TPS Teacher’s Guide to

Grade 5This teacher’s guide includes classroom lessons designed to assist teachers

in preparing their students for a visit to the Tulsa Ballet Studio K. Academic

vocabulary, lessons, and resources are included in this guide. The lessons engage

students and teachers in observing, writing, listening and discussing the

characteristics of the Tulsa Ballet. Students will learn how dance productions are

developed and will explore the art of dance through a presentation given by Tulsa

Ballet II. The lessons address specific curriculum objectives in language arts,

mathematics, social studies, science, and visual arts/fine arts for Grade 5. All

curricular connections, which can be used as interdisciplinary teaching tools, are

based on Oklahoma C3 Standards and Common Core State Standards.

Please feel free to visit the web site: http://www.tulsaballet.org/

Student Audience Etiquette• Tulsa Ballet Studio K is a place for learning about the important aspects of

dance and main components of the ballet. Certain rules should be followed to keep it a place that is suitable for everyone to visit.

Use Inside voices when entering and exiting Be respectful of others No running in the studio Do not bring food or drinks (this includes gum and candy) Use restrooms before arriving at the Tulsa Ballet Studio Leave backpacks at school or on the bus Stay with your group and an adult at all times

• Following proper audience etiquette will help keep the performance safe for everyone to enjoy.

Be seated before the performance begins Remain quiet during the live performance – no talking or noises Applaud at the end of a dance demonstration or scene No recording equipment of any kind is permitted – including

cameras, phones, and recorders Anyone who leaves during the performance will not be allowed to

re-enter until given permission by a Tulsa Ballet employee

(Chaperone Expectations)

1. Arrive at the ballet studio with or before the students.2. Create groups with 10 students per adult.3. Know the names of students in your group.4. Continually monitor and correct poor student behavior.5. No photography or cell phone use during the performance.

Preparing for the Tulsa Ballet

ACTIVITY 1 – Class Discussion

What types of dance are there?

What is the ballet?

How is ballet different from other types of dance?

Have you ever seen a ballet performance?

What did you like best about attending ballet?

What type of dancing do you do?

What are the benefits of dancing? (health, entertainment, cultural)

ACTIVITY 1 – (extension)

Gather data from the discussion to make a list/graph of common characteristics of the ballet or dance.

ACTIVITY 2 – Class Bulletin Board

Create a bulletin board in your class about your study of dance and the arts across the curriculum. Include student work, brochures, and photos from the Tulsa Ballet website.

ACTIVITY 3 – Discussions about Future Classes and Careers

Tell students they will be visiting the Tulsa Ballet’s Studio K to learn how a ballet production is created. Ask students what other professions besides dancers are needed to help stage a performance. What subjects in school would be helpful for students to take if they were interested in creating a stage production? Have students research careers, salaries, and job opportunities. Have students explain their career choice.

Click to view Tulsa Ballet staff - move curser over picture - http://www.tulsaballet.org/staff.asp?id=93 costume manager http://www.youtube.com/watch?v=w2peHBGs6Ic&feature=youtube_gdata artistic director http://www.youtube.com/watch?v=zWvWtv14loM&feature=youtube_gdata

ACTIVITY 4 – Planning Performances Based on Audience Size at Studio K

Studio K is a unique performance space with 295 seats and is designed to accommodate a staged theatrical production. The stage is equipped with full lighting and sound, all of which is managed through an enclosed control booth at the rear of the house. A house manager, ushers, lighting, sound and rigging technicians, security, and follow spot operators help stage a successful production.

(Cont. - ACTIVITY 4 – Planning Performances)

1.) The Tulsa Ballet has invited all of the Tulsa Public Schools’ fifth graders to come to special performances at Studio K. The total population of fifth grade students enrolled in Tulsa schools is 3,500. Studio K can accommodate 295 students per performance. Help the House Manager determine how many performances are needed so every student has a chance to see Backstage at the Ballet.

2.) Tickets to Studio K cost $38.50 for some performances. How much would it cost to buy a ticket for everyone in a class of 20? B) If a community partner donates $500, how much more money would the class need to raise for everyone to have a ticket? C) If the remaining cost was divided among the 20 students, how much would the tickets be per student?

3.) If only ¾ of the 3,500 fifth grade students are able to attend the ballet, how many performances would be needed? B) Make a line plot displaying the number of performances needed in Studio K for all TPS fifth graders - using the units 1, ¾, ½, ¼ of the size of 3,500.

ACTIVITY 5 - CLASSICAL BALLET POSITIONS

In Renaissance Italy during the 15th Century, classical ballet took shape when noblemen began to entertain their guests with a combination of music, dance, and pantomime known as "triumph." Refinement of this art of dance took place in the French court of Queen Catherine de Medici. Ballet next flourished in the 1700s when Louis XIV, the Sun King, founded a school to train dancers. His dancing master, Pierre Beauchamp, identified the five classic positions of the hands and feet that are still used today.

The five positions of classical ballet are the building blocks of the art. Ballet steps usually begin and end with one of these positions. Have students pose in the five positions of classical ballet. Students can then trace their stance on butcher paper. Compare and contrast how your stance or your classmate’s stance compares to the pictures of the ballerina.

Third Position

One heel touching middle of opposite foot, feet parallel.

ACTIVITY 6 – Discover the Five Moons

Fourth Position

Feet wide apart and parallel, one in front of the other.

Fifth Position

One foot in front of the other, heel touching

opposite toes.

The Five Moons sculpture was unveiled in November 2007 to represent the five Native American ballerinas from Oklahoma. The sculptures present each of the women in a costume and poses representative of one of their signature roles. The Tulsa Historical Society and the Tulsa Ballet worked together to ensure that details such as hand position and dress were accurate.

Have students research and discover these fascinating Oklahoma ballerinas and how they changed ballet in Oklahoma and the world.

Yvonne Chouteau was born in 1929, grew up in Vinita, Oklahoma and is a member of the Shawnee Tribe. At age 14, she became the youngest dancer to be accepted by the Ballet Russe de Monte Carlo.Yvonne Chouteau http://www.youtube.com/watch?v=AUWarJZcr2E

Rosella Hightower (1920-2008), a Choctaw native, was born in Durwood, Oklahoma. She studied ballet in Kansas City, Kansas and New York. Hightower first danced for the Ballet Russe de Monte Carlo. Rosella Hightower http://www.youtube.com/watch?v=eCNs0uLrtFA

Moscelyne Larkin (1925-2012) was born in Miami, Oklahoma. She is of Peoria, Shawnee, and Russian heritage. Moscelyn’s mother trained her in ballet until she moved to New York to study. Larkin joined the Original Ballet Russe at age 15. Moscelyne Larkin http://www.youtube.com/watch?v=4wSzB8wgv48

Maria Tallchief (1925-2013) was Osage and born in Fairfax, Oklahoma. She joined the Ballet Russe de Monte Carlo and later the New York City Ballet. Maria Tallchief http://www.youtube.com/watch?v=0y_tWR07F7Y

Marjorie Tallchief was born in 1926, is Maria's sister and is also Osage. She grew up in Fairfax, Oklahoma. She became the first Native American premiere danseuse étoile in the Paris Opéra. Marjorie Tallchief http://www.youtube.com/watch?v=2F0caHz7A6Y

ACTIVITY 7 – Timeline of the Tulsa Ballet History

Students will read the history of the Tulsa Ballet and then create a timeline of outstanding events. Students may represent highlighted dates on their timeline with photos, objects, or drawings.

Tulsa Ballet was founded in 1956 by husband and wife, Polish-American Roman Jasinski and Native American Ballerina Moscelyne Larkin, an Oklahoma native. Larkin and Jasinski performed throughout the world to international acclaim with the prestigious Ballets Russes before moving to Tulsa to raise their son and found a ballet legacy. The company’s mission has remained constant throughout the years: “To combine the beauty and joy expressed by dance with the drama and entertainment of the theatre.” Beginning with a single performance and a box office in a shoe store, the company evolved into Tulsa Civic Ballet in 1962. In 1981, the company, then the Tulsa Ballet Theatre, celebrated its 25th anniversary and gained designation as a fully professional company. In 1992, the company moved to a newly-renovated 37,392 square foot facility at 1212 East 45th Place, on the site of the former Holmes Elementary School. In 1994, the company took another leap into the national consciousness by hiring Italian Marcello Angelini as Artistic Director. Angelini performed with the world’s most prestigious ballet companies and danced leading roles in the world’s most significant ballets. Under his leadership, Tulsa Ballet has received critical acclaim both nationally and internationally.

In the summer of 2002, Tulsa Ballet performed in Sintra, Portugal, as part of the Sintra Festival, one of the most famous dance festivals in Europe. Tulsa Ballet was the only American company invited to perform at the Festival. Tulsa Ballet was voted “Audience Favorite” during the festival and was called “one of the best ballet companies in the world” by the Portuguese press.

In 2003, Tulsa Ballet performed its first evening of world premieres, including Nicolo Fonte’s Inside the Figures. Other notable premieres

followed – in 2006 Tulsa Ballet performed the world premiere of Ma Cong’s Carmina Burana, in 2007 Ma Cong’s Bloodrush, and in 2008 Christopher Wheeldon’s Carnival of the Animals.

Also, in the summer of 2008, they toured Seoul, South Korea, and in the summer of 2009, Tulsa Ballet’s season opened with a tour to New York City, and concluded with a tour to Washington, D.C.’s Kennedy Center.

The Kennedy Center recognizes ten of Tulsa’s arts organizations, the city of Tulsa and Tulsa Public Schools with an Any Given Child partnership in 2013. As a partner, Tulsa Ballet joins with Tulsa Public Schools and invites all fifth graders to attend Backstage at the Ballet.

2013 Tulsa BalletMa Cong, Alexandra Bergman, and Alfonso Martín

Teacher Overview

Fifth grade students will attend a performance of Backstage at the Ballet in the Tulsa Ballet’s Studio K. The student audience will be introduced to the various components of creating a ballet production – choreography, costumes, lighting, and stage management. Tulsa Ballet II dancers will perform a one-act ballet featuring classical dance and physical expression through movement.

Lesson Summary

This lesson integrates primary sources, art, and artifacts to support students as they practice the art of storytelling through movement. In small groups, students will write a narrative, then create and choreograph the short story using only dance steps, body movement, and facial expressions. Each group will perform for the classroom audience.

Learning Objectives

Students will:

Retell a narrative or poem through dance. Express their understanding of a story or poem through the art of dance

and movement. Distinguish which patterns of movement the ballet and other dance forms

use. Realize that visual media are a primary source of information. Identify the many components of a performance. Perform for an audience of their peers.

Instruction

Read the story of the Nutcracker to the class. Have students compare the written version of the story to the video clip from the Nutcracker ballet -

http://www.youtube.com/watch?v=CRpSQJJ1M-0. Discuss the similarities and differences between the written story and the video.

Tell students that they are going to perform a story or poem through dance. Before students begin choosing stories and creating their dance moves, have the students read the section on the next page “Become a Choreographer.”

Next, place students in small groups for them to work together to retell a poem or story from a children’s book. After the poem or story is selected, students will then create movements for each of the characters. Discuss with students that the movements, facial expressions, and gestures convey the feelings and the actions of their story characters. Students may choose to add appropriate music to help complete the feeling of the story. Students will then present a dance performance for their classmates.

BECOME A CHOREOGRAPHER

Before dancers can perform, the movements or choreography must first be

created. This is the job of the choreographer. A choreographer creates

movement just as a composer creates music. He or she is the author, or

composer, of the steps and patterns that make up a performance. Most

choreographers have, at one stage in their career, been professional dancers.

Knowledge of dance terminology and the capabilities of a dancer’s body, as

well as a sense of how movement looks on stage, are essential skills for any

choreographer.

 

Sometimes choreographers create movements which tell a story. This type of

dance is called “story ballets.” Other times, choreographers create movements

which expresses a theme or an emotion rather than a story. For the more

abstract ballets, choreographers draw their inspiration from a variety of

sources including music, art, literature, history, or from everyday life.

Although dance does not have to be performed to it, music is often the

backdrop choreographers choose for their work. Music used for dance works

can be written especially for the creation or chosen by the choreographer at a

later time. As music is such an integral part of the art of dance, it can

complement or contrast the steps and be used to underscore the thoughts and

emotions expressed by the dance.

(The poem below may be used as a resource for the dances)

I wandered lonely as a cloud I wandered lonely as a cloudThat floats on high o'er vales and hills,When all at once I saw a crowd,A host, of golden daffodils;Beside the lake, beneath the trees,Fluttering and dancing in the breeze.

Continuous as the stars that shineAnd twinkle on the milky way,They stretched in never-ending lineAlong the margin of a bay:Ten thousand saw I at a glance,Tossing their heads in sprightly dance.

The waves beside them danced; but theyOut-did the sparkling waves in glee:A poet could not but be gay,In such a jocund company:I gazed---and gazed---but little thoughtWhat wealth the show to me had brought:

For oft, when on my couch I lieIn vacant or in pensive mood,They flash upon that inward eyeWhich is the bliss of solitude;And then my heart with pleasure fills,And dances with the daffodils.

William Wordsworth

Post Ballet Visit

Post Activity 1 - What Did You Think? Write a ReviewAfter seeing a performance, people will want to know what you thought. The review should provide a brief and clear opinion. In the review of the Backstage at the Ballet, the facts about the performance and dancers must be correct. The review may be positive or negative but must provide details and examples.

Include in your written reviewThe introductory paragraph usually includes information about the performance:

Title of performance Date Company – Who performed Location of performance Occasion and or Audience Reviewer’s opinion of the performance

The following paragraph(s) includes a brief summary of the performance: Characters, setting, and plot Main points Dance style, music, and theme Evidence from the performance that supports the reviewer’s opinion Comparison and/or contrast to other dance performances Information about the reviewer’s background

The conclusion restates the main points the reviewer has made about the performance.

Post Activity 1 (extension)

Add a visual representation to elements of the written review in order to create a performance poster.

Post Activity 2 – Eat Well and Get Physical

Regular physical activity and proper nutrition produce good health benefits. Everyone can benefit from eating right and being physically active. Just a few changes in lifestyle can increase your chances of living longer, improving your sleep at night, and building stronger muscles and bones.

Proper physical activity and well-balanced nutrition together can help prevent heart disease, Type 2 diabetes, high blood pressure and high cholesterol. Being active also increases the amount of calories a person burns.

Dancers must have high energy and strong muscles to perform well. It is important to maintain an energy balance which requires attention to the amount of movement/physical activity and the amount of healthy food you eat.

How is your energy balance? Keep a record for one or two weeks of your physical activity and nutrition or create an electronic personalized nutrition and physical activity plan https://www.supertracker.usda.gov/default.aspx

Post Activity 2 – (Extension)Compare and contrast your activities and nutrition to a Tulsa Ballet dancer

Tulsa Ballet Dancer

Exercise

Nutrition

Me (fifth grade student)

Exercise

Nutrition

Academic Vocabulary

SOCIAL STUDIES ELA SCIENCE MATH FINE ARTS

cause and effectcivicdonorinternationalinternationallyKennedy Centermental mappingmissionnationnationallynativeNative American non profitRussetimelineWashington D.C.

caption

character

development

concluding

conflict

generalization

metaphor

minor

character

narrative

personification

reference

source

resolution

rhythm

sequence

simile

stereotypical

text (structure)

transitional

words

word origins

Blood pressure

cholesterol

Chemical change

chemical properties

diabetes

energy (kinetic/potential)

health

heart disease

muscles

nutrition

observe

record

transfer of energy

Additional/add

balanced

comparing

data

denominator

deposit

difference

division/divide

equivalent

equal parts

estimate

factor

fraction

graph

line plot

mean

mixed numbers

multiplication

numerator

operations

percent

product

quotient

reasonableness

subtraction

sum

Audience

Audition

Ballet

Barre

Character

Choreographer

Classical

Contemporary

Company Class

Corps de Ballet

Costuming

Dancers

Expression

Facial Features

Gels

Grand Jeté

Intermission

Mood

Overture

Pointe Shoe

Proscenium

Rehearsal

Repertoire

Score

Sprung Floor

Theater Lighting

Tutu

Wardrobe

Resources

Other Suggested Titles from the Tulsa Ballet

Ballet 101 by Robert Greskovic. Foreword by Mikhail Barishnikov. (Hyperion) Ballet and Modern Dance by Susan Au (Thames and Hudson) Ballet and Modern Dance: A Concise History by Jack Anderson. (Princeton Book Company Publishing) Ballet as Body Language by Joan McConnell. (Harper and Row) The Concise Oxford Dictionary of Ballet by Horst Koegler (Oxford University Press) The Dance Through The Ages by Walter Sorell (Grosset & Dunlap) Twentieth Century Ballet by A.H. Franks (Pitman Publishing Corp.) 

Standards

ELA

Reading Standards for Informational Text

RI5.3. Explain the relationships or interactions between two or more individuals, events, ideas, or concepts in a historical, scientific, or technical text based on specific information in the text.RI.5.4. Determine the meaning of general academic and domain-specific words and phrases in a text relevant to a grade 5 topic or subject area.RI.5.9. Integrate information from several texts on the same topic in order to write or speak about the subject knowledgeably.

Writing

W.5.1. Write opinion pieces on topics or texts, supporting a point of view with reasons and information. a. Introduce a topic or text clearly, state an opinion, and create an organizational structure in which ideas are logically grouped to support the writer’s purpose.b. Provide logically ordered reasons that are supported by facts and details.c. Link opinion and reasons using words, phrases, and clauses (e.g., consequently, specifically).d. Provide a concluding statement or section related to the opinion presented.

W.5.3 3. Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and clear event sequences.a. Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally.b. Use narrative techniques, such as dialogue, description, and pacing, to developexperiences and events or show the responses of characters to situations.c. Use a variety of transitional words, phrases, and clauses to manage the sequence of events.d. Use concrete words and phrases and sensory details to convey experiences and eventsprecisely.e. Provide a conclusion that follows from the narrated experiences or events.

Speaking and Listening Standards 5SL5.2. Summarize a written text read aloud or information presented in diverse media andformats, including visually, quantitatively, and orally.

Math

Number and Operations in Base Ten 5.NBT

Perform operations with multi-digit whole numbers and withdecimals to hundredths.5. Fluently multiply multi-digit whole numbers using the standardalgorithm.6. Find whole-number quotients of whole numbers with up to four-digitdividends and two-digit divisors, using strategies based on placevalue, the properties of operations, and/or the relationship betweenmultiplication and division. Illustrate and explain the calculation byusing equations, rectangular arrays, and/or area models.7. Add, subtract, multiply, and divide decimals to hundredths, usingconcrete models or drawings and strategies based on place value,properties of operations, and/or the relationship between addition andsubtraction; relate the strategy to a written method and explain thereasoning used.

Number and Operations – Fractions 5.NF

Apply and extend previous understandings of multiplication anddivision to multiply and divide fractions.7. Apply and extend previous understandings of division to divide unitfractions by whole numbers and whole numbers by unit fractions.

b. Interpret division of a whole number by a unit fraction, andcompute such quotients. c. Solve real world problems involving division of unit fractions bynon-zero whole numbers and division of whole numbers by unitfractions, e.g., by using visual fraction models and equations torepresent the problem.

Measurement and Data 5.MD

Represent and interpret data.2. Make a line plot to display a data set of measurements in fractions ofa unit (1/2, 1/4, 1/8). Use operations on fractions for this grade to solveproblems involving information presented in line plots.

Music(4)  Standard - music appreciation. The student will learn to appreciate music and extend their listening beyond music currently familiar to the student.

(A)    Recognize and practice appropriate audience or performer behavior appropriate for the context and style of music performed.(B)    Demonstrate respect for music performed by the student and by other student and professional performers.(C)    Use appropriate terms to explain preferences for musical works and styles.(D)    Identify criteria for evaluating a musical composition or a musical performance.

Physical Education(1)    Standard. The student demonstrates competency in many movement forms and proficiency in a few movement forms.

(A)    Demonstrate various advanced intermediate locomotor and nonlocomotor skills in a combination of rhythmic activities.(B)    Participate in advanced/intermediate rhythmic activities involving physical movement with or without music.

(2)    Standard. The student applies movement concepts and principles to the learning and development of motor skills.

(C)    Perform basic dance patterns in time to music (e.g., schottische, two-step, polka).(D)    Create and perform a rhythmic routine utilizing dance skills, in time to music.

(b)    Health-enhancing activity development.

(1)    Standard. The student exhibits a physically active lifestyle.

(A)    Participate daily in physical activity that is health-enhancing.(B)    Explain the "principle of specificity" as applied to an exercise program.(C)    Analyze strengths and weaknesses in regard to personal exercise behavior.

(2) Standard. The student achieves and maintains a health-enhancing level of physical fitness.

(A) Participate in moderate to vigorous physical activity in and out of the school setting.(B) Monitor intensity of exercise.(C) Explain the "FIT" principle as applied to exercise (frequency, intensity, and

time).(D) Pursue personal fitness goals with minimal supervision.

(c) Personal and social skill development.

(1) Standard. The student demonstrates responsible personal and social behavior in physical activity settings.

(A) Remain on task without close supervision.(B) Practice and distinguish between appropriate and inappropriate behaviors for participating with others in physical activity.(C) Show respect and consideration of others in physical activity.(D) Identify equipment used and safety precautions necessary for participation in a variety of activities.

(2) Standard. The student demonstrates understanding and respect for differences among people in physical activity settings.

(A) Show respect for persons of like and different skill levels.(B) Recognize and explain the role of games, sports and dance in different cultures.(C) Demonstrate cooperation with others, regardless of gender, race, or ethnicity in physical activity settings.

(3) Standard. The student understands that physical activity provides opportunities for enjoyment, challenge, self-expression, and social interaction.

(A) Demonstrate enjoyment from participating in physical activity.(B) Participate in personally challenging physical activities.(C) Recognize physical activity as a positive opportunity for social and group interaction.(D) Use physical activity as a tool for self-expression and challenge.

Science

(nextgenstandards)LS1.A - Structure and function – Life Science

Organisms have both internal and external macroscopic structures that allow for growth, survival, behavior, and reproduction.

(C3) Process Standard 4: Interpret and Communicate – Interpreting is the process of recognizing patterns in collected data by making inferences, predictions, or conclusions. Communicating is the process of describing, recording, and reporting experimental procedures and results to others. Communication may be oral, written, or mathematical and includes organizing ideas, using appropriate vocabulary, graphs, other visual representations, and mathematical equations. The student will accomplish these objectives to meet this process standard.

*1. Report data using tables, line, bar, trend, and/or simple circle graphs. 2. Interpret data tables, line bar, trend, and/or simple circle graphs. 3. Make predictions based on patterns in experimental data. 4. Communicate the results of investigations and/or give explanations based on data.

Social Studies

PROCESS AND LITERACY SKILLS (PALS) FOR LEARNING Process and Literacy Skills Standard 1: The student will develop and demonstrate Common Core informational text reading literacy skills. A. Key Ideas and Details

1. Quote accurately from a text when explaining what the text says explicitly and when drawing inferences from the text. 2. Determine two or more main ideas of a text and explain how they are supported by key details; summarize the text. 3. Explain the relationships or interactions between two or more individuals, events, ideas, or concepts in United States history primary and/or secondary sources based on specific information in the texts.