DreamcatchersThe Los ALAmos NATioNAL BANk PoPejoy hALL schooLTime series Teaching guiDe

Schooltime SerieSAlways new worlds to explore.

the los Alamos National Bank

moN., Nov. 30 & tue., Dec. 1, 2015 • GrADeS: 3 - 12

Dreamcatchers teaching Guides align with the common core State Standards and New mexico State learning Standards.

hiGhLiGhTs oF The

Featuring the New mexico Ballet company with commentary by Jolie Sutton-Simballa

nuTcRacKeRBALLeT

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 2

The first performance of The Nutcracker Ballet took place in Russia in 1892. Pyotr Ilyich Tchaikovsky

(pronounced chai-KoFF-skee) adapted the ballet from a story called “The Nutcracker and the

Mouse King,” written by German author E.T.A. Hoffmann. Marius Petipa (PEH-tee-pah) and his

assistant Lev Ivanov created the original choreography. Although it is now an audience favorite, the

first performance of the ballet was not regarded as a success. In fact, 25 years passed before is was

performed outside of Russia!

A complete version of The Nutcracker was not performed in the United States until 1944, when

it was presented by the San Francisco Ballet with choreography by William Christensen. It was

this company that began the tradition of presenting The Nutcracker Ballet on an annual basis.

While this particular ballet may have been born in Russia, it has certainly adapted to its American

home, becoming both an annual holiday tradition, and, with all of its variations, a reflection of the

character of our country—that is, a mix of many ethnicities and ideologies.

introduction

the future belongs to those who believe in the beauty of their dreams.” — ELEANoR RooSEvELT‘‘

Standards addressed By attending the Performance

nMccSSenglish language Arts: Speaking and listening:Comprehension and Collaboration(ccSS.elA-literacy.Sl)

new Mexico content Standards: Fine Arts: Theatre, Music & Dance- Content Standards 3 & 5

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 3

SynopsisThe abbreviated version of The Nutcracker Ballet to be performed for The Los Alamos National Bank Popejoy Schooltime Series runs 60 minutes and features highlights and on-stage narration for this introduction to ballet and classical music.

act iDecoration of the christmas tree

The energy and style of this piece echoes the busy preparations for Christmas. The Stahlbaums prepare for the arrival of their guests, while Clara and Fritz play. Finally, their guests arrive.

march

The children play and dance joyfully to some of the famous and memorable melodies.

children’s Gallup and entry of the Parents

The children play mischievously, which transforms into a delightful dance.

Arrival of Drosselmeyer

An abrupt change in the music signals the arrival of Fritz and Clara’s magical uncle. At first, he frightens Clara and Fritz, but then delights them by mak-ing their toys dance.

Grandfather’s Dance

Clara receives a beautiful nutcracker, shaped like a prince, as a gift from her Uncle Drosselmeyer. After Fritz breaks it in a fit of jealous rage, he is sent to bed. Drosselmeyer then magically fixes the damaged nutcracker. After the guests’ final dance, everyone gets ready to say goodbye to their hosts, while Clara reluctantly bids farewell to her uncle and goodnight to her beloved nutcracker.

clara and the Nutcracker

After her parents insist that Clara keep the Nutcracker downstairs, she creeps back down to check on her nutcracker and falls asleep with it under the Christmas tree. As the clock strikes midnight, Clara begins to shrink to the size of her nutcracker. Mice emerge, led by the evil Rat King. Drosselmeyer appears to protect Clara from the Rat King by bringing the Nutcracker Prince

and tin soldiers to life. The Christmas tree grows to a gigantic height and human-sized mice fill the room.

the Battle

The sounds of the drum, flute, and horn create the feeling of a battle as the mice and the soldiers fight. Clara distracts the Rat King with a wedge of cheese, which gives the Nutcracker Prince a chance to stab him. Listen for the dramatic change in the music that indicates when the Nutcracker has turned into the Prince.

in the Pine Forest

The sounds of the battle scene melt into dreamy melodies, created with a harp and other stringed instruments, as Clara and the Prince dance through a wintry landscape.

Waltz of the Snowflakes

While in the Land of Snow, Clara and the Prince are greeted by the Snow Queen and her cavalier. The song is unique because of the combined use of voices and instruments.

act iiDivertissement (an amusement) – Clara and the Prince arrive in the Land of the Sweets and the Prince describes Clara’s brave deed. The Sugarplum Fairy orders a grand celebration in Clara’s honor. This section is made up of a group of dances, performed to some of the best-known melodies from the ballet.

chocolate - Spanish Dance – “Choco-

late” is a Spanish-flavored dance; listen for castanets.

coffee - Arabian Dance – An Arabian dance.

tea - chinese Dance – oriental in tone; listen for the glockenspiel.

trepak - russian Dance – A trepak is a fiery Russian dance set to a simple beat. In a trepak, the dancer squats on his or her haunches and kicks out each foot alternately.

Dance of the Flutes – Also called “The Dance of the Toy Flutes.”

mother Ginger & the Gingerbread cookies – Mother Ginger greets Clara and her Prince. Her little children, the Gingerbread Cookies, dance in their honor.

Waltz of the Flowers – In the Land of Sweets, even the flowers dance for Clara and the Prince.

Dance of the Sugarplum Fairy – The Sugarplum Fairy and her partner per-form a series of dances, including a pas de deux (ballet duet).

Waltz Finale – The visit to the Land of the Sweets ends with a grand waltz. The change in the music signals the end of Clara’s dream, as the Sugar-plum Fairy bids her farewell. Clara suddenly awakens with a start and finds her Nutcracker back under the tree. She runs to hug her beloved Nutcracker and is left to wonder if it was all indeed a dream.

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 4

VocabularySharing this vocabulary with your students will enhance their experience at the performance. Encourage them to watch for examples of these elements in the ballet.

Ballerina: a female ballet dancer; a Prima Ballerina is a star female ballet dancer

choreography: the art of composing dances; planning and arranging the movements, steps, and patterns of dancers

costumes: the clothes worn on stage to help show a performer’s character

Danseur: a male ballet dancer; a Premier Danseur is a star male ballet dancer

Divertissement: a diversion or entertainment; in music, an instrumental composition in several movements, light and diverting in character, similar to a serenade

Glisser (GliSS-eh): to glide; a traveling step executed by gliding the working foot from the fifth position in the

required direction, the other foot closing to it

march: music characterized by its two- or four-beat pattern with the first beat emphasized

Pas de deux: dances done by two people together, usually a man and a woman

Pirouette: a whirling about on one foot or on the points of the toes

Plié (plee-AY): to bend; a position where legs bend before rising or jumping up

Props: short for properties, the objects used by the performers, including furniture and decorative items

Proscenium arch: the arch above the front of the stage, a window on the action of the performance

relevé (reh-leh-vAY): to rise; dancers lift their heels keeping toes down

Sauté (soh-tAY): to jump; done after a plié; dancers spring into the air stretching their legs

Scenery: the backdrops and set pieces, which set the place, time and “form” of the performance

Score: the written music, usually written for each specific instrument

Silhouette: a likeness cut from dark material and mounted on a light background, or one sketched in outline and solidly colored in; a shadow

Solos: dances done by a single person

Spotlights: the lights used to accent/isolate and draw attention to performers and objects on the stage

Spotting: dancers focus their eyes on one point as they turn their bodies, helping them avoid dizziness

tempos: the speeds at which music is played

tourner (toor-neh): to turn; indicates that the body is to turn while executing a given step

tutu: a fluffy skirt that allows a ballerina’s legs to be seen; the short kind is called a “pancake,” the longer— “romantic”

Waltz: music characterized by its three-beat pattern with the first of the three emphasized

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 5

interesting Facts for Students

about Balletmany of the dance steps and terminology used in ballet come from the French language. That’s because ballet was popularized in France by King Louis XIv. He loved ballet so much that he took dance lessons every day. He also started the first school of ballet, and his ballet master, Pierre Beauchamps, created special steps for the king alone to perform.

Dancing can burn a huge amount of calories. Research shows that an hour of vigorous dancing can burn 500 to 700 calories. In fact, a ballet performance that runs for three hours is equivalent to an 18 mile run or two soccer games that run for 90 minutes each.

Ballet dancers invest a lot on their costume and shoes. Two to three pointe shoes are worn out every week for most ballet dancers. A tutu can cost up to $2000, requiring 60-90 hours of labor and 100 yards of ruffle.

Ballets are never interactive with the audience. The storytelling is done through movement and music, and requires silent attention at all times.

clap for spins! In any performance, you can clap after dances and after impressive dance moves, such as fast pirouettes, or quick rotations. In dance performances with live music, be sure to also clap when the conductor first appears.

choreography, like an essay, has a structural pattern and a texture governed by a controlling purpose. The structural pattern emerges from interrelated parts and a point of view, bound together in a unique pattern of emphasis, subordination, and coordination.

listen up! A great way to prepare for a dance performance is to listen to the music, either online or on a CD. You’ll appreciate the performance even more if you become familiar with the music.

instruments heard in The Nutcracker include: flutes, piccolos, oboes, English horns, trumpets, trombones, bass trombones, tubas, cymbals, triangle, tambourine, glockenspiel, timpani, harp, and strings.

The history of the nutcracker Balletin 1892, the first production of the ballet took place at the Mariinsky Theatre of Russia in Saint Petersburg.

the ballet made its way to Western europe in the 1930s and to America by 1940, performed by Ballet Russe.

the first American version of The Nutcracker Ballet was performed in 1944, by the San Francisco Ballet.

in 1954, George Balanchine, co-founder and ballet master of the New York City Ballet, created his now-famous version of The Nutcracker Ballet. Balanchine was trained at the famous Mariinsky Ballet of St. Petersburg and can be credited with helping to popularize The Nutcracker across the United States.

Balanchine’s Nutcracker follows the original plot closely. However, he chose to have the roles of the young girl Clara (or Marie, as she is sometimes

called) and the Nutcracker prince played by actual children and adjusted their choreography accordingly. Because they are not adults, there is no hint of a romance between Clara and the Prince, as is seen in other versions.

the New York city Ballet performs Balanchine’s Nutcracker every holiday season.

robert Joffrey’s (Joffrey Ballet company) the Nutcracker premiered in 1987. It was produced in the spirit of the original ballet by Marius Petipa, but Joffrey wanted his version to have an American feel. Most productions of The Nutcracker were presented using European themes and traditions. In contrast, Joffrey’s version is set in 1850s America and highlights innocence, wonder, and family ties.

Joffrey worked on his production of The Nutcracker for 15 years, all the while collecting an assortment of victorian cards, prints, illustrations, and toys, all of which would form the basis for his sets and costumes.

Joffrey’s research of victorian tin toys also inspired the sleek glow in the dark mice costumes.

African American choreographers have altered The Nutcracker in a variety of ways to shift the ballet from an overwhelmingly white tradition to one that better reflects their own experience. Donald Byrd’s 1995 Harlem Nutcracker tells the story of an African American family during the holidays, with a grandmotherly Clara as the matriarch.

about the artistic Director/ choreographer Jolie Sutton-Simballa was trained in Albuquerque by Karen Alwin, Lynn Cox, and Tamara King. She began performing with New Mexico Ballet Company in 1989, and performed with the University of New Mexico Dance Company, among others. She received her BFA in Dance from UNM in 1997, where a scholarship is named in her honor. She graduated as UNM’s first MFA in Choreography in 2004. She has choreographed over 50 ballets, including Don Quixote, Alice in Wonderland and NMBC’s all-new production of The Nutcracker. Jolie served as NMBC’s Assistant Artistic Director for seven years, and in 2009, was appointed the Artistic Director.

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 6

objectives

materials • Large, clear space to move around

• A collection of short stories, preferably ones that are already familiar to the class (fairy tales and fables would work especially well here)

Procedure 1. Assess students’ familiarity with ballet. You may want to review some of the more famous ballets: The Sleeping Beauty, Swan Lake, Romeo and Juliet, etc. Note that every ballet tells a story with-out using words. Have students discuss how dancers tell a story without using words. They should come to the conclusion that danc-ers use physical movements and facial expressions to tell stories.

2. Have students practice express-ing themselves without words. Give students a variety of emo-tions to convey without making any sound, using their bodies and their faces. This can be done on an individual volunteer basis, with students making their attempts

in front of the class, or as a group with everyone practicing at the same time. Emotions to practice can include: joy, anger, sadness, surprise, fear, etc. Encourage students to engage their whole bodies and to exaggerate facial expressions.

3. Next have students practice performing a task without speak-ing or making noise. Tasks can be generated by the group or given by the instructor. Tasks can include: cooking dinner, fixing a car, playing a sport, etc. The point is to get stu-dents comfortable with the idea of conveying information using only their bodies.

4. once students are comfortable

using their bodies to communicate, split students into small groups of 3-4. Assign each group a short story. Each group will explore how to communicate their story to the class using only their bodies. Allow students time to collaborate and create a scene.

5. Have each group perform their stories for the class. Ask students to identify specific movements or facial expressions that group members used that helped to communicate something impor-tant to the scene.

extensions/modifications

Assessment/modifications

Students will:• Be able to communicate a specific emotion, task or story without using words or sound.

• Collaborate to create scenes that are performed without sound.

• Turn this activity into a guessing game. Depending on students’ level of comfort with pantomime, you can have students pantomime and guess at which tasks are being performed (step # 3) or at which story is being performed. Discuss specific actions that helped them make their guess.

• For younger students, find a story that the entire group can act out together. The instructor can narrate the story as the students develop movements to act out what is being spoken. Students can either play each charac-ter as one big group or can divide into small groups where each group represents one character in the story.

• Students effectively communicate basic elements of a story using only their bodies to communicate.

• Quality of participation

Show. Don’t Tell.Lesson 1

nMccSS:english Language arts: Reading Standards for informational Texts(CCSS.ELA- Literacy. RI): Integration of Knowledge and Ideas

Speaking & Listening (CCSS.ELA-Literacy.SL): Comprehension and Collaboration

 new Mexico content Standards:Fine arts/Music & Dance: Content Standards 1, 2, 3, 4, & 5

grades: 3-12

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 7

Objectives

Materials • The “The Nutcracker Finger Puppets” (see pages 8-10)

• Paper

• Markers, crayons, paints, etc.

• Fabric, ribbon, etc.

• Scissors

• Glue

• A recording of Tchaikovsky’s The Nutcracker Ballet (optional)

Procedure 1. After viewing the program, discuss how the characters, costumes, sets, and music work together to create The Nutcracker. Have students discuss their favorite characters, costumes, etc. Encourage them to recall as much detail as possible.

2. Create a timeline of the story as presented in the ballet. What happens first? What happens after that? Include any details that students can recall about the costumes or sets including colors, accessories, props, etc.

3. After the timeline is complete, ask students to select scenes that they think would work well to

recreate using finger puppets.

4. Divide students into groups. Each group should pick one scene from The Nutcracker Ballet to recreate. Have groups list the characters, costume features, set pieces, etc. that they would like to try and recreate.

5. Distribute several copies of the “Ballerina Finger Puppet Template” to each group. Give stu-dents time to color and decorate their dancers. Have additional craft supplies for the creation of scen-ery if desired. Students can draw on a large piece of paper and use it as a backdrop.

6. Allow groups time to rehearse

their scenes. Scenes do not have to be exact recreations of the scenes from the ballet. Encourage students to make the scenes their own. They can add dialogue and sound effects if they wish. Remind them to make sure that their scenes make sense. Groups may use music from the ballet in their scenes if they wish.

7. Each group will present their scene to the class. After each scenes discuss choices that the group made to tell their part of the story. How was their scene similar to the ballet? How was it different? What did you like? What could be improved upon?

extensions/Modifications

assessment/Modifications

Students will:

• Recall details from the performance of The Nutcracker Ballet, including costumes, sets, characters and plots.

• Create finger puppets that resemble characters from The Nutcracker Ballet.• Improvise scenes based on the story of The Nutcracker Ballet.

• Perform your scenes for another class. You can choose a younger class (Kindergarten or 1st grade) who has not seen the ballet. Make sure your scenes come together to tell the general story of The Nutcracker Ballet. You can also perform scenes for a class who did see the show. Ask them for feedback, comparing your version to The New Mexico Ballet Company’s version.

• Students are able to recall events and characters from the performance.

• Students create finger puppets that resemble characters from the performance.

• Students create original scenes based on those from the performance.

• Quality of participation

nutcracker Finger PuppetsLesson 2

nMccSS:english Language arts: Reading Standards for informational Texts (ccss.eLA- Literacy.ri):

• Integration of Knowledge and Ideas

Speaking and Listening (CCSS. ELA-Literacy.SL):

•Comprehension and Collaboration

new Mexico content Standards:Fine arts/Music & Dance: Content Standards 1, 2, 3, 4, & 5

grades: 3-6Adapted from an activity at spoonfull.com

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 8

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 9

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 10

Highlights of the Nutcracker Ballet Teaching guide Dreamcatchers 11

Lessons & activitiesReview the story of The Nutcracker as told in the performance. Have students discuss their favorite scenes. What did the dancers do with their bodies to depict different characters?

creAtive WritiNG After reading several versions of The Nutcracker, have your students write a summary either about their favorite version and why they chose it, or write a paper comparing and contrasting two or more versions.

DrAmA tABleAux In groups of 3 or 4, use body shape and space to show a concept frozen in time (tableaux). This activity can be carried out with a read-aloud of The Nutcracker with pauses inserted for the formation of tableaus. Discuss the visual effect of the tableau performances after allowing time for sharing student sequences.

vAriAtioN 1 Have each group mix up their tableaux sequences. The audience must then sequence the tableaux in a way that makes sense to the plot.

vAriAtioN 2 Have students create meaningful transitions between each tableau to form a cohesive composition.

mAth ANGleS Create a series of tableaus that satisfy certain angle specifications. These requirements may refer to the tableaux as a whole, or to the position of each individual in the tableaux. Discuss compositions as a class to determine how successfully the criteria were met. Suggestion:

Recreate the fight scene with the Rat King. Two people must have their arms at acute angles. Two must show at least one obtuse angle. Two must show right angles.

Outreach activitiesThe new Mexico Ballet company

Each year, the New Mexico Ballet Company provides 8,400 New Mexico school children with access to dance arts. The History of Dance and Discov-ery workshops, now in their 16th year, brings NMBC directly into 11 elemen-

tary schools within the Albuquerque Public Schools and Rio Rancho School Systems, giving the students and their teachers the opportunity to learn about the history of dance, watch live performances by professional dancers, and participate in dance as an expres-sive art – all for free.

national Dance institute of new Mexico

Partnering with public schools, NDI-New Mexico provides dance classes, as well as numerous educational and outreach opportunities.

Dance Fiesta The annual Dance Fiesta is a four-day event full of local competitions and events. The 2015 dates are September

24th - 27th.

Resources viDeoS

Balanchine Library (6 volumes) Elusive Muse-1998

The Nutcracker / Baryshnikov, Kirk-land, Charmoli Starring Mikhail Barysh-nikov, Gelsey Kirkland, Alexander Minz, et al. (Sep 28, 2004)

Ballet 101 - a Beginner’s Class, DvD Starring Jennifer Nunes (Aug 21, 2004)

New York City Ballet: The Complete Workout, Vol. 1 and 2 (Nov 7, 2006)

Tchaikovsky - Swan Lake / American Ballet Theatre, Murphy, Corella Starring Marcelo Gomes, Gillian Murphy and Angel Corella (oct 4, 2005)

Cinderella - Birmingham Royal Bal-let Starring Elisha Willis (Apr 26, 2011)

Great Pas De Deux - Fonteyn, Nureyev, makarova, Dowell, Barysh-nikov, Bessmertnova, and more Star-ring Margot Fonteyn, Royal Ballet, Rudolf Nureyev, et al. (Feb 10, 2004)

Don Quixote / Baryshnikov, Harvey, American Ballet Theatre Starring Mikhail Baryshnikov, Cynthia Harvey, Richard Schafer, et al. (Apr 15, 2003)

The Royal Ballet: Tchaikovsky- The Sleeping Beauty Starring Tchai-kovsky, Cojocaru, Bonelli and Nunez (Aug 26, 2008)

Alice’s Adventures in Wonderland Star-

ring Lauren Cuthbertson, Sergei Polunin, Edward Watson, et al. (oct 25, 2011)

The Video Dictionary of Classical Ballet Starring Kevin McKenzie and Georgina Parkinson (Aug 15, 1991)

Dancing for Mr. B - Six Balanchine Ballerinas / Moylan, Tallchief, Ashley, Kistler, Hayden, Kent Starring Maria tallchief (Sep 30, 2008)

The Little Mermaid - featuring the San Francisco Ballet Starring John Neumei-er, Lera Auerbach, San Francisco Ballet, et al. (Nov 15, 2011)

YouTube SearchesNew York City Ballet • American Ballet Theatre • Pacific Northwest Ballet • San Francisco Ballet • Miami City Ballet • Aspen Santa Fe Ballet • Ballet Russe de Monte Carlo • Don Quixote Ballet • Sleeping Beauty Ballet • Swan Lake Ballet

Questions to engage & connectAfter seeing the show, ask your students to answer these questions:

Before seeing this show, i didn’t know that…

This show made me think about…

The scenery and costumes helped me figure out where the story was taking place and who the characters were by…

The sound of the music helped me understand what was happening on stage by...

While watching the show, the strongest feeling i had was…

my favorite part/character of the ballet was...

The question i have about the show is…

i think that ballet is a highly physical activity (similar to sports) because...

something i want to share with my family about the experience is…

Bonus explorations

about the Schooltime SeriesThe Schooltime Series presents national and interna-

tional touring companies and performers that you will not see anywhere else in or around Albuquerque.These companies are selected with youth and family

audiences in mind, from titles and materials that reflect the cultural diversity of our global community. These professional performing artists create educational experiences designed to encourage literacy, creativity, communication and imagination.Join our community and sign up for our monthly

newsletter at: facebook.com/schooltimeseries. Click on “Join My List,” or send an e-mail with your name and e-mail address to schooltime@popejoypresents.com requesting to be added to the newsletter list. You can contact us at schooltime@popejoypresents.

com or visit us at www.schooltimeseries.com.

etiquetteThe performing arts—theater, music and dance—are all

collaborative endeavors. They require the cooperation of many skilled people: playwrights, directors, perform-ers, designers, technicians, lyricists, choreographers, musicians, and the audience. Live performances can transport you to other times and places but to do so, they require you, the audience, to listen, observe, dis-cover, and imagine. The inside of a theatre is called a “house.” There are

rules inside the house to make the experience smooth and enjoyable for everyone. A summary poster of theatre etiquette is available on our website. Please post it and discuss it with your students and chaper-ones before attending this show.

house Policies Please visit our website for detailed information about

house Policies. This includes our guidelines on safety, special needs, food and drink, backpacks, cell phones, photography, recordings, and more.

credits

Selected Dreamcatchers Teaching Guide materials provided by the New mexico Ballet company, The Kennedy Center’s Artsedge, the milwaukee Ballet, and other resources noted within this guide.

Popejoy hall, New Mexico’s premier nonprofit venue for the performing arts and entertainment.

Popejoy hall’s Mission: To provide access to the performing arts for all new Mexicans.

Dreamcatchers are teaching guides produced by the Education Department of Popejoy Hall, New Mexico’s premier nonprofit venue for the performing arts and entertainment located in Albuquerque, New Mexico.

The Los Alamos National Bank Popejoy Schooltime Series is a program of The University

of New Mexico.

The schooltime series is a proud member of

The LanB Popejoy Schooltime Series is supported in part by awards from:

The Eugene and Marion Castiglia Popejoy Children’s

Schooltime Endowment

The Popejoy Schooltime Education Endowment

Schooltime SerieS

the los Alamos National Bank