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Dance 2019 v1.1 Reverse chronology
Examples provided in this resource are not exhaustive. Teachers will find their own threads and links to investigate and make connections between aspects of background, choreographic style, and influences on chosen dance works. Highlight the bubbles and make the connections as you and students investigate influences and impacts.
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Reverse chronology for historical understanding
Within each unit, reverse chronology is an effective approach to investigate arts practice. This approach begins with a contemporary focus and follows logical pathways backwards to learn about relevant historical, cultural and traditional styles and art forms. Reverse chronology follows a cause-and-effect pathway to understanding influences on artists, styles and practices. This differs from a customary chronological approach that would begin in the past and follow a sequential path to the present.
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The benefits of a reverse-chronology approach to learning about historical traditions of the art form of dance include: helping an understanding of ourselves, and the decisions and choices made by artists in the present, by examining and acknowledging the influences and events that affected previous generations fostering research skills in an inquiry learning model, in which students pose questions about the causes and effects of influences and compare dance of past and present times ensuring enough time is dedicated to focus on relevant historical practices engaging students who are more interested in ideas that relate to themselves and the time they inhabit, which enables them to follow connecting pathways more effectively understanding how knowledge of historical forms and practices helps an understanding of those of the current day.
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Reverse chronology approach
This approach enables the development of an understanding of the background and life experiences of a choreographer (influences on philosophies, choreographic processes, choice of genre/s, development of personal movement style and aesthetic).
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Reverse chronology example
Current Past Beyoncé Janet Jackson Justin Timberlake Tiger Shroff Michael Jackson Gene Kelly Usher James Brown Bruno Mars West Side Story dancers Madonna Jerome Robbins Signature (dance group) Bhangra dance
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Unit 3: Moving statements
Subject matter identify and demonstrate, using a reverse chronology approach, an understanding of the background and life experiences of Stephen Page and at least one other choreographer* to consider influences on philosophies choreographic processes choice of genre/s and the development of their personal movement style and aesthetic aesthetic choices to communicate meaning in their dances *Choice of choreographer: Robert Battle — current Artistic Director of Alvin Ailey American Dance Theater
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Battleworks Dance Company
David Parsons Social dance Broadway musicals Masazumi Chaya Mikhail Baryshnikov Battleworks Dance Company Martial Arts Jazz dance Donald McKayle Carmen de Lavaallade James Truitte Carolyn Adams Judith Jamison Katherine Dunham Ulysses Dove Paul Taylor Dance Company Dudley Williams Pearl Primus Alvin Ailey African-American dance revues 20th century concert dance African dance Blues Spiritual Gospel music Clifton Brown Matthew Rushing Linda Celeste Sims Alvin Ailey American Dance Theater 2018 Parsons Dance Robert Battle Ballet Russe de Monte Carlo Lester Horton Martha Graham American Ballet Theatre
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Reverse chronology thread from current to past
David Parsons Alvin Ailey Lester Horton Paul Taylor Dance Company Blues Spiritual Gospel music Broadway musicals Robert Battle Alvin Ailey American Dance Theater 2018 Parsons Dance African dance Jazz dance African-American dance revues 20th century concert dance Reverse chronology thread from current to past Robert Battle is the current Artistic Director of Alvin Ailey American Dance Theater (AAADT). He was a former dancer and influenced by Parsons Dance Company (David Parsons) David Parsons was a dancer in Paul Taylor Dance Company David Parsons created works for AAADT Battle was also influenced by Alvin Ailey Ailey was in turn influenced by: Lester Horton, African American dance revues and Broadway musicals 20th Century concert dance, African American culture, Blues, Spirituals and Gospel music Jazz Dance and African Dance
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Example linked to work No Longer Silent — Robert Battle
choreography mirrors the rhythmic complexity of the long-forgotten score by Erwin Schulhoff whose work the Nazis had banned. powerful movement phrases exploring the life of the composer through abstract themes of flight and fatigue, chaos and unity, the group and the individual reminiscent of the early works of Martha Graham reflects theatricality of Paul Taylor Robert Battle Alvin Ailey American Dance Theater 2018 Paul Taylor Dance Company Alvin Ailey African-American dance revues 20th Century concert dance Blues Spiritual Gospel music African dance Martha Graham References Alvin Ailey American Dance Theater, (excerpt) Robert Battle Interview: Why did you select Erwin Schulhoff's music for "No Longer Silent?” Introduction to Robert Battle,
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Useful links Alvin Ailey American Dance Theater,
Dance Consortium, ‘Robert Battle’, Battle, R 2016, ‘Alvin Ailey’s Robert Battle on His First Real Dance Shoes’, The New York Times, Bauer, P 2016, ‘Robert Battle: American Dancer and Choreographer’, Encyclopaedia Britannica, Mackrell, J 2016, ‘Revelations and revolutions: How Robert Battle put Alvin Ailey’s dancers to the test’, The Guardian,
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Unit 4: Moving my way Subject matter
identify and explain, using a reverse chronology approach, the effect of background and influences on choreographers* and how these are reflected in their dance through discrete and fused movement genres and styles innovative practices, including choreographic processes, integration of production elements philosophies and viewpoints the selection and manipulation of movement by the elements of dance, structure, production elements and dance skills *Choice of choreographer — Akram Khan
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Akram Khan — examples of influences
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Cloud Gate Dance Theatre
BalletBoyz Cloud Gate Dance Theatre Sidi Larbi Cherkaoui Indian classical dance Kathak Tai chi, meditation, martial arts, modern dance, ballet Merce Cunningham Peter Brook’s experimental Shakespeare productions Spanish flamenco Martha Graham Sylvie Guillem Pina Bausch DV8 Physical Theatre Charlie Chaplin Michael Jackson hip-hop Akram Khan Anne Teresa De Keersmaeker English National Ballet
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Akram Khan — Key influences and impacts on choreographic style
narrative through movement; collaborator across cultures and disciplines classical south Asian dance form of Kathak (classical dance form of northern India and Pakistan) Pandit Birju Maharaj, Padmashri Pratap Pawar — Kathak gurus Contemporary dance studied Martha Graham and Merce Cunningham techniques, exposed to Pina Bausch (especially Rite of Spring), Jiři Kylián and DV8 in early contemporary career worked with/choreographed for Anne Teresa De Keersmaeker’s Brussels-based X-Group project cross-cultural collaborations including with the National Ballet of China; Cloud Gate Dance Theatre of Taiwan Sylvie Guilliem Sidi Larbi Cherkaoui; Israel Galván Kylie Minogue BalletBoyz 2012 London Olympics opening ceremony actress — Juliette Binoche in a dance-drama piece visual artists — Anish Kapoor, Antony Gormley and Tim Yip, writer — Hanif Kureishi composers — Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost. popular culture — Michael Jackson, movie Matrix, Charlie Chaplin, Bruce Lee current influences: film directors — Asghar Farhadi, Alejandro G. Iñárritu, Satyajit Ray
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Akram Khan — Work and key influences
Until the Lions (2016) uses kathak and contemporary dance (blend of styles) and explores the notion and the physical expression of gender uses the text Karthika Naïr’s book Until the Lions: Echoes from the Mahabharata, an original reworking of the epic Mahabharata which is one of the two major Sanskrit narratives of ancient India. Khan originally performed (age 13) in Peter Brook’s experimental Shakespeare production of Mahabharata References Until the Lions / Akram Khan Company – trailer, Crompton, C 2016, ‘Akram Khan: I’m terrified that my body will give in,’ The Guardian, Akram Khan – Until the Lions – post show talk, Akram Khan & Guruji Pratap Pawar in conversation, May 2017,
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Akram Khan — Work and key influences
Dust (2014) features as part of English National Ballet’s production of Lest We Forget which commemorates the centenary of the First World War focusing on the men in the trenches and the women at home supporting the war effort combines his choreographic style with exploration and creation of movement material on ballet bodies References Akram Khan Company, ‘Dust/English National Ballet’, Jocelyn Pook Dust Akram Khan, English National Ballet, Lest We Forget: Choreographer Akram Khan on Dust,
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Other useful links Dance Umbrella, ‘My dance DND | Interview with Akram Khan’, Jaggi, M 2010, ‘A life in dance: Akram Khan’, The Guardian, Akram Khan Company, Akram Khan: an interview, Welbye, H 2014, ‘theartsdesk Q&A: Choreographer Akram Khan’, theartsdesk.com, Mitra, R. (2015) Akram Khan: Dancing New Interculturalism, Palgrave Macmillan, United Kingdom
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Useful reverse chronology resources
Daniel, J T 2014, ‘Pedagogy of teaching history: Comparing the chronological and thematic approaches’ (Honors Senior Theses/Projects) West Oregon University, Oregon, Hartman, J 2015 , ‘Teaching the history of rock music using reverse chronology’, iAchieveLearning Himes, G 2015, ‘Why we should teach music history backwards’, Smithsonian.com, Steal Like An Artist: Austin Kleon at TEDxKC,
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