Background
Homer Hans Bryant and Hiplet
- Biography – Chicago Multicultural Dance Center Artistic Director Homer Bryant >
- The Ballet Disrupter, Homer Hans Bryant, Tedx SanFrancisco, Herbst Theater, October 6, 2016 (Opens in YouTube) >
- Interview with Homer Hans Bryant, Behring Center, National Museum of American History/Smithsonian, December 28, 2017 >
- “Moving Caribbean: Hiplet Creator Homer Hans Bryant,” The Dance Enthusiast, a Moving Arts Project, October 18, 2016 >
The Dance Theater of Harlem and founder Arthur Mitchell
- Dance Theater of Harlem: Forty Years of Firsts, 1969-2009 >
- “The Dance Theater of Harlem,” Kinfolk, Issue 23, Arts & Culture >
- Djassi DaCosta Johnson, “The Dance Theatre of Harlem: Our History, Raising the Barre Since 1969” >
- “Many Hues, One Line: Dance Theater of Harlem Innovates Matching Skin Tone Tights and Shoes” (Opens in YouTube) >
Maria Tallchief (Osage): Indigenous Dancer and Innovator
- “Celebrating Maria Tallchief,” partnership with Native American guest artists Lydia Cheshewalla, Chris Pappan, and Yatika Starr Fields, Google Doodle, November 14, 2020 >
- “From the Archive: Maria Tallchief,” WTTW,-Chicago, November 16, 2020 >
- Memorial Tribute to Maria Tallchief, “Inspiration to Ballanchine,” Washington Post, July 12, 2013 >
Inclusivity, Diversity, Access, and Social Justice in Dance Background
Readings
- Alex Marshall, _Blackface at the Ballet Highlights a Global Divide on Race,_ NY Times.pdf >
- Carolyn Copeland, "Ballet Companies Confront Increasingly Urgent Calls for Racial Justice" >
- Jennifer Stahl, "These Ballet Dancers are Calling Out Inequity at their Companies" >
- The History of African American Casting in Ballet, Jstor Daily >
- Toni Morrison's Recitatif.pdf >
- Zadie Smith, "The Genius of Toni Morrison's Only Short Story", The New Yorker >
Assignments
Storytelling & the Performing Arts
The performing and creative arts provide unique, expressive ways of rendering stories and narratives. In the same way that historians use primary texts, or archaeologists inspect long- buried artifacts in order to make meaning out of the past, so do performing artists use their chosen tools - dance, music, movement, visual art, text, spoken word, theater - to shine light on, represent and celebrate the complexity and diversity of human existence. Performing artists are often best positioned to tell stories that evoke and confront pain, trauma, violence, and inequality; their work can also offer guidance to those of us who wish to change the present in order not to repeat the past.
As you experience this curriculum, think about the ways that the performances you see use their unique tools to bring a new perspective or lens to information you might encounter via news articles, textbooks, scientific inquiry, or statistical data. Challenge yourself to imagine what happens if you put those experiences and perspectives together to tell or hear a more complex story.
The artists engaged in this project all have a unique and important relationship to storytelling, and have used different methods to tell their stories. Some of those methods and forms have been: liner notes, playlists, film scores, poetry, mixtapes, spoken memory and bodily self- expression through dance.
Assignments
- Reflection Prompts: Final Reflection Assignment.pdf >
- Multi-Genre Storytelling: Storytelling Assignments.pdf >
- In-class: In-class Assignment for Hiplet (pdf) >
Engaging with Live Performance
Considerations for the Performance
Darren Canady, KU Professor of English
Experiencing a live performance is dynamic by design. When you are in the same physical space, these artists intend to affect you on a palpable, human level. But for that to happen, you have to be an active and engaged collaborator in the experience. The best way to do that is to do some simple tracking during the piece.
Questions for Engaging a Performance
The best way to do that is to do some simple tracking during the piece. Pay attention to:
- What visuals catch your eye? What “pictures” are being created by the artists?
- How is the space being used? Does it feel expansive? Does it look compact?
- What’s in the soundscape? What are the textures of the music that you hear? What’s sounds exist that are NOT music?
- How are the human bodies you see affected by the above? What is the relationship between body, voice, sound, and space in this performance?
- What story is being told? What are the major points of that story?
- Now this one is major so make sure you’re giving it some attention: What emotions do you feel throughout the piece? Why? What moments arrest you? What moments leave you with questions?
- After the performance finishes, take just a few seconds to write down a list of sensory words, adjectives, or emotions you’re left with. Use these to form questions for the artists and as artifacts to explore during the rest of the curriculum.
- How does this performance allow you to notice or experience your own body in a new or different way?
Assessments
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