The Nutcracker T Ballet - Popejoy Schooltime · PDF fileWaltz of the Flowers ... Ilyich Tchaikovsky to write the music for The Nutcracker Ballet. In 1892, the first production of the

StandardS addreSSed by attending thiS performance

fine artS/theater, dance and mUSicStandard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as all other content areas.Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.LangUage artS Strand i: reading and LiStening for comprehenSioncontent Standard i: Students will apply strategies and skills to comprehend information that is read, heard, and viewed.

As part of our mission to integrate the arts into classroom academics, the Dreamcatchers Study guides are intended to provide helpful information for teachers and students to use before and after attending our performances. The activities presented in these guides are suggested to stimulate lively responses and multi-sensory explorations of concepts and themes in order to use the theatrical events as a vehicle for cross-cultural and language arts learning. Educators are encouraged to use our suggestions as springboards to lead students into meaningful, dynamic learning thus extending the dramatic experience of the plays. Selected Dreamcatchers materials provided by The New Mexico Ballet Company, The Kennedy Center’s ArtsEdge, The Milwaukee Ballet and other resources noted throughout this guide.

T he magic of the Nutcracker returns for the beginning of the holiday season. With its myriad of memorable characters, as well as lavish costumes, sets, and scenery, this enchanting tale brings Tchaikovsky’s timeless music to life through dance, while also serving as a one-hour introduction to classical music and the exquisite art of ballet!

monday, november 26, 2012 10:15am onlytuesday, november 27, 2012 10:15am & 12:15pmgrades: 3 - 12Curriculum Connections: Language Arts, Fine Arts/ Theater, Music & Dance

In this issue of Dreamcatchers–introduction ............................................................ 2Synopsis ............................................................................ 2fun facts ........................................................................ 2Vocabulary .................................................................... 3pre-performance activities ..................... 4 post-performance activities .................. 6outreach activities ............................................ 8resources & Websites...................................... 10about the artistic director/choreographer ........................................................ 10Worksheet ..................................................................... 11etiquette ........................................................................... 12

The Nutcracker BalletPresented by The New Mexico Ballet CompanyArtistic Director/Choreographer, Jolie Sutton-Simballa

Introduction(http://artsedge.kennedy-center.org)The first performance of The Nutcracker 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. Surprisingly, the first performance of the ballet was not regarded as a success. In fact, 25 years passed before anyone outside of Russia performed it!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 Willam Christensen. It was the San Francisco Ballet that began the tradition of presenting The Nutcracker on an annual basis.While The Nutcracker may have been born in Russia, it has certainly adapted to its American home. It become 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.

SynopsisThe abbreviated version of The Nutcracker to be performed for the Popejoy Schooltime Series runs sixty minutes, and features highlights and on-stage narration for this introduction to ballet and classical music. The Overture (Song 1) – A preview/summary of the music to be heard throughout the performance.

act i Decoration of the Christmas Tree (Song 2) – 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 (Song 3) – The children play and dance joyfully to some of the famous and memorable melodies of The Nutcracker. Children’s Gallup and Entry of the Parents (Song 4) – The children play mischievously, which leads into a delightful dance. Arrival of Drosselmeyer (Song 5) – An abrupt change in the music signals the arrival of Fritz’s and Clara’s magical uncle. At first, he frightens Clara and Fritz, but then delights them by making their toys dance. Grandfather’s Dance (Song 6) – Clara receives a beautiful Nutcracker as a gift from her Uncle Drosselmeyer. After Fritz breaks in a fit of jealous rage, he is sent to bed. Drosselmeyer then magically fixes the badly 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 (Song 7) – After her parents insist that Clara keeps the Nutcracker downstairs, she creeps back down to check on it under the Christmas tree. Drosselmeyer appears to protect Clara from the evil Rat King, by bringing the Nutcracker and tin soldiers to life. The Christmas tree becomes gigantic and mice fill the room.The Battle (Song 8) – 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 a Prince.

In the Pine Forest (Song 9) – 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 (Song 10) – 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 the inhabitants to celebrate. This section is made up of a group of dances, performed to some of the best-known melodies from the ballet.Chocolate - Spanish Dance (Song 11) – “Chocolate” is a Spanish-flavored dance; listen for castanets. Coffee - Arabian Dance (Song 12) – An Arabian dance.Tea - Chinese Dance (Song 13) – Oriental in flavor; listen for the glockenspiel.Trepak - Russian Dance (Song 14) – 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 (Song 15) – Also called The Dance of the Toy Flutes.Mother Ginger & The Gingerbread Cookies (Song 16) – Mother Ginger greets Clara and her Prince, then has her little children, the Gingerbread Cookies, dance in their honor.Waltz of the Flowers (Song 17) – In the Land of Sweets, even the flowers dance for Clara and the Prince. Dance of the Sugarplum Fairy (Song 18) – The Sugarplum Fairy and her partner perform a series of dances, including a pas de deux, a type of ballet duet.Waltz Finale (Song 19) – 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 Sugarplum 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.

Fun Facts (http://artsedge.kennedy-center.org and previous

Dreamcatcher study guides) Many of the dance steps and terminology used in ballet come

from the French language. That’s because ballet was popular- ized 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.

Ballets are never interactive with the audience. The storytelling is done through movement and music, and thus 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.

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Pyotr Ilyich Tchaikovsky by Nikolay Kuznetsov, 1893

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The texture projects elements such as tone (assonance, dissonance; satire, humor), rhythm, the “syntax”, “diction,” and “rhetorical” qualities of movement (expansion, compress- ion, hesitation, abruptness, fluency, etc.).

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 appre- ciate the performance even more if you become familiar with the music.

Instruments heard in The Nutcracker include:

The Nutcracker Ballet is based on the book “The Nutcracker and the Mouse King”, written by E.T.A. Hoffman.

In 1891, choreographer Marius Petipa commissioned Pyotr Ilyich Tchaikovsky to write the music for The Nutcracker Ballet.

In 1892, the first production of the ballet took place at the Maryinsky Theatre of Russia, home of the Kirov Ballet.

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 Kirov 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 choreo- graphy accordingly. Because they are not adults, there is no hint of a romance between them, 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 inno- cence, 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 a black family during the holidays, with a grandmotherly Clara as the matriarch.

Vocabulary(http://dictionary.reference.com/)

Sharing this vocabulary with your students will enhance their experience at the performance. encourage them to watch for examples of these elements from the ballet. ballerina – a female ballet dancer and a Prima Ballerina is a star female ballet dancer. charleston – a fast rhythmic dance from the 1920s, characterized by kicking and twisting of the legs from the knee down.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 and 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 – 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 (french) – 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, as in ballet dancing.plié – 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 – to rise; dancers lift their heels keeping toes down.Sauté – 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 on one spot as they turn. This helps them avoid dizziness. tempos – the speeds at which music is played.tourner – 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.

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FlutesPiccolosOboesEnglish hornsTrumpets

TrombonesBass trombonesTubasCymbalsTriangle

TambourineGlockenspielTympaniHarpStrings

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StandardS

LangUage artSStrand i: Reading and listening for comprehension. content Standard i: Students will apply strategies and skills to comprehend information that is read, heard, and viewed.Strand ii: Writing and speaking for expression. content Standard ii: Students will communicate effectively through speaking and writing.Strand iii: Literature and Mediacontent Standard iii: Students will use literature and media to develop an understanding of people, societies, and the self.fine artS/ theatre & danceStandard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama, and visual arts.Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

Pre-Performance activitiesInteractive nutcrackergrades: 3 – 12objectiVeS: �Students will gain familiarity with the music and story of The Nutcracker. �Students will make predictions about what happens in selected scenes. �Students will create original scenes based upon their predictions.materiaLS: qThe story of “The nutcracker“ qa recording of tchaikovsky’s Nutcracker Suite qpen and paperprocedUreS: 1. Read the story of “The Nutcracker” to the class so that they are familiar with the plot. 2. Play musical selections from The Nutcracker Suite for the class. Identify which part of the story the music accompanies. As the music plays, ask students to free write about what they envision is happening in the scene, based on what is happening with the music (changes in tempo, increased volume or intensity, etc.). Responses should be detailed and provide more information than what was given in the story. 3. Ask students to share their favorite scene. Which scene seems like it would be the most fun to act out? Divide students into groups based on their favorite scene choices. 4. Give students time to discuss what they would like to do with their scene. They can choose to dance or just walk through. Include dialogue or mime scenes silently, etc. Each group identifies specific actions for a specific moment in the music. Repetitions or dramatic shifts in the music are good cues for action. 5. After students have had time to plan and rehearse, allow the groups to perform their scenes for the class. Discuss what each group chose to present. How did they choose to expand upon what they already knew about the story? How did they use the music to dictate action in the scene?extenSionS/modification: È have students create scripts of their scenes. include any dialogue and stage directions used, so that the scene can be recreated by anyone who picks up the script. provide examples of scripts to help with formatting.aSSeSSment: QQuality of participation QWriting for each scene expands upon original information given in the story. Qaction in scenes fits with musical accompaniment.

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StandardS

LangUage artSStrand i: Reading and listening for comprehension. content Standard i: Students will apply strategies and skills to comprehend information that is read, heard, and viewed.Strand iii: Literature and Mediacontent Standard iii: Students will use literature and media to develop an understanding of people, societies, and the self.fine artS/ theatreStandard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama, and visual arts.Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

Show. Don’t TEll. grades: 3 – 12objectiVeS: �Students will be able to communicate a specific emotion, task, or story without using words or sound. �Students will collaborate to create scenes that are performed without sound.materiaLS: qLarge space for movement qcollection of short stories, preferably ones that are already familiar to the class. fairy tales and fables work especially well.procedUreS: 1. Assess students’ familiarity with ballet. You may want to review some of the more famous ballets: Sleeping Beauty, Swan Lake, Romeo and Juliet, etc. Note that ballet tells a story without using words; have students discuss how dancers are able to do this. They should come to the conclusion that dancers use physical movements and facial expressions to tell stories. 2. Have students practice expressing themselves without words. Give students a variety of emotions to convey without making any sound, using only their bodies and their faces. This can be done on an individual volunteer basis, with students in front of the class, or as a group with everyone practicing at the same time. Examples of emotions to practice include: joy, anger, sadness, surprise, fear, etc. Encourage students to engage their whole bodies, and to exaggerate facial expressions. 3. Have students practice performing a task without speaking or making noise. Tasks can either be generated by the group, or assigned by the instructor. Example tasks include: cooking dinner, fixing a car, playing a sport, etc. The point is for students to get 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 three to four. 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 come up with a scene. 5. Have each group perform their stories for the class. Ask students to identify specific movements or facial expressions that the group members used to communicate something important to the scene. extenSionS/modificationS: È turn this activity into a guessing game. depending on students’ level of comfort with pantomime, ask the students to pantomime and guess which tasks are being performed (step # 3), or which story is being performed. discuss specific actions that helped them make their guess. È 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 character as one big group, or they can divide into small groups where each group represents one character in the story.aSSeSSment: Q Students effectively communicate basic elements of a story using only their bodies to communicate. Q Quality of participation

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StandardS

LangUage artSStrand i: Reading and listening for comprehension. content Standard i: Students will apply strategies and skills to comprehend information that is read, heard, and viewed.Strand iii: Literature and Mediacontent Standard iii: Students will use literature and media to develop an understanding of people, societies, and the self.fine artS/ ViSUaL artS & theatreStandard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama, and visual arts.Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

Post-Performance activitiesnutcracker Finger Puppets(adapted from http://familyfun.go.com/crafts/ballerina-puppets-665192/) grades: 3 – 8objectiVeS: �Students will recall details from the performance of The Nutcracker, including costumes, sets, characters, and plot. �Students will create finger puppets that resemble characters from The Nutcracker. �Students will improvise scenes based on the story of The Nutcracker.materiaLS:

qmultiple copies of “ballerina finger puppet template” (p. 11) qpaper qScissor qmarkers, crayons, paint, stickers, etc. qfabric, ribbon, etc. qglue qa recording of tchaikovsky’s Nutcracker Suite (optional)procedUreS: 1. After viewing the program, discuss how the characters, costumes, sets, and music all 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 an outline of the story of The Nutcracker 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 would like to recreate using finger puppets. 4. Divide students into groups. Each group should pick one scene from The Nutcracker to recreate. Have groups list the characters, costume features, set pieces, etc. that they will recreate. 5. Distribute several copies of the “Finger Puppet Template” to each group. Give students time to color and decorate their dancers. Have additional craft supplies handy for the optional creation of scenery. 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 scene from the ballet. Encourage students to make the scenes their own, and to perhaps to add dialogue and/or sound effects. However, remind them to make sure that their scenes make sense. Groups may also use music from the ballet to enhance their scenes. 7. Each group will present their scene to the class. After each scene, 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 and how?extenSionS/modificationS: È perform your scenes for another class. consider choosing 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. È you can also perform scenes for a class who did see The Nutcracker ballet. compare your version to the version presented by The new mexico ballet company, then ask students for their feedbackaSSeSSment: Q Students are able to recall events and characters from the performance. Q Students create finger puppets that resemble characters from the performance. Q Students create original scenes based on those from the performance. Q Quality of participation

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StandardS

LangUage artS Strand i: reading and LiStening for comprehenSioncontent Standard i: Students will apply strategies and skills to comprehend information that is read, heard, and viewed.fine artS/ danceStandard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama and visual arts.Standard 2: Use dance, music, theatre/drama, and visual arts to express ideas. Standard 4: Demonstrate an understanding of the dynamics of the creative process. Standard 5: Observe, discuss, analyze, and make critical judgments about artistic works.

THE DANCE OF THE FALLING LEAVES(adapted from a lesson in the Milwaukee Ballet Nutcracker study guide)grades: 3 – 12objectiVeS: �Students will make observations of the movement of falling leaves. �Students will collaborate to create unique movements that emulate their observations. �Students will work collaboratively to create original dance performances.materiaLS: qa large variety of tree leaves. different shapes and sizes would be best. (if leaves cannot be found, you can use scarves)procedUreS: 1. Review the story of The Nutcracker, as told in the ballet. Have students discuss their favorite scenes. Discuss the dances performed by the snowflakes and the flowers. What did the dancers do with their bodies to represent these characters? 2. Tell students that they will have the opportunity to choreograph their own dance, using an object from nature as their inspiration. 3. Divide students into groups of four to six people. Have each student find a special leaf. Instruct them to hold the leaf in the air and let it fall to the ground several times, and to make observations about the way the leaf falls. Encourage students to discuss their observations within their groups. 4. Give students about five minutes to create their own physical interpretations of the leaf falling to the ground, using their own bodies. Encourage them to recreate how it falls, twists, turns, flutters, swirls, floats, drops, sways, swings, circles, glides, slides, and eventually comes to rest. 5. In their groups, have each student perform their leaf interpretations for each other. After each student has had a chance to perform, the group decides on one movement from each student’s original interpretation that everyone will learn. The group then practices each movement a minimum of three times, to make sure that everyone knows the patterns. 6. Instruct the group to decide on a sequence for all the steps, which will then come together to create an original dance. The dance should include every group member’s movement at least once. Example: Movement #1 followed by movement #4, then #2, repeat #2, #3, #1, etc. 7. Once groups have coordinated their choreography, encourage them to create a beginning and end to the piece. They are to make decisions about how they will enter and exit the stage, if they will start and end in frozen tableau, etc. 8. Once the dances are all complete, have each group perform their dances for the rest of the class. 9. Discuss the process each group went through to mimic the movement of a leaf and turn it into a dance. What were the challenges? What did they enjoy the most?extenSionS/modificationS: È rehearse and perform your leaf dances for an audience. find music to fit your movements, create simple costume pieces, and give your dance a title. È younger students may be more comfortable developing these dances as one large group. have students stand in a circle and perform the movements together, guided by the instructor.aSSeSSment: Q Students create unique movements based on their observations of falling leaves. Q Quality of participation Q Students work collaboratively to combine movements in a meaningful way.

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Outreach Activitiesthe neW mexico baLLet companyEach year, the New Mexico Ballet Company provides 8,400 New Mexico school children with access to dance arts. The History of Dance and Discovery Workshops, now in their 15th year, brings NMBC directly into 11 elementary 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 expressive art – all for free.http://www.newmexicoballet.org

nationaL dance inStitUte of neW mexicoPartnering with public schools, NDI-New Mexico provides dance classes, as well as numerous educational and outreach opportunities.http://www.nationaldance.org/

dance fieStaThe annual Dance Fiesta is a four-day event full of Albuquerque competitions and events. The 2012 dates were September 27-30.http://www.dancefiesta.net/

Resources & WebsitesWebsitesA tribute to Prima ballerinas (photo collection)http://www.ballerinagallery.com

The New York City Ballet is world-famous for its premium dance performances.http://www.nycballet.org

Critical Dance is an international non-profit entity, founded for the purpose of promoting and supporting the dance arts through moderated public forums and events, periodicals, and financial and resource support.http://www.criticaldance.com

Discover what’s new in dance news, with a New York Times section devoted to just that!http://www.nytimes.com/dance

The Pacific Northwest Ballet website is a great source for learning about professional dance, as well as their extensive school and educational options.http://www.pnb.org

Learn about the history of Russian ballet, including more information about renowned composer Tchaikovsky.http://www.russianballethistory.com

American Ballet Theatre is recognized as one of the greatest dance companies in the world. A living national treasure since 1940, ABT annually tours the United States, performing for more than 600,000 people; it is the only major cultural institution to do so. http://www.abt.org The Royal Ballet School of Antwerp, Belgium tours the world and educates some of the best ballet dancers. Don’t forget to set the website for English!http://www.royal-ballet-school.org

The School of American Ballet, the official training academy of the New York City Ballet, was established in 1934. The School’s alumni roster is a “who’s who” of contemporary American classical ballet.http://www.sab.org

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Magazines Recommended by the nmbcDance Magazine by Macfadden Performing Art MediaPointe MagazineBallet News (back issues)Ballet Review, editor Francis MasonBallet 2000 - French Edition by Editions Ballet 2000-Magazine Subscription Canada’s Royal Winnipeg Ballet by Royal Winnipeg Ballet-Magazine Subscription

BOOKS Minden, Eliza Gaynor. The Ballet Companion: A Dancer’s Guide to the Technique, Traditions, and Joys of Ballet. New York: Fireside Book/Simon & Schuster, 2005. Print. Kostrovitskaya, Vera Sergeevna., and Oleg Briansky. 100 Lessons in Classical Ballet [the Eight-year Program of Leningrad’s Vaganova Choreographic School]. Garden City, NY: Doubleday, 1981. Print. Homans, Jennifer. Apollo’s Angels: A History of Ballet. New York: Random House, 2010. Print. Grant, Gail. Technical Manual and Dictionary of Classical Ballet. New York: Dover Publications, 1967. Print. Warren, Gretchen Ward., and Susan Cook. Classical Ballet Technique. Tampa: University of South Florida, 1989. Print. Lee, Laura, and Meredith Hamilton. A Child’s Introduction to Ballet: The Stories, Music and Magic of Classical Dance. New York: Black Dog & Leventhal, 2007. Print. Froman, Kyle. In the Wings: Behind the Scenes at the New York City Ballet. New York: John Wiley & Sons, 2007. Print. Speck, Scott, and Evelyn Cisneros. Ballet for Dummies. Hoboken, NJ: Wiley Pub., 2003. Print. Balanchine, George, and Francis Mason. 101 Stories of the Great Ballets. Garden City, NY: Dolphin, 1975. Print. Mason, Francis. I Remember Balanchine: Recollections of the Ballet Master by Those Who Knew Him. New York: Doubleday, 1991. Print. Au, Susan. Ballet and Modern Dance. New York: Thames & Hudson, 2002. Print. Duberman, Martin B. The Worlds of Lincoln Kirstein. New York: Alfred A. Knopf, 2007. Print. Bentley, Toni. Winter Season: A Dancer’s Journal. Gainesville: University of Florida, 2003. Print. Fisher, Barbara Milberg. In Balanchine’s Company: A Dancer’s Memoir. Middletown, CT: Wesleyan UP, 2006. Print. Kirstein, Lincoln. Dance: A Short History of Classic Theatrical Dancing. Princeton, NJ: Princeton Book, 1987. Print. Jowitt, Deborah. Time and the Dancing Image. New York: W. Morrow, 1988. Print.

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Videos Balanchine Library (6 volumes) Elusive Muse- 1998 The Nutcracker / Baryshnikov, Kirkland, Charmoli Starring Mikhail Baryshnikov, Gelsey Kirkland, Alexander Minz, et al. (Sep 28, 2004) Ballerina Starring Alina Somova, Svetlana Zakharova, Diana Vishneva, et al. (July 21, 2009) 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) Ballet Class for Beginners Starring David Howard (Aug 31, 2004) Cinderella - Birmingham Royal Ballet Starring Elisha Willis (Apr 26, 2011) Great Pas De Deux - Fonteyn, Nureyev, Makarova, Dowell, Baryshnikov, Bessmertova, and more Starring 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 Tchaikovsky, Cojocaru, Bonelli and Nunez (Aug 26, 2008) Alice’s Adventures in Wonderland Starring 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 PARIS OPERA BALLET: Six Ballets Starring Patrick Dupond, Noella Pontois, Sylvie Guillem, et al. (Aug 19, 2008) Delibes: Sylvia (Jan 29, 2008) The Little Mermaid - featuring the San Francisco Ballet Starring John Neumeier, LeraAuerbach, San Francisco Ballet, et al. (Nov 15, 2011) Giselle Starring Alina Cojocaru, David Drew, Martin Harvey and Johan Kobborg (Oct 28, 2008) Ballets Russes Starring Irina Baronova, Yvonne Chouteau, Yvonne Craig, et al. (Sep 12, 2006) Backstage at the Kirov (Nov 28, 2011)

yoUtUbe SearcheS New 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 and Swan Lake Ballet

About the NMBC’s 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.

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Baller ina Finger Puppet Template(http://jas.familyfun.go.com/arts-and-crafts?page=craftdisplay&craftid=10630)

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adult Supervision

required

Each touring production is selected with youth and family audiences in mind, from titles and materials that reflect the cultural diversity of our global community. They include new plays, familiar stories, literary works, biographies, mythology, folk tales, music, dance, and puppetry. These professional performing artists create educational experiences designed to encourage literacy, creativity, communication and imagination.With such a vast audience to serve, our productions are designed to target different grade ranges. please review these materials to make sure the grade recommendations and content are appropriate for your group.

Music, theater, dance, and opera are collaborative arts. This means they require the cooperation of many people: the directors, the performers, 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, discover, and imagine.

A poster of Theater Etiquette is included on the website. Please post it and discuss it with your students before coming to the performance.

Seeing a live performance is a special experience. Although it is not required, many people enjoy dressing up when they attend the theater.

Gentlemen should remove hats or caps when inside the building. Please enjoy your food, drink, and gum in the lobby. Please allow ushers to seat your entire group before rearranging students

and/or taking groups to the restroom. Photography and recordings of the shows, as well as cell phones, texting,

or gaming are all strictly prohibited during the performances. Crying babies, unhappy siblings, and other loud noises disturb the actors and

the other patrons. Please be considerate and leave the hall during these periods. You may still enjoy the show in the lobby via our large screen monitors.

Some shows are interactive, and involve audience participation; some are not. Discuss with your class how to know the difference, as well as what is appropriate conduct in a theater, versus at a sports arena or outdoor concert.

During a musical, it is appropriate to clap at the end of a song. During a ballet or dance performance, it is appropriate to clap at the end of the number.

Curtain calls occur when the show has ended and the cast comes forward to take their bows. The best way to show the performers how much you appreciate their hard work is to stay at your seats and clap until the actors leave the stage, or until the curtain comes down and the house lights come on.

At the end of the show, after the applause, remain in your seats until you are dismissed from the theater.

If you are staying for the Question & Answer session, remain in your seats until the house clears and then move down front toward the stage.

SAFETY For the safety of our younger visitors, UNM requests clearly visible school identifiers on all students PreK – 2nd grade. Ex.: matching t-shirts or hats, school/teacher tags, etc.Teachers and students should immediately report to the kiosk (round desk) in the main lobby if they become separated from their group.Restrooms are open to the public. Please escort students.Backpacks, strollers, car seats, and lunches must remain in the lobby, as per fire code. If possible, we recommend that these items are not brought into the building. We cannot monitor ownership, and UNM is not responsible for any misplaced or stolen items.

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“People think dreams aren’t real just because they aren’t made of matter, of particles. Dreams are real. But they are made of viewpoints, of images, of memories and puns and lost hopes.”- Neil GaimanDreamcatchers are produced by the Education Department of Popejoy Hall, Albuquerque, New Mexico. Find us at: www.schooltimeseries.comContact: [email protected] our community at: www.facebook.com/schooltimeseriesPopejoy Hall, New Mexico’s premier nonprofit venue for the performing arts and entertainment.

The Popejoy Schooltime Series is a program of The Univeristy of New Mexico.

The Popejoy Mission: To provide access to the performing arts for all New Mexicans.

2011 VINTAGE ALBUQUERQUE

the popejoy Schooltime Series is supported in part by awards from -

The Eugene and Marion Castiglia Popejoy Children’s Schooltime EndowmentThe Popejoy Schooltime Education Endowment