!Dr. Albert Payne Region Superintendent Central Region Office

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1 RONALD W. REAGAN/DORAL SENIOR HIGH SCHOOL 8600 N.W. 107 AVENUE DORAL, FLORIDA OFFICE FAX! Juan Carlos Silva Principal Alberto M. Carvalho Superintendent!Dr. Albert Payne Region Superintendent Central Region Office! To Whom It May Concern: It has been a great pleasure to host the DanceNow! Miami residency at Ronald W. Reagan/Doral Senior High School during the school year. It was an outstanding experience for the dancers in our program and I was able to watch how, once again, the art of dance can affect and inspire students of all levels and abilities to achieve and improve. Ronald Reagan Sr. High is a regular public high school (non-performing arts/magnet program) that consists of 250 plus students. Through this residency, our students engaged in dance and choreography that was delivered to them directly from a professional and established teacher and choreographer in the Miami dance community. The students that participated benefitted greatly in many ways. They learned about what it means to be an artist, and what skills and knowledge an artist needs to be creative and productive. They learned skills they can use to express what they know in other subject areas as well. They developed insight and imagination and improved their sense of musicality and spatial and bodily/ kinesthetic awareness. Students at Reagan also gained knowledge of what a career in a professional dance company is like and were exposed to new dance styles. As a teacher, observing another professional provided me with professional development of my own as I learned new approaches and techniques to incorporate into my own class. I was also able to see concepts that I had presented to my students reinforced and validated by another professional. Having another teacher conduct dance class also allowed me the chance to observe my students and their different learning styles. It provided insight into how I may adapt some of my own teaching methods. The culminating choreography taught by Mr. Diego Salterini is a beautiful piece that taught the students as much about artistic expression as it did about dance techniques. The work provides the students with an opportunity to perform choreography created by a professional outside of the public school system. Overall I believe this has been an outstanding experience for both my students and me. I highly recommend the Dance NOW residency to any school interested in promoting dance and exposing their students to arts and arts integrated learning. Sincerely, Christine Mazeppa Dance/ Language Arts Teacher cmazeppa@dadeschools.net!! Cambridge Advanced International Certificate of Education (AICE) Center

2 Coral Reef Senior High Magnet Dance Program SW 152 Street Miami, Fl April 25 th, 2013 To Whom it may Concern, At Miami s prestigious Coral Reef Senior High School, the Magnet Dance department is always looking to further our students education. We had the privilege this year to have Dance Now! directors, Hannah and Diego, come in and teach our dancers. It was a great way to introduce our students to careers in the professional dance world and for our dancers to experience different dance styles from what they are given each day. Both teachers from Dance Now gave technique classes which were both challenging and inspiring for the students, and they have benefited greatly through this exposure. Our dance students, over 100 in total, gain entrance to our program through a rigorous audition process and continue in our program performing in a variety of performances throughout the year. This program prepares students for college and careers as professional dancers in various genres. Many have gone on to dance in professional dance companies, on movies, cruise ships, NBA dance teams, theme parks, music videos, tours with pop singers and have become dance teachers in Miami-Dade County Public Schools. Notably, we are an A school, have 3,345 students in attendance, and have been ranked top in the nation by Newsweek magazine year after year. Lack of funding has always been a hardship to our students and our program. We feel that this grant provided a unique experience for our dancers. We are so grateful to have had this opportunity with the Dance Now directors and appreciate the time spent helping further our dancers abilities and technique. If you have any questions please feel free to contact me at bsantalodance@dadeschools.net Sincerely,! Mrs. Rebecca Santalo Coral Reef Senior High Magnet Dance Directors

3 7/6/11 To Whom It May Concern, I am writing on behalf of the Academy of Arts and Minds, to support the grant proposal for Dance Now! As the director of the dance department at A&M, I was pleased to have Dance Now!, (and its directors, Hannah Baumgarten and Diego Salterini) teach master classes and workshops for our program. They are truly masters of their craft. Their creation of new works for our various performances were meaningful and rewarding experiences for the students in the program, and well received by our audiences. I have also heard wonderful feedback about the work done at Coral Reef Senior High by Dance Now! I support Dance NOW! Miami in their grant proposal and I was so impressed by the quality of the residency that I brought Hannah on as my part time dance faculty! I believe it is vital to infuse outside professionals in a school dance program, expanding the curriculum and providing a new voice for the children to learn from. We are fortunate to have such professionals, and a successful local company in our community. I do hope you consider their grant favorably. Thank you, Karin Bejerano Director of Dance Academy of Arts and Minds kbejerano@aandm.net Academy of Arts and Minds 3138 Commodore Plaza Coconut Grove, FL 33133

Dance NOW! Miami Diego Salterini and Hannah Baumgarten, Artistic Directors THE DANCE NOW! PERFORMANCE EXPERIENCE! STUDY GUIDE In addition to its critically acclaimed performance seasons, Dance NOW!

6 Dance NOW! Miami Diego Salterini and Hannah Baumgarten, Artistic Directors THE DANCE NOW! PERFORMANCE EXPERIENCE! STUDY GUIDE In addition to its critically acclaimed performance seasons, Dance NOW! Miami s successful school outreach program was developed over ten years ago after years of active involvement in the community, bringing the company s repertory and expertise to public schools and post secondary institutions throughout the country. The careful planning of program offerings are based in the idea of maximizing the skills DN! and its directors, combining them with the diverse needs of the various institutions. Dance NOW! provides a list of the project components in early discussions with Program Directors and Administrators, and the program is then tailored to each partners' needs. The philosophy of the outreach is based on three elements: the Performance Experience, the Classroom Experience, and the Creative Experience. The Performance Experience. DNM has elaborated an emerging international style inspired by western dance traditions but attracting and reaching younger multinational audiences through eclectic choices of music and contemporary themes. The work is created between the Directors and guest choreographers combining ballet, modern dance and jazz creating a unique art, approachable yet challenging, varied in subject matter and style yet cohesive and designed to challenge the highest range of thinking skills. The Performance offers an opportunity for young audiences to be exposed to a professional contemporary dance performance, many for the first time. This comprehensive program offers a social and historical perspective, teaches the important role of art in becoming a proactive and socially aware citizen, and creates an appetite for participation as artists and as audience members. Through this unique visual presentation, your students will have a tangible tool to understand the historic and social development of Western Concert Dance. A brief introduction to dance history will give the students an overall understanding of the evolution of Ballet, Modern Dance and Jazz, from the court of Louis the XIV in France through to the modern day Hip Hop generation. Understanding the role of contemporary dance as derived from the classical will also aid the students to identify similarities and differences between Ballet, Modern and Jazz dance especially as it pertains to the work of Dance NOW!.

7 Exploring dance as a universal language and presenting several of the tools used in creating dance also demonstrates how artistic expression is used and how it is similar to the forms of writing and visual arts. Learning about the life of the dancer also will educate the children on the importance of healthy living, exercise and body- mind centering, while the question and answer sessions will stimulate critical thinking and analysis. PROJECT COMPONENTS AND SUNSHINE STATE STANDARDS Lecture/ Demonstration and Performance The Ensemble presents the basic differences between Ballet, Modern and Contemporary Jazz in a visual approach, to expose the audience to the various styles. Dancers will demonstrate how the same movement can be and must be performed differently in the different genres and will also illustrate the historic and social development of one style from another. The lecture also demonstrates the benefits of healthy living and bring into discussion anatomy, physiology, nutrition, health and wellness and body maintenance. DNM presents repertory work in its trademark fusion of contemporary western dance. Ballet, Modern, and Contemporary Jazz are several influences, which are the base from which DNE draws its movement vocabulary. Pre- Performance Questions: 1. Which came first? Ballet, Modern Dance or Jazz? 2. What are the poles called that the Ballet dancer uses for the first part of class 3. What are some of the most distinct differences between Modern Dance and Ballet? 4. What American- borne art form inspired Jazz Dance? 5. Which form of dance traditionally uses pointe shoes? 6. What does Pas de Deux mean? 7. How many days a week does a dancer practice? SSS for Lecture Demonstration and Performances (HS) DAB 141, DAC 141 (MS) DAC 131, DAC 133 Teach the similarities and differences between various forms of dance, the historical significance of the events in the development of western contemporary dance and the relationships between events in dance history and general history. SSS for Technique Class Demonstration (HS) DAA 141 (MS) DAA 131 Teach alignment, strength, flexibility, agility.

8 How We Make Dances Many skills play a part in the art of making dances. Dance NOW! presents the tools used in dance composition. Basic concepts such as levels, dynamics, floor- patterns, unison, cannon, symmetry, tempo, counterpoint, the use of the stage space, and entrances and exits are explained and explored. Pre- Performance Questions: 1. What happens when a dancer moves toward the audience? 2. What is a floor pattern? 3. How many spacial Levels are there? 4. What are dynamics? 5. What is Tempo? 6. Why do people make dances? 7. What is a cannon? 8. What is symmetry? 9. Why are props used? 10. What is a solo, duet, trio or quartet? SSS for Choreographic Seminar (HS) DAA 143, DAA 241, DAA 242, DAA 243 (MS) DAA133, DAA 231, DAA 232, DAA 234 Teach choreographic structure and process, the use of improvisation to create movement sequences, and the manipulation of choreographic principles. Teach story telling, problem solving, creativity, decision- making, expressing thoughts, ideas, feelings, and interpretation of texts. Question and Answer This component is incorporated into all of the other modules. Students are asked to identify both style and themes involved in the work, and to create their own interpretations. Participants are also invited to discuss the artistic and technical side of the world of dance, as well as training and career progression. SSS for Journal Writing and Essays (HS) LAB 141, LAB 24, LAC 14 The maintaining of daily activity journals challenges the students to use a variety of listening strategies, practice effective writing, and the communication of ideas and information.

BRIEF HISTORY OF THE FORMS BALLET The history of ballet began in Italy during the Renaissance. Here, court ballet was a compilation of the arts: dancing, music, painting and poetry.

Often, the plot of the performance centered on the evening's menu. After migrating to France, King Louis XIV founded the Academie Royale de Danse in 1661 and performed for nearly ten years.

9 BRIEF HISTORY OF THE FORMS BALLET The history of ballet began in Italy during the Renaissance. Here, court ballet was a compilation of the arts: dancing, music, painting and poetry. Social court dances became popular, and powerful Italian families, including the de Medici family, tried to outdo others by having elaborate court dances. Often, the plot of the performance centered on the evening's menu. After migrating to France, King Louis XIV founded the Academie Royale de Danse in 1661 and performed for nearly ten years. He commissioned Jean Baptiste Lully, a composer, and choreographer Pierre Beauchamp to devise his company's performances. Here, the history of ballet vocabulary was introduced, and dancers dared to try spectacular jumps and acrobatics with ballet's realm. MODERN DANCE The beginnings of modern dance in the United States and Germany are traced to the early 20th century to a group of dancers such as Isadora Duncan, Loie Fuller, Ruth St. Dennis, and her husband and partner Ted Shawn; each made significant contributions to this new type of concert dance in America. Their dance reflected and challenged the art, philosophy, and issues of their time, explored the

cultures of other places and times, made new advances in theatrical lighting and spectacle, and discarded the costumes and artificiality of ballet.

10 cultures of other places and times, made new advances in theatrical lighting and spectacle, and discarded the costumes and artificiality of ballet. They were exploring and expressing themselves in a way that had never been seen before, and they were guiding others to do the same. This group not only away from the conventions of Ballet, but also from whatever rules had been laid down by their predecessors. Instead of borrowing movement from other cultures, they created movement based on the experiences of their own era. They were interested in presenting the inner self and all of its complex emotions on the concert stage. The second generation, Martha Graham, Doris Humphrey, and Lester Horton, among others, also created their own techniques, which they taught in independent dance schools and universities. Their work established modern dance as a legitimate art form. JAZZ DANCE Many of the dance movements associated with jazz dance can be traced to African influences. Slaves captured in Africa brought their dancing traditions across the Atlantic. Once in the new country, the African slaves continued to use dance as a means of self- expression and an emotional outlet, despite being forbidden to dance by their owners. The advent of jazz music, especially in the clubs of New Orleans, advanced the dance style. From vaudeville to the origin of flappers, the informal nature of jazz dance became an accepted norm. Dixieland jazz prompted new dance forms including the Charleston, fox trot, rag, and shimmy. In the 1940 s studios began teaching the form and it became as popular as ballet and appeared in Broadway musicals. Like the music from which it is derived, jazz dance has adapted to the rhythms of time. Different types of current jazz dance techniques include African, break- dancing, hip- hop, lyrical, modern and rock.

11 VOCABULARY Barre: Choreographer: Jété: Arabesque: A pole fixed to a wall horizontally in a practice room to which the ballet dancer holds for support in the first part of the ballet class A person who composes dances A jump from one leg to another A pose in which the dancer raises their leg directly behind their body, with both knees straight Dance Luminaries Mary Wigman: One of the founders of German expressionism, famous for dark dances Gregory Hines: Tap dancer, was in White Nights, with Barishnikov, influenced by Gene Kelly Mikhail Barishnikov: Russian ballet star, defected to U.S., partnered Gelsey, starred in White Nights Rudolph Nureyev: Russian Ballet Star, defected to U.S., partnered Fonteyn with Royal Ballet, sexually promiscuous Bob Fosse: Revolutionized jazz dance for musicals and concert dance, Josephine Baker: Black American who went to France to achieve stardom, showgirl who danced top less, adopted many children Martha Graham: Danced with Ted Shawn and Ruth St. Dennis, created her own technique based on contraction and release Gelsey Kirkland: American prima ballerina, danced with New York City Ballet and American Ballet theater, partnered Barishnikov, was anorexic, and cocaine addicted Gwen Verdon: 1st wife of Bob Fosse, won Tony Awards for All That Jazz and Chicago Isadora Duncan: Grandmother of Modern Dance, followed Grecian style and philosophy, created school called Isadorables Virginia Johnson: Prima Ballerina with dance theatre of Harlem, editor of Pointe Magazine Ruth St. Dennis : Created Global Style Modern Dance had company with Ted Shawn Agrippina Vaganova: Trained at Imperial Ballet School, and created own style, and ballet technique

12 Savion Glover: Tapper who studied with Hines, created choreography for Happy Feet Frankie Manning: A dancer with Savoy Lindy Hoppers, from Florida Katherine Dunham: Black Dancer and anthropologist, studied people and dances of Caribbean, had her own company and technique Suzanne Farrell: Prima Ballerina of NYC Ballet, Balanchine s most important muse though never married him, currently teaches in Florida Maria Tallchief: Prima Ballerina of NYC Ballet, first wife of George Balanchine, 1st Native American Ballerina Allegra Kent: From Miami Beach, danced with NYC Ballet and had 3 kids Anna Pavlova: Famous Russian Ballerina, created the pointe shoe, danced the original Dying Swan Mikhail Barishnikov: Russian Ballet Dancer who defected to the U.S., partnered Gelsey Kirkland Gene Kelly: American Actor, singer, and dancer, starred in great movie musicals Norma Miller: Savoy Dance Hall Star, toured Europe doing Lindy Hop Katherine Dunham: Black Dancer and anthropologist, studied people and dances of Caribbean, had her own company and technique Alicia Alonso: Cuban Prima Ballerina who founded Cuban Ballet Company and School, became blind and still danced Josephine Baker: Black American who went to France to achieve stardom, showgirl who danced to please, adopted many children Michel Fokine: Joined Imperial Ballet, wanted to make dances with more humanistic gestures and authentic costume Twyla Tharp : Danced with Paul Taylor, founded own company in 1965, choreographed Hair, and Moving Out

March 18, To Dance Now & Miami Children s Trust:

March 18, To Dance Now & Miami Children s Trust: March 18, 2015 To Dance Now & Miami Children s Trust: Thank you so much for giving Arthur & Polly Mays Conservatory the opportunity to work with Diego Salterini in an informative, educational & enriching