theatre dance music ballet visual arts 2013-2014 Season Arts Access School Time Program The Christmas Ballet XXMAS presented by: Smuin Ballet November 22, 2013 11:30 a.m. Hofmann Theatre at the Lesher Center for the Arts Field Trip Sponsor: Education Sponsor:
Welcome Dear Teachers, We have created the following study guide to help make your students theater experience as meaningful as possible. For many, it will be their first time viewing a live theatrical production. We have learned that when teachers discuss the upcoming arts performance with their students before and after the production, the experience is more significant and long-lasting. Our study guide provides pre and post performance discussion topics, as well as related activity sheets. These are just suggestions, so please feel free to create your own activities and areas for discussion. We hope you and your class enjoy the show! The Diablo Regional Arts Association (DRAA) enriches the lives of thousands of East Bay residents every year by supporting programs at Walnut Creek s Lesher Center for the Arts (LCA). Through well-established business and community partnerships, fundraising and marketing expertise, we help arts organizations present professional-level theater, music and dance performances, visual arts exhibitions, and family events. Over the years, the Arts Access School Time Program has offered students and children in the community the opportunity to experience high-quality live performances and visual arts exhibits. These programs engage students in the artistic process, cultivating an appreciation for the arts by combining education and entertainment which together help to make the arts a vital part of our schools and community. Many of these programs offer funding for low-income schools, making the arts programs accessible to as many students as possible. Together with corporate, foundation and individual partners, the DRAA is able to make these opportunities possible. This year s Arts Access School Time Program would not be possible without the generous support of Target - Field Trip Sponsor, Wells Fargo - Education Sponsor, along with our other season sponsors including The Hewlett Foundation, JP Morgan Chase, The Dean & Margaret Lesher Foundation, and The Thomas J. Long Foundation, and all the individual donors who support this program. Table of Contents Welcome & Program Overview...2 Preparing Your Students for a Field Trip to the Lesher Center for the Arts...3 Theatre Etiquette Guide...4 About the Producer...5 About the Performance...5 About the Art Form...7 Educational Activities...9 Study Guide Resources...17 Content Standards...18 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 2
Preparing Your Students for a Field Trip to the Lesher Center for the Arts Drop-off and Pick-Up: Buses should drop off at the Lesher Center for the Arts by pulling directly up to the curb in front of the theatre on Civic Drive or Locust Street in the designated loading zones, utilizing space efficiently so that the other buses can unload/ load at the same time. As soon as students and chaperones have off-loaded safely, buses need to depart and find parking near the LCA to wait until the end of the performance. NO bus parking is available at the Lesher Center for the Arts. Loading zones are ONLY for loading and unloading. Ticket Information: Tickets are held by the DRAA and distributed to your group on the day of performance by a DRAA staff member who will be positioned in the area outside the front of the entrance to the theatre. Look for the brightly colored balloons!! Tickets should be distributed to each student prior to entering the theatre. Every attendee must have a ticket in hand before entering the theatre. All tickets are GENERAL SEATING, with no reserved seating available. If you have any special seating needs, please notify the DRAA prior to your performance so we can make the necessary arrangements. The Auditorium and Seating: The Lesher Center for the Arts features three distinct theatres providing a space tailored for every show and audience. The Hofmann Theatre seats 785 patrons and is the largest of the three theatres in the Lesher Center for the Arts. It features a spacious main floor and a balcony featuring four sets of box seating areas. The theatre is used for largescale productions including musicals, operas, ballets, symphonies and larger corporate functions. The Lesher Theatre seats 297 patrons and provides a more intimate space for mid-sized productions including musicals and plays. The Knight Stage seats 133 patrons and is a black-box theatre featuring a space tailored for smaller, more intimate productions and events. Seats can be added or removed as necessary. Lighting and Music The amount of lighting and music in the theatre will vary from time to time as the play or performance progresses. There may be times where it is almost completely dark. We are aware that this can be an exciting experience for some children and the level of energy can increase along with their excitement. Music can also be used to create different impressions or communicate certain moods during the performance which encourages audience participation and spirit. 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 3
At the Performance The live theatre performance is not pre-recorded with mistakes edited out. This makes it more exciting for an audience. Student s thoughtful attention and responses have a real effect and contribute to the quality of the experience. The audience gives energy to the performers who use that energy to give life to the performance! Theatre Etiquette Guide Going to a play is a special experience, one that can be remembered for a long time. Everyone in the audience has been looking forward to seeing the performance. There is a big difference in going to a theatre and to a movie. The actors are performing for you live onstage, and they can see and hear what goes on in the audience just as you can see and hear them. So, one behaves a little differently than when you are at the movies or at home watching TV. Some things to remember: Stay with your group at all times. Lights will dim just before a performance, and then go dark. Show your knowledge by sitting calmly. No talking or whispering during the performance. Laughter at appropriate times only. Keep body movements to a minimum. You can t get up and move around during the performance. Please use the bathroom or get a drink before seating for performance or at intermission ONLY. Show appreciation by clapping. The actors love to hear applause. This shows how much you enjoyed the performance. Don t leave your seat until the performers have taken their curtain call at the end. When the performance ends, wait patiently to exit. Be polite and attentive. Everyone in the theater is sharing the same experience and space. No taking of pictures or video recording during performance is allowed. TURN OFF ALL cell phones, pagers, beepers, alarms, anything that can disturb the production, actors and the audience members during the performance. 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 4
About the Producer Smuin Ballet Michael Smuin, a Tony and Emmy Award-winning choreographer and past Artistic Director of San Francisco Ballet, founded Smuin Ballet in 1994 and created more than 40 new works for his namesake Company until his death in 2007. Michael s artistic vision often defied categorization; his trademark was blending the diverse vocabularies of ballet, social dance, and jazz dance with an athletic swagger and a flair for storytelling. He felt strongly about creating and performing dance works that would speak to a wide variety of people and challenge popular perceptions about the art form. Thus, Smuin Ballet originally Smuin Ballets/SF was born. Since that first performance at San Francisco s Yerba Buena Center for the Arts Theater in March 1994, Smuin Ballet has grown in size, scope, and artistry to become one of Northern California s leading performing arts organizations. Artistic & Executive Director Celia Fushille, Michael s longtime Associate Director, now leads the Company, which performs 65 70 shows during the regular season in the bay area and Carmel. They also perform at New York City s Joyce Theater; tour regularly in Michael s home state of Montana; and perform elsewhere in California, across the country and in Europe. Smuin Ballet is known for the high caliber of their performances, the dramatic impact of its repertoire, and the technical prowess of the dancers, all of which place the Company in the top tier of American ballet companies. About the Performance Guiding Questions: 1. How is the Smuin Ballet different from classic ballet? 2. What are the specific acts that might be included in the Smuin Ballet Performance? 3. What should I look for when experiencing a dance performance? How is the Smuin Ballet different from classic ballet? Explain to your students that this performance is very different from classic ballet in the following ways: The Smuin ballet is a modern dance performance with elements of classic ballet. Modern dance is centered on a dancer s own interpretation of a piece instead of precise movements that are choreographed and performed in a classic ballet. The performers in a modern dance selection use emotion and mood to design their own steps instead of structured steps that are found in classic ballet. The movements in modern dance use body weight to enhance movement rather than erect, light and airy movements that are found in classic ballet. In some modern dance performances dancers even fall to the floor to demonstrate feeling and mood. 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 5
What are the specific acts that might be included in the Smuin Ballet performance? Smuin Ballet will be presenting the Cool Christmas portion of our holiday show for the student matinee. This is a collection of dances set to a variety of holiday songs. It showcases the versatility of our dancers in a wide range of dance styles; including ballet, jazz, tap, Broadway flair and contemporary or modern movement. The music also covers a broad range including Jazz, Pop, Gospel, Country Western, Latin and Hawaiian. With the variety of dance styles, students will see our dancers wear an array of footwear including: pointe shoes, tap shoes, high heels, jazz boots, ballet slippers and bare feet. While there is not linear storyline, each of the pieces will bring to mind a sense of setting; a time and place where the dancers interact with each other. The holiday songs in this performance will feature some popular tunes your students may recognize including: Santa Claus is Comin to Town Performed by The Jackson Five A Visit From St. Nicholas ( Twas the Night Before Christmas) Recited by Louis Armstrong Christmas in New Orleans Performed by Louis Armstrong with Benny Carter s Orchestra Drummer Boy Performed by Lou Rawls Blue Christmas Performed by Elvis Presley Santa Baby Performed by Eartha Kitt I Pray On Christmas Performed by Harry Connick, Jr. and the Sally Stevens Singers Pretty Paper Performed by Willy Nelson Droopy Little Christmas Trees Performed by Benny Martin Christmas Island Performed by Leon Redbone Bells of Dublin Music by The Chieftains Belle of Blackville Reel Music by The Chieftains Winter Wonderland Performed by Diana Krall Jingle Bells Mambo Music by Perez Prado and Juan Esquivel Please Come Home from Christmas Performed by Aaron Neville I ve Got Your Love to Keep Me Warm Music by Kay Starr, remixed by STUHR White Christmas Performed by Bing Crosby Feliz Navidad 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 6
What should I look for when experiencing a modern dance performance? A story displayed between its characters that is told without words but through movement, music, and emotion. The genre of the music selection that is the guiding force behind the performance and that sets the tone for each act. How the music selected relates or represents information about the story - happy, sad, excited, modern, classic, etc. How the dancers work together using their bodies to demonstrate the choreographer s direction without precisely measured steps or rigid structure. Look for the interplay between the characters and how they evoke the nuances of the story. The costumes and how they are designed to reflect the emotions and the story behind the piece. The shoes the dancers often chose to perform in, including flats, bare feet, and sometimes pointe shoes, to evoke the mood of the piece. About the Art Form Guiding Questions: 1. What elements of this modern dance performance will you experience? 2. Where did modern dance originate from? What elements of this modern dance performance will you experience? Explain to the students that a modern dance performance is different from any other multi-media outlet (concerts, movies, band, video games, etc). Below are things to expect while experiencing a LIVE performance. A dance performance is a live production before a live audience. It can take place in a setting as simple as your school auditorium, or in a space large enough to seat thousands of people. There are different styles of dance which depend on the music, setting, or the desire of the director. This performance is a collection of are contemporary dance and span different cultures, themes, and musical genres. Dance has many purposes: to set a storyline and movement to music, to evoke emotion, and to entertain. Elements of a dance performance can include live dancers, music, lighting, setting, costumes, and many different career opportunities for theatrical production. 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 7
Some examples include: Choreographer: a person who creates dance compositions and plans and arranges dance movements and patterns for dance performances. Composer: A musician who writes the music for performance. Dancers: The professional artists who use rhythmic steps and body movements set to music to convey a story or emotions. Professional dancers spend much of their time in classes, auditions, and rehearsals. Most take classes on a regular basis to keep in shape and to discipline their minds and bodies. Designers: The artists who create and plan the designs for a production. Director: The person responsible for the interpretive aspects of a stage production; the person who supervises the integration of all the elements, such as dancing, staging, and lighting. Musical director: The person who is responsible for rehearsal and performance of all music in the play. Producer: The person who provides the general supervision of a production and is responsible for raising money, hiring technicians and artists, etc., required to stage a performance. Stage manager: The person in charge of supervising the backstage and cueing all dancers and stage crew members. Public relations/business director: The people who advertise and publicize the production and have oversight for royalties, press releases, photos, public service announcements, ticket sales, box office management, house management and even ushering. Technicians: Skilled theater artists, working prior to the production to create the sets, costumes, props, special effects, lights, sound, and make-up for a production. Stage Crew: Skilled theater technicians who work during the performance to ensure that all elements of the production appear on stage as planned by the director and designers (lights, sound, costumes, make up, props, and special effects). The following is a list of basic theatrical terms to get your students familiar with what it takes to put on a theatre performance. This may be very helpful in introducing your students to the genre of dance. Act: a major division of a dance performance. Audition: the opportunity to try out for a part in a dance performance. Blocking: determining the basic movements of the dancers during a performance. Some develops by the dancers and choreographers, but a majority is supplied by director and includes entrances, exits, and crosses. House: the seating area of a theatre, but also the audience itself Seating: orchestra, mezzanine, balcony, box seating, loge Wings: In the Wings is an expression from the theater, referring to the areas on the sides of the stage hidden from the audience. Where did modern dance originate from? Modern dance was born in the early 20th century. Modern dancers wanted to move away from the precision and rigidity of classic ballet and express their inner emotions. Using the upper torso to employ such elements as contact-release, floor work, fall and recovery, and improvisation; it was usually performed in bare feet, often with non-traditional costuming. American Isadora Duncan, born in San Francisco in 1877, was a predecessor of modern dance. She performed with loose hair, bare feet, in flowing costumes, and with humor and emotion. She used the 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 8
classical Greek arts, folk dancing, popular dance, nature, natural forces, and skipping, jumping, running, and leaping to inspire her. In 1915, the Denishawn School for dance was opened by Ruth St. Denis and her husband, Ted Shawn. They are widely recognized for first teaching modern dance in America. Out of this school came the early pioneers of modern dance: Martha Graham, Doris Humphrey, Charles Weidman, Helen Tamiris, Michel Fokine, and Lester Horton. Together they established the foundations for modern dance. By 1927, modern dance was accepted and viewed as an art form in the United States. The public began flocking to performances, newspapers were assigning dance critics, colleges were accepting modern dance into their curriculum, and American dancers were now performing in venues where previously only European ballet companies had performed. Modern dance had arrived and people rushed to see it being performed across America. Educational Activities Before the Performance Ideas Preview and share music with your students from the list of songs that will be featured in the performance listed under the About the Performance section. Have students share some of their own memories of the holidays and what types of holiday music or dances do they like to listen to or perform. Encourage them to write/draw/paint/act/-explain how the music makes them feel, or what it reminds them of. What is the difference between ballet and modern dance? What makes modern dance different from other kinds of dancing? Have you ever expressed something to someone else without using words? Discuss how people frequently use gestures, facial expressions, and movements to express themselves without words (nodding yes and no, stamping in anger, jumping for joy); these actions are related to the mime and acting they will see on stage. Display materials (pictures, posters) showing the dance forms of different cultures. Have students choose a culture from one of the seven continents. Then ask them to match the culture they have chosen with one of the dance forms on display. If the student answers correctly, have them explain why they chose to match that dance with that culture. Divide students into small groups and have them recreate a popular children s story using movement only. Have them practice movements and then perform the story for the class. Have the rest of the class try to guess the story based on what they have seen. Smuin Ballet Vocabulary: Ballerina: is a principal female dancer of a ballet company Danseur: male version of a ballerina Arabesque: position of the body supported on one leg, with the other leg extended behind the body with the knee straight. Ballet: A theatrical work or entertainment in which a choreographer has expressed his ideas in group and solo dancing to a musical accompaniment with appropriate costumes, scenery and lighting. Ballon: means to bounce, where the dancer can show the lightness of the movement 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 9
Ballet master: the person in a ballet company whose duty is to give the daily company class and to rehearse the ballets in the company repertoire Choreographer: one who composes or invents ballets or dances Tutu: short classical ballet skirt made of many layers of tarlatan or net Balletomane: A ballet fan or enthusiast Cavalier: The male partner of the ballerina Applause: clapping because you liked the performance Pirouette: whirl or spin Pointe shoes: satin ballet shoes used by dancers Pas: a simple step Grand Plié: bending of the knees Grand Jeté A long horizontal jump, starting from one leg and landing on the other Performance: the act of performing; execution, accomplishment, fulfillment, etc Balance: a rocking step Corps de ballet: The dancers in a ballet who do not appear as soloists. Danse de caractère: Dance of character, character dance Élévation: the ability of a dancer to attain height in dancing. Plié: A bending of the knee or knees Relevé: A raising of the body on the points Variation: A solo dance in a classic ballet. Virtuoso: A performer with great technical ability. Solo: a musical piece or passage played or sung by one person, with or without accompaniment Soloist: a person who performs a solo Recital: a musical or dance program given by a soloist, soloists, or small ensemble Chasse: sliding or gliding movements After the Performance Ideas Read more about the choreographers and professional dancers. Write a thank you note to the sponsors and/or the performers. (template attached) Students can act out their favorite part of the performance. Discuss with students how the performance was different from what they expected. What parts did they like/dislike? Would they want to go to a ballet performance in the future? What did they learn? What kinds of dancing have you done before? Have you ever made up a dance? When do you dance and why? Do you ever dance in a group? Why do you think dancers, both men and women, wear tights as part of their costumes? What activities do you do that require tights or leggings? When does everyday movement become dance? Some ideas include: when music is added, when movement expresses moods or feelings, when it is stylized or arranged in sequence for performance, or when it communicates a story or an idea. 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 10
Other Activities Ideas Artistic Expression Using visual art supplies (i.e.: feathers, glitter, clay, colored paper, etc). Create a character with beautiful costume that you can see coming alive on stage. Create a map or diorama of the setting of the performance. Have students draw, paint or color a scene that they liked best. Creative Dramatics Have your students re-enact scenes from the performance. First, have the students discuss specific scenes who were the characters, where did it take place, what happened? Simple masks can be made to represent the various characters. Have students try out different ballet positions using the terminology. (see Ballet Terminology) Creative Writing Assign the class to write a newspaper or magazine review of the performance. Discuss elements of a good review. Afterwards, compare with published reviews and discuss agreements and disagreements with professional reviews and class reviews. What did you like about the ballet? Why? Ballet Terminology in ACTION! What do those words mean anyway? Learn the correct spelling and terminology and start with the basics! Here are your first 5 ballet vocabulary words in action: 1. Plie: Say it like this plee-yay A bending of the knees. The first exercise done at the ballet barre. Can be done in 1st, 2nd, 3rd, 4th and 5th positions. 3rd position is usually skipped during barre exercises because it is similar to 5th position. Beginning level students will work in 3rd position and then progress to 5th position plies. 2. Arabesque: Say it like this: air-ah-besk. It is a 90 degree or higher extension of one leg to the back. Arms placed up or to the side, reaching and stretching. A literal translation means a big pose. 3. Battement Tendu: Say it like this bott-mah tawn-doo This means a stretched beat of the foot. The working leg extends outward until your toes are fully stretched, or pointed. This builds stretch and strength in your feet! Yes, there are men who take ballet classes. They are great athletes! 4. Releve: Say it like this reh-lah-vay This means rising up on your toes! When ballerinas dance on their toes in pointe shoes, it is referred to as being on pointe. 5. Chasse: Say it like this shaw-say This means sliding or gliding movements. Chasse means to chase. Face the mirror and slide sideways across the studio floor. One leg chasses the other! 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 11
Dear,, 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 12
Dear Smuin Ballet dancer, (Date) I am (how old are you?) and in the grade at (school name?). I came to see you on stage in The Smuin Holiday Ballet at the Lesher Theatre on (date). I thought the performance was (how did it make you feel and why?). My favorite part of the performance was (what was something that was real to you?). I really liked your character because (what was it that made you like them?). The set looked like (what did you see?). The music sounded like (what did you hear?). Something else that I really loved about the performance was. I would like to come back to the Lesher Theatre and see (what is a performance that you think is fun?). Love, 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 13
Performance Word Search C K O O J S S N O I T A I R A V Z H T F N G O B H R A T T J V Y Q D H J A Z X A W R I I E K Q E R E I M E R P Y Q B N Q L A K E W Q V I R T U O S O M N N I T C P N R L Z B J L N X S O L O I O R E O M K D W S A P C S O M O B V A I E L R R J F J H P Y M M G S T B V J T L L P E E Q G E N O I S S E R P X E A L A S T Z I U W T L P W T F V G J B V A B D T G D L P W E P E S V D F L H E B A E E Z S A A N B S E K L S N H N L B L B U E P X N V Y J O O I W Y R I E A L A O E F P B S A X Z L W V E N K A L E L R U C T R L E C O G O H K W L O L T L I T H N P E M U P M P I L M A V O O E P U U O A G C Z R A Y Q S A N B N M T F T I C R M N I R A A K K T O H V A W X N D A R H R G T P L I E X I E X N N T B N S N E O O X A I B U X S L R E E C D J A V E L J F V L N J C S V S D M P F R Z R K T E B R I J K Y E I A T L V V N O I S E R V U E D W D F P Y I Y I R H K K D E D M E U P R H O Q E G B R C A R A B E S Q U E N H O R E S U A L P P A A B A L A N C E D E P Applause Arabesque Balance Ballerina Ballet Balletomane Ballon Cavalier Choreographer Corpsdeballet Danseur Elevation Expression GrandJete GrandPlie Pas Performance Pirouette Plie Pointe Premiere Professional Recital Releve Smuin Solo Soloist Tutu Variation Virtuoso 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 14
Name: Date: Ballet Crossword Puzzle Across Clues 2. a person who performs a solo 3. whirl or spin 6. one who composes or invents ballets or dances 10. a solo dance in a classic ballet 11. a musical piece or passage played or sung by one person 12. short classical ballet skirt made of many layers of tarlatan or net 13. a musical or dance program given by a soloist( (s) or ensemble 14. male version of a ballerina Down Clues 1. a bending of the knee or knees 3. the act of performing; execution, accomplishment, & fulfillment 4. sliding or gliding movements 5. position of the body supported on one leg with the other legg extended behind the body 7. clapping because you liked the performance 8. a principal female dancer of a ballet company 9. a simple step 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 15
Name: Date: Ballet Word Scramble 1. T L B A L E A formalized form of dance with origins in the Italian Renaissance; best known for its graceful, flowing movements. 2. L E V E R E Hint: Rising by lifting your heels off the ground. 3. O T I E P N S E O H S Hint: Satin ballet shoes that allow a ballerina to dance on the tips of her toes and appear as if she is floating. 4. A R L L E B A N I Hint: A female dancer. 5. U U T T Hint: Classic ballet skirt made of many layers of tulle. 6. R A E B R Hint: A wooden bar fastened to the walls of a ballet classroom; the dancer holds this for support. 7. L I E P Hint: To bend the knees. 8. A B E E A U Q R S Hint: A basic pose in ballet where one leg is extended behind the dancer with straight knee and pointed foot. 9. T R U K A R E N C C One of the most well known ballets; a holiday classic; music by Tchaikovsky. 10. TROETEPUI A complete turn of the body on one foot; a spin. **Answers: 1. Ballet 2. Releve 3. Pointe Shoes 4. Ballerina 5. Tutu 6. Barre 7. Plie 8. Arabesque 9. Nutcracker 10. Pirouette 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 16
Additional Resources RESOURCES for this study guide (and other materials to use as references) include: Websites: Websites An online review which gives a description of the performances and dancers: http://smuinballet.org/xxmas/ A YouTube featuring past Smuin Holiday video: http://www.youtube.com/watch?v=0wornt6qgym Online access to music used throughout the production: www.pandora.com Modern dance descriptions: http://dance.about.com/od/solodancestyles/p/modern_dance.htm http://en.wikipedia.org/wiki/modern_dance Professional dancer description: http://careers.stateuniversity.com/pages/105/dancer.html Smuin Ballet information: http://smuinballet.org/ 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 17
Content Standards California Department of Education Curriculum Development Resources Content standards were designed to encourage the highest achievement of every student, by defining the knowledge, concepts, and skills that students should acquire at each grade level. (based on Visual Arts and ELA Grades K-12; Refer to http://www.cde.ca.gov/be/st/ss/ for specific grade level subsets) The Visual and Performing Arts Content Standards for California Public Schools, Prekindergarten Through Grade Twelve, represents a strong consensus on the skills, knowledge, and abilities in dance, music, theatre, and the visual arts that all students should be able to master at specific grade levels, prekindergarten through grade twelve, in California public schools. DANCE 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to Dance 2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Dance 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Dance 4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments about Works of Dance 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in Dance to Learning in Other Art Forms and Subject Areas and to Careers MUSIC 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to Music 2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Music 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Music 4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments about Works of Music 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in Music to Learning in Other Art Forms and Subject Areas and to Careers 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 18
THEATRE 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to Theatre 2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Theatre 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Theatre 4.0 AESTHETIC VALUING Responding to, Analyzing, and Critiquing Theatrical Experiences 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in Theatre, Film/Video, and Electronic Media to Other Art Forms and Subject Areas and to Careers VISUAL ARTS 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information through the Language and Skills Unique to the Visual Arts 2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in the Visual Arts 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of the Visual Arts 4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments about Works in the Visual Arts 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in the Visual Arts to Other Art Forms and Subject Areas and to Careers The English Language Arts Content Standards for California Public Schools, Kindergarten Through Grade Twelve represents a strong consensus on the skills, knowledge, and abilities that all students should be able to master in language arts at specific grade levels during 13 years in the California public school system. ELA-READING 1.0 Word Analysis, Fluency, and Systematic Vocabulary Development 2.0 Reading Comprehension 3.0 Literary Response and Analysis ELA-WRITING 1.0 Writing Strategies 2.0 Writing Applications (Genres and Their Characteristics) 1601 Civic Drive Walnut Creek CA 94596 925.295.1470 www.draa.org P. 19