1UMS 09-10
HUBBARD STREET DANCE CHICAGO
T E A C H E R R E S O U R C E G U I D E
2 0 0 9 - 2 0 1 0
2 UMS 09-10
Michigan Council for Arts & Cultural Affairs
University of Michigan
Anonymous
Arts at Michigan
Arts Midwest’s Performing Arts Fund
Bank of Ann Arbor
Bustan al-Funun Foundation for Arab Arts
The Dan Cameron Family Foundation/Alan and Swanna Saltiel
Community Foundation for Southeast Michigan
Consulate General of the Netherlands in New York
Doris Duke Charitable Foundation
Doris Duke Foundation for Islamic Art
DTE Energy Foundation
The Esperance Family Foundation
David and Phyllis Herzig Endowment Fund
Honigman Miller Schwartz and Cohn LLP
JazzNet Endowment
W.K. Kellogg Foundation
Masco Corporation Foundation
Miller, Canfield, Paddock and Stone, P.L.C.
THE MOSAIC FOUNDATION (of R. and P. Heydon)
The Mosaic Foundation [Washington, DC]
National Dance Project of the New England Foundation for the Arts
National Endowment for the Arts
Prudence and Amnon Rosenthal K-12 Education Endowment Fund
Rick and Sue Snyder
Target
TCF Bank
UMS Advisory Committee
University of Michigan Credit Union
University of Michigan Health System
U-M Office of the Senior Vice Provost for Academic Affairs
U-M Office of the Vice President for Research
Wallace Endowment Fund
This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched, written, and edited by Emily Barkakati and Mark Johnson.
Special thanks to Hubbard Street Dance Chicago, Erika Nelson, Farrah Malik, Meredith Dincolo, Pablo Piantino, Sue Budin, Michael Kondziolka, and Omari Rush for their contributions, feedback, and support in developing this guide.
SUPPORTERS
H U B B A R D S T R E E T D A N C E C H I C A G O
GLENN EDGERTON artistic director
T E A C H E R R E S O U R C E G U I D E 2 0 0 9 - 2 0 1 0
U M S Y O U T H E D U C AT I O N P R O G R A M
11AM - 12 NOON
FRIDAYAPRIL 23
2010
POWERCENTER
4 UMS 09-10
ATTENDING THE CONCERT6 Attending the Show8 Map + Directions9 The Power Center
HUBBARD STREET DANCE CHICAGO (HSDC)11 Contemporary v. Modern12 Lou Conte + His Repertory Company14 Timeline15 UMS + HSDC
TABLE OF CONTENTS
THE ART-MAKERS18 Dancers22 Dancer Interviews
25 Artistic Staff
REPERTOIRE28 At’em (Atem) Adam29 Bitter Suite30 Rehearsals
ABOUT DANCE32 Modern + Contemporary Dance35 How to Watch Dance37 Movement38 Elements
RESOURCES40 Vocabulary42 Lesson Plans43 Bibliography + Photo Credits44 Organizations45 Suggested Readings
ABOUT UMS47 What is UMS?48 Youth Education Program50 Contacting UMS
Short on time?If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents.
Those pages will provide the most important information about this performance.
5UMS 09-10
AT T E N D I N G T H E C O N C E RT
6 UMS 09-10
TICKETS We do not use paper tickets for
Youth Performances. We hold school reserva-
tions at the door and seat groups upon arrival.
DOOR ENTRY A UMS Youth Performance
staff person will greet your group at your bus
as you unload. You will enter through the
front doors of the Power Center, which faces
Fletcher Street.
BEFORE THE START Please allow the usher
to seat individuals in your group in the order
that they arrive in the theater. Once everyone
is seated you may then rearrange yourselves
and escort students to the bathrooms before
the performance starts. PLEASE spread the
adults throughout the group of students.
DURING THE PERFORMANCE At the
start of the performance, the lights well
dim and an onstage UMS staff member will
welcome you to the performance and provide
important logistical information. If you have
any questions, concerns, or complaints (for
instance, about your comfort or the behavior
of surrounding groups) please IMMEDIATELY
report the situation to an usher or staff mem-
ber in the lobby.
PERFORMANCE LENGTH 60 minutes with
no intermission
AFTER THE PERFORMANCE When the
performance ends, remain seated. A UMS
staff member will come to the stage and
release each group individually based on the
location of your seats.
SEATING & USHERS When you arrive at
the front doors, tell the Head Usher at the
door the name of your school group and he/
she will have ushers escort you to your block
of seats. All UMS Youth Performance ushers
wear large, black laminated badges with their
names in white letters.
ARRIVAL TIME Please arrive at the Power
Center between 10:30-10:50 AM to allow you
time to get seated and comfortable before the
show starts.
DROP OFF Have buses, vans, or cars drop
off students on Fletcher Street in front of the
Power Center. If there is no space in the drop
off zone, circle the block until space becomes
available. Cars may park at curbside metered
spots or in the visitor parking lot behind the
power Center. Buses should wait/park at
Briarwood Mall.
DETAILS
AT T E N D I N G T H E S H O WWe want you to enjoy your time with UMS!
PLEASE review the important information below about attending the Youth Performance:
TICKETS
USHER
7UMS 09-10
BUS PICK UP When your group is released,
please exit the performance hall through the
same door you entered. A UMS Youth Perfor-
mance staff member will be outside to direct
you to your bus.
AAPS EDUCATORS You will likely not get
on the bus you arrived on; a UMS staff mem-
ber or AAPS Transportation Staff person will
put you on the first available bus.
LOST STUDENTS A small army of volun-
teers staff Youth Performances and will be
ready to help or direct lost and wandering
students.
LOST ITEMS If someone in your group loses
an item at the performance, contact the UMS
Youth Education Program (umsyouth@umich.
edu) to attempt to help recover the item.
AAPS
SENDING FEEDBACK We LOVE feedback
from students, so after the performance please
send us any letters, artwork, or academic
papers that your students create in response
to the performance: UMS Youth Education
Program, 881 N. University Ave., Ann Arbor,
MI 48109-1011.
NO FOOD No Food or drink is allowed in
the theater.
PATIENCE Thank you in advance for your
patience; in 20 minutes we aim to get 1,300
people from buses into seats and will work as
efficiently as possible to make that happen.
ACCESSIBILITY The following services are
available to audience members:
• Wheelchair, companion, or other special
seating
• Courtesy wheelchairs
• Hearing Impaired Support Systems
PARKING There is handicapped parking very
close to the Power Center on Fletcher Street
and in the parking structure behind the Power
Center on Palmer Drive. The first three levels of
the Palmer Drive structure have 5 parking spots
on each level next to each elevator. There are a
total of 15 parking spaces in the garage.
WHEELCHAIR ACCESSIBILITY The Power
Center is wheelchair accessible and has 12 seats
for audience members with special needs.
BATHROOMS ADA compliant toilets are
available in the green room (east corner) of the
Power Center for both men and women.
ENTRY The front doors are not powered,
however, there will be an usher at that door
opening it for all patrons.
8 UMS 09-10
POWER
HILL
DR
OP
-OF
F Z
ON
E
PARK
PALMER DRIVE
E. HURON ST
E. LIBERTY ST
WILLIAM ST N. UNIVERSITY AVENUE
WA
SH
TE
NA
W A
VE
NU
E
FL
ET
CH
ER
ST
TH
AY
ER
ST
ST
AT
E S
T
CH
UR
CH
ST
MA
LL
PA
RK
ING
&
RACKHAM
Circle this block until
a spot is free in the
drop-off zone.
M A P + D I R E C T I O N SThis map, with driving directions to the Power Center, will
be mailed to all attending educators three weeks before the performance.
VENUE
9UMS 09-10
T H E P O W E R C E N T E R
VENUE
THE POWER CENTER for the Performing
Arts grew out of a realization that the
University of Michigan had no adequate
proscenium-stage theater for the per-
forming arts. Hill Auditorium was too
massive and technically limited for most
productions and the Lydia Mendelssohn
Theatre was too small. The Power Center
was built to supply this missing link in
design and seating capacity.
In 1963, Eugene and Sadye Power,
together with their son Philip, wished to
make a major gift to the University. The
Powers were immediately interested in
supporting the University’s desire to build
University of Michigan, Power Center
a new theater, realizing that state and
federal governments were unlikely to
provide financial support for the con-
struction of a theater.
Opening in 1971, the Power Center
achieved the seemingly contradictory
combination of providing a soaring
interior space with a unique level of
intimacy. Architectural features include
two large spiral staircases leading from
the orchestra level to the balcony and
the well known mirrored glass panels
on the exterior. The lobby of the Power
Center presently features two hand-wo-
ven tapestries: Modern Tapestry by Roy
Lichtenstein and Volutes (Arabesque) by
Pablo Picasso.
The Power Center seats approximately
1,300 people.
POWER CENTER
121 Fletcher St
Ann Arbor, MI 48109
Emergency Contact
Number:
(734) 764-2538(Call this number to reach a UMS staff person or
audience member at the performance.)
10 UMS 09-10
HUBBARD STREET DANCE CHICAGO (HSDC)
11UMS 09-10
THE MISSION OF THE MAIN COMPANY
of Hubbard Street Dance Chicago is
“to be America’s leading contemporary
dance company, presenting eclectic,
innovative and razor-sharp repertoire;
promoting appreciation for contemporary
dance; and contributing to the evolution
of the art form.”
As a repertory company, HSDC does not
have just one resident choreographer
whose artistic style and dance vocabulary
shape the company. Rather, HSDC is driv-
en by the creation of new choreography
by many different dance-makers, often
of national and international repute. This
signature characteristic of a contempo-
rary dance company is a distinguishing
factor in HSDC not being labeled as a
modern dance company.
Ambiguity surrounds the phrase “modern
dance company” (with a basis in modern
and contemporary being synonyms in the
dictionary). One standard connotation of
“modern dance companies” is that they
are ensembles founded and flourishing
in the late 19th to late 20th centuries:
companies that, if still in existence today,
continue to promote and create within the
framework of their founding choreogra-
pher’s movement legacy.
HSDC pursues what’s current in art-
making, using an array of contemporary
choreographers to set work on them that
engages and challenges audiences world-
wide, that keeps the company’s aesthetic
fresh, and that generally moves dance
forward as an art form. These qualities
solidly classify HSDC as a contemporary
group and the ensemble’s visit to Ann
Arbor provides a special opportunity for
UMS Youth Performance audience mem-
bers to see work difficult to experience
without, for instance, going to a dance
festival that presents the dance compa-
nies of different choreographers.
What follows are the five works in
HSDC’s repertoire that they will perform
during their run of 4 shows in Ann Arbor
from April 22-24. The choreographers on
this list are some of the company’s most
frequent collaborators and are from all
over the world:
C O N T E M P O R A RY V. M O D E R N
UMS ARTISTIC STATEMENT
27’ 52” (2010)
Choreography by Jirí Kylián [Netherlands]
Music by Dirk Haubrich
Tabula Rasa (2005)
Choreography by Ohad Naharin [Israel]
Music by Arvo Pärt
Walking Mad (2008)
Choreography by Johan Inger [Sweden]
Music by Maurice Ravel
At’em (Atem) Adam (2010)
Choreography by Terence Marling [USA]
Bitter Suite (2009)
Choreography by Jorma Elo [Finland]
Music by Felix Mendelssohn and
Claudio Monteverdi
12 UMS 09-10
L O U C O N T E + H I S R E P E R T O RY C O M PA N Y
ABOUT
AFTER A PERFORMING CAREER includ-
ing Broadway musicals, in 1974 Conte
established the Lou Conte Dance Studio
in Chicago. In 1977, he founded what
is now Hubbard Street Dance Chicago
with four dancers performing at senior
citizens homes in Chicago. Originally
the company’s sole choreographer, he
developed relationships with emerging
and world-renowned choreographers
as the company began to grow, adding
their work to the company’s repertoire.
These relationships transformed HSDC
into the internationally acclaimed reper-
tory company it is today (for dancers,
these opportunities to collaborate with
a wide variety of artists are one of the
signature joys of performing with HSDC).
In the 1980s, Conte commissioned
several works by Lynne Taylor-Corbett,
Margo Sappington, and Daniel Ezralow.
He continued to build HSDC’s repertoire
by forging a key partnership with Twyla
Tharp in the 1990s, acquiring seven of
her works, including an original work for
the company. Conte further expanded
the company’s repertoire to include the
work of Dutch choreographer Jirí Kylián,
Spanish choreographer Nacho Duato,
and Israeli choreographer Ohad Naharin.
These long-term relationships with chore-
ographers, along with Conte’s participa-
tion in selecting Jim Vincent as the com-
pany’s new Artistic Director, have paved
the way for HSDC’s future. Throughout
Conte’s 23 years as the company’s Artistic
Director, he received numerous awards,
including the Chicago Dance Coalition’s
inaugural Ruth Page Artistic Achievement
Award in 1986, the Sidney R. Yates Arts
Advocacy Award in 1995, and the Chi-
cagoan of the Year award from Chicago
magazine in 1999. In 2002, he was one
of six individuals named Laureates of The
Lincoln Academy of Illinois, the highest
honor the state bestows upon Illinois
residents. He has been credited by many
for helping raise Chicago’s international
cultural profile and for creating a climate
for dance in the city, where the art form
now thrives.
13UMS 09-10
LOU CONTE DANCE STUDIO
C O M PA N Y H I S T O RY: T I M E L I N E
ABOUT
1 9 7 4
The Lou Conte Dance Studio opens in Chicago,
where young aspiring dancers were able to take
tap lessons with Mr. Conte.
1 9 7 7
Hubbard Street Dance Chicago (HSDC) is
created under the direction of Lou Conte.
This marks the beginning of collabora-
tions between HSDC dancers and nationally
recognized choreographers. While many peer
contemporary dance companies are single
choreographer organizations, HSDC has al-
ways been a repertory company, representing
numerous choreographers and styles.
1 9 9 0
HSDC launches education and community
programs in order to offer movement-based
arts experiences to students, teachers, and the
general public.
1 9 9 8
Hubbard Street 2 is created to give younger
dancers an opportunity refine dance skills and
gain professional experience.
2 0 0 0
Jim Vincent replaces Lou Conte, who retires
as Artistic Director after 36 years with HSDC.
Under Vincent’s tenure as Artistic Director, Hub-
bard Street creates new and exciting partner-
ships with the Chicago Symphony Orchestra,
the Art Institute of Chicago, the Illinois Institute
of Technology School of Architecture, and the
Rush University Medical Center, offering HSDC’s
Dance for Parkinson’s program.
2 0 0 8
HSDC begins performing at the Harris Theater
in Millennium Park, furthering its role as a
cultural destination in Chicago.
2 0 1 0
Hubbard Street announces its third Artistic
Director: Glenn Edgerton.
Internet Resource
Hubbard Street Dance Chicago
http://hubbardstreetdance.com/home.asp
For more information on Hubbard Street Dance Chi-
cago check out their website, which includes current
repertoire, company information, reviews, and other
resources.
14 UMS 09-10
15UMS 09-10
U M S + H S D C
ABOUT
HUBBARD STREET DANCE CHICAGO and the University Musical Society have a long history together. Their collaboration began
back in 1988 when founder Lou Conte brought his established dance company to Michigan for a set of two performances. Before
this season’s presentation of HSDC, they last visited Ann Arbor back in 2007, performing their signature brand of original and new-
ly created works: two even represented collaborations with the Chicago Symphony Orchestra (From All Sides and Strokes Through
The Tail). These works were well received. In total, Hubbard Street Dance Chicago has been presented by UMS eleven times.
PAST UMS/HSDC COLLABORATION
Upper Left February 2007 UMS Youth Performance by HSDC. Former Artistic Director Jim Vincent welcomes the full audience from the stage.Lower Left HSDC master class with University of Michigan students in February 2007. Upper Right HSDC master class with University of Michigan during their September 2002 Ann Arbor residency.Lower Right Dance Gallery Studio partnered with UMS to host a master class open to the public (any interested dancer) led by HSDC in 2002.
16 UMS 09-10
HUBBARD STREET DANCE CHICAGO has been presented by UMS eleven times. Pulled from the UMS archives, the image on the
far right is a page from the program book when HSDC first visited in 1988. The other two images are of postcards distributed to
patrons that describe the performances (the upper piece is from 2007 and the lower is from 2001).
17UMS 09-10
T H E A RT- M A K E R S
18 UMS 09-10
D A N C E R S
PEOPLE
C H R I S T I A N B R O O M H A L L Columbus, Ohio
Broomhall received classical training from Ballet Met Columbus under the direction of David Nixon and Yoko Ichino.
From 1999 to 2001 he danced professionally with the Ballet Met Columbus. He then performed with the Northern Ballet
Theatre until 2005, when he returned to dance with Ballet Met Columbus until 2008. Broomhall joined HSDC in August
of 2008.
J A C Q U E L I N E B U R N E T T Pocatel lo, Idaho
Jacqueline received her classical ballet training in Pocatello, Idaho from Romanian Ballet Master Marius Zirra, with ad-
ditional summer training at Ballet Idaho, Brindusa-Moore Ballet Academy, Universal (Kirov) Ballet Academy, The Juilliard
School and the San Francisco Conservatory of Dance. She received a B.F.A. in Dance Performance from The Ailey School/
Fordham University joint program in New York City in May 2009, graduating magna cum laude and with departmental
honors. Jacqueline joined HSDC as a Center Apprentice in January, 2008, while concurrently completing her B.F.A. degree,
and became a member of the main company in August, 2009.
A L E J A N D R O C E R R U D O Madrid, Spain
Originally from Madrid, Spain, Alejandro Cerrudo received his training at the Real Conservatorio Professional de Danza de
Madrid and in 1998 joined the Victor Ullate Company where he danced for one year. From 1999 to 2002, Cerrudo danced
with the Stuttgart Ballet and in 2002 he joined Nederlands Dans Theater (NDT) II under the direction of Gerald Tibbs. Cerru-
do danced with NDT II for three years before becoming a HSDC member in August 2005. In 2008, he was named an HSDC
choreographic fellow and created three works for the company. Cerrudo is the first ever HSDC resident choreographer.
M E R E D I T H D I N C O L O Indianapolis, Ind.
Dincolo began dancing at age seven in Indianapolis before moving to Michigan to study under Iacob Lascu. She gradu-
ated from University of Notre Dame in 1993 and moved to Chicago to pursue dance. In 1996, after completing numer-
ous independent projects, Dincolo joined HSDC where she spent four years under the direction of Lou Conte. In 2000,
she joined Lyon Opera Ballet and performed works by Forsythe, Duato, Marin, Jasperse, Saarinen, Boivin, and Prejlocaj.
Dincolo joined Nationaltheater Mannheim in 2003 before her return to HSDC in November 2004.
19UMS 09-10
B R I A N E N O S Cotati , Cal if .
Enos began his dance training at age 14 and has studied with the Houston Ballet Academy, Maria Vegh, the Santa Rosa
Junior College and Sara Stuber. At age 18, he joined the Houston Ballet where he performed works by Trey McIntyre, Da-
vid Parsons, Lila York, Ben Stevenson, Dominic Walsh, Priscilla Nathan-Murphy, James Kudelka, and Fredrick Ashton. Enos
performed with the Houston Ballet for two years before joining HSDC in July 2002. He was commissioned to create work
for Houston Ballet in fall 2005, departing HSDC in August and rejoining the company in January 2006.
K E L L I E E P P E R H E I M E R Los Osos, Cal if .
Epperheimer began her dance training in 1988 with the Academy of Dance and Civic Ballet of San Luis Obispo. She has
participated in summer programs with the Joffrey Ballet and The Juilliard School. In 2002, she had the opportunity to tour
Russia with the Deyo Dancers. Epperheimer joined Hubbard Street 2 in January 2005 before becoming an apprentice with
the main company in December 2006.
L A U R A H A L M Balt imore, Md.
Halm began her dance training at age four and has studied at Central Pennsylvania Youth Ballet, Boston Ballet School, San
Francisco Ballet School, and the Baltimore School for the Arts. She received her B.F.A. in dance from The Juilliard School
in May 2002 where she performed works by José Limón, Ohad Naharin, and Robert Battle. She also had the privilege of
performing with El Ballet Moderno y Folklorico de Guatemala as a guest artist before joining Hubbard Street 2 in January
2004. Halm became an apprentice with HSDC in August 2006.
J A S O N H O RT I N Olympia, Wash.
Hortin graduated from the University of Nevada, Las Vegas with a B.F.A. in dance under the direction of Louis Kavouras
and has danced with Moving People Dance Theatre, the Erick Hawkins Dance Company, and River North Dance Chicago.
Hortin joined HSDC as a Hubbard Street Dance Center Apprentice in August 2007 and was promoted into the main
company in July 2008.
A N A L O P E Z A Coruña, Spain
Lopez began her formal training at Conservatorio de Danza Disputacion de A Coruña. Upon graduating Isaac Diaz Pardo
high school, she continued her training at Centro Internacional de Danza Carmen Roche. Lopez danced with Joven Ballet
Carmen Roche, Compañía Nacional de Danza 2, and Ballet Theater Munich before joining HSDC in January 2008.
20 UMS 09-10
PA B L O P I A N T I N O Mendoza, Argentina
Piantino began dancing at the age of 14. His training includes private seminars with Hector Zaraspe and studies at both
the Colón Theatre School and The Juilliard School where he received his B.F.A. Having danced with both the Colón The-
atre Ballet Company and The Juilliard School Dance Ensemble, Piantino joined the San Francisco Ballet in 1999 and then
became an HSDC company member in August of 2005.
J E S S I C A T O N G Binghamton, N.Y.
Tong received a full scholarship to the Ballet Department at the University of Utah and became a member of Utah Ballet as a
junior in high school. She attended summer programs at American Ballet Theatre, San Francisco Ballet, Kaatsbaan, and Lou
Conte Dance Studio, among others. Jessica danced with BalletMet in Columbus, Ohio; Eliot Feld’s Ballet Tech in NYC; and
Hubbard Street 2 before joining the main company as an apprentice in January 2007.
A L E J A N D R O P I R I S - N I Ñ O Madrid, Spain
Niño began his ballet studies at the age of ten when he joined the Victor Ullate School of Dance on scholarship, later
becoming a company member in 1995. While with the Victor Ullate Company, Alejandro performed all over Europe as
well as at many major events in Spain. In 1999, Piris-Niño moved to New York to dance with ABT II and was promoted to
American Ballet Theatre’s main company in 2000. Piris-Niño joined HSDC in August of 2008. He would like to thank his
brothers and sisters for being unconditionally helpful and supportive.
P E N N Y S A U N D E R S West Palm Beach, Fla.
Saunders received her formal dance training at, and graduated from, The Harid Conservatory in Boca Raton. She also
participated in summer programs with the School of American Ballet and Central Pennsylvania Youth Ballet. While further-
ing her training under Elisabeth Carroll, she joined The American Repertory Ballet in New Jersey. Saunders has also danced
with Ballet Arizona, toured extensively with MOMIX, and was a member of Cedar Lake Ensemble in New York before
joining HSDC in November 2004.
K E V I N S H A N N O N Balt imore, Md.
Shannon began his formal dancing under the guidance of Lester Holmes. He graduated from The Baltimore School for
the Arts, receiving additional summer training at the School of American Ballet, Miami City Ballet, Paul Taylor, and David
Parsons. He received his B.F.A. in 2007 from The Juilliard School, where he performed works by Susan Marshall, Mark
Morris, William Forsythe, and Jirí Kylián. He has toured nationally with The Juilliard School Ensemble and performed in the
nationally-broadcast special “Live From Lincoln Center, The Juilliard School: Celebrating 100 Years.” He is a co-founder of
BØRDERLINE DANCE CIRCLE—a troupe under the choreographic direction of Michelle Mola—for which he danced profes-
sionally and developed concepts since 2005. Shannon joined HSDC in November 2007.
21UMS 09-10
B E N J A M I N WA R D E L L Memphis, Tenn.
Wardell began dancing at age ten. After completing his training at Classical Ballet Memphis School, under the tutelage of
Pat Gillespie, he danced with Cincinnati Ballet for five seasons, achieving the rank of soloist. In 2006, Ben moved to San
Francisco to join Alonzo King’s Lines Ballet, where he was given the opportunity to explore mind-opening philosophies
and physicalities of movement while traveling extensively through the United States and Europe. In addition to being a
dancer, Ben is a photographer and writer. He joined HSDC in January 2008.
R O B Y N M I N E K O W I L L I A M S Lombard, I l l .
Williams began dancing at age five under the direction of Yvonne Brown Collodi with whom she toured Germany,
Switzerland, and Austria. She continued studying dance at the Lou Conte Dance Studio where she was on full scholar-
ship from 1993 to 1995. Williams danced with River North Chicago Dance Company for four years before becoming an
apprentice with HSDC in June 2000 and a full company member in September 2001.
22 UMS 09-10
G E T T I N G T O K N O W Y O U : D A N C E R I N T E R V I E W S
PEOPLE
All dancers don’t come from the same background. Pablo and Meredith are two dancers with Hubbard Street, and while Pablo is a great example of someone who has always planned on becoming a dancer, Meredith shows
that it is also possible to make the decision later in life.
PABLO PIANTINO
MEREDITH DINCOLO
How long have you been dancing?
How long do you practice every day?
What made you want to be a dancer?
I started about 20 years ago.
Professionally about 17 years.
From 10am – 6pm Monday through
Friday. Regularly weekends would be
rest.
My parents were dancers, and that’s
pretty much it. They were a huge
inspiration.
I started when I was about seven,
in the typical way of a child trying
out things. I danced seriously in high
school, but instead majored in English
and French while at Notre Dame. But
I decided halfway through college
that I wanted to dance, so when I
was 21 I moved to Chicago and have
been dancing in some capacity ever
since. I’m 38 now, so that was a long
time ago.
A basic rehearsal day is 10am – 6pm.
It’s different when we’re in the theater:
then we start later and end later.
I had tried a few things, such as
gymnastics, and it was something
that I enjoyed and was good at
growing up. I think that when I took
the break from it in college, I really
missed that kind of physical expres-
sion and creative outlet. The other
things that I was getting into were
not nearly as freely creative. That’s
what I really enjoy about it now.
I think the physical nature of our
work is such that you can always
get something out of it, and it can
be really cathartic because of the
pure physicality of it, even if you’re
not feeling expressive. We’re a little
spoiled in that what we’re doing is
what we love to do, and it’s some-
thing that we would choose to do
anyway. And when it’s not some-
thing that you want to do it can feel
like work, but it is still satisfying.
MEREDITH DINCOLO
What kinds of things do you do in a
school for dance?
Did you ever have trouble with nerves
or stage fright? If so, how did you deal
with it?
How do you stay motivated? What do
you do when you don’t feel inspired to
work hard?
I went to regular high school and
then went to Juilliard. We had two
classes a day, usually modern and
ballet. We also had to study things
like music history, anatomy, and other
classes. We also did acting classes or
other types of dance, and at the end
of the day we’d have a rehearsal for
pieces. There were concerts three or
four times a year.
There’s always some nervousness, but
not stage fright. Maybe when I was
16 or 17, things would go wrong and
I’d kind of freak out, but you just learn
to keep going. The idea is that you’ve
practiced the moves enough that your
body can keep going even when things
happen. It’s mostly only afterward that I
worry, but during I don’t get nervous.
I just try to stay positive. My parents
and my teachers have been great
mentors to me. Every day I try to enjoy
myself and remind myself that I’m
lucky to live what I love.
I didn’t actually go to school for
dance, but I can tell you more about
our daily schedule here. If we have
someone who has been invited in,
sometimes we devote the entire day
to their creation. We may spend
an entire day working on the same
thing, which can be really helpful to
make progress. Otherwise, we often
alternate repertoire throughout the
day and break up our day into dif-
ferent rehearsal periods. We don’t
always have set partnerships, so
there is a lot of discussion between
dancers trying to solve problems. It’s
a pretty collaborative effort. Even in
a creation, sometimes you need to
wait for direction, but also sometimes
they allow you to work things out
differently from how they originally
proposed. In this company there’s a
lot of involvement with the dancers.
I usually get a nervous excitement,
but it doesn’t inhibit the steps.
I’ve had moments right before the
curtain goes up where I’ll forget the
piece, but once it begins it all comes
back to you. You’ve just rehearsed it
so much that you can do it on auto-
pilot if you have to. Personally, I like
that energy.
PABLO PIANTINO
MEREDITH DINCOLO
What do you like about working with
the HSDC? What do you think makes it
a unique company?
Do you get to interact much with non-
dancers on the HSDC staff?
The repertoire that Hubbard has is
definitely an attractive thing. It’s one
of the few American companies with
a strong European repertoire. It’s a bit
like a family. It’s not that huge and
we tour a lot, so we’re recognized
all over the company and the world.
Plus, Chicago is a pretty cool town.
Right now it’s appealing because the
new director is an awesome human
being, plus the dancers that we work
with are really amazing.
Not too much because they’re always
busy and we’re always busy, but here
and there we do get together when
we have things like donor parties and
receptions. They always come to our
shows though, so they know who we
are and what we do, but unfortunately
we often, as dancers, get so caught up
in our routine that at the end of the
day we just want to go home and rest.
But, we all know each other and are
still all friendly with each other.
I’ve been here for a while, and the
fact that it’s a repertory company
means that things are always chang-
ing. It’s not like a Broadway show
where the program is the same every
night. People are constantly chang-
ing, and also I think the nature of
our group not being a huge com-
pany means that you have a strong
relationship with your colleagues and
we’re always in different situations
of mixing up partnerships in the
group. You can’t get stuck in a rou-
tine, and we have a real versatility.
Everyone is here together except for
when we’re on tour. We have very
different schedules, but we do get
to interact when we’re organizing
things through the Education or
Programming departments. We’ll
work together when meeting donors
or new members.
PABLO PIANTINO
MEREDITH DINCOLO
24 UMS 09-10
25UMS 09-10
J A S O N D . PA L M Q U I S T Executive Director
Palmquist joined Hubbard Street Dance Chicago in May 2007, after serving the arts community in Washington
D.C. for nearly fifteen years. Palmquist began his career at the John F. Kennedy Center for the Performing Arts,
most recently serving as Vice President of Dance Administration. During his tenure, he oversaw multiple world-
premiere engagements of commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet,
and the inception in 1997 of the Millennium Stage—an award-winning, free daily performance series that has to
date served over three million patrons. Deeply enriching the Kennedy Center’s artistic programming, he successful-
ly presented engagements with many of the world’s most important dance companies including the Royal Ballet,
Alvin Ailey American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre, and
New York City Ballet. Palmquist also managed television initiatives of the Kennedy Center including the creation of
the Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary of
the September 11 attacks. In 2004, he accepted the position of executive director of the Washington Ballet. Under
his leadership, the company presented full performance seasons annually at the Kennedy Center and the Warner
Theater, as well as nurtured its world-renowned school and extensive education and outreach programs. Raised in
Iowa, Palmquist is a graduate of the University of Northern Iowa.
A R T I S T I C S TA F F
PEOPLE
It takes more than just dancers to run a dance company.These are some of the behind-the-scenes members of Hubbard Street.
G L E N N E D G E RT O N Artist ic Director
Edgerton joined HSDC after an international career as a dancer and director. He began his dancing career at The Jof-
frey Ballet where, mentored by Robert Joffrey, he performed leading roles in the company’s contemporary and classical
repertoire for 11 years. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater, and after dancing for five years
retired from performing to become artistic director of the main company, leading NDT1 for a decade and presenting the
works of Jirí Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger,
Paul Lightfoot, and Sol Leon, among others. From 2006 to 2008, he directed The Colburn Dance Institute at The Colburn
School of Performing Arts in Los Angeles. In 2007, Edgerton initiated a series of collaborations between The Colburn
School and Hubbard Street Dance Chicago. Glenn joined HSDC’s artistic leadership team full-time as associate artistic
director in 2008 and now, as artistic director of Hubbard Street Dance Chicago, will guide the company forward, building
on more than three decades of artistic leadership from both Lou Conte and Jim Vincent, whose extraordinary work has
established the company as a leader in dance performance, education and appreciation.
26 UMS 09-10
TA RY N K A S C H O C K R U S S E L L Director, HS2 and Artist ic Associate
Kaschock Russell was born in Harrisburg, Pennsylvania. She joined the Joffrey Ballet in 1995 and spent seven years per-
forming and touring extensively with the company. During that time, she expanded her artistry by dancing the principal
roles in classic works by Agnes DeMille, George Balanchine, Martha Graham, and John Cranko. She was also the first
woman outside of David Parsons company to dance his signature solo Caught. Kaschock joined Hubbard Street Dance
Chicago in 2002 and the following January was named one of Dance Magazine’s “25 to Watch.” Her repertoire, while
dancing with HSDC, included master works by Jirí Kylián, Nacho Duato, William Forsythe and Ohad Naharin. Kaschock
also found much growth and inspiration participating in numerous original creations while a member of the company.
In 2007, Kaschock became a member of HSDC’s artistic staff and began teaching company class, conducting rehearsals
and re-setting choreography. Recently named the Director of Hubbard Street 2, she also now coordinates HSDC’s National
Choreographic Competition, as well as nurtures the growth of promising young artists.
T E R E N C E M A R L I N G Rehearsal Director and Artist ic Associate
From Chicago, Marling began his ballet training in 1982 at the Ruth Page School of Dance under the direction of Larry
Long. In 1994, he joined the Pittsburgh Ballet Theater directed by Patricia Wilde, performing works by George Bal-
anchine, Glen Tetley, Paul Taylor, Ji rí Kylián, Ohad Naharin, Kevin O’Day, and Dwight Rhoden as well as many full length
classical ballets. In 2003 Marling was invited to join the Nationaltheater Mannheim in Germany under the direction of
Kevin O’Day where he participated in the creation of many new works. Marling joined HSDC in April of 2006 and danced
with the company until December of 2009. At HSDC Marling participated in the creation of new works with Jorma Elo,
Toru Shimazaki, Jim Vincent, Lucas Crandall, and Alejandro Cerrudo, and danced works by Susan Marshall, Nacho Duato,
Ohad Naharin, Margarite Donlon, Ji rí Kylián, and others. Marling began as artistic associate and rehearsal director for
HSDC in January of 2010.
C L A I R E B ATA I L L E Director, Lou Conte Dance Studio
Bataille was a founding member of HSDC and, during her 15 years at HSDC, she served as an artistic assistant, ballet
mistress, and choreographed five works for the company. Claire oversees the nationally recognized LCDS Scholarship
Program and manages day-to-day operations of the Lou Conte Dance Studio, which offers over 60 classes per week in
several dance disciplines.
27UMS 09-10
R E P E RT O I R E
28 UMS 09-10
AT ’ E M ( AT E M ) A D A M
REPERTOIRE
CHOREOGRAPHER Terence Marling (see
his bio on page 26)
MUSIC Gerald Marks’ “All of Me” per-
formed by Billie Holiday, George Gersh-
win’s “But Not For Me” performed by
Ella Fitzgerald and music by Edgar Meyer,
Moondog and Luciano Berio
LENGTH 20 minutes
PREMIERE March 18, 2010
TITLE The title takes inspiration from the
colloquial expression “Up and at ‘em;”
“atem,” the German word for “breath;”
and the biblical story of Adam.
MARLING “I usually don’t turn on the
music for the piece of choreography right
away. We started by working with a per-
petually changing soundtrack. We made
phrases of movement together until we
had a language to work from. Then we
took that language and applied it to the
actual music for the piece. The dancers
have made (and will continue to make)
many of the musical and movement
decisions in the piece. I want the dancers
to have the freedom to make choices
about their movement and delivery on
stage to keep the piece solidly in the
present. The artists in this company are
some of the best in the world. It is both
an honor and a joy to share a studio
with them, back to the mirror or sweat-
ing on the dance floor.”
CASTING
Jacqueline Burnett
Robyn Mineko Williams
Jessica Tong
Kellie Epperheimer
Laura Halm
Pablo Piantino
Brian Enos
Christian Broomhall
Jason Hortin
Kevin Shannon
29UMS 09-10
B I T T E R S U I T E
CHOREOGRAPHER Jorma Elo
BIO In just a few short years, Finnish-
born Jorma Elo has become one of the
most sought-after choreographers in the
United States and Europe. Elo trained
with the Finnish National Ballet School
and the Kirov Ballet School in Leningrad.
Prior to joining Netherlands Dans Theater
in 1990, he danced with Finnish National
Ballet from 1978 through 1984, and with
Cullberg Ballet from 1984 to 1990. Elo,
who was named resident choreographer
of Boston Ballet in 2005, was singled
out as a “talent to follow” by Anna
Kisselgoff in her 2004 Year in Review for
The New York Times; it was an astute
observation. He has since created numer-
ous works in the U.S. and internationally,
including works for the New York City
Ballet, American Ballet Theatre, Boston
Ballet, Royal Danish Ballet, Finnish Na-
tional Ballet, Aspen Santa Fe Ballet, and
From All Sides for Hubbard Street Dance
Chicago. The 2005 Helsinki International
Ballet Competition awarded Elo a cho-
reographic prize and he was the recipient
of the Prince Charitable Trust Prize and
the Choo-San Goh Choreographic Award
in 2006.
MUSIC Felix Mendelssohn and
Claudio Monteverdi
PREMIERE October 1, 2009
LENGTH 26 minutes
REPERTOIRE In Bitter Suite, Jorma Elo
has created a wonderfully tender and
spirited work with the special stamp of his
Scandinavian sense of humor. The piece
is built on imagery, at its base, and blends
humanity with fierce ballet technique.
CASTING
Robyn Mineko Williams
Ana Lopez
Meredith Dincolo
Jessica Tong
Benjamin Wardell
Alejandro Cerrudo
Pablo Piantino
Christian Broomhall
REPERTOIRE
30 UMS 09-10
R E H E A R S A L S
ABOUT
Jorma Elo (far right) working with HSDC dancers for his world premiere, Bitter Suite. With Ana Lopez, Robyn Mineko Williams, Alejandro Cerrudo, Terence Marling. Photo by Cheryl Mann.
I think there is no company like HSDC
in the whole United States—the creativity, the freedom in
exploring different dance styles.
Both the way the dancers excel at different types of
choreography and the creativity level that HSDC
is privileged to enjoy are really unique and produce a special
atmosphere when one has the chance to work with them.
— Jorma Elo, from Footnotes September 2009
31UMS 09-10
A B O U T D A N C E
32 UMS 09-10
M O D E R N + C O N T E M P O R A RY D A N C E : K E Y P L AY E R S
HISTORY
*NOTE: Hubbard Street Dance Chicago is a contemporary dance company; however, modern dance influenced the movement styles and dance-making of many,
if not most American and European artists in the 20th and 21st centuries.
MODERN DANCE DEVELOPED in the U.S. and Europe in the 20th century as a reaction against the rigidity of classical ballet. Whereas
classical ballet restricted expression because choreography had to adhere to a specific form, modern dance focused more on expression. It
is difficult to capture the developments of modern dance without seeing actual pieces, but one way to trace its history is to trace through
a few of its key movements and choreographers. The stories of these choreographers show how they pushed the limits of the question of
what is dance, and illustrate the fact that it is okay to have many different points of view on the subject of dance. Keep in mind that this
only represents a small fraction of the numerous choreographers involved in modern and contemporary dance.
THE FOUNDERS The founders of modern dance were all influenced by the idea that dance did not just have to be a momentary
diversion of entertainment, and that it could move audiences in a deep and serious way. In the beginning, they often compromised
their artistic beliefs to gain a following; the later founders rebelled much more strongly against their traditional ballet roots.
LOIE FULLER (1862 – 1928)
Loie Fuller was a self-taught dancer,
noted for improvisatory performances in
which she would manipulate a filmy silk
dress into shapes through her dance. Her
lighting techniques and her airy sculp-
tural style of dance were also viewed as
innovative.
ISADORA DUNCAN(1877 – 1927)
Heavily inspired by Loie Fuller, Isadora
Duncan choreographed dance that grew
out of her personal responses to great
music. She also loved the civilizations of
ancient Greece and often danced in a tu-
nic. Duncan founded schools in Germany,
France, and Russia.
MAUDE ALLEN (1873 – 1956)
Just like Isadora Duncan, many of Maude
Allen’s works were the result of her
appreciation of music. The two actually
engaged in brief conflict during which
Duncan accused Allen of imitating her
art, but the problems were resolved
quickly. Allen liked to call her style “dra-
matic dancing.”
33UMS 09-10
TED SHAWN (1891 – 1972)
Although the modern dance movement
was initially female-dominated, the
introduction of Ted Shawn began to close
the gender divide. He was a husband and
dance partner to Ruth St. Denis, another
largely influential contributor of the time.
The two created the Denishawn Compa-
ny in Los Angeles, which trained many of
the later generation of modern dancers.
MARTHA GRAHAM (1894 – 1991)
To this day, Martha Graham remains one
of the most well-known modern danc-
ers. Her theory of dance technique was
that all motion stemmed from the pelvis,
an idea that has resulted in a system of
teaching that is still used today. Graham
mostly choreographed dances with music
that was specially commissioned.
JOSÉ LIMÓN (1908 – 1972)
An impressive dancer with an extensive
legacy, José Limón’s dance company was
the first to successfully survive after its
creator’s death. His dance possessed a
unique lyricism due to a technique of
fall and recovery, in which one gives in
to gravity and then rebounds off the
ground. This technique is often taught
as a counterbalance to Martha Graham’s
pelvis technique.
POST-WWII DEVELOPMENTS The choreographers of the 1940’s and 1950’s respected the struggles faced by the founding gener-
ation of modern dance, but also wanted to branch out into their own creative paths. These dancers acknowledged the usefulness
of ballet and began to incorporate it back into their choreography. This meant that much of their dances were more lyrical than the
previous modern dances.
NEW FREEDOM In the 1950’s and 1960’s choreographers began to rebel against the previous traditions of modern dance; a more
appropriate label for this work is contemporary dance. These dancers promoted the idea that any movement could be considered
dance if used by a choreographer. Many did not use music, elaborate costumes, and makeup. They also sought out alternative
performance venues outside of the traditional stage.
Internet Resource The Guardian’s Step-By-Step Guides to Dance: http.guardian.co.uk/stage/dance+series/stepbyspepguidetodance
These guides break down the works of current choreographers in a humorous and accessible format. They cover biographies, elements of style, and quotes. Many well
known choreographers are included, such as George Balanchine and Merce Cunningham.
34 UMS 09-10
ALVIN AILEY (1931 – 1989)
Showcasing his versatility of style, Alvin
Ailey choreographed for Broadway
in addition to his work in both ballet
and modern dance, the last two of
which he tried to find a middle ground
between. Since, at the time there was
no modern dance repertory company,
he instituted a revival program within
his company to showcase the roots of
modern dance.
MERCE CUNNINGHAM (1919 – 2009)
As one of the first to challenge the
founding principles of modern dance,
Merce Cunningham initially worked with
the Martha Graham dance company, only
the second male to do so. He formed his
own company after leaving Graham and
increasingly used an approach which fo-
cused on pure movement without a story,
character, or dramatic mood. He also
frequently used chance determination, in
which parts of choreography would be
determined by random methods, such as
a coin toss.
TWYLA THARP(1941 – )
The choreography of Twyla Tharp has
had strong, rhythmical use of the lower-
half of the body, while the upper-half
possesses a throwaway and rambling
look. She is classicist in structure, yet
her dance utilizes the body language of
a graceful athlete. Tharp has choreo-
graphed for numerous styles of music
ranging from jazz to popular to classical.
Twyla Tharp leads a UMS Lecture Demonstration in April 2002.
35UMS 09-10
H O W T O WAT C H D A N C E : B E F O R E , D U R I N G , A F T E R
ENGAGE
There are many different ways to watch a dance performance. Here are some things to think about before, during, and after the show.
BEFORE: ASSESS PRIOR KNOWLEDGE
You have probably have experienced dance in your everyday life, as dance exists in many forms beyond the formal stage. Before
attending the performance, answer these questions to explore your feelings about dance.
What is dance? •
Have you ever attended a performance before? If so, what type of performance and what was your experience? If not, •
what do you think this performance will be like?
What do you think are the differences between going to sports events and attending the theatre; or listening to the •
radio and going to concerts? What do they think the differences will be between going to a dance performance and
attending a play?
Discuss the various jobs associated with creating the dance performance: wardrobe supervisor, dancer, artistic director, •
lighting designer, etc. If you could work in a dance company, what would you do?
Where have you seen or experienced dance (for example, at school dances, in their neighborhoods, MTV, movies, etc.)?•
36 UMS 09-10
DURING: SUGGESTIONS FOR WATCHING
You don’t have to have any special training or previous experience to watch dance. You will be taking in information with all your
senses – your eyes, your ears, even your muscles. You may be fascinated with the physical activity you see, the music, the production
elements (lighting, costumes, props), or with a “story” the dancers tell you.
Every piece of choreography has a reason for being. Dances may be celebrations, tell stories, define moods, interpret poems, express
emotions, carve designs, or visualize music. As you watch a dance, a story may occur to you because of a past experience. However,
not all dances relate to stories. The sequences do not have to make literal sense. Allow images and personal feelings to come to the
surface of your consciousness. Open your mind to the moment; you are as much a part of the performance as the dancers.
You may want to ask yourself some questions as you watch:
What are the sensory properties in the dance? What do you see? What do you hear? What are the dancers actually doing?•
What are the technical properties in the dance? What kind of space is being used? What are the shapes and designs being •
made? What kinds of energy, dynamics or emotional qualities are being used?
What are the emotional properties in the dance? How does the movement make you feel?•
AFTER: SHARING YOUR INTERPRETATION
After the performance, feel free to discuss your thoughts with others, but do not be disturbed if you find that others have a differ-
ent reaction than yours. Think these questions to organize your personal images and thoughts.
Was it fun to watch? •
Did the dance remind you of experiences in your own life? •
Did the choreography inspire you to express yourself – write a poem, draw a picture or make up your own dance? •
37UMS 09-10
M O V E M E N T
ABOUT
DEFINITION
Dance is made up of different types of movement.Here are some options to explore as you think about dance.
SUSTAINED
PERCUSSIVE
SWINGING
SUSPEND
COLLAPSE
EXPLODE
TYPE
An even release of energy that stays constant, either fast or slow but not both.
Usually sustained movement feels best when it uses a large range of space and a
slow time. But changing any one element changes the quality, so experimenting
is fun. Try doing a very fast and strong sustained movement.
Sudden short bursts of energy that start and stop quickly.
A drop of energy into gravity that sustains and follows through.
This is the movement at the end of a swing, before gravity takes over. It is a
euphoric quality.
A sudden and complete release of energy, like fainting. You can have partial col-
lapse of the body like head, shoulders, arms, etc. Try collapsing in slow motion.
Now collapse quickly. What changes did you notice? What stayed the same?
The opposite of collapse. To explode, gather all your energy then let it burst
forth in one huge sudden action with the whole body. Now experiment with
smaller explosive movements – can you explode just your finger or your leg?
38 UMS 09-10
SPACE
TIME
ENERGY
E L E M E N T S
ABOUT
One way to analyze dance is to break it down into its key elements, which can easily be remembered with the acronym BEST: Body, Energy, Space, and Time.
Here are aspects of each element to consider when watching or thinking about a dance performance.
PARTS
SHAPES
FORCE
DIRECTION
SIZE
DESTINATION
PATHWAYS
RHYTHM
SPEED
ACCENT
DURATION
PHRASES
FOCUS
WEIGHT
STRENGTH
FLOW
ACTIONS
LOCOMOTOR
head, neck, torso (hips, abdomen, shoulders, back), arms and elbows, hands and wrists, fingers, legs, knees and feet (ankles and toes)
curved, twisted, angular, small/large, flat/rounded
smooth or sharp
LEVEL low, middle, high
forward, backward, up, down, sideways
large or small
where we move
patterns we make with the body on the floor and in the air
pulse, beat
time or tempo
light or strong emphasis
length
dance sentences, patterns and combinations
where you look
heavy or light
tight or relaxed
sudden or sustained, bound or free
non-locomotor: stretch, bend, twist, rise, fall, circle, shake, suspend, sway, swing, collapse
walk, run, leap, hop, jump, gallop, skip, slide
BODY
39UMS 09-10
R E S O U R C E S
40 UMS 09-10
LANGUAGE
V O C A B U L A RYThe following words appear throughout the guide.
ARTISTIC DIRECTOR The person who
makes the artistic choices and decisions
for a company, such as deciding which
dancers to hire, which choreographers to
use, and which dances from the reper-
toire (collection of dances) to perform on
each program.
AUDIENCE People who have gathered
together to hear or watch something.
They may gather formally in a hall de-
signed to host professional performances
or they may gather in a classroom to
observe each other’s work.
CHOREOGRAPHY The process of creat-
ing a dance. The word “choreography”
originates from the Greek word choros
(meaning “to dance”) and graphos
(meaning “to write”).
CHOREOGRAPHER The person who cre-
ates, arranges, and/or directs the move-
ments of the dancers.
GENERAL SPACE The area of space
through which a dancer travels or takes
his personal space; it may include a
dance studio, a stage, a classroom, or the
gymnasium; pathways and directions are
defined in this space.
GESTURE A movement of the body or
part of the body that a dancer makes in
order to express an idea or an emotion;
everyday gestures include a hand shake,
a wave, or a fist; abstract gestures in
dance are those movements given special
emotional or content meaning by a
choreographer.
IMPROVISATION Movement that is cre-
ated spontaneously.
ISOLATION Movements restricted to one
area of the body such as the shoulders,
rib cage or hips; isolations are particularly
prominent in jazz dance.
LEVELS The height of the dancer in rela-
tion to the floor: high, medium, or low.
When a dancer is at a low level, a part
of his torso is touching the floor; when
a dancer is at a middle level, his feet are
flat on the floor; and when a dancer is at
a high level, he is in the air or on his toes.
LIGHTING DESIGNER The person who
decides which lights will help create the
desired mood of the dance. Mood is
created through the use of light, shadow,
and color.
LOCOMOTOR Movement that occurs
in general space when a dancer moves
place to place; basic locomotor move-
ments are walk, run, skip, jump, hop,
leap, slide, and gallop. Low level locomo-
tor movements may be rolling, crawling
or creeping.
MODERN BALLET A choreography that
maintains elements of traditional ballet
but that was created during the 20th cen-
tury; many modern ballets are abstract
and nonliteral.
MODERN DANCE A performance move-
ment form that evolved at the beginning
of the 20th century.
NON-LOCOMOTOR Movement that
occurs in a person’s space with one
body part anchored to one spot and is
organized around the spine or axis of the
body. Basic non-locomotor movements
are bending, stretching, twisting, rising,
falling, opening, closing, swinging, and
shaking.
PERSONAL SPACE The kinesphere that
one occupies that is defined by the reach
space around the body; it includes all
levels, planes, and directions both near
and far from the body’s center.
41UMS 09-10
PRODUCTION MANAGER This person
has a variety of responsibilities including
overseeing set and costume construc-
tion and lighting and sound set-up and
operation before each performance. The
production manager coordinates and
supervises all aspects of touring, includ-
ing transporting the equipment and
planning with each theater manager the
lighting and special needs required for
each dance.
REPERTOIRE Pronounced, “REP-eh-
twar”; this is a word of French origin
that means the dance pieces a company
performs.
REPERTORY Pronounced “REP-eh-tor-
ee”; this is the American English version
of “repertoire” and means the same
thing (see above). However, use of the
word repertory in this phrase, “Hubbard
Street is a repertory company” implies
a company that performs the works of
many different choreographers.
SOUND ENGINEER This person is
responsible for music and/or its amplifica-
tion during the performance.
STAGEHANDS The crew who sets the
scenery on stage or “flies it in” using a
pulley system. The crew also helps dress,
launder and iron costumes, and run the
light board (a computer with all of the
different lighting “looks” or cues in it).
STAGE MANAGER The person who con-
ducts the flow of each performance: she
supervises the lighting and sound and
calls the dancers to their places before
the curtain rises.
WARDROBE SUPERVISOR The person
who maintains the costumes and shoes,
making sure they are always in good
condition and that the dancers can move
comfortably while wearing them. He
also oversees the construction of new
costumes for the dancers.
42 UMS 09-10
L E S S O N P L A N S
EXPLORE
Artsedge.org and PBS.org offer a wide range of arts-infused lesson plans and materials for educators to use. Below are a few that relate to this Youth Performance.
THE INNOVATIVE VOICE
(based on Martha Graham)
http://artsedge.kennedy-center.org/con-
tent/3778/
This lesson helps students build a frame
of reference that will enable them to bet-
ter understand the innovative structures
and provocative themes of key Martha
Graham choreographies. It also illustrates
specific ways that Graham’s work was
a “new voice” that expressed dramatic
20th century cultural change.
SYSTEMS OF THE BODY:
CHOREOGRAPHY AND MOVEMENT
http://artsedge.kenedy-center.org/con-
tent/2012/
In this lesson, students will create move-
ment patterns that express information
about the basic systems, organs, and
processes of the human body. They will
work in pairs and in groups to make
movement choices that communicate
scientific concepts in creative movement,
and make inquiries, through research
and movement experimentation, into the
ways in which the body’s systems work
and how those systems interact.
MERCE CUNNINGHAM:
A LIFETIME OF DANCE
http://www.pbs.org/teachers/connect/
resources/1257/preview
As Merce Cunningham describes it,
he doesn’t choreograph dance pieces
based upon an idea or story, but begins
simply with an exploration of movements
observed or experienced in life. In this
lesson plan, students get a chance to
observe movement by creating a “move-
ment journal”, and then they experiment
with what they have observed to create a
unique “movement vocabulary.”
DANCING THROUGH POETRY
http://artsedge.kennedy-center.org/con-
tent/3534/
In this lesson students will look at poetry
as a way to express the art of dance
metaphorically. Students will read two
different poems about break dancing in
which one will show dance visually in the
way the words are placed on paper and
the other using its content to represent
dance.
ELEMENTS OF DANCE
http://artsedge.kennedy-center.org/con-
tent/2338/
How many ways can a person move?
Students will explore and discover the
elements of dance by demonstrating vari-
ous simple movements. This exercise will
help the teacher assess the students’ level
of experience and ability with respect to
dance. Students will create simple dances
in small groups and perform them for the
class. Students will manipulate task cards
to comprehend the elements of dance
and then they will be tested on their
knowledge.
43UMS 09-10
BIBLIOGRAPHY
Anderson, Jack. Ballet & Modern Dance: A Concise History. New Jersey: Princeton Book Company, 1986.
Cheney, Gay. Basic Concepts in Modern Dance: A Creative Approach. New Jersey: Princeton Book Company, 1989.
McDonagh, Don. The Complete Guide to Modern Dance. New York: Doubleday & Company, 1976.
PHOTOGRAPHY CREDITS
Page Credit
1 27’ 52” with Benjamin Wardell. Photo by Todd Rosenberg.
3 Bitter Suite with Terence Marling and Robyn Mineko Williams. Photo by Todd Rosenberg.
5 Bitter Suite with Jessica Tong, Robyn Mineko Williams, Alejandro Cerrudo, and Ana Lopez. Photo by Todd Rosenberg.
10 Off Screen with Ana Lopez and Benjamin Wardell. Photo by Todd Rosenberg.
11 Walking Mad with Jason Hortin. Photo by Todd Rosenberg.
12 Lou Conte, Founder of HSDC Photo by Cheryl Mann.
13 (Top) Hip-Hop. Photo by Cheryl Mann.
13 (Lower Left) Modern
13 (Upper Right) Ballet. Photo by Todd Rosenberg.
13 (Lower Right) Jazz 1
17 Gnawa. Photo by Todd Rosenberg
18 Christian Broomhall. Photo by Cheryl Mann.
18 Jacqueline Burnett. Photo by Cheryl Mann.
18 Alejandro Cerrudo. Photo by Cheryl Mann.
18/22 Meredith Dincolo. Photo by Cheryl Mann.
19 Brian Enos. Photo by Cheryl Mann.
19 Kellie Epperheimer. Photo by Cheryl Mann.
19 Laura Halm. Photo by Cheryl Mann.
19 Jason Hortin. Photo by Cheryl Mann.
19 Ana Lopez. Photo by Cheryl Mann.
20/22 Pablo Piantino. Photo by Cheryl Mann.
20 Alejandro Piris- Niño. Photo by Cheryl Mann.
20 Penny Saunders. Photo by Cheryl Mann.
20 Kevin Shannon. Photo by Cheryl Mann.
SOURCES
44 UMS 09-10
20 Jessica Tong. Photo by Cheryl Mann.
21 Benjamin Wardell. Photo by Cheryl Mann.
21 Robyn Mineko Williams. Photo by Cheryl Mann.
25 Glenn Edgerton, Artistic Director, HSCD. Photo by Karen Knauer.
25 Jason D. Palmquist, Executive Director. Photo by Cheryl Mann.
26 Taryn Kaschock Russell, Director, HS2 and Artistic Associate. Photo by Cheryl Mann.
26 Terence Marling, Rehearsal Director and Artistic Associate. Photo by Cheryl Mann.
26 Claire Bataille. Director, Lou Conte Studio. Photo by Cheryl Mann.
27 (Right) Tabula Rasa with Kevin Shannong, Robyn Mineko Williams and Benjamin Wardell. Photo by Cheryl Mann.
28 At ‘em (Atem) Adam with Kellie Epperheimer and Jason Hortin. Photo by Todd Rosenberg.
29 Bitter Suite with Terence Marling and Robyn Mineko Williams. Photo by Todd Rosenberg.
30 Jorma Elo (far right) working with HSDC dancers for his world premiere, Bitter Suite. With Ana Lopez, Robyn Mineko Williams, Alejandro Cerrudo, Terence Marling. Photo by Cheryl Mann.
31 Gnawa with Pablo Piantino. Photo by Todd Rosenberg.
38 Walking Madwith Walking Mad with Meredith Dincolo. Photo by Todd Rosenberg.
45UMS 09-10
LOCAL
University Musical Society881 N University Avenue
Ann Arbor, MI 48109-1011
(734) 615-0122
www.ums.org
Swing City Dance Studio1960 S Industrial E & F
Ann Arbor, MI 48104
(734) 668-7782
www.swingcitydance.com
University of Michigan
Department of Dance3501 Dance Building
Ann Arbor, MI 48109-2217
(734) 763-5460
www.music.umich.edu/departments/
dance
Michigan Dance CouncilP.O. Box 381103
Clinton Twp., MI 48038
www.michigandance.org
Wayne State University
Dance Department4841 Cass Avenue
Detroit, MI 48202
313.577.4273
www.dance.wayne.edu
NON-LOCAL
American Dance Festival715 Broad Street
Durham, NC 27705
(919) 684-6402
www.americandancefestival.org
Jacob’s PillowP.O. Box 287
Lee, MA 01238
413.243.0745
www.jacobspillow.org
The Joyce Theater175 Eighth Avenue
New York, NY 10011
212.242.0800
www.joyce.org
New York City Center130 West 56th Street
New York, NY 10019
212.247.0430
www.nycitycenter.org/
Danspace Project131 East 10th Street
New York, NY 10003
212.674.8112
www.danspaceproject.org/
Dance/USA1111 16th Street NW, Suite 300
Washington, DC 20036
(202) 833-1717
www.danceusa.org
O R G A N I Z AT I O N S
EXPLORE
UMS 09|10 DANCE SEASON
The Suzanne Farrell BalletThe John F. Kennedy Center for the
Performing Arts 2700 F Street, NW
Washington, DC 20566
(202) 416-8044
www.kennedy-center.org/programs/bal let/farrell
Bill T. Jones/Arnie Zane Dance Company27 W 120th Street, #1 New York, NY 10027 (212) 426-6655
www.billtjones.org
Hubbard Street Dance Chicago1147 W Jackson Boulevard
Chicago, IL 60607
(312) 850-9744
www.hubbardstreetdance.com
46 UMS 09-10
S U G G E S T E D R E A D I N G S
EXPLORE
Below is a list of books related to this performance that the Ann Arbor District Library helped create.
ELEMENTARY + MIDDLE SCHOOL: NON-FICTION
Dance!: No Matter What Kind of Dance You like to do, this Book is for You • by Apryl Lundsten
José!: Born to Dance: The Story of José Limón• by Susanna Reich
Imagine That! It’s Modern Dance, • Sorine by Stephanie Riva
How Can You Dance?• by Rick Walton
Legends of American Dance and Choreography• by Carin T. Ford
Edgar Degas: Paintings that Dance• by Maryann Cocca-Leffler
Martha Graham, a Dancer’s Life• by Russell Freedman
ELEMENTARY + MIDDLE SCHOOL: FICTION
Can you Dance, Dalila?• by Virginia L Kroll
Dancing Shoes• by Noel Streatfeild
Tanya and the Red Shoes• by Patricia Lee Gauch
Ballet Magic• by Nancy Robison
Rosie’s Ballet Slippers• by Susan Hampshire
Presenting Tanya, the Ugly Duckling• by Patricia Lee Gauch
Belinda, the Ballerina• by Amy Young
ADULT BOOKS (WITH TEEN APPEAL): NON-FICTION
The Erick Hawkins Modern Dance Technique• by Renata Celichowska
Ailey Spirit: the Journey of an American Dance Company• by Robert Tracy
African-American Concert Dance: The Harlem Renaissance and Beyond• by John O. Perpener
Appreciating Dance: A Guide to the World’s Liveliest Art• by Harriet R. Lihs
Deep Song: The Dance Story of Martha Graham• by Ernestine Stodelle
Prime Movers: The Makers of Modern Dance in America• by Joseph H. Mazo
Conditioning for Dance• by Eric N. Franklin
47UMS 09-10
A B O U T U M S
48 UMS 09-10
W H AT I S U M S ?
UMS
THE UNIVERSITY MUSICAL SOCIETY (UMS) is committed to connecting audiences with performing artists from around the world
in uncommon and engaging experiences.
One of the oldest performing arts presenters in the country, the University Musical Society is now in its 131st season. With a
program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a
vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activi-
ties each season.
UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and interna-
tional partners.
UMS EDUCATION &
AUDIENCE DEVELOPMENT
DEPARTMENT MAILING ADDRESS
100 Burton Memorial Tower
881 North University Ave
Ann Arbor, MI 48109-1011
STAFF
Kenneth C. FischerUMS President
Claire C. RiceInterim Director
Mary Roeder Residency Coordinator
Omari RushEducation Manager
INTERNS
Emily Barkakati
Mark Johnson
Neal Kelley
Emily Michels
Leonard Navarro
49UMS 09-10
K-12 SCHOOL PARTNERSHIPS
Working directly with schools to
align our programs with classroom
goals and objectives
• 13-year official partnerships with the
Ann Arbor Public Schools and the Washt-
enaw Intermediate School District.
• Superintendent of Ann Arbor Public
Schools is an ex officio member of the
UMS Board of Directors.
• UMS has significant relationships with
Detroit Public Schools’ dance and world
language programs and is developing
relationships with other regional districts.
• UMS is building partnerships with or of-
fering specialized services to the region’s
independent and home schools.
UNIVERSITY EDUCATION PARTNERSHIPS
Affecting educators’ teaching prac-
tices at the developmental stage
• UMS Youth Education is developing
a partnership with the U-M School of
Education, which keeps UMS informed
of current research in educational theory
and practice.
• University professors and staff are
active program advisors and workshop
presenters.
ACCESSIBILITY
Eliminating participation barriers
• UMS subsidizes Youth Performance
tickets to $6/student (average subsidy:
$25/ticket)
• When possible, UMS reimburses bus-
sing costs.
• UMS Youth Education offers person-
alized customer service to teachers in
order to respond to each school’s unique
needs.
• UMS actively seeks out schools with
economic and geographic challenges to
ensure and facilitate participation.
ARTS EDUCATION LEADER
One of the premier arts education
programs in the country
• UMS’s peer arts education programs: Car-
negie Hall, Lincoln Center, Kennedy Center.
• UMS has the largest youth education
program of its type in the four-state region
and has consistent school/teacher participa-
tion throughout southeastern Michigan.
• 20,000 students are engaged each sea-
son by daytime performances, workshops
and in-school visits.
• UMS Youth Education was awarded
“Best Practices” by ArtServe Michigan
and The Dana Foundation (2003).
U M S Y O U T H E D U C AT I O N P R O G R A M1 0 T H I N G S T O K N O W
UMS
QUALITY
Every student deserves access to
“the best” experiences of world arts
and culture
• UMS presents the finest international
performing and cultural artists.
• Performances are often exclusive to
Ann Arbor or touring to a small number
of cities.
• UMS Youth Performances aim to
present to students the same perfor-
mance that the public audiences see (no
watered-down content).
DIVERSITY
Highlighting the cultural, artistic,
and geographic diversity of the world
• Programs represent world cultures and
mirror school/community demographics.
• Students see a variety of art forms:
classical music, dance, theater, jazz,
choral, global arts.
• UMS’s Global Arts program focuses
on 4 distinct regions of the world—
Africa, the Americas, Asia, and the Arab
World—with a annual festival featuring
the arts of one region.
50 UMS 09-10
KENNEDY CENTER PARTNERSHIP
• UMS Youth Education has been a
member of the prestigious Kennedy
Center Partners in Education Program
since 1997.
• Partners in Education is a national con-
sortium of arts organization and public
school partnerships.
• The program networks over 100 na-
tional partner teams and helps UMS stay
on top of best practices in education and
arts nationwide.
PROFESSIONAL DEVELOPMENT
“I find your arts and culture work-
shops to be one of the ‘Seven Won-
ders of Ann Arbor’!”
–AAPS Teacher
• UMS Youth Education provides some
of the region’s most vital and responsive
professional development training.
• Over 300 teachers participate in our
educator workshops each season.
• In most workshops, UMS utilizes and
engages resources of the regional com-
munity: cultural experts and institutions,
performing and teaching artists.
TEACHER ADVISORY COMMITTEE
Meeting the actual needs of today’s
educators in real time
• UMS Youth Education works with a
50-teacher committee that guides pro-
gram decision-making.
• The Committee meets throughout
the season in large and small groups
regarding issues that affect teachers and
their participation: ticket/bussing costs,
programming, future goals, etc.
IN-SCHOOL VISITS & CURRICULUM
DEVELOPMENT
Supporting teachers in the classroom
• UMS Youth Education places interna-
tional artists and local arts educators/
teaching artists in classes to help educa-
tors teach a particular art form or model
new/innovative teaching practices.
• UMS develops nationally-recognized
teacher curriculum materials to help
teachers incorporate upcoming youth
performances immediately in their daily
classroom instruction.
UMS Youth Education [email protected] | 734-615-0122
www.ums.org/education
51UMS 09-10
S E N D U S Y O U R F E E D B A C K !UMS wants to know what teachers and students think about this Youth Performance.
We hope you’ll send us your thoughts, drawings, letters, or reviews.
UMS YOUTH EDUCATION PROGRAM
Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011
(734) 615-0122 phone • (734) 998-7526 fax • [email protected]
www.ums.org/education