HIGHLIGHTS OF THE

Presented by The New Mexico Ballet Company

NUTCRACKERBALLET

POPEJOY SCHOOLTIME SERIES TEACHING GUIDE GRADES 3 - 12

D C EE TM H SR A RA C

Dreamcatchers Teaching Guides align with the National Standards and the New Mexico State Standards.

ENGLISH & SPANISH EDITION

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Synopsis‘‘

Standards Addressed By Attending the Performance

NMCASTH:Re9.1 DA:Re9.1

CCSSELA-Literacy.CCRA.SL.2

Curriculum Connections

Performing & Visual Arts/Music, Dance; Social Studies/

World Cultures, Cultural Enrichment

I knew that I just didn’t have it in me to give up, even if I sometimes felt like a fool for continuing to believe.”

- MISTY COPELAND

The first performance of The Nutcracker Ballet took place in Russia in 1892.

Pyotr Ilyich Tchaikovsky (pronounced chy-KOFF-skee) adapted the ballet from

a story called “The Nutcracker and the Mouse King,” written by German author

E.T.A. Hoffmann. Although it is now an audience favorite, the first performance

was surprisingly not regarded as a success. In fact, 25 years passed before it

was performed outside of Russia! A complete version of The Nutcracker was

not performed in the United States until 1944, when it was presented by the San

Francisco Ballet with choreography by William Christensen.

The abbreviated version of The Nutcracker Ballet to be performed for the Popejoy

Schooltime Series runs 60 minutes and features highlights and on-stage narration

for this introduction to ballet and classical music.

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Act I Decoration of the Christmas Tree

The energy and style of this piece echoes the busy preparations for Christmas. The Stahlbaums prepare for the arrival of their guests, while Clara and Fritz play. Finally, their guests arrive.

March

The children play and dance joyfully to some of the ballet’s famous and memorable melodies.

Children’s Gallup and Entry of the Parents

The children play mischievously, which transforms into a delightful dance.

Arrival of Drosselmeyer

An abrupt change in the music signals the arrival of Fritz and Clara’s magical uncle. At first, he frightens Clara and Fritz, but then delights them by making their toys dance.

Grandfather’s Dance

Clara receives a beautiful nutcracker, shaped like a prince, as a gift from her Uncle Drosselmeyer. After Fritz breaks it in a fit of jealous rage, he is sent to bed. Drosselmeyer then magically fixes the damaged nutcracker. After the guests’ final dance, everyone gets ready to say goodbye to their hosts, while Clara reluctantly bids farewell to her uncle and goodnight to her beloved nutcracker.

Clara and the Nutcracker

After her parents insist that Clara keep the Nutcracker downstairs, she creeps back down to check on her nutcracker and falls asleep with it under the Christmas tree. As the clock strikes midnight, Clara begins to shrink to the size of her nutcracker. Mice emerge, led by the evil Rat King. Drosselmeyer appears to protect Clara from the Rat King by bringing the Nutcracker Prince and tin soldiers to life. The Christmas tree grows to a gigantic height, and human-sized mice fill the room.

The Battle

The sounds of the drum, flute, and horn create the feeling of a battle as the mice and the soldiers fight. Clara distracts the Rat King with a wedge of cheese, which gives the Nutcracker Prince a chance to

stab him. Listen for the dramatic change in the music that indicates when the Nutcracker has turned into the Prince.

In the Pine Forest

The sounds of the battle scene melt into dreamy melodies, created with a harp and other stringed instruments, as Clara and the Prince dance through a wintry landscape.

Waltz of the Snowflakes

While in the Land of Snow, Clara and the Prince are greeted by the Snow Queen and her cavalier. The song is unique because of the combined use of voices and instruments.

Act II Divertissement (an amusement)

Clara and the Prince arrive in the Land of the Sweets and the Prince describes Clara’s brave deed. The Sugarplum Fairy orders a grand celebration in Clara’s honor. This section is made up of a group of dances, performed to some of the best-known melodies from the ballet.

Chocolate

Spanish Dance – “Chocolate” is a Spanish-flavored dance; listen for castanets.

CoffeeAn Arabian dance.

Tea

(Chinese Dance) Oriental in tone; listen for the glockenspiel.

Trepak(Russian Dance) A trepak is a fiery Russian dance set to a simple beat. In a trepak, the dancer squats on his or her haunches and kicks out each foot alternately.

Dance of the Flutes

Also called “The Dance of the Toy Flutes.”

Mother Ginger & The Gingerbread CookiesMother Ginger greets Clara and her Prince. Her little children, the Gingerbread Cookies, dance in their honor.

Waltz of the FlowersIn the Land of Sweets, even the flowers dance for Clara and the Prince.

Dance of the Sugarplum Fairy

The Sugarplum Fairy and her partner perform a series of dances, including a pas de deux (ballet duet).

Waltz Finale

The visit to the Land of the Sweets ends with a grand waltz. The change in the music signals the end of Clara’s dream, as the Sugarplum Fairy bids her farewell. Clara suddenly awakens with a start and finds her Nutcracker back under the tree. She runs to hug her beloved Nutcracker and is left to wonder if it was all indeed a dream.

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Primer actoLa decoración del árbol navideño

La energía y el estilo de esta pieza repica las preparaciones ocupadas de la Navidad. La familia Stahlbaum se prepara para la llegada de sus huéspedes, mientras Clara y Fritz juegan. Finalmente, llegan los huéspedes.

La marcha

Los hijos juegan y bailan alegremente a las melodías más famosas y memorables del ballet.

La galopa de los hijos y la entrada de los padres

Los hijos juegan de modo juguetón que se transforma en un baile encantador.

La llegada de Drosselmeyer

Un cambio abrupto de la música indica la llegada del tío mágico de Fritz y Clara. En el principio, él asusta a Fritz y Clara, luego les encanta cuando hace sus juguetes bailar.

La danza del abuelo

Clara recibe un cascanueces bello, en forma de un príncipe, como un regalo de su tío Drosselmeyer. Fritz lo rompe en ataque de rabia celosa y fue mandado a la cama. Luego, Drosselmeyer repara mágicamente el cascanueces dañado. Después del último baile de los huéspedes, todo el mundo se prepara a despedir a los anfitriones, mientras Clara reluctantemente se despide de su tío y las buenas noches a su querido cascanueces.

Clara y el cascanueces

Los padres de Clara insisten que ella deje el cascanueces en la planta baja y ella se arrastra para revisarlo. Se queda dormida con el cascanueces debajo del árbol navideño. Cuando el reloj da la medianoche, Clara empieza a reducirse al tamaño del cascanueces. Los ratones emergen, comandados por el malvado Rey de los ratones. Drosselmeyer aparece para proteger a Clara del Rey de los ratones y da vida al Príncipe Cascanueces y soldados. El árbol navideño crece a una altura enorme y los ratones del tamaño humano llenan el cuarto.

La batalla

Los sonidos del tambor, flauta, y trompa crean una sensación de batalla cuando los ratones y soldados pelean. Clara distrae

al Rey de los ratones con un pedazo de queso que da una oportunidad al Príncipe Cascanueces de apuñalarle. Escucha el cambio dramático de música que indica cuando el cascanueces se ha convertido en un príncipe.

En el bosque de pinos

Los sonidos de la escena de la batalla se transforman en melodías soñadoras creadas con el arpa y otros instrumentos de cuerda mientras Clara y el Príncipe Cascanueces bailan entre un paisaje invernal.

Vals de los copos de nieve

Mientras están en la Tierra de la Nieve, Clara y el Príncipe Cascanueces son recibidos por la Reina de Nieve y su caballero. La canción es única por el uso combinado de voces e instrumentos.

Segundo actoDiversión

Clara y el Príncipe Cascanueces llegan al Reino de los dulces y el príncipe describe el acto valiente de Clara. La Hada de azúcar ordena una gran celebración en su honor. Esta sección está compuesta de un grupo de danzas, presentadas a unas de las melodías más conocidas del ballet.

Chocolate

La danza española. Escucha al sonido de las castañetas.

Café

La danza árabe.

Té

La danza china. El tono es oriental. Escucha al xilófono.

Bastones de caramelo

La danza rusa. Un trepak es una danza rusa pasional colocada a un ritmo simple. En un trepak, los bailarines se ponen en cuclillas en sus caderas y patea cada pie por turnos.

Danza de los mirlitones

También conocido como “La danza de las flautas de juguete”.

Madre jengibre y los Polichinelas

La madre jengibre saluda a Clara y su príncipe. Sus hijos, las galletas de jengibre, danzan en su honor.

Vals de las flores

En el Reino de los dulces hasta las flores danzan por Clara y su príncipe.

Danza de Hada de Azúcar

La Hada de Azúcar y su pareja presentan una serie de danzas, incluyendo un gran paso a dos (pas de deux en francés).

Vals final La visita al Reino de los dulces termina con un gran vals. El cambio de la música indica la conclusión del sueño de Clara cuando la Hada de Azúcar se despide. Clara de repente se despierta y encuentra a su cascanueces debajo del árbol. Ella corre a darle un abrazo y se queda preguntando si todo fue un sueño.

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VocabularySharing this vocabulary with your students will enhance their experience at the performance. Encourage them to watch for examples of these elements in the ballet.

ballerina: a female ballet dancer; a Prima Ballerina is a star female ballet dancer

choreography: the art of composing dances; planning and arranging the movements, steps, and patterns of dancers

danseur: a male ballet dancer; a Premier Danseur is a star male ballet dancer

march: music characterized by its two- or four-beat pattern with the first beat emphasized

pas de deux: dances done by two people together, usually a man and a woman

pirouette: a whirling about on one foot or on the points of the toes

plié (plee-AY): to bend; a position where legs bend before rising or jumping up

props: short for properties, the objects used by the performers, including furniture and decorative items

relevé (reh-leh-VAY): to rise; dancers lift their heels keeping toes down

sauté (soh-TAY): to jump; done after

a plié; dancer’s spring into the air stretching their legs

scenery: the backdrops and set pieces, which set the place, time and “form” of the performance

silhouette: a likeness cut from dark material and mounted on a light background, or one sketched in outline and solidly colored in; a shadow

solos: dances done by a single person

spotting: dancers focus their eyes on one point as they turn their bodies, helping them avoid dizziness

tempos: the speeds at which music is played

tourner (TOOR-neh): to turn; indicates that the body is to turn while executing a given step

waltz: music characterized by its three-beat pattern with the first of the three emphasized

Interesting Facts for StudentsAbout Ballet:

Many of the dance steps and terminology used in ballet come from the French language because ballet was first popularized in France under King Louis

XIV. He loved ballet so much that he took dance lessons every day. He also started the first school of ballet and his ballet master, Pierre Beauchamps, created special steps for the king alone to perform.

Dancing can burn a huge amount of calories. Research shows that an hour of vigorous dancing can burn 500 to 700 calories. In fact, a ballet performance that runs for three hours is equivalent to an 18- mile run or two 90-minute soccer games.

Ballet dancers invest a lot on their costume and shoes. Two to three pairs of pointe shoes are worn out every week by most ballet dancers. A tutu can cost up to $2,000, requiring 60-90 hours of labor and 100 yards of ruffle. The short tutu is called a “pancake,” the longer - “romantic.”

Ballets are never interactive with the audience. The storytelling is done through movement and music, and requires silent attention at all times.

Clap for spins! In any performance, you can clap after dances and impressive dance moves, such as fast pirouettes, or quick rotations. In dance performances with live music, be sure to also clap when the conductor first appears.

Instruments heard in The Nutcracker include: flutes, piccolos, oboes, English horns, trumpets, trombones, bass trombones, tubas, cymbals, triangle, tambourine, glockenspiel, timpani, harp, and strings.

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VocabularioComparte este vocabulario con tus estudiantes para enriquecer su experiencia en la obra. Anímalos a buscar ejemplos de los elementos en el ballet.

bailarín: un hombre que baila (premier danseur es el bailarín principal del ballet)

bailarina: una mujer que baila (prima ballerina es la bailarina principal del ballet)

coreografía: arte de componer bailes; conjunto de pasos y figuras de un espectáculo de danza o baile

escenario: en un teatro, lugar donde se representa la obra o el espectáculo

levantar: mover hacia arriba algo, los bailarines levantan sus talones manteniendo los dedos abajo (fr. relevé)

marcha: pieza de música, de ritmo muy determinado el patrón del ritmo binario o cuaternarios con énfasis en el primero

paso a dos: un dúo en el que los pasos de ballet son ejecutados conjuntamente por dos personas (fr. pas de deux)

pirueta: salto acrobático consistente en uno o varios giros alrededor del eje vertical del saltador (fr. pirouette)

plegar: doblar, una posición donde las piernas pliegan antes de levantarse o brincarse (fr. plié)

saltar: arrojarse desde una altura, hecho después de plegarse, los bailarines saltan al aire extendiendo sus piernas

silueta: dibujo sacado siguiendo los contornos de la sombra de un objeto, forma que presenta a la vista la masa de un objeto más oscuro que el fondo sobre el cual se proyecta

solo: composición o parte de ella que canta o toca una persona sola

spotting: los bailarines se enfocan los ojos en un punto a girarse, esto les ayuda evitar el mareo

tempo: grado de celeridad en la ejecución de una composición musical

utilería: conjunto de objetos y enseres que se emplean en un escenario teatral o cinematográfico

vals: baile, de origen alemán, que ejecutan las parejas con movimiento giratorio y de traslación. Se acompaña con una música de ritmo ternario, cuyas frases constan generalmente de 16 compases, en aire vivo.

Datos interesantes para estudiantesSobre el ballet:

Muchas de las danzas y terminología viene del idioma francés porque el ballet fue popularizado en Francia bajo el rey Luis XIV. Le encantaba el ballet tanto que tomó lecciones cada día. También

empezó la primera escuela de ballet y su maestro, Pierre Beauchamps, creó pasos especiales solamente para el rey.

Danzar puede consumir una gran cantidad de calorías. Investigaciones han demostrado que una hora vigorosa de danza puede consumir entre 500 y 700 calorías. De hecho, un espectáculo de ballet que dura tres horas es equivalente a correr 18 millas o dos partidos de fútbol de 90 minutos.

Los bailarines invierten mucho en sus trajes y zapatillas. El bailarín típico gasta dos o tres zapatillas de punta cada semana. Un tutú puede costar $2000, requiriendo 60 a 90 horas de trabajo y 100 yardas de pliegue. El corto es el tutú a la italiana y el largo es el tutú romántico.

El ballet nunca es interactivo con la audiencia. La narración se hace con movimiento y música y requiere atención silenciosa en todo momento.

¡Aplaudan por los giros! En todos los espectáculos se puede aplaudir después de danzas y movimientos impresionantes, como piruetas o rotaciones rápidas. En presentaciones de danza con música en vivo, hay que aplaudir cuando el conductor aparece por primera vez.

Los instrumentos que se escucha en El cascanueces incluyen: flautas, flautines, oboes, cornos ingleses, trompetas, trombones, trombones de bajo, tubas, címbalos, triángulos, panderetas, xilófonos, timbales, arpas y cuerdas.

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The History of the Nutcracker BalletIn 1892, the first production of the ballet took place at the Mariinsky Theatre of Russia, home of the Kirov Ballet.

The ballet made its way to Western Europe in the 1930s and to America by 1940, performed by Ballet Russe.

The first American version of The Nutcracker Ballet was performed in 1944 by the San Francisco Ballet, where it became an annual holiday tradition.

In 1954, George Balanchine, co-founder and ballet master of the New York City Ballet, created his now-famous version of The Nutcracker Ballet. Balanchine was trained at the famous Kirov Ballet

of St. Petersburg, and can be credited with helping to popularize The Nutcracker across the United States.

Balanchine’s Nutcracker follows the original plot closely. However, he chose to have the roles of the young girl Clara (or Marie, as she is sometimes called) and the Nutcracker Prince played by actual children, and adjusted their choreography accordingly. Because they are not adults, there is no hint of a romance between Clara and the Prince, as is seen in other versions. The New York City Ballet performs Balanchine’s Nutcracker every holiday season.

Robert Joffrey’s (Joffrey Ballet Company) The Nutcracker premiered in 1987. It was produced in the spirit of the original ballet by Marius Petipa, but Joffrey wanted his version to have an American feel. Most productions of The

Nutcracker were presented using European themes and traditions. In contrast, Joffrey’s version is set in 1850s America and highlights innocence, wonder, and family ties.

Joffrey worked on his production of The Nutcracker for 15 years, all the while collecting an assortment of Victorian cards, prints, illustrations, and toys, all of which would form the basis for his sets and costumes.

Joffrey’s research of Victorian tin toys also inspired the sleek glow in the dark mice costumes.

African American choreographers have altered The Nutcracker in a variety of ways, to shift the ballet from an overwhelmingly white tradition to one that better reflects their own experience. Donald Byrd’s 1995 Harlem Nutcracker tells the story of an African American family during the holidays, with a grandmotherly Clara as the matriarch.

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La historia del ballet El cascanuecesEn 1892, la primera producción del ballet se llevó a cabo en el Teatro Mariinski en San Petersburgo, Rusia, hogar del Ballet Kirov. El ballet llegó al Europa occidental en los años treinta y a los Estados Unidos en 1940 cuando fue presentado por Ballet Russe. La primera versión estadounidense de El cascanueces fue presentada en 1944 por el Ballet de San Francisco donde se convirtió en una tradición de la temporada navideña. En 1954, George Balanchine, cofundador y maestro del ballet del Ballet de la Ciudad de Nueva York, creó su versión famosa. Balanchine fue entrenado en el famoso Ballet Kirov

de San Petersburgo y puede ser reconocido por ayudar a popularizar El cascanueces por todo los Estados Unidos. Su versión sigue la trama original de cerca. Sin embargo, él eligió hacer que los papeles de la niña Clara (a veces llamada María también) y el Príncipe Cascanueces fueran interpretados realmente por niños y ajustó su coreografía apropiadamente. Porque no son adultos, no hay una insinuación de romance entre Clara y el príncipe, como se ve en otras versiones. El Ballet de Nueva York presenta la versión de Balanchine cada temporada navideña. La versión de Robert Joffrey (Compañía de Ballet Joffrey) se estrenó en 1987. Fue producida en el espíritu de la versión original de Marius Petipa, pero Joffrey quiso que su versión tuviera un estilo estadounidense. Muchas de las producciones fueron presentadas utilizando temas y

tradiciones europeas. En contraste, la versión de Joffrey está montada en los Estados Unidos de los años 1850 y resalta inocencia, asombro y enlaces familiares. Joffrey trabajó en su producción por 15 años, todo el tiempo colectando una variedad de tarjetas, impresos, ilustraciones y juguetes de la época victoriana que forman la base de sus escenarios y trajes. La investigación de Joffrey de los juguetes de hojalata también inspiró el brillo liso en los trajes oscuros de los ratones. Los coreógrafos afro-estadounidenses han alterado el ballet en varias maneras, para desplazar el ballet de una obra abrumadoramente blanca a una tradición que mejor refleja su experiencia. La versión El cascanueces de Harlem de Donald Byrd en 1995 cuenta el cuento de una familia afro-estadounidense durante la temporada navideña con una Clara viejita como la matriarca.

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Show. Don’t Tell. Lesson 1

Grades 3 - 12 CCSS

ELA-Literacy.CCRA.SL.2

NMCASTH:Cr1.1

Objectives

Materials • Large, clear space to move around

• A collection of short stories, preferably ones that are already familiar to the class (fairy tales and fables would work especially well here)

Procedure 1. Assess students’ familiarity with ballet. You may want to review some of the more famous ballets: The Sleeping Beauty, Swan Lake, Romeo and Juliet, etc. Note that every ballet tells a story without using words. Have students discuss how dancers tell a story without using words. They should come to the conclusion that dancers use physical movements and facial expressions to tell stories.

2. Have students practice expressing themselves without words. Give students a variety of emotions to convey without making any sound, using their bodies and their faces. This can be done on an individual volunteer basis, with students making their

attempts in front of the class, or as a group with everyone practicing at the same time. Emotions to practice can include: joy, anger, sadness, surprise, fear, etc. Encourage students to engage their whole bodies and to exaggerate facial expressions.

3. Next have students practice performing a task without speaking or making noise. Tasks can be generated by the group or given by the instructor. Tasks can include: cooking dinner, fixing a car, playing a sport, etc. The point is to get students comfortable with the idea of conveying information using only their bodies.

4. Once students are comfortable

using their bodies to communicate, split students into small groups of 3-4. Assign each group a short story. Each group will explore how to communicate their story to the class using only their bodies. Allow students time to collaborate and create a scene.

5. Have each group perform their stories for the class. Ask students to identify specific movements or facial expressions that group members used that helped to communicate something important to the scene.

Extensions/Modifications

Assessment/Modifications

Students will:• be able to communicate a specific emotion, task or story without using words or sound;

• collaborate to create scenes that are performed without sound.

• Turn this activity into a guessing game. Depending on students’ level of comfort with pantomime, you can have students pantomime and guess at which tasks are being performed (step # 3) or at which story is being performed. Discuss specific actions that helped them make their guess.

• For younger students, find a story that the entire group can act out together. The instructor can narrate the story as the students develop movements to act out what is being spoken. Students can either play each character as one big group or can divide into small groups where each group represents one character in the story.

• Students effectively communicate basic elements of a story using only their bodies to communicate.

• Quality of participation

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Objectives

• A large variety of tree leaves. Different shapes and sizes would be best. If leaves cannot be found, use

scarves, or have each student make their own leaf.

• Book or video of the story of The Nutcracker Ballet.

Procedure 1. Review the story of The Nutcracker Ballet, as told in the performance or from a book or video of the

full ballet.

2. Have students discuss their favorite scenes. Discuss the dances done by the snowflakes and the

flowers. What did the dancers do with their bodies to represent their characters?

3. Tell students that they will have the opportunity to try to choreograph their own dance using an

object from nature as their inspiration.

4. Divide students into groups of 4-6 people. Have each student find a special leaf. Instruct them to

hold the leaf in the air and let it fall to the ground several times, making observations about the way the

leaf falls. Encourage students to discuss their observations within their groups.

5. Give students about 5 minutes to create their own interpretations of the leaf falling to the ground

using their body. Encourage them to try to recreate how it falls, how it twists, turns, flutters, swirls,

floats, drops, sways, swings, circles, glides, slides and eventually comes to rest.

6. In their groups, have each student perform their leaf interpretations for each other. After each

student has had a chance to perform, the group must decide on one movement from each student’s

original interpretation that everyone in the group will learn. The group should practice each movement

a minimum of 3 times to be sure that everyone has it.

7. Instruct the group to decide on an order of all the steps to create an original dance. Example:

Movement #1 followed by movement #4, followed by movement #2, followed by movement #2 again,

etc. The dance should include every group member’s movement at least once.

8. Once groups have the body of their dance set, encourage them to create a beginning and end to the

piece. They should make decisions about how they will enter and exit the stage, if they will start and

end in frozen tableau, etc.

9. Once the dance is set, have each group perform their dance for the rest of the class.

10. Discuss the process each group went through to mimic the movement of a leaf and turn it into a

dance. What were the challenges? What did they enjoy the most?

Students will:

• make observations of the movement of falling leaves;

• collaborate to create unique movements that emulate their observations;

• work collaboratively to create original dance performances.

The Dance of the Falling Leaves Lesson 2

Grades 3 - 12

CCSSELA-Literacy.CCRA.R.7

ELA-Literacy.CCRA.SL.2

NMCASDA:Cr1.1

NGSS1-LS1-1

Extensions/Modifications• Younger students may be more comfortable developing these dances as one large group. Have

students stand in a circle and perform the movements together, guided by the instructor.

• Find music to fit your movements. Perform your dance to this music.

• If students made their own leaf, ask them to simulate how their leaf moved. How was it different or the

Materials

continued on page 8

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same as others? What contributed to those differences? Reflect on the material used, size, shape,

height of launch, environment, etc.

• Modify the leaves to be snowflakes, feathers, flower petals, etc. How does this change the

dance based on weight, density, etc.?

• Introduce weather changes.

• Consider having small groups make one or two changes in their dance based on the above.

Have the rest of the class guess what influence they are depicting and how it was portrayed.

continued from page 7

Assessment• Students create unique movements based on their observations of falling leaves.

• Students work collaboratively to combine movements in a meaningful way.

• Quality of participation

RANDY TALLY

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Bonus Explorations Lessons & Activities

Drama Tableaux: In groups of 3 or 4, use body shape and space to show a concept frozen in time (tableaux). This activity can be carried out with a read-aloud of The Nutcracker with pauses inserted for the formation of tableaux. Discuss the visual effect of the tableau performances after allowing time for sharing student sequences.

Variation: Have each group mix up their tableau sequences. The audience must then sequence the tableaux in a way that makes sense to the plot.

Variation: Have students create meaningful transitions between each tableau to form a cohesive composition.

Math Angles: Create a series of tableaux that satisfy certain angle specifications. These requirements may refer to the tableaux as a whole, or to the position of each individual in the tableaux. Discuss compositions as a class to determine how successfully the criteria were met.

Suggestion: Recreate the fight scene with the Rat King. Two people must have their arms at acute angles. Two must show at least one obtuse angle. Two must show right angles.

About The New Mexico Ballet Company Each year, the New Mexico Ballet Company provides 8,400 New Mexico school children with access to dance arts. The History of Dance and Discovery workshops, now in their 18th year, bring NMBC directly into 11 elementary schools within the Albuquerque Public Schools and Rio Rancho Schools Systems, giving the students and their teachers the opportunity to learn about the history of dance, watch live performances by professional dancers, and participate in dance as an expressive art – all for free!

ResourcesVideos

The Nutcracker / Baryshnikov, Kirkland, Charmoli Starring Mikhail Baryshnikov, Gelsey Kirkland, Alexander Minz, et al. (Sep 28, 2004)

Ballet 101 – A Beginner’s Class, DVD Starring Jennifer Nunes (Aug 21, 2004)

Tchaikovsky - Swan Lake / American Ballet Theatre, Murphy, Corella Starring Marcelo Gomes, Gillian Murphy and Angel Corella (Oct 4, 2005)

Cinderella - Birmingham Royal Ballet Starring Elisha Willis (Apr 26, 2011)

The Video Dictionary of Classical Ballet Starring Kevin McKenzie and Georgina Parkinson (Aug 15, 1991)

The Little Mermaid - featuring the San Francisco Ballet Starring John Neumeier, Lera Auerbach, San Francisco Ballet, et al. (Nov 15, 2011)

Questions to Engage & ConnectIn a ballet there is no talking. How did the dancers tell the story of the Nutcracker?

Ballet is a highly physical activity (similar to sports). Do you think you could run, jump, twirl, lift, and follow exact movements all at the same time for one hour?

How did the scenery, costumes, and music help you engage with the story?

While watching the show, what was the strongest feeling you experienced?

Which was your favorite part/character of the ballet? Why?

What did this show make you think about?

About the Schooltime SeriesThe Popejoy Schooltime Series brings national and international touring companies and performers to Albuquerque. Each company is selected for youth and family audiences from PreK to 12th grade. Our repertoire reflects the cultural diversity of our global community. The Schooltime Series is curated to include new plays, familiar stories, literary works, biographies, mythologies, folktales, science shows, music, dance, and puppetry. These professional performing artists create entertaining educational experiences designed to encourage literacy, creativity, communication, and imagination..

The Dreamcatchers Teaching GuidesBy their nature, the arts engage young minds in learning through observing, listening, creating, and moving, while offering various ways to acquire information and act on it in a dynamic world. They also offer a natural way to differentiate instruction through multiple modes of representation, expression, and engagement. Additionally, the arts are an authentic context in which students identify and solve problems, reflect, and create meaning. The Dreamcatchers help students embody the lessons and take-action on what they have learned. These guides introduce students to what they will see on stage, provide background information, a basic vocabulary associated with the show, fun facts, vetted resources, and activities providing a connection between the arts and classroom curriculum.

Popejoy HallPopejoy Hall is New Mexico’s premier nonprofit venue for the performing arts and entertainment. Our mission is to provide access to the performing arts for all New Mexicans.

House Policies & EtiquetteThe inside of a theatre where the audience sits is called a “house.” To get along, have fun, and enjoy the show, there are rules to follow. Schooltime is a wonderful opportunity to learn how good behavior in a live theater is different from watching television. For guidelines to practice with your class and chaperones, including safety, special needs, food and drink, backpacks, cell phones, photography, recordings, and more, go to schooltimeseries.com/house-policies.

Dreamcatcher CreditsDreamcatchers are Teaching Guides produced by the Education Department of Popejoy Hall, Albuquerque, New Mexico. Selected Dreamcatchers Teaching Guide materials provided by The New Mexico Ballet Company, The Kennedy Center’s Artsedge, The Milwaukee Ballet, factzo.com, and other resources noted within this guide.

The Schooltime Series is a proud member of

P O P E J OY H A L L : U N I V E R S I T Y F O U N D E D ~ C O M M U N I T Y F U N D E D

The Eugene & Marion Castiglia Popejoy

Children’s Schooltime Endowment

The Popejoy Schooltime Education Endowment

Judith Mersereau

The Popejoy Schooltime Series is supported in part

by awards from: