A group of teachers learning a West African dance demonstrate how to choreograph a dance using four simple movements in this video from the Dance Arts Toolkit series.
Harlina Churn-Diallo and Mali native Yaya Diallo perform and teach the Mouwa in this video from the Dance Arts Toolkit series. The Mouwa is a dance that comes from the Bambara, Senufo, and Miniaka people of West Africa.
Dancer Harlina-Churn Diallo and musician Yaya Diallo teach a group of teachers four basic movements of West African dance in this video from the Dance Arts Toolkit series.
Kwesi Anku, Kwaku Manu, and Selasi Morgan are performing artists who teach at the East Bay Center for the Performing Arts in Richmond, CA and are members of the Bay Area's West African Music and Dance Ensemble. Originally from Ghana, they came to the US to study dance with their professor at UC Berkeley, Dr. CK Ladzekpo. They stayed in the Bay Area to spread their love of music and dance and to provide opportunities for young people in their community to express themselves, using music and dance as tools for positive change.
By listening to and looking at the qualities of various scales, students learn to identify the differences between the major, minor, and blues scales.
This resource was created by Sara Pittack, in collaboration with Lynn Bowder, as part of ESU2's Mastering the Arts project. This project is a four year initiative focused on integrating arts into the core curriculum through teacher education and experiential learning.
Welcome to Crash Course Theater with Mike Rugnetta! In this, our inaugural week, we're going to ask the two classic questions about theater. 1.What is theater? And 2. Is it spelled -re or -er? Well, there's a clue to question two in the title of the video. The first question is a little trickier. We'll look at some of the historical definitions of theater, and investigate some of the ways people have thought about theater in different times and places in the world.
Streaming services like Spotify are changing more than the way we listen to music—they are actually changing the way music is written.
This resource was created by Dave Privett, in collaboration with Lynn Bowder, as part of ESU2's Mastering the Arts project. This project is a four year initiative focused on integrating arts into the core curriculum through teacher education and experiential learning.
The English Theater survived a lot of pushback from various powers that be, but in the 17th century, it had to go into hiding, from PURITANS. Let's take a look at how the English Civil War, Charles I's beheading, and the Restoration of the monarchy all had effects on the English Theater. Also, not to bury the lede, but WOMEN finally make it to the English stage in this episode. Plus, Restoration comedies are pretty smutty, so you should hang on 'til the end of this one.
It only takes a few notes of Sarah MacLachlan’s “Angel” over images of homeless dogs and cats to trigger our tear ducts. Heartbreaking visuals aside, what makes the song itself so sad? What is it musically about a song that makes it sound sad? Hosts Nahre Sol and LA Buckner hear from experts and break down the components of sad-sounding music, creating their own somber composition.
Theater had a slow start in Germany, mainly because Germany wasn't really a thing until *relatively* recent times. After Germany finally became a unified state, it had a couple of really important theatrical movements. Today we'll talk about Sturm and Drang, as well as Weimar Classicism. We'll also get into the work of the greatest German playwright, Goethe, and look at his play Faust in the Thought Bubble.
Act out the stages of two different life cycles and compare how they are similar and different.
Your ukulele-playing tour guide, Greggory, is about to take you on a wild and weird adventure into the park! She’ll show you how to act out and compare the life cycle stages of a tomato plant and a lady beetle.
Learning Objective: investigate and compare how animals and plants undergo a series of orderly changes in their diverse life cycles.
This workbook is a supplement to Comprehensive Musicianship: A Practical Resource. Each workbook chapter corresponds to the equivalent chapter in the textbook, and is designed to facilitate the exploration and mastery of the concepts presented through a variety of exercises. Exercises contained in the workbook consist of musical analysis and writing drills, presented both in isolated examples and in context in musical literature, as well as the application of music theory concepts through composition exercises. These exercises can be used as class examples as well as homework assignments.
This resource was created by Kim Roeber, in collaboration with Dawn DeTurk, Hannah Blomstedt, and Julie Albrecht, as part of ESU2's Integrating the Arts project. This project is a four year initiative focused on integrating arts into the core curriculum through teacher education, practice, and coaching.
High school students Aiden Phillips and Hannah Schmidt describe what they learned about playwriting through their involvement in the New Voices Young Playwrights Festival at Actors Theatre of Louisville. Teaching artist Keith McGill explains how he coaches young writers in the playwriting process.
This resource was created by Jenna McAfee, in collaboration with Dawn DeTurk, Hannah Blomstedt, and Julie Albrecht, as part of ESU2's Integrating the Arts project. This project is a four year initiative focused on integrating arts into the core curriculum through teacher education, practice, and coaching.
Written and analytic exercises based on 18th- and 19th-century small forms and harmonic practice found in music such as the chorale preludes of Bach; minuets and trios of Haydn, Mozart, and Beethoven; and the songs and character pieces of Schubert and Schumann. Musicianship laboratory is required.
This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required.
Learn about Zitkála-Šá, also known as Gertrude Simmons Bonnin, a Yankton Sioux author, composer, and indigenous rights activist in this video from the Unladylike2020 series.
Taken from her community at age 8 to attend a boarding school as part of the assimilationist policy of the U.S. government to educate Native American youth under the motto: "Kill the Indian to save the man," she used her education to advocate for American Indian rights. She trained as a violinist at the New England Conservatory of Music, and in 1913 wrote the libretto for what is considered the first Native American opera, The Sun Dance Opera. As an author, she published in prestigious national magazines such as Harper’s and The Atlantic, writing about American Indian struggles to retain tribal identities amid pressures to assimilate into European American culture.
She joined the Society of American Indians, edited its publication American Indian Magazine, and in 1926 co-founded the National Council of American Indians to lobby for voting rights, sovereignty rights, and the preservation of Native American heritage and ways of life. Support materials include discussion questions, research project ideas, and primary source analysis.