Flynn Center Presents

Rennie Harris Puremovement

An immense thank you...The Flynn Center recognizes that field trip resources for schools are extremely limited, thus matinee prices for schools are significantly lower than prices for public performances. As a non-profit organization, the Flynn is deeply grateful to the foundations, corporations, and individuals whose generous financial support keeps matinees affordable for schools.

A special thank you to John Bossange for sponsoring this matinee performance.

Thank you to the Flynn Matinee 2016-17 underwriters: Andrea’s Legacy Fund, Champlain Investment Partners, LLC, Bari and Peter Dreissigacker, Forrest and Frances Lattner Foundation, Surdna Foundation, Tracy and Richard Tarrant, TD Charitable Foundation, Vermont Arts Council, Vermont Concert Artists Fund of the Vermont Community Foundation, Vermont Community Foundation, New England Foundation for the Arts, National Endowment for the Arts, and the Flynn Jazz Endowment. Additional support from the Bruce J. Anderson Foundation, Green Mountain Fund, & the Walter Cerf Community Fund.

Welcome to the 2016-2017 Student Matinee Season!Today’s scholars and researchers say creativity is the top skill our kids will need when they enter the workforce of the future, so we salute YOU for valuing the educational and inspirational power of live performance. By using this study guide you are taking an even greater step toward implementing the arts as a vital and inspiring educational tool. We hope you find this guide useful. If you have any suggestions for content or format of this guide, please contact sms@flynncenter.org.

Enjoy the show! -Education Staff

Rennie HarrisDr. Lorenzo (Rennie) Harris is the Founder, Artistic Director, Choreographer, Director of Rennie Harris Puremovement hip hop dance company, founded in 1992. Puremovement is the longest running touring hip hop dance company. Rennie was born in North Philadelphia, growing up in an African American community. Dr. Harris and his company are dedicated to preserving and disseminating hip hop culture rooted in the belief that hip hop is the most important original expression of a new generation, one that expresses universal themes that extend beyond racial, religious, and economic boundaries, and that can help bridge these divisions. Harris is committed to presenting a sincere view of the essence and spirit of hip hop rather than the commercially exploited stereotypes portrayed by the media. Dr. Harris received honorary doctorates from Bates College and Columbia College. Among numerous other awards, Harris was voted one of the 100 most influential people in the last 100 years of Philadelphia history. Puremovement was chosen as 1 of 4 American dance companies for President Obama’s “Dance Motion USA,” serving as cultural ambassadors. Harris remains at the forefront of hip hop culture and continues to challenge misconceptions and assumptions about hip hop.

An ensemble of dancers demonstrating various styles of hip hop dancing, as well as styles that influenced the genre.

What to expect

Discussion about the origins of the genre and the impact hip hop has had on our society and culture.

Video of key elements from hip hop culture and the history that informed it.

A live DJ spinning beats for the performers.

A Step by Step Guide to “Getting” Dance (also, things to explore while watching)(adapted from the Performing Arts Society of Acadiana)

Watch the patterns created by the dancers on stage● What groupings do you see?● Which dancers seem to be working

together or in opposition?● How many dancers do you see in the

movement?● Are the dancers all moving or are some

using stillness?● Do the dancers form any shapes with their

bodies?● Do the dancers seem to be imitating any

moves or actions from everyday life? Listen to the Music

● Is the music fast or slow?● Is the rhythm even, or choppy?

Does it change?● If you close your eyes and just

listen to the music, what do you picture? What images do you see?

Check out the costumes, set, lights● What structures or fabrics are on

stage with the dancers? Do they make the stage look like another place?

● How do the lights change in the different pieces? What colors do you see in the lights? Do you see any patterns in the lights or shadows?

● How do the costumes contribute to the performance? Do the colors, shapes, or textures the dancers wear tell you anything?

Questions to Explore, Post-Performance● What kind of emotions did you have when you were watching the show? What kind of

emotions did you see being expressed by the performers?● What kind of movements did you see? Fast or slow? High or low? Smooth or jumpy? ● How did the performers hold their bodies during the dances? How was their positioning

different or similar to other dance you have seen?● What did the music feel like? What effect did it have on you as an audience member? How

did the rhythms affect you?● Did you see any elements of storytelling or narrative in this performance? If yes, in what way?● Were there any moments in the performance that made you think of a different art form or a

different kind of expression (performance-based, visual art, literature, etc.)? What was it and why?

Hip Hop Music: a Timeline

Mid 1960s Breakbeats, a break where everything in the song stops (except drums/percussion), rise in popularity following the success of James Brown’s album, Live at the Apollo and his song, Funky Drummer. Breakbeats would go on to provide the basis for hip hop music.

Late 1960s Last Poets and Gil Scott Heron begin recording poetry over jazz influenced music. These recordings, which were politically charged, would go on to influence many socially conscious rappers.

1971 Aretha Franklin releases Rock Steady, a funk/gospel song that provides a basis for hip hop.

Mid 1970s African American and Latino teenagers in the poorest districts of New York City begin developing hip hop; a subculture that produced music, breakdancing and graffiti art. At this time, hip hop was typically performed at discos and block parties in local neighborhoods and consisted of DJs and MCs. DJs would use two turntables and a DJ mixer to play two records non-stop. To make things more entertaining, MCs would rhyme to the beat of the music when introducing a DJ, which led to the creation of rapping.

1979 Rapper’s Delight by The Sugarhill Gang is released and becomes a top-ten hit. The song is regarded as one of the first popular hip hop records, as well as, one of the first to be recorded.

1982 Grandmaster Flash and the Furious Five release The Message, one of the earliest socially-conscious hip hop recordings. The song addresses poverty, crime and living in a dangerous city.

Mid 1980s Rappers, such as LL Cool J and Run DMC, begin adding melodic hooks to their music and producing hip hop singles. This is regarded as the beginning of hip hop’s golden age.

1986 Salt-N-Pepa, one of hip hop’s first all women groups, create a new style of hip hop known as hip hop pop.

Key Players in Hip Hop Music● Sugarhill Gang● Grandmaster Flash and the

Furious Five● LL Cool J● Run DMC● Beastie Boys● Public Enemy● Salt-N-Pepa● N.W.A● Queen Latifah● De La Soul● A Tribe Called Quest● Nas● Wu-Tang Clan● The Notorious B.I.G.● Mos Def● Talib Kweli● Jay-Z● The Fugees● Lauryn Hill● Missy Elliot● OutKast● Kanye West● Nicki Minaj● Kendrick Lamar

Late 1980s Public Enemy develops a new style of political hip hop to demand an end to injustice and racism.

1988 N.W.A. releases Straight Outta Compton, which is now regarded as one of the greatest hip hop albums due to it’s focus on injustice and police brutality in their neighborhood.

Early 1990sProducers begin using audio editing software and digital effects to create new styles of alternative hip hop. De La Soul, Queen Latifah and A Tribe Called Quest added jazz and R&B samples, while The Fugees incorporated elements of reggae and soul.

Mid 1990sNas, Wu-Tang Clan, Tupac and The Notorious B.I.G. develop gangsta rap - a genre of hardcore hip hop that addresses drugs, crime and other aspects of “gangsta” life.

Late 1990sCommon, Mos Def and Talib Kweli further develop socially-conscious hip hop, while rapping about political and social issues over jazz and funk grooves.

1999The Miseducation of Lauryn Hill by Lauryn Hill (former member of The Fugees) becomes the first hip hop album to win the Grammy award for Album of the Year.

Early 2000sHip hop becomes one of the most popular and successful genres of music worldwide.

2004Kanye West releases The College Dropout, the first of a series of chart-topping alternative hip hop albums that helped change the direction of hip hop music. The album’s success using alternative hip hop influences led to the decline of gangsta rap and to hip hop artists becoming increasingly experimental with their music.

2015Kendrick Lamar releases To Pimp a Butterfly, which receives widespread critical acclaim for its incorporation of funk, jazz, soul and spoken word influences, as well as, its discussion of political and personal themes related to race, culture, identity and discrimination.

Hip Hop Music: a Timeline

Key Tracks in Hip Hop MusicThe Revolution Will Not Be Televised - Gil Scott HeronFunky Drummer - James BrownRock Steady - Aretha FranklinRapper’s Delight - Sugarhill GangThe Message - Grandmaster Flash and the Furious FiveIt’s Tricky - Run-D.M.C.Fight the Power - Public EnemyRebel Without a Pause - Public EnemyPush It - Salt-N-PepaStraight Outta Compton (clean version) - N.W.A.Me, Myself, and I - De La SoulLadies First - Queen LatifahCan I Kick It? - A Tribe Called QuestC.R.E.A.M. - Wu-Tang ClanThieves in the Night - Black Star (Mos Def and Talib Kweli)Killing Me Softly - The FugeesCan’t Take My Eyes Off of You - Lauryn HillHey Ya! - OutKastJesus Walks - Kanye WestGlory - Common ft. John LegendUntitled 3 - Kendrick Lamar

Activities

EXPLORE/CONNECT/CREATE: Hip Hop subgenres Hip hop culture is extremely influenced by regional factors, and this influence helps define and/or create distinct subgenres.

● Have students research the hip hop regional centers (broadly: South, Midwest, East Coast, West Coast) and trace how the culture of that region impacted the music and evolved it into its own subgenre.

● Have students reflect on their own regional identity. How are they affected or influenced by the cultural and environmental landscape that surrounds them?

● Discuss the local music scene. Is hip hop a well-represented genre and does it include factors unique to this region? What messages does the music send about the region?

● Ask students to classify the hip hop from their region. What would they call it? What makes it distinct from other genres?

Post-Show Collage ActivityInvite students to look through old magazines and newspapers to find images and words that reflect their thoughts and feelings as they were watching the Puremovement dancers perform. Have students cut out the images and words and create a collage which represents the experience, the ideas that came up for them during the performance, and the impressions they were left with. Discuss the collages as a class. Encourage students to tell each other what they see in others’ collages as well as allowing students to discuss their own collages.

Post-Show Writing ActivityAfter seeing the performance, invite students to discuss what they saw and record their impressions creatively. Students can write a short poem about the dances they watched, the ways that their understanding of dance may have changed, elements of the dances that surprised them, and ways that the dancers challenged their ideas about movement.

Creatively Telling Your StoryExplore the idea of the “creative narrator.” Ask students to come up with a small anecdote from their lives that they are willing to share. Ask them to tell this story (orally, in writing, or using another medium...dance, visual art, etc.) with just the concrete facts, just reporting the events. Then have them retell the story adding emotions, drama, rich description, memories, feelings. Which story was more compelling? Which story felt like a more authentic telling and gave the audience a better sense of the event?

Movement MemoriesInvite each student to choose one particular movement from the show that stands out in their memory. Remind them of the different types of moves they saw and ask for volunteers to demonstrate the movements as best they remember them. As each volunteer performs a movement, invite everyone to create their own interpretation of that same movement and perform these pieces simultaneously. (Hint: use the lights in your room to cue the start and end of the “performances.”) Ask the students what made these movements memorable.

WORDS COME ALIVE: Arts Integration Activities

Providing the opportunity to actively explore the world of the show helps students become more engaged and connected audience members, thinking about artists’ choices and approaching the performance with enhanced curiosity. For more information about our arts integration activities:● click here● call 652-4548● Email Lauren at

schoolprograms@flynncenter.org

Movement PhrasesLearning goals: Determine importance; synthesize; think abstractly.Performing goals: Combine locomotor and non-locomotor movements with structural form.

Ask students to choose a story or process to illustrate through movement. (Perhaps “going to a party” or “meeting someone new.”) As students to identify a specific beginning, middle, and end of their story/process, and create a movement to express each part. Select a movement expressing the beginning from one of the students and lead the whole group to repeat it. Repeat the process for the middle and end, connecting the three sections so they flow from one to another. Tell the students that they have just created a movement phrase!

To extend this, ask each student to generate shapes representing three moments related to their own personal journey. After they each choose shapes, instruct them to link the shapes together so that one flows smoothly to the next. Tell the students to change from one shape to another as you clap to signify transition. Divide the class into small groups, asking each student to show his/her own movement phrase, all at the same time, to the other groups.

Creating DancesLearning goals: Express a complete idea; synthesize.Performing goals: Adjust and reproduce movement sequences of locomotor and non-locomotor movements with consistency.

Once movement phrases have been created, have students combine their individual phrases into one collective movement phrase, and have them choose a starting and ending position for their performance. Have them decide where in the space they should be at the beginning and end of their performance and have them create ways to get there. Share the resulting dances with the other students.

● Perform the phrases with the dancers in different spatial relationships – e.g. close together or spread apart – and decide which is most effective. In each case, decide on a way to enter and exit the space.

● Divide the class into fours and ask each student in the group to show the others a 4-count movement phrase that represents a certain moment or emotion from their personal journey. Then instruct them to teach each other their phrases and to create a way to link them together to make one 16-count movement phrase. Once every group knows their phrase, create a sequence and perform one at a time. Perform the movement phrases together, but with each dancer starting at a different point in the phrase.

● Use two contrasting pieces of music to accompany the dance and see how they change its feel. Adjust the choreography to fit both selections.

REFLECT:

How effectively do you feel your phrases and dances told a story? Could your story be interpreted in many ways or just one? How did it feel to tell a story without using words, and only using your bodies?

We can’t wait to see you at the theater!Teachers, a few reminders:● Fill out the Seating and Travel Survey, so we can best accommodate your group’s needs in regards to dismissal, bussing, students with

different needs, etc.● Share your experience with us! Use the feedback links, or share your students’ artwork, writing, responses. We love to hear how experiences

at the Flynn impact our audiences. ● Explore other student matinees at the Flynn this season. We’ve still got seats in some shows and we’d love to help you or other teachers at

your school enliven learning with an engaging arts experience!

The Flynn is a place for ALL students, and these tools can help! Pre or Post-Show Video Chats:Help students build enthusiasm or process their experience with a free, 5-10 minute video chat before or after the show! We can set up Skype/Facetime/Google Hangouts with your class to answer questions about the content, art form, and experience. Contact Kat, kredniss@flynncenter.org to set up your chat!

Autism and Sensory-Friendly Accommodations:The Flynn Center has been working diligently to break down barriers for audience members with disabilities, with a particular focus on those with sensory-sensitivities. Social stories, break spaces, sensory friendly materials, and more are available for all student matinees. Feel free to let us know ahead of time if any of these would be useful, or ask an usher at the show!

We appreciate and value your feedback● Click here to evaluate our study guides.● Click here for Teacher Feedback Forms for the performance.● Click here for Student Feedback Forms for the performance.● Click here for Parent Forms to help parents engage with

their children around the show.

Common Core StandardsThe Common Core broadens the definition of a “text,” viewing performance as a form of text, so your students are experiencing and interacting with a text when they attend a Flynn show.

Seeing live performance provides rich opportunities to write reflections, narratives, arguments, and more. By writing responses and/or using the Flynn Study Guides, all performances can be linked to Common Core:

CC ELA: W 1-10You can use this performance and study guide to address the following Common Core Standards:

CC ELA: RL 7, SL 2, RH 1-4, WHST 7 & 9; C3 Hist: D2.His.1-4

This guide was written & compiled by the Education Department at the Flynn Center for the Performing Arts with inspiration from Rennie Harris Puremovement website. Permission is granted for teachers, parents, and students who are coming to Flynn shows to copy & distribute this guide for educational purposes only.

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