Z 1 N In the spirit of learning and growing in technique and performance skills, 1 everyone in NCYTE is expected to be enrolled in tap classes (at a 1 5 program/school of their choice) in addition to their regular NCYTE rehearsals. 1 1 Many members also take classes in ballet,jazz dance or modern dance. 1 S Periodically, NCYTE brings in professional tap dancers and instructors from 1 S around the world to conduct workshops for ensemble members and the larger 1 S dance community. Occasionally music and drama teachers provide workshops 1 1 to NCYTE to enrich their understanding of how music and dance effectively 1 1 come together on the stage. 1 5 1 S NCYTE is linked with the global tap community, and the ensemble commissions 1 1 choreography from across the nation and abroad. Contributions to the 1 1 repertoire include works by Lane Alexander, Ira Bernstein, Brenda Bufalino, 1 S Michelle Dorrance, Savion Glover, James Green III, Josh Hilberman, Gene 1 1 Medler, Michael Minery, Margaret Morrison, Jan and Eddie Owens, Zahi Patish 1 > and Danny Rachom, Ruth Pershing, Sam Weber and Steve Zee. 1 S 1 S North Carolina Youth Tap Ensemble-Guide for teachers 3 1 I DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 '.► ►ti' ►ti""""Atit►...""A".► ►ti ......."A ► /.."A"► ► .../. ..AAAAti .1►ti? is 1 1 As you can see from the map below, the ensemble performs nationally and 1 1 internationally. Performance venues range from retirement homes, schools and 1 5 fairs to international festivals. NCYTE has been featured at Duke University with 1 S the Squirrel Nut Zippers and makes regular appearances at the St. Louis Tap j S Festival, and the Chicago Human Rhythm Project. Senior members of the 4 company were part of the founding cast and touring company of Common 1 Ground and have appeared in Tap In at the Town Hall Theater in New York City. 1 5 NCYTE was featured in the PBS documentary Juba! Master of Tap and j S Percussive Dance. They have appeared at the New York City Tap Festival, the j S Vienna Tap Festival, Tap Encontro in Rio de Janeiro, Feet Beat Tap Festival in 1 Helsinki, the International Tap Festival in Berlin and in Heidelberg, Germany. Most 1 N recently, NCYTE toured North Carolina in Down Home with the Carolina Pops 1 5 (performing with a 60 piece orchestra) sponsored by Our State Magazine. j S ,4 -; ,, ; I i „,L,,-;,,,,7e4:1,5' a?< r T Fin and r �� ,w Are �` vt 1 / k, ° -y .C4 .w " ,,,Germany / l' l',_v' 1 ,:.4'),„,.-4..* nesota } �. �jslv4w �a � Ii�n�st, � 1 h Austria 5 �-L'9-,'-, {� �-._." � 1 so l C t; New York 1 r ti , {S. 1 I 1, '�"s.�°� Delaware � S O'!`� � J � �� > V�� �i-E North Carolina - 4 1 ,',A,.' South Carolina j `S ''`' 4) ! I s 1 Georgia r l N,,, ,{Alabama 4-ti 1 ,1 ;` r' 1- I-4EYTE Tr 7stu24 � d I.. j 1 l 1 (1 r Brazil l Z I l l 1 The same ensemble that received a standing ovation at the Town Hall Theater in New 1 1 York City finds equal joy in performing for students at schools across the state and the 1 1 country. Under the artistic direction of Gene Medler, the company's members j S understand and accept their responsibility for preserving tap dance, and they strive ir 1 1 to share their love of this American art form with all their audiences. 1 st ) '/ , ) 1 l 1 l S North Carolina Youth Tap Ensemble-Guide for teachers 4 1 V•/'."./',"I Lr►J►d',r►d►,Vse/'.I',/9/' ./`.N."."4 ' ".”. './'r/'./',/'. ►,/►. ►/'."A/',A"J`. ".". '.", DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 w w A w w w w w A A w w Z l NCYTE's artistic director, Gene Medler 1 Gene Medler is founder and director of the North Carolina Youth Tap Ensemble 1 1 (NCYTE) and director of the North Carolina Rhythm Tap Festival. He teaches in 1 1 the Department of Performing Arts at Elon University. Mr. Medler's previous 1 i. Nteaching credits include Duke University and Meredith College. He is on the 1 faculty at The Ballet School of Chapel Hill and has taught master classes at the 1 5 tap festivals in the U.S. and worldwide. 1 1 1 S Gene was an athlete for most of his life, playing baseball, basketball, and track in 1 1 middle and high school and then fencing at the University of North Carolina. Between undergraduate and graduate school he got interested in acting which 1 S led to dance classes and ultimately tap dance class. Loving movement for its 1 1 own sake and having always wanted to learn to play an instrument, tap dancing 1 S was the perfect art form for him. He was fortunate to be learning when many of 1 the old masters were starting to teach again. Gene worked with masters like 1 5 Clayton "Peg Leg" Bates, Charles "Honi" Coles, Cholly Atkins, Bunny Briggs, and 1 5 contemporaries like Brenda Bufalino, Sam Weber and Savion Glover. His passion 1 Sfor tap dancing coupled with his desire to teach led to the creation of NCYTE. 1 1 Selected career highlights include: 1 • Appearance in Duke Ellington's Nutcracker at 1 5 �` Page Auditorium, Duke University & Memorial 1 S w °""' Hall, UNC 1 1 $ • Appearance in Ellington's David Danced, Duke Chapel 1 1 t • "Poor Butterfly" soft shoe choreo-graphed by 1 5 Brenda Buffalino at Colorado Dance Festival 1 ' • Appearance in Great Tap Reunion (Boston), 1 1 Charles 'Honi" Cole choreography 1 • Appearance with the Squirrel Nut Zippers 1 Z • Appearance with Brenda Bufalino, World 1 5 • Dance Festival New York City 1 Grants from the Durham Arts Council, the 1 1 North Carolina Arts Council and the Orange 1 1 County Arts Commission 1 • Featured in Dance Teacher Now magazine 1 1 • Featured in Southern Living magazine 1 S • Received the 1998 Indy Award for contribution to the arts from 1 Independent Magazine 1 5 • Profiled in the September/October 2001 Carolina Alumni Review 1 1 • Named Tar Heel of the Week by the News and Observer 1 >• Seen nationwide in PBS special,Juba! Masters of Tap and Percussive Dance 1 S 1 S North Carolina Youth Tap Ensemble- Guide for teachers 5 1 r .r►. ►. r►."/•∎••■r•.r*.i►.r •∎∎•• **/** ►, ►,r►.A"""∎•∎ . ► ,,•∎••∎•∎••••. .■•.■•,■•.■• ••.■►J DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 ii Z 1 Z 1 Discussion ' cs 1 Tops 1 Z 1 S NCYTE performances are often followed by a question and answer 1 S period. The questions below are typical of the things students want to 1 know about. You might find these helpful to guide your own discussion 1 after the show. 1 1 Q. What kinds of shows does NCYTE perform, and where? 1 S A. NCYTE performs regularly at school shows like the one 1 1 performed today. The ensemble also performs at dance festivals 1 both in the U.S. and overseas, local arts festivals, retirement 1 1 homes, hospitals, concert series, fund-raising activities and 1 S seasonal events. Each year NCYTE has a show of their own at 1 Sthe Carolina Theatre in Durham, North Carolina. 1 1 Q. Where can someone learn to tap dance? 1 5 A. Classes are usually offered at dance studios that also teach 1 1 ballet,jazz and modern dance. Sometimes the county parks 1 1 and recreation program will offer dance classes. Any type of 1 dance is potentially useful to someone who is interested in 1 5 learning tap. It is also possible to learn on your own. 1 5 [note to teachers: In advance of the performance, you might 1 S familiarize yourself with local options for tap classes, so that you 1 can mention these, as appropriate.] 1 5 Q. Why are there not as many boys in NCYTE as there are girls? j 1 A. In this country, boys don't tend to take dance classes as 1 S often as girls do. This doesn't mean that boys aren't as good as 1 1 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 1 1 girls didn't do much with sports, but this has changed. NCYTE 1 5 hopes that someday more boys will get involved in dance, and 1 1 there will be more boys that audition and join the company. 1 1 Q. Who are some famous tap dancers? 1 5 A. Probably the most well-known tap dancer today is named Savion 1 S Glover. He has a dance company in New York City, and performs all 1 1 over the world. When he was a kid, he appeared regularly on Sesame 1 Street. Other well-known tap dancers include Gregory Hines, Fred 1 Astaire, Ginger Rogers, Gene Kelly, Shirley Temple, Bill "Bojangles" 41 5 Robinson (see additional resources page) .r1 Z ,, l �' Z North Carolina Youth Tap Ensemble-Guide for teachers 6 1 /*,i►,i►.e. ►.e./..r►.r►. ►.•►. ► ►.,."" ese. ""••••►,■► . , . ►.r►,r► ►.i►,r►.i►."A .r 0".r►4"AtJ DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 I; r (_: 1 I 1 Q. Is there a difference between tap dancing, clogging and Irish dancing? A. Percussive dance in inevitably tied to the music to which it is 1 1 performed, and thus reflects the rhythms inherent in that music. The 1 1 movement vocabulary and rhythms are different for each style 1 N 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. 1 l 1 a.a � �` > 1 \ 7* ji* 0 'I's * I * 1 ) , „ . ,, ''*,,. P -4 41c444,4100 e Ifs,„....„..„- , ? 1 b l7 1 " ' y *-)wn ^.vu '+s`w,5nd'$'. d wv'b-� `a°,.,,.,,/,'er'",..'"rm, ,r,,`,' ;'r;,+u ?• e m'ww w Na . ' 0 ' e , l 1 1 1> NCYTE performance in Berlin, 2002 1 1 Q. What can you do with tap as a profession or career? 1 N. A. Some professional dancers who make their living from performing at 1 S dance shows, musicals, and other events. Most dancers probably also 1 1 teach, either privately, or at schools, colleges or universities. 1 % Q. What does a tap shoe consist of? How is it made? S A. Any good sturdy shoe can be made into a tap shoe by attaching 1 S taps, which are two metal pieces, one attached to the toe of the shoe 1 1 and one attached to the heel. Different designs for these metal pieces s make different sounds. Some shoes are specially designed for taps to 1 N be attached, but taps can be bought and attached to a wide variety 1 1 of shoes with different types and heights of heels. 1 1 P� 1 1 �)( ) N,-,-) 1 1 s 1 1 Z North Carolina Youth Tap Ensemble-Guide for teachers 7 1 v. DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 N guii. e 1 class A 1 1 S Your students may be itching to do some rhythm activities after the 1 , S performance, and we have a number of ideas that you might consider trying. 1 S Some are noisier than others, but we hope you'll not let that deter you. 1 S Although these activities could be done either before or after the show, in 1 5 some cases we've indicated a recommendation. 1 Scat-singing 1 s "Scat" singing can be done in a spoken tone or sung, rather than using lyrics. 1 S A few nonsense syllables replace all the words, but in the same rhythm as the 1 S words would have been sung. For example, "Row, row, row your boat," might 1 1 become Shoo, Shoo, Shoo, Be Doo." 1 1 Choose a song that is known to the class. Younger grades might choose a < S nursery rhyme (e.g., Mary had a Little Lamb), while middle-school or high- 1 S schoolers might use an American folk song or patriotic song (e.g. Row Your 1 1 Boat, My Country `tis of Thee), or even a current popular song from the radio or 1 S movies that the kids know. Have them choose a few syllables that they'll use 1 S to scat the song, and write them on the board. Examples: Shoo, Be, Doo, 1 5 Wah, Bop 1 SAsk them to "sing" the song together, replacing the syllables in the original 1 4 song with the agreed-upon scat syllables. They can use them in whatever 1 combination of syllables they choose, but at first should keep the same rhythm 1 S as the original song. Then they can experiment with doubling up the rhythm, 1 1 or adding sounds on the off-beat. 1 Point out that the tap dancers are making similar rhythmic sounds with their 1 S feet. There are a variety of sounds that can be made with the tap shoes, but 1 S they are more limited than speech. Some steps make a sliding sound, some 1 have a hard slap, some are soft, etc. 1 Students could take this exercise a step further and experiment with making 1 5 different types of rhythmic sounds with their feet. 1 S Make your own tap shoes 1 Children who are keen to take tap dancing a step further could make their 1 S own tap shoes by gluing several pennies near the toe and heel of some old 1 Zik shoes (with parents' permission and help). 1 1 l 0 t S North Carolina Youth Tap Ensemble-Guide for teachers 8 1 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 i Ik 1 i 1 Dance Brainstorm and Crosswalk 1 This is a good warm-up activity to take place before the show, if you have 10- 1 15 minutes to spare. It also could be divided into two parts, with the 1 brainstorming before the show, and the crosswalk afterwards. If you do the 1 entire exercise before the performance, you can revisit it afterwards, to see if 1 students would like to make some modifications based on what they 1 1 the learned at the show. j ■ S 1 Brainstorming: Ask the students to call out different types of music, and write 1 1 these in one column on the board or flipchart. They may think of current 1 popular distinctions (e.g. hip-hop, rap), and if so, you can suggest they also 1 > think of "older" styles of music to get a wider range (e.g. classical, blues). 1 Ask the students to next call out different styles of dance, and write these in 1 another column to the right of the first one. Again, students may think initially 1 1 of current dance styles, but encourage them to think more broadly. 1 1 Crosswalk: Ask the students to match up the types of music most associated 1 S with the types of dance, drawing lines between the two columns, as shown in 1 the example below. You might give them an easy example first, such as 1 classical music matched with ballet. 1 1 1 > Example of Brainstorm Crosswalk 1 1 Music Dance 1 There are no right or wrong 1 Z Popular Tap answers. Not all forms of music will 1 1 Ballet be closely identified by your 1 1 Country ', students with a particular form of 1 1 Classical Hip-hop dance, and some students might 1 consider that any dance can be 1 1 Jazz Clogging done with any music. NCYTE 1 Swing dances include music of many 1 1 Bluegrass g genres that some might not 1 1 associate with tap (e.g. bluegrass, 1 1 classical). The crosswalk exercise 1 may help students to recognize this, as well as point out that all types of 1 1 music are fair game for a tap treatment. 1 Rhythms of Life 1 1 Rhythm is all around us every day, and tap dancers have taken some of their j 1 inspirations from the sounds they noticed as part of their everyday lives. Ask 1 1 1 > North Carolina Youth Tap Ensemble-Guide for teachers 9 1 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 is is l S the students to think about things in their world that have regular and 1 irregular rhythms. A list below can help you get started, or keep things going 1 5 if they get stuck. It is interesting to think about differences in rhythmic sounds 1 S in the city, as compared to the country, or indoor sounds compared to 1 outdoor sounds. 1 SWindshield wipers Dripping faucet Church bells 1 5 Bird calls Cars honking Hammer or saw 1 5 Clock ticking Phone ringing Oars on a rowboat 1 > Body rhythms 1 1 The body can be used as an instrument to make many rhythmic sounds. An 1 S activity that is silly and fun, yet also instructive, is to let the children 1 S experiment with different ways to make these sounds. Many sounds can, of 1 1 course, be made using the mouth, such as lip smacking, tongue clicking. 1 5 Different sounds can be made by clapping the body in different ways. A 1 5 hand thumped on the chest will sound different than a hand thumped 1 S against the thigh. Using the body as a percussive instrument is sometimes 1 1 referred to as playing the "hambone" or "patting Juba." 1 SStart with having the children repeat back a rhythm that you clap with your 1 S hands, using their hands. Then ask them to repeat the same rhythm clapping 1 S against their leg, then their chest, to notice how the sounds of the rhythmic 1 > pattern are the same, but the tone is different. 1 1 <this with mouth sounds (whooshing, whistling, purring through the lips). 1 1 Instead of the teacher setting the rhythms, the children could take turns 1 1 clapping or vocalizing a rhythm that the class then mimics. 1 1 Finally, an "improv jam" would allow kids to improvise their own body 1 5 rhythms, one at a time, or as a group. They could repeat a set rhythm, using 1 1 their own "instrument," or everyone could devise their own rhythmic patterns 1 > that fit within a dominant beat that you provide by clapping your hands. 1 Tap dancers have a tradition of "challenging" each other to repeat a 1 1 rhythmic pattern that one person sets. The person repeating the pattern then 1 1 tries to return the challenge by changing the pattern and making it more 1 1 difficult. If this listening exercise is working well, you might let them try a 1 s "challenge" with either yourself or some of the students leading off. 1 S 1 > ti, 1 a ql Is 1 S North Carolina Y Tap Ensemble -Guide for teachers 1 r DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 S 1 curriculum Integration 1 1 1 1 With a bit of planning (but spur-of-the-moment inspirations work, too), 1 1 NCYTE's performance could serve to enrich your curriculum, particulary 1 1 music, social studies, math, and physical education. 1 1 Involving the music teacher at your school could add an extra dimension to 1 1 the performance. Tap dancing is a form of working with and creating music, 1 1 and a bit of tap infusion could perhaps help make some of the points 1 1 included in the school's curriculum. If you have an opportunity to involve 1 1 your music or social studies teacher she/he will certainly have a number of 1 1 ideas. If you're on your own, consider thinking about: 1 1 1 Music, Math 1 1 Rhythmic concepts: Tap is all about rhythm, and a number of basic rhythmic 1 1 concepts, such as syncopation and marking time, can be easily identified in 1 1 tap dancing. These concepts could be emphasized by asking students to 1 practice demonstrating with their feet (hand claps are great, but why not 1 1 consider stomps!). From a math perspective, rhythmic patterns can be used 1 1 to demonstrate principals such as division, fractions and sets. 1 1 Music, Social Studies j 1 Music types: A connection with the music curriculum as well as social studies 1 1 could be found in considerations of the different types of music featured in 1 1 your school's NCYTE performance (e.g. blues, classical, bluegrass, old-time, 1 1 folk, Latin,jazz). These music traditions have historical perspectives and some 1 have a specific geographic identification. Can the students recognize these 1 types of music or the composers? Do they know the historical roots? (See 1 1 the Dance Details section for more information.) 1 1 Physical Education 1 1 A number of physical education activities naturally include rhythm. Jumping 1 1 rope can be done rhythmically. Students can try bouncing a ball to different 1 1 rhythms, hopping, skipping, or just plain old experiment with making noise 1 1 with their feet. Some of the body rhythm exercises on page 10 could be 1 1 good to do in the physical education class. 1 1 A 1 1 1 tt, 1�> 1 _, 1 North Carolina Youth Tap Ensemble-Guide for teachers 11 1 V.Ar►."/•.•••∎•∎""r "Ar►.."."/►. e" . ►. ►4 ►. ∎•••" , ►,i►.i►. ►A". ,,.r►./►.r► W,.", DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 is 1 l Details on Dances r an 1 N 1 NCYTE draws on a repertoire of over 24 dances in choosing a selection 4, 1 for school performances. Below is a bit of information on some of the 1 1 dances that could be included in the performance at your school. 1 1 • Slaughter on 10th Avenue j 5 Choreography: Carrie Barnett and Elena Steponaifis (2003) 1 Style: Rhythm 1 1 Music: Slaughter on 10th Avenue (Richard Rogers) 1 SThis dance is the most recent addition to the repertoire. It was j 1 choreographed by two senior members of NCYTE to be performed 1 with the North Carolina Symphony Orchestra. 1 The Condos Brothers' Indian Routine p 5 Choreography: Steve and Nick Condos (1938) 1 S Reconstruction and staging: Sam Weber (2003) 1 > Music: War Dance for Wooden Indians (Raymond Scott) 1 5 4,The Condos Brothers was a flash tap act that relied on virtuoso 5 tapping rather than acrobatics. The Condos brothers were 1 S among the most advanced tap dancers of their generation. This 1 routine, which is legendary among tap dancers for its virtuosity, 1 1 speed and difficulty, was featured in the 1938 20th Century Fox 1 5 movie Happy Landing starring Sonja Henie and Don Ameche. 1 S The Hunt 1 Concept and Arrangement: Gene Medler 1 S Choreography: Carrie Barnett, Rachel Kiel and Elena Steponaitis (2002) 1 1 Style: Rhythm 1 5 Music: Allegro assai from the "Hunt" String Quartet in B-flat Major, K. 458 1 1 (Wolfgang Amadeus Mozart) 1 This dance was choreographed by members of the ensemble and 1 5 added to NCYTE's repertoire in 2002, to be performed with the 1 1 Malarme Chamber Orchestra. 1 1 l l 1 North Carolina Youth Tap Ensemble- Guide for teachers 12 1 ',i►./'./'. ►.A"/'./', ►./'./'./'.".". ►,/ A ./'./',i►./'/'."/". ./',/'.r►,r /'d"/',/'.r.r./'+/'/'".". '/•., DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 1 1 1 1 > Body Beat 1 1 Choreography: Zahi Patish and Danny Rachom (2001) 1 1 1 Style: Body Drumming, Vocalization, Hip-Hop j 1 Music: a cappella 1 > This dance was choreographed by members of Sheketak (Tel 1 1 Aviv), an Israeli dance group that takes its name from Hebrew 1 1 words for silence (sheket) and sound (tak). Sheketak dancers j 1 and instrumentalists combine body drumming, tap, hip-hop, 1 1 vocalization, and live music into their internationally acclaimed 4) 1 performances. l I Blue Rondo a la Turk j 1 Choreography: Sam Weber (2000) 1 1 Style: Rhythm 1 1 Music: Blue Rondo a la Turk (Dave Brubeck) 1 1 1 1 Blue Rondo a la Turk is based on the Turkish 9/8 meter, one of the j 1 Dave Brubeck quartet's most famous experiments with non- 1 traditional meter (the most famous was Take Five). This dance 1 began as a technique exercise for practicing even or unbroken 1 1 rhythms. The choreography demands the dancers first tap the j S straight rhythms of the melody and then switch to a medium 1 swing blues as three extra beats are added to each measure. 1 After building to a frenzy of double-time rhythms and turns in the 1 1 blues section, the piece returns to 9/8 for a dizzying finish. (Sam 1 1 Weber) 1 1 l 1 • Traditional Copasetic Soft Shoe 1 Choreography: Brenda Bufalino (1999) 1 1 Style: Vernacular 1 1 Music: Me and My Shadow (Al Jolson and Dave Dreyer) j Z Serenade in Blue (Harry Warren and Mack Gordon) 1 1 The Copasetics Club was formed in 1949 by a group of 1 1 legendary dancers to honor the memory of Bill "Bojangles" 1 1 Robinson. Copasetic was a word favored by Mr. Robinson, j 1 being used to describe things that were perfect. The first part of 1 Sthis dance is a soft shoe, staged by Ms. Bufalino as it was 1 1 performed by the Copasetics during the 1950s and 1960s. In the 1 1 second part, Ms. Bufalino weaves together past and present, 1 1 blending traditional soft-shoe steps she learned from the j Copasetics into her own distinctive choreography. 1 1, North Carolina Youth Tap Ensemble- Guide for teachers 13 1 E DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 I 1 I 1 • Isicathulo 1 1 Choreography: James Kelly Green Ill (1999) 1 Style: South African Gum Boot j S Music: a cappella t First performed at missions when dancing was outlawed, this l 1 1 South African gum boot dance was a form of protest. Today it is 1 1 very popular among mine workers. Usually performed by men, j 1 the dancers wear Wellington boots, black trousers, a colored 1 1 vest, and a beret. The humming and shouts of the dancers 1 accompany the stomping of their boots,while a guitarist plays a 1 basic rhythm of a few chords with little pretense to melody. 1 1 11 0 Jump, Monk 1 SChoreography: Brenda Bufalino (1998) 1 Style: Polyrhythm 1 1 Music: Jump, Monk (Charles Mingus) 1 1 I 1 This composition is described by Mingus as a profile, not a 1 Scomplete picture, of Thelonious Monk, but one aspect of a 4 1 complex personality. The eight-bar, many-voiced section that 1 1 alternates with the melody mirrors the emotional, earthy quality 1 1 found in both subject and composer, and this feeling is reflected j Sin the movements of the dancers. The compositional techniques 1 1 are also important. Along with given melodic figures, the t 1 1 composer creaes form and mood by giving the musicians and 1 1 dancers scales on which they can build their own figures. These 1 1 figures must appear in certain places in the composition and 1 1 maintain its mood. 1 1 1 1 • Step it Up and Go j 1 Choreography: Ruth Pershing (1993) l 1 Style: Piedmont Buck 1 1 Music: Jitterbug Rag (Blind Boy Fuller) 1 1 This dance is based on the individual style of one buck dancer, j 1 John Dee Holeman, from Durham, North Carolina. The dance j Sbegins with the rhythm of hand slapping, which was often the 1 1 only music for buck dancing. Tap-like steps then give way to 1 1 longer patterns. The dancers trade steps in a call-and-response 1 1 section, then split into two train cars using steps Mr. Holeman j 1 invented to imitate a steam train, with one person shoveling coal 4) 1 l 1 l 1 North Carolina Youth Tap Ensemble-Guide for teachers 14 1 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 1 r 1 in between. The trios at the end are like the intimate little 1 s challenges at house parties." (Ruth Pershing) 1 I 1 My Own House Waltz 1 S Choreography: Ira Bernstein (1992) 1 Style: Traditional French Canadian Waltz Clog 1 N Music: My Own House Waltz l S 1 S My Own House Waltz is a French Canadian waltz clog, also 1 S known as Quebec's waltz clog. As with the jig, this form of clog 1 dancing stresses intricate footwork with a minimum of upper body movement. 1 1 1 • St. Patrick's Day in the Morning 1 1 Choreography: Traditional steps arranged by Jan and Eddie Owens 1 (1988) j 5 Style: Traditional Irish Jig 1 >Music: St. Patrick's Day in the Morning 1 Tap is a unique form of dance created in America through the 1 blending of traditions of immigrants from the British Isles and 5 Africa. Almost three hundred years ago the Irish were 1 S, performing a style they called step dancing. Step dancing is 1 S characterized by a stiff upper body, arms at the sides, head 1 1 straight forward, and no smiles. St. Patrick's Day in the Morning is 1 an Irish jig. A jig is a particular combination of music and steps, 1 1 and is the first dance taught to students in Ireland. 1 1 1 Cole's Stroll & Shim Sham 1 Choreography: Charles "Honi" Coles, Leonard Reed, and Willie Bryant 1 1 (1950's/1930's) 1 S Style: Vernacular 1 Music: Take the A-Train (Billy Strayhorn) 1 1 This dance consists of two traditional pieces of choreography. The first 1 5 is the Cole's Stroll, choreographed in the 1950s by Charles "Honi" 1 1 Coles. The second part is called the Shim Sham, which was created in 1 the 1930s by Leonard Reed and Willie Bryant. The Shim Sham is 1 affectionately referred to as the tap dancers' "national anthem." The 1 Cole's Stroll is always danced to the Duke Ellington/Billy Strayho tune j 1 rn Take the A-Train and the introduction was and is: "If you can walk, you 1 can dance..." 1 1 1 S North Carolina Youth Tap Ensemble- Guide for teachers 15 1 DocuSign Envelope ID:06711178-0E3F-4541-A834-A91 FC422F4D1 Vocabul ar f ,,j s This vocabulary includes terms used in reference to aspects of dance, 1 S especially tap. 1 1 > a cappella: performance of a tap dance without musical accompaniment 1 1 Ballet: a choreographed presentation of a story or theme performed to music by j S ballet dancers 1 S 1 S Blues: a style of music using 12-bar phrasing, originating in the U.S. and closely 1 associated with tap 1 S Choreographer: one who plans out the specific steps and movements that 1 Sdancers are to make 1 1 Clogging: a style of dancing common in the Appalachian U.S., most often sdanced to traditional bluegrass or mountain folk music. 1 S Funk: an urban style of dancing, crossing jazz and hip-hop 1 1 1 Improvisation: made up on the spot; something danced without preparation or 1 pre-determination of particular steps to follow 1 S 1 SJam session: dancers spending time together doing improvisation and working 1 S on dances, usually with no set objectives other than enjoyment 1 5 Jazz: both a style of music and associated style of dance. t S 1 1 Latin: a style of music and a style of dance, identified by rhythmic patterns 1 S traditionally associated with Latin America. 1 1 Modern dance: initially a rebellion against the rigid structure of ballet, stressing 1 S more emotion - how the movement felt rather than how it looked. 1 ) 1 S Percussive: to hit or shake in order to make sound 1 5 Rhythm tap: the style of tap dancing that stresses rhythmic patterns as a way to 1 S express oneself-to create interest, excitement and feeling 1 1 > Scatting: repetition of rhythmic patterns substituting nonsense syllables for words j 5 Softshoe: a tap style characterized by slower and smoother movements 1 S 1 > Syncopation: accenting the weak beat in a musical phrase 1 S 1 S North Carolina Youth Tap Ensemble-Guide for teachers 16 1 \'d►/`, ►,r► ►J►/'./'/', ►,/'/'./'.". ..""d'. ►./►/'. ►./', ►/'/►.r► . . ►./'.0"4"/W'.r►d►./',e."4 4", DocuSign Envelope ID:06711178-0E3F-4541-A834-A91FC422F4D1 l ! Resources 1 SBooks: 1 SStearns, Marshall, The History of Jazz Dance, American Vernacular 1 Dance. 1 5 Frank, Rusty, TAP! 1 Z Ames, Jerry and Jim Siegelman, The Book of Tap, Recovering 1 Z America's Long Lost Dance. ZKnowles, Mark, Tap Roots: The Early History of Tap Dancing. 1 1 Glover, Savion and Bruce Weber, My Life in Tap. 1 1 Popular films that include famous tap scenes: S The Little Colonel (1935) Bill "Bojangles" Robinson, Shirley Temple j Z Singin' In The Rain (1952) Gene Kelly 1 Z Tap (1989) Gregory Hines, and a HOST of others 1 Z Top Hat (1935) Fred Astaire, Ginger Rogers 1 ' 1 White Nights (1985) Gregory Hines, Mikhail Baryshnikov 1 g ( ) g rY - rY 1 1 Stormy Weather (1943) Bill Robinson, Nicholas Brothers 1 Z l S Documentary films: 1 1 Fred Astaire: Puttin' on His Top Hat 1 1 No Maps on My Taps (SBN 1-55974-055-8) 1 5 Juba! The Masters of Tap & Percussive Dance 1 Exploring the World of Music. Vol.5 Rhythm (www.learner.orca) 1 1 Dance Sense. Tape 3 - Tap. (ww .ketorq) About Tap (hosted by Gregory Hines. Direct Cinema, Ltd.) 1 Z 1 1 % Websites: .ncyfeon!ine.org; www.tapdance.orq 1 "' ) 1 1 1 77 s y 1 I , 1 f 1 C North Carolina Youth Tap Ensemble-Guide for teachers 17 1 V.e".""ram. A/•••••"/•""►A"A"." A .i► .r►. .r►,i►,".""A"."/". , .""/• ,