1 UMS 09-10 FONDLY DO WE HOPE… FERVENTLY DO WE PRAY BILL T. JONES/ARNIE ZANE DANCE COMPANY TEACHER RESOURCE GUIDE 2009 - 2010
Mar 07, 2016
1UMS 09-10
F O N D LY D O W E H O P E…F E R V E N T LY D O W E P R AY
B I L L T . J O N E S / A R N I E Z A N E D A N C E C O M P A N Y
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 performance is funded in part by the MetLife Community Connections Fund of the National Dance Project, a program administered by the New England Foundation for the Arts; Arts Midwest’s Performing Arts Fund; and the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched and written by Liz Stover.
Special thanks to the Bill T. Jones/Arnie Zane Dance Company, Leah Cox, Omari Rush, and Savitski Design for their contributions, feedback, and support in developing this guide.
SUPPORTERS
3UMS 09-10
Bill T. Jones at Lincoln Library , Photo: Russell Jenkins, courtesy of Ravinia Festival
F O N D LY D O W E H O P E…F E R V E N T LY D O W E P R AY
B I L L T . J O N E S / A R N I E Z A N E D A N C E C O M P A N Y
BILL T. JONES artistic director
FRIDAY
JANUARY 22
2 0 1 0
4 - 6 P MPOWER CENTER
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
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ATTENDING THE PERFORMANCE6 Attending the Show8 Map + Directions9 The Power Center
BILL T. JONES/ARNIE ZANE DANCE CO.11 Company History12 Who are Bill T. Jones and Arnie Zane?14 Meet the Dancers16 Behind the Scenes18 Artistic Influence
FONDLY DO WE HOPE...FERVENTLY DO WE PRAY21 The Work22 An Essay
TABLE OF CONTENTS
25 Artistic Elements of FDWH…FDWP26 The Set28 The Costumes
THEMES + IDEAS31 Abraham Lincoln33 Mary Todd Lincoln35 The Civil War: A Timeline38 The Second Inaugural Address + Text Exploration
ABOUT DANCE41 Elements of Dance43 Elements of Movement44 Vocabulary of Dance
LESSON PLANS47 Preparing for the Performance48 Practicing Observation50 Making a Photograph Come Alive52 Performance Notes54 More Resources56 Bibliography
ABOUT UMS58 What is UMS?59 Youth Education Program60 How to Contact 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 P E R F O R M A N C E
Photo: Paul B. Goode
6 UMS 09-10
TICKETS We do not use paper tickets
for Youth Performances. We hold school
reservations 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 through-
out 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 com-
plaints (for instance, about your comfort or
the behavior of surrounding groups) please
IMMEDIATELY report the situation to an
usher or staff memer in the lobby.
PERFORMANCE LENGTH 90 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 3:30-3:50pm 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 re-
leased, please exit the performance hall
through the same door you entered. A
UMS Youth Performance 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
member or AAPS Transportation Staf per-
son 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 (um-
[email protected]) to attempt to help
recover the item.
AAPS
SENDING FEEDBACK We LOVE feed-
back from students, so after the perfor-
mance 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 adavance 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 struc-
ture 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.
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POWER
HILL
DR
OP
-OF
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ON
E
PARK
PALMER DRIVE
E. HURON ST
E. LIBERTY ST
WILLIAM ST N. UNIVERSITY AVENUE
WA
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TE
NA
W A
VE
NU
E
FL
ET
CH
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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.
MAP
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
Photo: Paul B. Goode
B I L L T. J O N E S / A R N I E Z A N E D A N C E C O M PA N Y
11UMS 09-10
THE BILL T. JONES/ARNIE ZANE
DANCE COMPANY is currently celebrat-
ing its 25th anniversary season. The
company was founded after 11 years of
collaboration during which Bill T. Jones
and Arnie Zane (1948–1988) redefined
the duet form and foreshadowed issues
of identity, form, and social commentary
that would change the face of American
dance. The company emerged onto the
international scene in 1983 with the
world première of Intuitive Momentum,
which featured legendary drummer Max
Roach, at the Brooklyn Academy of Mu-
sic. Since then, the 10-member company
has performed worldwide in over 200
cities in 30 countries including Australia,
Brazil, Canada, the Czech Republic, Ger-
many, France, Israel, Italy, Japan, Mexico,
South Africa, and the UK. Today, the
Harlem-based company is recognized as
one of the most innovative and powerful
forces in the modern dance world.
The company has distinguished itself
through its teaching and performing
in various universities, festivals, and
under the aegis of government agen-
cies such as the US Information Agency
(in Eastern Europe, Asia and South East
Asia). Audiences of approximately 50,000
to 100,000 annually see the company
across the country and around the world.
The work of the Bill T. Jones/Arnie Zane
Dance Company freely explores both
musically driven works and works using
a wide variety of texts (such as Reading,
Mercy, and the Artificial Nigger based on
Flannery O’Connor’s 1955 short story,
The Artificial Nigger). The repertoire is
widely varied in its subject matter, visual
imagery, and stylistic approach to move-
ment, voice, and stagecraft. The company
has been acknowledged for its intensely
collaborative method of creation that has
included artists as diverse as Keith Haring,
The Orion String Quartet, the Chamber
Music Society of Lincoln Center, Cassan-
dra Wilson, Fado singer Misia, Jazz pianist
Fred Hersch, Ross Bleckner, Jenny Holzer,
Robert Longo, Julius Hemphill, and
Peteris Vasks. The collaborations of the
Bill T. Jones/Arnie Zane Dance Company
with visual artists were the subject of Art
Performs Life (1998), a groundbreaking
exhibition at the Walker Art Center in
Minneapolis, Minn.
In 2007, Ravinia Festival in Highland Park,
Ill commissioned the company to create a
work to honor the bicentennial of Abra-
ham Lincoln’s birth. The company created
three new productions in response: 100
Migrations (2008), a site-specific commu-
nity performance project; Serenade/The
Proposition (2008), examining the nature
of history; and Fondly Do We Hope…
Fervently Do We Pray (2009), the making
of which is the subject of a feature-
length documentary by Kartemquin Films
entitled A Good Man, to be broadcast on
PBS American Masters in 2011.
C O M PA N Y H I S T O RY
ABOUT
12 UMS 09-10
BILL T. JONES is the Artistic Director
of the Bill T. Jones/Arnie Zane Dance
Company (BTJ/AZDC). Born in Florida in
1952, he was the tenth of 12 children.
His parents were farm workers. At age
three, his family moved to Wayland in
upstate New York. He became interested
in movement and dance while attending
college at Binghamton University in the
1970s, where he took classes in ballet
and modern dance. It was there that he
met Arnie Zane, a photographer, chore-
ographer, and dancer.
Together, Jones and Zane created dances
that drew on their physical contrasts:
Jones black, tall, and fluid, and Zane
white, short, and jagged. In 1978, they
moved to New York City, and in 1982
they founded the Bill T. Jones/Arnie Zane
Dance Company, which they directed
together until Arnie Zane’s death of an
illness related to AIDS in 1988. Jones has
since created more than 100 works for
W H O A R E B I L L T. J O N E S + A R N I E Z A N E ?
PEOPLE
Bill T. Jones and Arnie Zane in Rotary Action (1982) Photo: Lois Greenfield, courtesy of Bill T. Jones/Arnie Zane Dance Company
the company and has choreographed for
many other dance companies. He has
won many awards, including the 1994
MacArthur Genius Award, which awards
a large sum of money to American
individuals who “show exceptional merit
and promise for continued and enhanced
creative work.” He won the Tony Award
in 2007 for “Best Choreography” for the
musical Spring Awakening.
“I danced because I FELL IN LOVE WITH MY SWEAT.
But I wanted a type of sweat that was not the sweat
of the athletic field or the locker room.
I wanted a POETIC SWEAT.
I didn’t know what that was.
I was nineteen. I wanted to be great;
I wanted to be BEAUTIFUL; I wanted to be loved.
And I LOVED what my body would say to me
when I was dancing.”
- Bill T. Jones, from Speaking of Dance
14 UMS 09-10
M E E T T H E D A N C E R SPEOPLE
A N T O N I O B R O W NDancer
Antonio Brown is a native of Cleveland, Ohio. He
began his dance training at the Cleveland School
of the Arts and received his BFA from The Juil-
liard School in 2007 under the direction of Law-
rence Rhodes. Mr. Brown has been a member of
the Company since 2007 and is grateful to share
his gifts and talents with the world.
TA L L I J A C K S O NDancer
Talli Jackson was born and raised in Lib-
erty, N.Y. He received his first training with
Livia Vanaver at the Vanaver Caravan Dance
Institute in upstate New York. He received full
scholarships from the American Dance Festival
in 2006 and 2008, the Bates Dance Festival,
and the Ailey School. Mr. Jackson joined BTJ/
AZDC in 2009.
S H AY L A - V I E J E N K I N SDancer
Shayla-Vie Jenkins, originally from Ewing,
New Jersey, began her dance training at the
Watson Johnson Dance Theater and the Mer-
cer County Performing Arts School. In 2004,
she graduated with honors from Fordham
University. In 2008, she was featured in Dance
Magazine’s “On The Rise”. Ms. Jenkins joined
BTJ/AZDC in 2005.
L a M I C H A E L L E O N A R D , J R .Dancer
LaMichael Leonard, Jr. graduated from the
New World School of the Arts in Miami,
Florida. He joined the Martha Graham Dance
Company and danced lead roles touring
nationally and internationally. He most recently
danced with the Buglisi Dance Theatre. Mr.
Leonard joined BTJ/AZDC in 2007.
A S L I B U L B U LDancer
Asli Bulbul is from Istanbul, Turkey. In 1997,
upon graduation from Mimar Sinan State Con-
servatory, she moved to New York where she
worked with various choreographers including
Joanna Mendl Shaw and Guido Tuveri. Ms.
Bulbul joined BTJ/AZDC in 2001.
P E T E R C H A M B E R L I NDancer
Peter Chamberlin, born in Augusta, Maine,
trained at the North Carolina School of the Arts
and BalletMet of Columbus, Ohio, and graduat-
ed from SUNY Purchase in 2007. Mr. Chamberlin
continues his movement exploration under the
tutelage of Barbara Mahler and enjoys choreo-
graphing whenever he gets the chance. Mr.
Chamberlin joined BTJ/AZDC in 2007.
15UMS 09-10
I-Ling Liu, a native of Taiwan, received her
BFA from Taipei National University of the Arts
in 2005. Ms. Liu joined BTJ/AZDC as an ap-
prentice in 2007 and became a member of the
Company in 2008.
I - L I N G L I UDancer
Paul Matteson, originally from Cumberland,
Maine, has received undergraduate and
graduate degrees from Middlebury and Ben-
nington Colleges, respectively. Mr. Matteson
joined BTJ/AZDC in 2008.
PA U L M AT T E S O NDancer
Erick Montes, originally from Mexico City,
trained at the National School of Classical
and Contemporary Dance. In 2002, he col-
laborated with Stephen Petronio on projects
for Lincoln Center Out of Doors and Queens
Theatre in the Park. Mr. Montes joined BTJ/
AZDC in 2003.
E R I C K M O N T E SDancer
Jennifer Nugent is originally from Miami,
Florida. She enjoys creating dances and col-
laborating with Paul Matteson. Ms. Nugent
joined BTJ/AZDC in August 2009.
J E N N I F E R N U G E N TDancer
W H AT T O WAT C H F O R :
Who do some of the dancers represent throughout the performance?
Do these representations ever change, or do they stay the same?
UMS 09-1016
B J O R N G . A M E L A N Sculptor/Creative Director/Set Designer
Bjorn G. Amelan was the partner of fashion
designer Patrick Kelly from 1983 until his pass-
ing in 1990. He began collaborating with BTJ/
AZDC in 1993. As the company’s resident set
designer, he has created décor for many works
and special presentations.
L A U R A B I C K F O R DLighting Supervisor
Laura Bickford grew up in New York City and
studied at the Performing Arts High School,
Feld Ballet, and the Joffrey Ballet. She gradu-
ated from Smith College with a Bachelor of
Arts in Philosophy and Anthropology. Ms. Bick-
ford joined BTJ/AZDC in 2004.
S A M C R AW F O R DSound Supervisor
Sam Crawford completed both his Associate
of Science degree in Audio Technology and
Bachelor of Arts in English at Indiana Univer-
sity in 2003. A move to New York City led him
to Looking Glass Studios where he worked on
film projects with Philip Glass and Björk. He
currently lives in Jersey City where he works
as a freelance live sound recording engineer
and plays banjo and bass guitar in the groups
Stereofan and The Goodwill Orchestra. E R I C L A U N E RTechnical Director
Eric Launer started a band after graduating
high school. The next few years found Mr.
Launer behind the counter of a record store,
on the air as a radio DJ, and volunteering in
music therapy at an outpatient treatment
facility for mental health. Theater met him
again when he was invited to join the techni-
cal department at The Phillips Center for the
Performing Arts. Since then, Mr. Launer has
continued his career as a technical director.
J A M Y L D O B S O NActor
Jamyl Dobson’s New York City credits include
Romeo and Juliet, Ain’t Supposed to Die a
Natural Death, and the workshop of Fela!
with Bill T. Jones. Mr. Dobson received a BA
from Temple University and an MFA from the
University of Iowa.
L I N D S AY J O N E SSound Designer
Lindsay Jones has been involved in sound de-
sign nationally and internationally. He has also
worked internationally in Austria, Zimbabwe,
South Africa, and Scotland, and with the Royal
Shakespeare Company in Stratford, England.
C H R I S T O P H E R A N T O N I O W I L L I A MComposer/Cel lo
Christopher Antonio William Lancaster (Com-
poser/Cello) is a composer and performing
artist living in New York. His live and recorded
music is created by the processing acoustic
cello sounds through real-time samplers, audio
effects, and filtering. He composes predomi-
nately for theater, dance, and his band The
Black Sounds.
J E R O M E B E G I N Composer
Jerome Begin studied music composition at
Ohio University with Dr. Mark Phillips and
studied piano and music for dance, both ac-
companiment and composition, with André
Gribou. His works have been performed in the
United States, Korea, and Japan. Mr. Begin is
on staff at The Juilliard School (Dance Division)
and also works as a composer, performer,
teacher, and dance accompanist in Brooklyn,
New York, where he currently resides.
W Y N N E B E N N E T TPiano
Wynne Bennett made her Kennedy Center de-
but at the age of 18. Ms. Bennett is currently
working on a solo show involving laptop,
piano, keyboard, drum machine, and film.
PEOPLE
B E H I N D T H E S C E N E SGet to know the people who make the show happen!
17
L I Z P R I N C ECostume Designer
Liz Prince has worked extensively with Bill T.
Jones since 1990 designing for his company
as well as his productions at Boston Ballet,
Berlin Opera Ballet, and Alvin Ailey American
Dance Theater. Ms. Prince received a 1990
New York Dance and Performance Award for
costume design.
C L A R I S S A S I N C E N OSinger
Clarissa Sinceno, a Harlem native, began at
the Harlem School of the Arts and went on
to undergraduate studies at North Carolina
School of the Arts and Manhattan School of
Music. At 17, she performed at the Metropoli-
tan Opera. She has since performed at jazz
clubs the Blue Note and Birdland.
R O B E RT W I E R Z E LLighting Designer
Robert Wierzel has worked with artists in the-
ater, dance, new music, opera, and museums
on stages throughout the country and abroad.
He has a long history (21 years) with chore-
ographer Bill T. Jones and his company. Mr.
Wierzel is currently on the faculty of New York
University’s Tisch School of the Arts.
J A N E T W O N GAssociate Art ist ic Director/Video Designer
Janet Wong was born in Hong Kong and
trained in Hong Kong and London. Upon gradu-
ation she joined the Berlin Ballet where she first
met Mr. Jones when he was invited to choreo-
graph for the company. In 1993, she moved to
New York to pursue other interests. Ms. Wong
became Rehearsal Director of the company in
1996 and Associate Artistic Director in August
2006.
K R I S T I W O O DCompany Manager
Kristi Wood grew up in St. Louis, Missouri,
and since moving to New York in 2000, has
worked with New York City Center, Brooklyn
Academy of Music, The Juilliard School, the
School of American Ballet, and several Broadway
and off-Broadway theaters. She worked as a set
costumer on All My Children and America’s Next
Top Model. Ms. Wood holds a BFA in Drama
from the Tisch Institute of Performing Arts at
New York University. This is her second season
with BTJ/AZDC.
G E O R G E L E W I S , J R .Composer/Guitar/Vocals
George Lewis, Jr., is a Dominican born
songwriter and performer. In addition to his
composing credits with BTJ/AZDC, Isabel Lewis
(The Labor Union), and theater companies in
Copenhagen, Denmark, he plays rock and roll
music with his friends.
K Y L E M A U D EProduction Stage Manager
Kyle Maude has worked with Ballet Tech/Feld
Ballets New York, The Royal Ballet School of Lon-
don, Buglisi-Foreman Dance, and Lesbian Pulp-o-
Rama! Ms. Maude joined BTJ/AZDC in 2003.
D E A N P E R RY Head Carpenter
Dean Perry hails from Tampa, Florida and cur-
rently resides with his wife Jessica in Wash-
ington DC. He has worked on many theatrical
productions on the east coast, and holds a BS
in Business from the University of Florida. He
is thrilled to be working in his first season with
the talented people of BTJ/AZDC.
UMS 09-10
INSPIRATION
A R T I S T I C I N F L U E N C E
“Bill T. Jones has made dances with strong political messages,
using talking and décor to help REPRESENT THE UNDERREPRESENTED:
gays, blacks, those with HIV/AIDS, and others facing death.
In addition to being an activist and storyteller, Jones has increasingly
focused on structuring BEAUTIFULLY CRAFTED group dances.
In them he combines his mastery at improvising lush, complex phrases with his
DESIRE TO EXPLORE music, time, space, and movement.
Jones’s work ranges from CONFRONTATIONAL TO TENDER,
intuitive to formal, narrative to abstract.
His work is animated by his own commandingly athletic
and theatrical presence on stage and his ability to evoke a strong
COMMITMENT from his company members.”
— Joyce Morgenroth, from her book Speaking of Dance
UMS 09-1018
19UMS 09-10
Photo: Timothy Greenfield-Sanders
20 UMS 09-10
F O N D LY D O W E H O P E …F E RV E N T LY D O W E P R AY
21UMS 09-10
ABOUT
CONTINUING THIS TRADITION of challenging, thought-provoking work, Mr. Jones has created a new evening-length work about
Abraham Lincoln, Fondly Do We Hope...Fervently Do We Pray, which premiered at the Ravinia Festival and is now on tour. Commis-
sioned by the Ravinia Festival in Highland Park, Illinois, Fondly Do We Hope…Fervently Do We Pray has found Mr. Jones “leading
with his own heart,” seeking a way to articulate, if not reconcile the view of Lincoln he had as a young boy growing up during the
civil rights struggle and as a mid-life liberal artist who “has very few heroes.” The most ambitious project in the BTJ/AZDC’s 25-year
history, Fondly Do We Hope...Fervently Do We Pray investigates the myriad meanings of Lincoln, rejecting accepted truth in favor of
challenging (and celebrating) the lasting contributions of this great man. This dance-theater work investigates a handful of key mo-
ments from his remarkable life, allowing song and memory to transport the audience to an emotional and intellectual space beyond
the boundaries of space and time. By envisioning the America that might have been had Lincoln completed the Reconstruction, Mr.
Jones exposes the great distance between what is and what could have been.
T H E W O R K
22 UMS 09-10
A N E S S AYF O N D LY D O W E H O P E … F E R V E N T LY D O W E P R AY
By Suzanne Carbonneau
READING
IN HIS FIRST MONUMENTAL work of
dance-theater, Bill T. Jones addressed the
infernal contradictions at the heart of
America. His Last Supper at Uncle Tom’s
Cabin/The Promised Land revisited the
torturous history of a revered cultural
icon that had grown gangrenous over
time. Harriet Beecher Stowe’s 1852 novel
had argued the immorality of slavery and
was instrumental in turning Northern
sentiment towards abolition, but the
novel’s post-Civil War co-optation by
Confederate apologists resulted in Uncle
Tom becoming a synonym for “race
traitor.” With characteristic fearlessness,
however, Jones waded into this untouch-
able material, employing Stowe’s novel as
a springboard for meditations on identity,
hatred, sex, death, and religion. Jones’s
work was simultaneously personal and
political, and ultimately nothing less than
a moral history of America.
Nearly twenty years on, Jones revisits that
decisive moment in American history.
In his newest work of dance theater,
Fondly Do We Hope…Fervently Do We
Pray, AbrahamLincoln is the catalyst for a
rumination on the American conscience
that embraces past, present, and future.
With this commission by the Ravinia
Festival to mark the Lincoln bicentennial,
Jones once again looks into the heart of
American darkness through a figure who
has been both canonized and tarnished.
And once again, Jones has something
larger in mind than either hagiography
or condemnation, employing the Lincoln
myth to create a dream analysis of
America itself.
The title, of course, comes from Lincoln’s
magisterial Second Inaugural, words
carved into the Lincoln Memorial, where
21st-century visitors still burst into tears
at the sight of Daniel Chester French’s
statue of a careworn Lincoln. He is our
peerless, timeless national hero, en-
shrined in American myth as the man
who redeemed us from our foundational
sin of racial slavery. Unlike George Wash-
ington, who has been lost in historical
distance as an Olympian figure, Lincoln
appeals to our vision of the quintessential
American as a common man of noble ac-
tion. He is, as Jones points out, our Great
Man and our Everyman. How then to
reconcile the complexities of the histori-
cal record with this indelible myth?
But as in Last Supper, Jones is not out
to present a straightforward version of
history. Nor is this biopictorial theater.
Fondly Do We Hope is something else
entirely: a consideration of how the great
questions of an age sunder the body
politic; on how history repeats itself; and
on how we experience history not only
as fact but also as feeling. Jones employs
all the elements of theater to assemble a
reverie about Lincoln that is also a con-
templation about each one of us.
In recognition of Jones’s ambition to span
historical divides, Fondly Do We Hope
is a dance with history. Its conversa-
tion toggles between past and pres-
ent, between present and the future.
Appropriately for a work about mongrel
America, the languages of Fondly Do We
Hope are polyglot—kinetic, visual, aural,
textual. As he did in the Promised Land
apotheosis of Last Supper, Jones looks to
the experience of the body as our shared
human condition across culture, across
race, across time. “At the heart of the
piece,” says Jones, “are muscles, blood
and flesh.”
The lodestone text of Fondly Do We
Hope, repeated three times to suggest
its perennial relevance, is Walt Whit-
man’s paean to human anatomy, “Poem
of the Body.” Jones employs his danc-
ers’ bodies—so lovingly catalogued by
Whitman in their particulars (“Leg fibers,
knee, knee-pan, upper-leg, under-leg”)—
as the engine of the work. The perform-
23UMS 09-10
ers dance on a luxuriantly figured carpet
of words by Lincoln and his compatriots.
The movement is not intended to depict
psychological situations nor to illustrate
this text. Rather, it exists as evocative
counterweight to the specificity of the
narration. This movement material—
what Jones describes as “the DNA” of
this work—is laid out at the opening by
a single performer, dancing to Whit-
man’s delirious celebration of our physical
matter. Over the course of Fondly De We
Hope, Jones harvests this thematic inven-
tory for boundless variations. Always,
Jones says, the movement is in “the
service of feelings and ideas.” Together,
words and movement alchemize into
something greater than the sum of these
individual elements.
Music, too, is a central device that
bridges Lincoln’s day with our own.
Contemporary compositions are inter-
spersed with 19th-century music drawn
from every level of society, suggesting
the complexity of Lincoln’s experience
as frontiersman and person of hardwon
cultivation. Traditional tunes, including
“Annie Laurie” and the Lincoln favorite
“Weevily Wheat,” along with the Ameri-
can spiritual “Since I Laid My Burden
Down,” nuzzle against European classical
compositions. Befitting Lincoln’s person-
ality and the tragedy of the war he over-
saw, this score is largely melancholic. The
cemetery looms over a musical setting
of a verse Lincoln particularly admired,
Oliver Wendell Holmes’s “The Last Leaf.”
Death even seeps into Mendelssohn.
Passages from Whitman’s searing “The
Wound-Dresser” are heard as oratorio
within Mendelssohn’s score, reminding
us that Lincoln’s assassination followed
upon mass slaughter. A companion
oratorio from Lincoln’s Second Inaugural
is similarly death-soaked (“every drop of
blood drawn with the lash, shall be paid
by another drawn with the sword”).
The mix of voices in Fondly Do We Hope
reflects the breadth of Lincoln’s influence
and influences: in addition to Lincoln’s
own words, we hear Thomas Jefferson,
the King James Bible, Frederick Douglass.
But it is Whitman who speaks for Lincoln
from somewhere deep within his psyche.
Jones names Whitman as Lincoln’s
“proxy” with good reason. Whitman
himself declared a profound identification
with the President: “Lincoln is particu-
larly my man — particularly belongs to
me; yes, and by the same token, I am Lin-
coln’s man: I guess I particularly belong to
him; we are afloat on the same stream —
we are rooted in the same ground.” And
it is through Whitman, who famously
proclaimed his communion with all living
things in “Crossing Brooklyn Ferry,” that
Lincoln travels through time to speak
directly to us. We belong to Lincoln, as
he belongs to us.
In acknowledgment that Lincoln is “a
story that we tell ourselves, and more
importantly,a story that we tell our chil-
dren,” Jones presents us with faux-naïf
schoolbook biographies of Lincoln and
Mary Todd. Jones believes that we cling
to this Great Man version of Lincoln as
a model for how we might “make our
peace with an insane and oftentimes
unfair world.” But Jones believes that in
perpetuating these simplistic biographies,
we are obscuring the true nature of our
relationship with the past. We have only
to look to the character of Mary Todd,
for example, to recognize the value in a
more considered analysis. As she did in
Lincoln’s life, Todd holds a central place
in Fondly Do We Hope. Jones points to
Todd’s obsessive acquisitiveness as a pro-
found metaphor for our own unhinged
age. He cites her heartbreaking mad-
ness and grief as another. Jones links the
story of Todd and her inability to cope
upon the death of her husband, with the
national disarray experienced at the loss
of that same person. In this analogy, the
Song of Solomon speaks for both per-
sonal and communal sorrow (“Set me as
a seal upon thine heart. For love is strong
as death”).
Traveling again to the present, Jones
stages diagrammatic histories of four
of our contemporaries as companion
biographies to those of Lincoln and
Mary Todd. Taken together, these fel-
low citizens suggest the diversity of the
American public. The biography of one
of them corresponds with the outlines
of Jones’s own life (“born in 1952”; “a
family of fieldworkers”; “seven brothers
and four sisters”; “a life in the theater”;
“his great grandmother, he thinks, was
born a slave”). Ultimately, just as we did
with Lincoln and Mary Todd, we come to
understand the poverty of the schematic
biography, which focuses on the “facts”
of a life but ignores its resonances,
contradictions, reverberations. We begin
to see that this approach does injustice
to all its subjects—Great Man or the least
among us. But still, Jones has made us
consider how our own stories intersect
with history. He asks: Do we face great
questions in our day equivalent to the
conflagration over slavery? What is the
work still to be done? Who will do that
work?
And just as importantly, what are the
issues that shaped Lincoln’s thinking and
that forge our own? Jones looks to the
Lincoln-Douglas Debates for the marrow
of those ideas that divided Americans
in the mid-nineteenth century. Slavery,
the boil that would shortly burst into the
24 UMS 09-10
Civil War, was the inescapable sub-
ject of those arguments. With precise
calibration, Jones distills the Lincoln-
Douglas positions to their essences, while
introducing a more raucous discourse
touching on the issues of our own day. In
pairs, the dancers engage these debates
with richly abstracted and virtuosic move-
ment that Jones describes as “pitched
and performed in such a way that it’s
as if the dancers were orators.” That is,
the dancers do not act out the text, but
they do move to its cadences, pauses and
emphases.
The simple visual design of the work,
conceived by Bjorn Amelan, embodies a
complex metaphor. An imposing cylindri-
cal volume echoes a central movement
image in which the dancers circle the
stage in a cloudlike formation. Jones calls
this “The Maelstrom,” a reference to a
fabled oceanic whirlpool that terrorized
the 19th-century imagination. The Mael-
strom is, of course, a visual metaphor
for the great tumult of the Civil War,
just as it is, Jones says, an apt symbol for
our contemporary “undeclared cultural
war.” Amelan’s spare set also features
columns that simultaneously suggest the
White House, grand antebellum planta-
tions, and the birthplace of democracy
in ancient Greece. This décor creates a
continually evolving arena for the projec-
tion of spectral images that link past and
present. In her video of phantom figures
from the 19th century, Janet Wong con-
jures a ghost-world whose inhabitants
shadow the contemporary ensemble, just
as Whitman had projected himself into
the future.
In the end, Jones insists that Fondly Do
We Hope is not intended as a history
lesson. On the contrary, he cites its claims
on history as “glancing and ambivalent.”
Jones understands that his own rela-
tionship with history is too fraught, too
labyrinthine to allow himself to offer us
pieties or platitudes in place of the frus-
tratingly imperfect and genuinely great
Lincoln. Recognizing that Lincoln was a
man of his time—some of Lincoln’s earli-
er declarations about gradual abolition or
racial inferiority can be shocking—Jones
admires Lincoln all the more for his ability
to grow and change, to become a great
man. The choreographer declares that
at the end of his journey in making this
work, he finds himself genuinely moved
by Lincoln. “In some ways,” says Jones,
“I think I love him more than I ever did.”
At the conclusion of Fondly Do We
Hope…Fervently Do We Pray, we are
accorded what Jones calls “cautious
hopefulness” about Lincoln’s legacy.
Adapting Whitman’s example of imag-
ining ourselves into the future, Jones
leaves us with the biography of a person
just coming into life. We hear from this
descendant a hundred years hence, as
he nears the end of his days—as far from
us in time as is Lincoln. And in 2109, this
speaker is left with the same questions
about us that we have of Lincoln, expe-
riencing an identical desire “to believe in
great men and great women.” What will
this citizen of the future see in us when
he looks back? What will we have done
in answering the great challenges of our
day? Will he find us—as Lincoln grew
to be—led by the “better angels of our
nature”?
25UMS 09-10
A R T I S T I C E L E M E N T SO F F O N D LY D O W E H O P E … F E R V E N T LY D O W E P R AY
ABOUT
D A N C E
This is a modern dance company, but
it uses all kinds of movements, includ-
ing ones that many people do every day.
Examples of dance styles include modern,
ballet, hip hop, jazz, and ballroom.
M U S I C
The musicians in this work both write and
perform their parts. Some of the musi-
cians play several instruments and there
are many musical styles that they draw
from, including jazz, classical, heavy metal,
folk, and rock and roll. Because this piece
is about the Civil War period, some of the
music is drawn from that period of time
(1850–1860).
A C T I N G
The actor in the piece you will see is often
speaking text and not acting as if he were
in a play. The text he is speaking is drawn
from many famous writers and think-
ers, including Abraham Lincoln, Stephen
Douglas, William Shakespeare, and poet
Walt Whitman.
S TA G E D E S I G N
The stage is designed to make you feel like
you are entering another world, the world
of this piece. Stage designs can be very
obvious, like a set of the inside of a house.
This is designed to be more abstract. It
does not represent anything in particular.
It includes curtains, columns, and a small
stage built over some of the seats in the
audience.
V I D E O
There is also video in this piece. Sometimes
the video is meant to be watched alone.
At other times, it is shown while many
other things are going on. The video is
non-narrative, meaning it doesn’t have a
story. Rather, it operates poetically, sug-
gesting ideas and feelings.
W H AT T O WAT C H F O R :
What kinds of feelings does the music evoke at the different parts of the performance?
What is the actor’s purpose throughout the performance?
26 UMS 09-10
T H E S E T
ABOUT
THE SET IS MADE UP of an oval floor on the main stage and a smaller oval “satellite” stage connected by a walkway. An oval
traveler track hangs over the main stage from which white curtains are hung. The material is in four sections, 2 opaque and 2
translucent. They can close off the stage or be arranged in different configurations. They can also be used as projection surfaces.
There are also six white classical columns that will be arranged into various configurations.
Photos: Courtesy of Bill T. Jones/Arnie Zane Dance Company
27UMS 09-10
W H AT T O WAT C H F O R :
Notice the configurations of the six columns throughout the performance. What might each configuration represent?
How are the two stages used differently?
28 UMS 09-10
ABOUT
T H E C O S T U M E SThe costumes for Fondly Do We Hope…Fervently Do We Pray were designed by Liz Prince.
Pages 28-29 include original sketches of the costumes.
29UMS 09-10
W H AT T O WAT C H F O R :
Notice the color of the costumes. What do you think each color represents?
Photos: Courtesy of Bill T. Jones/Arnie Zane Dance Company
30 UMS 09-10
T H E M E S + I D E A S
Photo: Russell Jenkins/Ravinia Festival]
31UMS 09-10
A B R A H A M L I N C O L N
HISTORY
THE SON OF a Kentucky frontiersman,
Abraham Lincoln had to struggle to live
and learn. Five months before receiving
his party’s nomination for President, he
sketched his life:
“I was born Feb. 12, 1809, in Hardin
County, Kentucky. My parents were
both born in Virginia, of undistinguished
families—second families, perhaps I
should say. My mother, who died in my
tenth year, was of a family of the name
of Hanks....My father...removed from
Kentucky to...Indiana, in my eighth
year....It was a wild region, with many
bears and other wild animals still in the
woods. There I grew up...Of course when
I came of age I did not know much.
Still somehow, I could read, write, and
cipher...but that was all.”
Lincoln made extraordinary efforts to
attain knowledge while working on a
farm, splitting rails for fences, and keep-
ing store at New Salem, Illinois. He was
a captain in the Black Hawk War, spent
eight years in the Illinois legislature, and
as a lawyer rode the circuit of courts for
many years. His law partner said of him,
“His ambition was a little engine that
knew no rest.”
32 UMS 09-10
He married Mary Todd, and they had
four boys, only one of whom lived to
maturity. In 1858 Lincoln ran against
Stephen A. Douglas for Senator. He lost
the election, but in debating with Doug-
las he gained a national reputation that
won him the Republican nomination for
President in 1860.
Lincoln warned the South in his Inaugural
Address: “In your hands, my dissatisfied
fellow countrymen, and not in mine, is
the momentous issue of civil war. The
government will not assail you....You have
no oath registered in Heaven to destroy
the government, while I shall have the
most solemn one to preserve, protect and
defend it.”
Lincoln thought secession illegal, and was
willing to use force to defend Federal law
and the Union. When Confederate batter-
ies fired on Fort Sumter, South Carolina,
and forced its surrender, he called on the
states for 75,000 volunteers. Four more
slave states joined the Confederacy but
four remained within the Union. The Civil
War had begun.
As President, he built the new Reublican
Party into a strong national organization.
Further, he rallied most of the northern
Democrats to the Union cause. On Janu-
ary 1, 1863, he issued the Emancipation
Proclamation that declared forever free
those slaves within the Confederacy.
Lincoln never let the world forget that the
Civil War involved an even larger issue.
This he stated most movingly in dedicat-
ing the military cemetery at Gettysburg:
“that we here highly resolve that these
dead shall not have died in vain—that this
nation, under God, shall have a new birth
of freedom—and that government of the
people, by the people, for the people,
shall not perish from the earth.”
Lincoln won re-election in 1864, as Union
military triumphs heralded an end to war.
In his planning for peace, the President
was flexible and generous, encouraging
Southerners to lay down their arms and
join speedily in reunion.
The spirit that guided him was clearly that
of his Second Inaugural Address, now
inscribed on one wall of the Lincoln Me-
morial in Washington, DC: “With malice
toward none; with charity for all; with
firmness in the right, as God gives us to
see the right, let us strive on to finish the
work we are in; to bind up the nation’s
wounds....”
On Good Friday, April 14, 1865, Lincoln
was assassinated at Ford’s Theatre in
Washington, DC, by John Wilkes Booth,
an actor who thought he was helping
the South. The opposite was the result,
for with Lincoln’s death, the possibility of
peace with magnanimity died.
President Lincoln died at 7:22 the next
morning. Following a funeral at the White
House, his casket was viewed by millions
as it was carried on a special train back to
Illinois. He was buried May 4 in Oak Ridge
Cemetery in Springfield.
Biography used with permission from
www.abrahamlincoln200.org.
W H AT T O WAT C H F O R :
Who dances as Abraham Lincoln?
33UMS 09-10
M A RY T O D D L I N C O L N
HISTORY
EARLY YEARS: 1818–1838 Born in
1818, Mary Todd Lincoln lived in
Lexington, Kentucky, for 20 years. Her
father, Robert Smith Todd, became
a wealthy merchant and Whig party
leader. Her mother, Eliza Parker Todd,
also descended from an affluent fam-
ily, died in 1825. Thus began a series
of deaths that marred Mary’s life.
Her mother succumbed to puerperal
sepsis (“the childbed fevers”) after the
birth of her seventh child in 12 years.
Robert Todd quickly replaced his first
wife with a stepmother Mary hated.
Nine household slaves served the large
Todd family in an elegant brick home
in Lexington.
Among the prized values of the Todds
was a commitment to education for
daughters as well as sons. Mary ben-
efited from this aspiration; an excellent
student, she learned the basic curricu-
lum of reading, writing, and arithmetic
at John Ward’s local school. When she
was fourteen, she attended an all-girls
boarding school on the outskirts of
Lexington. There, her studies expanded
to include languages and the traditional
sewing and stitching. She continued to
be a superior student, acclaimed for her
performances in plays and her profi-
ciency in French.
SPRINGFIELD COURTSHIP AND
MARRIAGE: 1838–1861 In 1838, Mary
Todd left the social life of Lexington to
live in her sister’s home in Springfield,
Illinois. Such independence for young
women was unusual for the times. But
Mary despised her stepmother. Her
beloved sister Elizabeth had set up a
household in the rapidly growing new
capital. In her sister’s and brother-in-
law’s home she met Abraham Lincoln,
an aspiring Whig politician and state
legislator. Other men, mostly politicians
like Senator Stephen Douglas, courted
the attractive Mary Todd. Dances,
sleigh-rides, and railroad expeditions
34 UMS 09-10
brought the young people of the new
capital together.
It was the gangly Lincoln whom she
favored and married in 1842. Then fol-
lowed Mary Lincoln’s domestic years—
the birth of her four sons (and the death
of her beloved Eddie in 1850 from
tuberculosis), the management of her
home, and her support of her husband’s
emerging political career. She was unusu-
ally ambitious for what she called “our
Lincoln party.” An excellent hostess,
she invited important politicians to the
Lincoln home. When Lincoln was elected
president in 1860, he hurried home, call-
ing out “Mary, Mary, we are elected.”
FIRST LADY: 1861–1865 Mary Lincoln’s
four years in the White House began
with the Confederate attack on Fort
Sumter and ended with her husband’s
death. At a critical moment in the na-
tion’s history she expanded American
understanding of a First Lady’s role. She
oversaw expensive, much-needed and
tasteful improvements to the White
House. She organized receptions that
made the White House a center of
social and political importance. Elegantly
dressed, she presided over receptions
and soirees. She also visited wounded
soldiers in Washington hospitals and
raised money for the former slaves who
flocked into the city during the Civil War.
Her contributions to our national history
emerged from her understanding of the
significance of the White House as a sym-
bol of the power of the Union. She also
recognized the extent to which social
gatherings in the Red and Gold Rooms
provided opportunities for foreign diplo-
mats, congressmen, military leaders, and
common soldiers to meet the president.
But amid such triumphs Mary Lincoln lost
her son Willie to typhoid fever in 1862.
Then her husband died from an assassin’s
bullet in April 1865.
WIDOWHOOD: 1865–1882 A devas-
tated Mary Lincoln now began her years
of wandering. Leaving Washington for
Chicago, she was accompanied by her
eldest son, 23-year-old Robert, and her
youngest son, 12- year-old Tad. But she
was unable to afford a home in Chicago.
She took Tad to Germany where he
attended school in Frankfurt. She trav-
eled to European spas. She sought out
spiritualists, believing that mediums could
put her in touch with her dead sons and
husband. Then in 1871 Tad died of pleu-
risy in a Chicago hotel.
Four years later, her son Robert Lincoln
directed legal efforts to have her commit-
ted to a private mental institution outside
of Chicago. Never insane, she remained
in the asylum only four months. But Mary
Lincoln was convinced that her son would
try to send her back to an institution. So
she fled to Pau, a city near the Pyrenees in
southern France. She lived there alone for
four years. Eventually, her declining health
forced her to return to the United States,
where she lived quietly with her sister
Elizabeth Edwards in Springfield until she
died on July 16, 1882 from a stroke. She
was 63 years old.
Biography used with permission from
www.abrahamlincoln200.org.
W H AT T O WAT C H F O R :
Who dances as Mary Todd?
35UMS 09-10
T H E C I V I L WA R : A T I M E L I N E
HISTORY
1 8 5 9
O C T O B E R 1 6 – 1 8
John Brown, in an attempt to amass arms for a
slave insurrection, attacks the federal armory and
arsenal at Harpers Ferry, Virginia.
1 8 6 0
N O V E M B E R 6
Abraham Lincoln is elected President, with Han-
nibal Hamlin as his Vice President.
D E C E M B E R 2 0
As a consequence of Lincoln’s election, a special
convention of the South Carolina legislature votes
to secede from the Union.
1 8 6 1
J A N U A RY 9
Star of the West, an unarmed merchant vessel se-
cretly carrying federal troops and supplies to Fort
Sumter, is fired upon by South Carolina artillery at
the entrance to Charleston harbor.
J A N U A RY 9 – F E B R U A RY 1
Mississippi, Florida, Alabama, Georgia, Louisiana,
and Texas follow South Carolina’s lead and secede
from the Union.
J A N U A RY 2 9
Kansas is admitted as a state with a constitution
prohibiting slavery.
F E B R U A RY
Delegates from six seceded states meet in Mont-
gomery, Alabama, to form a government and
elect Jefferson Davis President of the Confederate
States of America.
M A R C H 4
Abraham Lincoln is inaugurated as the sixteenth
President of the United States.
A P R I L 1 2 – 1 3
Fort Sumter is bombarded and surrenders to South
Carolina troops led by P.G.T. Beauregard.
36 UMS 09-10
1 8 6 1 (cont.)
A P R I L 1 5
Lincoln declares a state of insurrection and calls
for 75,000 volunteers to enlist for three months
of service.
A P R I L 1 7 – M AY 2 0
Virginia, Arkansas, Tennessee, and North Carolina
secede from the Union.
A P R I L 1 9
Lincoln orders a blockade of all Confederate ports.
A P R I L 2 0
Colonel Robert E. Lee resigns his commission in the
United States Army.
M AY 2 9
Richmond becomes the capital of the Confederacy.
J U LY 2 1
Confederate forces win a victory at the First Battle
of Manassas. Confederate General Thomas J.
Jackson earns the nickname “Stonewall” for his
tenacity in the battle.
1 8 6 2
F E B R U A RY 6
General Ulysses S. Grant captures Fort Henry, Ten-
nessee. Ten days later he accepts the “uncondi-
tional and immediate surrender” of Fort Donelson.
These victories open up the state of Tennessee for
Union advancement.
M AY 3 1 – J U N E 1 , 1 8 6 2
During the Battle of Seven Pines in Virginia, Robert
E. Lee takes over command of the Confederate
army from the wounded Joseph E. Johnston.
A U G U S T 2 0
Horace Greeley of the New York Tribune publishes
The Prayer of Twenty Millions, a plea for Lincoln to
liberate slaves in the Union.
A U G U S T 2 9 – 3 0
The South is again victorious at the Second Battle
of Manassas.
S E P T E M B E R 1 7
The Battle of Antietam, Maryland, exacts heavy
losses on both sides.
S E P T E M B E R 2 2
President Lincoln issues the Preliminary Emancipa-
tion Proclamation.
N O V E M B E R 7
General McClellan receives Lincoln’s order relieving
him of command of the Army of the Potomac.
1 8 6 3
J A N U A RY 1
Lincoln issues the Emancipation Proclamation,
which declares that slaves in the seceded states
are now free.
J U LY 1 – 3
The Battle of Gettysburg is fought in Pennsylva-
nia. General George G. Meade compromises his
victory by allowing Lee to retreat South across
the Potomac.
J U LY 1 3 – 1 5
Violent riots erupt in New York City in protest of
the draft.
N O V E M B E R 1 9
Lincoln delivers his Gettysburg Address, in which
he reiterates the nation’s fundamental principle
that all men are created equal.
N O V E M B E R 2 3 – 2 5
After three days of battle, the Union victory
at Chattanooga, Tennessee, opens the way
for Union advancement into the heart of the
Confederacy.
37UMS 09-10
1 8 6 4
M A R C H 1 0
Newly commissioned to the rank of lieutenant
general, Ulysses S. Grant is given official authority
to command all of the armies of the United States. M AY 5 – 6
The Battle of the Wilderness in Virginia is the first
of a bloody series of month-long engagements
between Grant and Lee.
J U N E 2 8
Lincoln signs a bill repealing the fugitive
slave laws.
J U LY 1 1 – 1 2
Confederate forces under Jubal Early probe and
fire upon the northern defenses of Washing-
ton, D.C., throwing the Capital into a state of
high alert.
N O V E M B E R 8
Lincoln is reelected President, with Andrew John-
son as Vice President.
D E C E M B E R 2 1
Savannah falls to Sherman’s army without
resistance. Sherman gives the city to Lincoln as a
Christmas present.
1 8 6 5
J A N U A RY 3 1
Congress passes the Thirteenth Amendment,
which abolishes slavery throughout the
United States.
M A R C H 4
Lincoln is inaugurated as President for a
second term.
A P R I L 3
Union troops occupy Richmond. A P R I L 9
Robert E. Lee surrenders the Army of North-
ern Virginia to Grant at Appomattox.
A P R I L 1 4
John Wilkes Booth shoots President Lincoln at
Ford’s Theater; Secretary of State William H.
Seward is stabbed and wounded in an assas-
sination attempt inside his Washington home.
A P R I L 1 5
Lincoln dies, and Andrew Johnson is inaugu-
rated as President.
A P R I L 2 6
John Wilkes Booth is shot in a barn in Virginia
and dies.
1 8 6 5 (cont.)
M AY 1 0
Jefferson Davis is captured and taken prisoner
near Irwinville, Georgia.
M AY 2 6
In New Orleans, terms of surrender are of-
fered to General E. Kirby Smith, commander
of the Trans-Mississippi Department. His
acceptance on June 2 formally ends Confeder-
ate resistance.
J U N E 3 0
All eight conspirators are convicted for the assas-
sination of President Lincoln; four are sentenced
to death.
Timeline courtesy of the Smithsonian Institution (www.
si.edu) and used with support of its mission for the
increase and diffusion of knowledge.
38 UMS 09-10
T H E S E C O N D I N A U G U R A L A D D R E S SB Y P R E S I D E N T A B R A H A M L I N C O L N
HISTORY
WASHINGTON, DC - MARCH 4, 1865
At this second appearing to take the oath
of the presidential office, there is less
occasion for an extended address than
there was at the first. Then a statement,
somewhat in detail, of a course to be
pursued, seemed fitting and proper. Now,
at the expiration of four years, during
which public declarations have been
constantly called forth on every point
and phase of the great contest which
still absorbs the attention, and engrosses
the energies of the nation, little that is
new could be presented. The progress
of our arms, upon which all else chiefly
depends, is as well known to the public
as to myself; and it is, I trust, reasonably
satisfactory and encouraging to all. With
high hope for the future, no prediction in
regard to it is ventured.
On the occasion corresponding to this
four years ago, all thoughts were anxious-
ly directed to an impending civil war. All
dreaded it—all sought to avert it. While
the inaugural [sic] address was being
delivered from this place, devoted alto-
gether to saving the Union without war,
insurgent agents were in the city seeking
to destroy it without war—seeking to dis-
solve [sic] the Union, and divide effects, by
negotiation. Both parties deprecated war;
but one of them would make war rather
than let the nation survive; and the other
would accept war rather than let it per-
ish. And the war came.
One eighth of the whole population
were colored slaves, not distributed
generally over the Union, but localized
in the Southern part of it. These slaves
constituted a peculiar and powerful
interest. All knew that this interest was,
somehow, the cause of the war. To
strengthen, perpetuate, and extend this
interest was the object for which the
insurgents would rend the Union, even
by war; while the government claimed
39UMS 09-10
no right to do more than to restrict the
territorial enlargement of it. Neither party
expected for the war, the magnitude,
or the duration, which it has already at-
tained. Neither anticipated that the cause
of the conflict might cease with, or even
before, the conflict itself should cease.
Each looked for an easier triumph, and a
result less fundamental and astounding.
Both read the same Bible, and pray to
the same God; and each invokes His aid
against the other. It may seem strange
that any men should dare to ask a just
God’s assistance in wringing their bread
from the sweat of other men’s faces;
but let us judge not that we be not
judged. The prayers of both could not
be answered; that of neither has been
answered fully. The Almighty has his own
purposes. “Woe unto the world because
of offences! for it must needs be that
offences come; but woe to that man by
whom the offence cometh!” If we shall
suppose that American Slavery is one of
those offences which, in the providence
of God, must needs come, but which,
having continued through His appointed
time, He now wills to remove, and that
He gives to both North and South, this
terrible war, as the woe due to those by
whom the offence came, shall we discern
therein any departure from those divine
attributes which the believers in a Living
God always ascribe to Him? Fondly do
we hope—fervently do we pray—that
this mighty scourge of war may speed-
ily pass away. Yet, if God wills that it
continue, until all the wealth piled by the
bond-man’s two hundred and fifty years
of unrequited toil shall be sunk, and until
every drop of blood drawn with the lash,
shall be paid by another drawn with the
sword, as was said three thousand years
ago, so still it must be said “the judg-
ments of the Lord, are true and righteous
altogether”
With malice toward none; with charity
for all; with firmness in the right, as God
gives us to see the right, let us strive on
to finish the work we are in; to bind up
the nation’s wounds; to care for him who
shall have borne the battle, and for his
widow, and his orphan—to do all which
may achieve and cherish a just and last-
ing peace, among ourselves, and with all
nations.
Lincoln’s Second Inaugural Address is in the public domain.
T E X T E X P L O R AT I O N There are many excerpts of texts
throughout Fondly Do We Hope…
Fervently Do We Pray. They include:
Lincoln’s Address to the Washington
Temperance Society of Springfield, IL
(2/22/1842)
Lincoln’s House Divided Speech
(6/16/1858)
Lincoln’s First Inaugural Address
(3/4/1861)
Lincoln’s Address at Sanitary Fair
(4/18/1864)
Lincoln’s Second Inaugural Address
(3/4/1865)
Frederick Douglass’s “Colonization”
from The North Star
Declaration of Independence
Walt Whitman’s The Wound-Dresser
Walt Whitman’s Poem of the Body
Walt Whitman’s Crossing
Brooklyn Ferry
Song of Solomon from the King
James Bible
Book of Revelation from the King
James Bible
40 UMS 09-10
A B O U T D A N C E
Photo: Russell Jenkins/Ravinia Festival]
41UMS 09-10
drawing loops, a hip jutting out straight
to the side, or the head swooping down
and up through an arc. The range of
these movements can vary from so small
as to be almost invisible, to as large as
the reach of the dancer or the size of the
dance area. There are countless variations
and combinations of ways that move-
ment can occur in space.
TIME “When?” is a question about
time or timing. Choices about time in-
clude such things as duration, speed, di-
visions of time (e.g., beats and intervals),
timing of accents, and rhythmic patterns.
ABOUT
E L E M E N T S O F D A N C EANYONE CAN PARTICIPATE IN DANCE. You do not necessarily need years of practice or special classes to enjoy it. Dance has
been a part of human lives since the beginning of history, sometimes as a part of ceremonies or rituals, other times to create a per-
formance for other people, and even for people to just have fun and socialize. Below are a few of the reasons people dance today.
Dance gives people the opportunity to express their feelings, culture, and values through body movement. Every type of dance,
from break dancing to ballet, tells a story about the society and time in history that it comes from. Dance is one of the few things
that cultures all over the world from all time periods have in common, so it is able to express individual cultures and the human
qualities we all have in common at the same time.
There are four words that can be used while describing dance: body, energy, space, and time. By talking about these four ele-
ments, dance artists find it easier to communicate in words what is normally expressed only with movement. While performing,
they use physical, outward movement to show other people what they feel emotionally inside.
During a dance performance, more goes on than just a dancer expressing him or herself on stage while the audience passively
watches. Seeing dance is an active experience. While you watch the dancers, think about the way they are moving and how they
might be feeling. Think about how the dancers feel about each other, and how their movement helped you understand that. The
key to watching dance is to imagine that you’re living in the dancer’s body, that you are actually doing the moves that you see.
ENERGY Energy choices may reveal
emotional states. For example, a power-
ful push might imply aggression or
confidence depending of the intent and
situation. A delicate touch might reflect
affection and timidity or perhaps preci-
sion and skill. Some types of energy can
be described in words; others spring from
the movement itself and are difficult to
label with language. Sometimes differ-
ences in the use of energy are easy to
perceive; other times these differences
can be quite subtle. Variations in move-
ment flow, force, tension, and weight
can be combined in many ways and may
communicate a wide spectrum of human
emotional states.
SPACE “Where?” is a question about
space and spacing. Choices about use of
space include such variables as position
or place, size or range, level, direction,
and pathway. Here are some examples
of space choices applied to actions: the
dancer might choose to move or pause
at any specific place in the dancing area.
A skip could be in any direction such as
diagonally forward and toward one side
of the room. A twist might be high in the
air or low to the ground or in between.
A run or turning action could be in place
or perhaps travel a certain distance along
a particular pathway. The pathway might
be curved, straight, zigzagging, or mean-
dering. The dancer’s movements can also
trace pathways in the air as in an elbow
42 UMS 09-10
Timing choices are applied to actions.
Here are some examples: a twist could
be gradual or quick. A stop might be
suddenly followed by a pause. Leap-
ing might speed up, slow down, or be
paced by even beats. A series of sitting,
standing, and stretching actions could
occur with an even pace taking a short
or a long time. Such actions could be
accented with pauses at regular intervals
or occur sporadically. Bending, jumping,
and shaking actions might be arranged
in a rhythmically patterned sequence.
Rising and curling might ride on the
rhythm of breathing.
There are endless possibilities for timing
one’s movements; timing variables such as
speed, duration, accents, and rhythmic pat-
terns, simple to complex, can be applied to
actions in many different combinations.
IS ALL MOVEMENT DANCE? The dancer moves with energy through
time and space. But then, who doesn’t?
Are we always dancing every moment
we are alive? Or are there some special
features that lead us to call some of our
movement experiences dance? It does
seem that in dance, people tend to be
more consciously involved in their move-
ment, taking particular enjoyment or
interest in their body.
LANGUAGE Dance is a language. It
is spoken through the movement of the
human body. It tells stories, expresses
emotions, and creates images. All dance
is based upon a universal experience:
the rhythms and movement of the hu-
man body. At a party, at home, or even
on the street, most of us have felt the
urge to dance. Whether it is hip-hop,
swing, salsa, meringue, foxtrot, waltz, or
twist, we all know a style of dance.
In dance we take in, synthesize, and
transmit our ideas and feelings about
life through our bodies. Dance is a medi-
um for learning about oneself and one’s
world. It is truly a universal artas all hu-
mans relate to body movement and the
need to communicate with each other.
As we dance, we sense our bodies and
the world around us. We learn how and
where our bodies can move, expanding
our movement possibilities and enjoy-
ing our sense experience as we dance.
Dance is a vehicle for understanding life
experience giving dynamic form to our
thoughts and feelings. It symbolizes our
thoughts and feelings kinesthetically.
Dance is a unique form for communi-
cating. As we manifest our experience
of life in dance, we send out messages
through our bodies. We can appreciate
these messages ourselves, and others
can receive them. Dancecommunicates
in ways that words cannot.
PRACTICE Sometimes, dance is
designed to be performed and seen by
an audience. In those cases, no matter
what the style, dancers must train their
bodies and their imaginations to be
more expressive. Dance artists extend the
vocabulary of their movement language
through classes, rehearsals, and perfor-
mances. The elements of their practice
are the basic building blocks of dance.
DANCE INSTRUMENT The art
of dance takes place through the dancer.
Human beings are both the creators and
the instruments. The physical manifesta-
tion of the dancer’s ideas and feelings
is the living, breathing human body. In
dance, the body is the mobile figure or
shape: felt by the dancer, seen by others.
The body shape is sometimes relatively
still and sometimes changing as the
dancer moves in place or travels through
the dance area. Whether moving or
pausing, dancers are alive with inner
movement, feelings and thoughts.
ARTISTIC MEDIUM Movement
is the artistic medium of dance, just as
sound is the artistic medium of music.
The movement of human beings includes
a wide range, from large and obvious
to so small and subtle that it appears to
be stillness. Periods of relative stillness
are as effective and essential in dance
as are silences or rests within music. The
movement vocabulary of modern dance
is made up of human actions. A few
of many possible actions are run, hop,
crawl, stop, rise, jump, fall, bend, hold,
shake, stand, walk, twist., turn, bal-
ance, roll, stretch, slide, leap, jiggle, pull,
push,kick, hover, reach and hang.
43UMS 09-10
ABOUT
E L E M E N T S O F M O V E M E N TANOTHER WAY TO THINK about the key elements of movement and dance is to remember the pneumonic “BEST”: body,
energy, space, and time. These components drive all movement: pedestrian (everyday movement), athletic, the movement of
animals, as well as dance in all its variety. These elements are constantly woven together to create an unbroken fabric, but the
threads can be separated for a clearer understanding of the art form.
B O D Y
B O D Y PA RT S :Head, shoulders, arms, hands, back, rib cage, hips, legs, feet, muscles, bones, joints, heart, lungs (breath)
E N E R G Y
Q U A L I T I E S :Swinging, sustained (smooth), percussive (sharp), vibratory (shaking)
D Y N A M I C S :Strong (powerful), light (delicate)
F L O W :Free-flowing, controlled
S PA C E
S H A P E : Body design in space
L E V E L :High, middle, low
D I R E C T I O N :Forward, backwards, sideways, diagonal, up, down
PAT H WAY:Curved, straight, jagged,combinations of these
F O C U S :Direction of gaze/focus of eyes
T I M E
T E M P O :Fast, slow
B E AT:Underlying pulse, rhythm
A C C E N T:Emphasis
D U R AT I O N S :Long, short
Photo: Russell Jenkins/Ravinia Festival]
44 UMS 09-10
LANGUAGE
V O C A B U L A RY O F D A N C E
ART The production of something that
shows a level of skill (or specific inten-
tion) in the chosen medium and an intent
to communicate meaning. Art may be
classified as architecture, dance, music,
theater, visual, literary, technological, etc.
BODY SHAPES The design of the body
in stillness; shapes may be curved, angu-
lar, twisted, or straight.
CHOREOGRAPHY The process of creat-
ing a dance; originating from the Greek
word choros (meaning “to dance”) and
graphos (meaning “to write”). This pro-
cess includes an understanding of form
and movement development in dance.
CHOREOGRAPHER A person who creates
a dance work and decides how, when, and
where the dancers should move.
COMPANY A group of dancers who
perform together.
DANCE ELEMENTS Dance is an art
form comprised of the elements of time,
space, energy and the body; each of
these elements has its own knowledge
base which is interpreted uniquely by
each dance whether it be folk, ballet,
modern, jazz, or ethnic dance.
DANCE TECHNIQUE The specific vocab-
ulary of dance and the physical principles
for producing efficient and correct body
movement are called technique.
DANCE THEATER A dance-theater work
can incorporate elements of both dance
and theater: including dancing, singing,
dialogue, film, and multimedia.
ENERGY One of the elements of move-
ment; energy propels or initiates move-
ment or causes changes in movement or
body position.
ENSEMBLE A group of dancers who
perform together.
EXPRESSION A manner of speaking,
playing music, dancing, writing, or visu-
ally producing something that shows
feeling and meaning.
GENERAL SPACE The area of space
through which a dancer travels or takes
his/her 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.
KINESTHETIC SENSE The sense of
movement and bodily awareness of
oneself, others, and the environment;
this sense provides feedback about
speed, height, tension/relaxation, force,
exertion, direction, etc. to audience and
performers alike.
LEVELS The height of the dancer in
relation to the floor: high, medium, or
low. When a dancer is low, a part of his/
her torso is touching the floor; when a
dancer is middle level the feet are flat on
the floor; when a dancer is on high level,
he/she is in the air or on the toes.
LOCKING A movement that creates the
illusion that a dancer’s joints are stuck,
almost like a freeze frame in a movie.
MODERN BALLET A choreography that
maintains elements of traditional ballet
created during the 20th century; many
modern ballets are abstract and non-
literal.
MODERN DANCE A performance move-
ment form that evolved at the beginning
of the 20th century, modern dance can
be contrasted with ballet, tap or jazz.
Creative work on choreography is an
important part of the learning experience
in modern dance.
45UMS 09-10
NON-LITERAL CHOREOGRAPHY Cho-
reography that emphasizes movement
manipulation and design without the
intent of telling a story; non-literal works
communicate directly through movement
and need no translation.
PERCUSSIVE Use of energy that is pow-
erful, staccato, and explosive.
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.
REPERTOIRE Movement phrases or full
sections from completed dance works
that are taught in order to familiarize
dancers with a specific choreographer’s
style and movement vocabulary. Reper-
toire can also mean the dance pieces a
dance company is prepared to perform.
PHRASE The smallest and simplest unit
of dance form; usually part of a larger,
more complex passage. A phrase is
frequently repeated throughout a work in
order to give it continuity.
PROP An object that is separate from the
dancer’s costume but that is a part of the
action or spatial design in the choreog-
raphy or that contributes to the meaning
of a dance.
RHYTHM The organization of sound
in time; rhythm is a pattern of pulses/
beats with selected accents that can be
repeated or joined with other patterns to
form longer phrases. Rhythm is one of
the basic elements of music.
SECTION A smaller part of a whole work
that contains many phrases in and of
itself.
SET How the stage is set up and what
the stage looks like.
SHAPE An interesting and interre-
lated arrangement of body parts of one
dancer; the visible makeup or molding
of the body parts of a single dancer; the
overall visible appearance of a group of
dancers; also the overall development or
form of a dance.
SOLO A section of a work that is danced
by only one dancer.
SPACE One of the elements of move-
ment. Direction, level, size, focus and
pathway are the aspects of space.
STYLE A distinctive manner of moving.
SYMMETRICAL A visually-balanced body
shape or grouping of dancers.
TECHNIQUE The learning of movement
skills; the ability to use specific methods
to create a dance.
TEMPO The speed of movement.
UNITY A principle of choreographic form
in which phrases fit together, with each
phrase important to the whole.
VIBRATORY Use of energy that involves
shaking or trembling actions.
46 UMS 09-10
L E S S O N P L A N S
Photo: Russell Jenkins/Ravinia Festival]
47UMS 09-10
P R E PA R I N G F O R T H E P E R F O R M A N C EThe following the steps below help audience members understand how to make sense
of all that they are seeing in a live performance
CONNECT the elements to one
another. Notice how the parts create a
whole work of art.
RESPOND to the work by reflecting
on how it makes you feel and what you
think about it.
EXPERIENCE each of these elements
with all of your senses, with your emo-
tions, and with your imagination.
DESCRIBE these elements and your
response to them.
ENGAGE
BE QUIET AND ALERT during the
performance. This allows you and your
fellow audience members to see and
hear everything that is going on.
IDENTIFY all of the elements that
are present in the performance. These
include the components of a live perfor-
mance previously listed!
48 UMS 09-10
IDENTIFY EVERYTHING AND EVERYONE IN THE PHOTO.
How many performers are in the photo?
What are they wearing?
What are the elements of a set on the stage?
EXPERIENCE THE EVENT CAPTURED IN THE PHOTOGRAPH.
Observe what is going on. Notice your thoughts about it.
DESCRIBE THE INDIVIDUAL PARTS AND THE THOUGHTS THAT COME TO YOU.
What words or phrases describe the movement?
What words or phrases describe the costumes?
What words or phrases describe the set and lighting?
How would you describe your response to it?
CONNECT ALL OF THE ELEMENTS
What seems to be going on?
RESPOND TO WHAT YOU SEE
Is this photograph interesting to you?
Does it seem to be communicating a specific feeling?
What story could you create about it?
CREATE AN ARTFUL RESPONSE USING WORDS OR DRAWINGS.
These responses can be anything. Examples of responses include:
poems inspired by the photo•
descriptions of what you see in the actions•
word phrases or sentences that describe your feelings and thoughts about the image•
action poems or phrases that describe the movement and dynamics •
drawings inspired by the photo•
P R A C T I C I N G O B S E R VAT I O NUsing the photo on the next page (page 49), practice the skills of observation.
All of the elements of a live performance cannot be captured in a photograph, but focus on the ones that are present.
ENGAGE
49UMS 09-10
Photo: Paul B. Goode
50 UMS 09-10
M A K I N G A P H O T O G R A P H C O M E A L I V E
Look closely at the photograph on the previous page (page 49). Notice everything you can about it and then use the following questions to help you create your own artful response.
WORKSHEET
Identify all of the performers. How many are there? Briefly describe one of them.
How would you describe the costumes they are wearing? Do the costumes seem like modern clothes or clothing from another time?
Look at the environment the dancers are in. Do you notice any elements of a set? What are they?
Notice the movement that the photograph has caught. What words could describe the move-ment? Examples of descriptive movement words are: energetic, suspended, dramatic, dangerous, frantic, calm.
Connect everything together. What seems to be going on in this moment? Is there a story you can imagine goes with this picture?
What do you feel in response to this photo? Does it make you curious? Does it make you want to see the whole dance?
51UMS 09-10
Create your own response to the photo. You can do this by filling in the word poem below or by using the rest of the page to make your own poem, written response, or drawing.
Action cannot be traced, yet it is suspended in this moment.
A man is caught ______________________________
White, white surrounds.
Determined _________________________________
Among many men, one is ______________________________
_________________________________ floats and time is suspended
All movement ______________ in this instance of ________________.
Use the space below for your own poems, drawings, and thoughts.
52 UMS 09-10
P E R F O R M A N C E N O T E SReview these questions before the performance and reflect on them after.
You can also use these to take notes during the performance if you choose.
ENGAGE
DANCE/MOVEMENT
How many dancers are there? Do you recognize any of the dancers on the stage as one of the dancers in the •photograph you looked at earlier?
How would you describe the kind of dancing they are doing? Is it active, daring, graceful?•
Look for a moment when the dancing is especially exciting to you. Write down a few words that capture the •essence of this moment.
MUSIC
Find the musicians. How many are there and what instruments are they playing?•
What kind of music styles can you recognize? Are the musicians playing jazz, classical, rock-and-roll, heavy •metal?
Does the music surprise you? Why or why not? •
Listen for an exciting musical moment. Write a few words that describe this moment for you. •
THEATER/ACTING
Find the speakers in the piece. What words describe how they say their lines? Are they energetic, enthusiastic, sad? •
Do you understand everything that is being said? •
53UMS 09-10
SET DESIGN
Notice the set. Briefly describe some of the parts of the set. Are there hanging objects? Is there a special floor •or stage?
PUT IT ALL TOGETHER
What does this performance seem to be about to you? •
Is the piece telling one story, many stories, or none at all? •
Performances can also be about ideas. What ideas are talked about or danced about?•
Did this performance connect to anything in your life? Did the performers move like someone you know or •watch on TV? Did the music remind you of a song you’ve heard before?
54 UMS 09-10
M O R E R E S O U R C E S
EXPLORE
LESSON PLANS
ARTSEDGE
www.artsedge.org
Artsedge offers a wide range of arts-
infused lesson plans and materials for
educators to use. Below are a few that
relate to this performance.
DANCING THROUGH POETRY
http://artsedge.kennedy-center.org/
content/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 repre-
sent dance.
ELEMENTS OF DANCE
http://artsedge.kennedy-center.org/
content/2338/
How many ways can a person move?
Students will explore and discover the
elements of dance by demonstrating
various simple movements. This exercise
will help the teacher assess the students’
level of experience and ability with
respect to dance. Students will cre-
ate 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.
CIVIL WAR MUSIC
http://artsedge.kennedy-center.org/
content/2095/
Using songs popular during the Civil
War, students will identify songs as ral-
lying songs, recruiting songs, popular
entertainment songs, campfire songs,
sentimental songs, or patriotic songs.
Students will compare and contrast songs
from the North and from the South, then
choose a Civil War song to perform using
voice or an instrument.
RELIVING HISTORY THROUGH SLAVE
NARRATIVES
http://artsedge.kennedy-center.org/
content/2358/
After reading narratives from former
slaves that were recorded in the 1930’s
as part of the Federal Writers’ Project,
students conduct research on slavery,
and tell a story based on their findings.
The lesson incorporates an exploration of
storytelling techniques.
PBS
www.pbs.org/civilwar
PBS offers lesson plans surrounding the
Ken Burns film The Civil War.
WALT WHITMAN, PATRIOT POET
http://www.pbs.org/civilwar/class-
room/lesson_whitman.html
Walt Whitman, journalist and poet, cre-
ated poems that are boldly American in
style and substance. He idealized Ameri-
can leaders and workmen, chronicled
Civil War battles, praised 19th Century
technology, and memorialized Abraham
Lincoln. While his perspective changed as
the nation developed, Whitman’s poems
retained their democratic spirit and faith
in the American experiment. In this les-
son, students will have an opportunity
to analyze historic events and concepts
recorded in Whitman’s poems, examine
conditions in Civil War hospitals and the
poet’s reactions to those conditions, and
evaluate Whitman’s role as poet, histo-
rian, and American visionary.
55UMS 09-10
LINCOLN AND RECONSTRUCTION
http://www.pbs.org/civilwar/class-
room/lesson_lincoln.html
This lesson focuses on Lincoln’s role
as president during the Civil War. After
reading a variety of primary sources writ-
ten by Lincoln or to him, students analyze
under what provisions of the Constitu-
tion he acted as president. They then try
to imagine what a week in the life of the
President might have been like by writing
a diary as Lincoln or his secretary. The
lesson then focuses on Lincoln’s role in
reconstructing the nation, which he initi-
ated in his Proclamation of Amnesty and
Reconstruction of December 8, 1863.
Students role play members of his cabi-
net as they hear from a variety of con-
stituents about the effect this document
is having on the course of the war and
the future of the Freedmen. The cabinet
considers a variety of amendments to
Lincoln’s plan and through debate, either
adopts or rejects them.
LIBRARY OF CONGRESS: LINCOLN
BICENTENNIAL
www.abrahamlincoln200.org
Abrahamlincoln200.org has a “For Teach-
ers” section with many lesson plans.
THE GREAT “WHAT IF” QUESTION
http://abrahamlincoln200.org/
learning-about-lincoln/for-teachers/
default.aspx
This lesson encourages students to think
about how American history might have
been different had Lincoln lived. Stu-
dents will discuss the impact of President
Lincoln’s assassination on our nation’s
Reconstruction policy.
ONLINE RESOURCES
BILL T. JONES/ARNIE ZANE DANCE
COMPANY
www.billtjones.org
The Bill T. Jones/Arnie Zane Dance
Company’s official website.
FONDLY DO WE HOPE…FERVENTLY
DO WE PRAY
www.fondlydowehope.com
The official website of the dance
work, including a trailer, an extensive
video diary of the work’s creation,
photos, video interviews with Mr.
Jones, and information on the music,
set, and costumes.
SMITHSONIAN INSTITUTION: THE
CIVIL WAR
www.civilwar.si.edu
The Smithsonian’s Civil War collec-
tion, a timeline, and further online
resources.
UMS
www.ums.org
The official website of UMS. Visit the
Education section (www.ums.org/edu-
cation) for study guides and informa-
tion about community and family
events.
56 UMS 09-10
ARTSEDGE: ARTSEDGE Home. Web. 11 Dec. 2009. www.artsedge.org.
Bill T. Jones/Arnie Zane Dance Company | Home. Web. 11 Dec. 2009. www.billtjones.org.
The Civil War . PBS. Web. 11 Dec. 2009. www.pbs.org/civilwar.
CivilWar@Smithsonian. Web. 11 Dec. 2009. www.civilwar.si.edu.
Fondly Do We Hope...Fervently Do We Pray. Web. 11 Dec. 2009. www.fondlydowehope.com.
Lihs, Harriet. Appreciating Dance: A Guide to the World’s Liveliest Art. Highstown: Princeton Book Company, 2002.
Lincoln Bicentennial | 1809-2009 | Live the Legacy. Web. 11 Dec. 2009. www.abrahamlincoln200.org.
McGovern, George. Abraham Lincoln. New York: Times Books, 2009.
McPherson, James. Abraham Lincoln. New York: Oxford, 2009.
Morgenroth, Joyce. Speaking of Dance. New York: Routledge, 2004.
Robertson, Allen, and Donald Hutera. The Dance Handbook. New York: GK Hall & Co, 1988.
BIBLIOGRAPHY
57UMS 09-10
A B O U T U M S
58 UMS 09-10
W H AT I S U M S ?
UMS
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
Liz StoverProgramming Coordinator
INTERNS
Emily Barkakati
Mark Johnson
Neal Kelley
Michael Michelon
Leonard Navarro
Bennett Stein
59UMS 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.
60 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
61UMS 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