Tiny Extra Fun for La Bayadere

La Bayadere takes place in Ancient India! One thing you’ll notice when you see India on a map is that it’s got a lot of water around it and when a body of land has a lot of water around it, the place is usually HUMID. Humid places are wet: you can feel water in the air, it rains often and it might even be a warm place with little pockets where the water stays in the ground like lakes or rivers. Also notice, India is pretty BIG!

India has a lot of green plants, because it’s got so much water. It’s got LOTS of rivers.

The first picture can be downloaded for coloring: make sure you have a big blue crayon to outline the rivers!

And now that you see how much water there is, consider this: the story of La Bayadere starts when they find a FIRE they can’t put out.

Science: Fire (in many forms)

You probably already know that water puts out (or extinguishes) fire, but if we don’t have enough water to cover the flames, a fire can keep going and eat up whatever is in its path. How can fire do that?

Fire is very both strong and beautiful. Did you notice in this video, the teacher talked about the colors inside the fire? In La Bayadere, we also see the dancers move their bodies to show they are looking at the SHAPE and MOVEMENT of the fire.

There are lots of ways to look at and think about an element like fire and doing crafts to work through what you see when you see fire is a really good way to start. What do you observe about fire when you recreate it using paper, crayons and glue?

This one is for my preschoolers.
This 2D and 3D model may be best for my kindergarteners.
This 3D mixed media project may be best for my elementary school dancers.

I know that, when I was young, I got really frustrated that my art didn’t show others what I saw when I looked at things. If you’ve ever had that feeling, don’t worry, we aren’t stopping at coloring, drawing or crafting: we are also DANCING. The fire can be in your dancing, too. It is for Nikiya!

When Nikiya dances, she looks like a graceful flame.

Watch the Ballet Online

La Bayadere is a high water mark in classical ballet and, as such, it’s not 100% easy for children to consume. I share this in the event you’d like to share one piece or another with your child but I don’t rightly expect that anyone will share this with their 2-10year old and make it through two hours of high drama in toe shoes. Mind you, it’s one rousing performance and the video production is great: clear and colorful and well danced. You’ll see many characters my abridged storytelling glosses over (e.g. servants, ghosts, tigers) and you’ll see dramas here that put “Real Housewives” to shame.

All this said, the music we use to dance through the story is from the KINGDOM OF SHADES scene, beginning 1:34 and this video’s Kingdom scene is breathtaking.

Coloring Book!

Quick! See Don Quixote at SFBallet (or see it here)

The children don’t learn the comic ballet Don Quixote until September, however, our beloved San Francisco Ballet is putting this ballet on right now and if anyone has a chance to see it—or if they can’t—I’m blogging out a tiny primer on this, my personal favorite ballet of all time!

As a child, my parents gave me a VHS tape of Baryshnikiov’s production of the ballet with American Ballet Theater. It was remembered as his production not because he choreographed it (that’s usually why you credit someone with a production) but because he directed the video. And it was a very successful VHS, as ballet tapes go. By the grace of YouTube, you can see it in its entirely here! This is the version I dreamed to! Cynthia Harvey’s Kitri is the performance I judge everyone else against. Keep an eye out for Cupid in the second act; Cheryl Yeager’s leggy diety makes it easy to imagine a creature could compel you to love. And, of course, no jumps are as show stopping as Baryshnikov’s Basil! I hope you love it!

I adore Svetlana Zaharova and just recently directed you to watch her in Swan Lake. She’s one of those dancers who has absolutely transcended all technical challenges and her dancing verges on full body acting. Her Kitri is the only other that holds a candle to Harvey. Kitri’s job is to be a body of delight: Her father tries to marry her off to a rich landowner and her reaction (she runs away) has to appear youthful and ebullient instead of selfish. How do you do that through ballet? Watching Zaharova, you’ll ask that, too, and while you’re watching you won’t really have an answer. Zaharova is light as angels. Also, see that this version contains the introduction you’ll see at SF Ballet’s version. In it, Don Quixote falls asleep reading a chivalric book and wakes up when a theif (Sancho Panza) runs through his bedroom with stolen food. He confuses Sancho for a noblemen and set out to see his love Dulcinea, armed with a shaving basin on his head. See it here.

Natalia Osipova jumps like a bird and shouldn’t be ignored for her Kitri—even if I have my prejudices. Her dances are joyous! Also great in this production are the dances with the matador and partner—they’re more balletic than you might find in other versions, which emphasize the more ethnic aspects of the dance—but the way the matador duo get the crowd’s attention with passion is really rare and memorable. See her here.

The heir to the throne of Baryshnikov is a dancer named Sergei Polunin. This wunderkind rose the ranks so fast he told dance publications he was retiring to see what else he could conquer. Like Zaharova, Polunin a way of making you hang on his movements; he creates anticipation. See his variation at the 56 minute mark. He does a jump that takes him 3-4feet in the air and halfway on his side. You’ll hold your breath a moment. Erika Mikirtcheva’s Kitri is a delightful rival to his Basil: she giggles off every impossible hurdle he takes and it’s as if he’s sweating just to get that reaction. See the production here.

Part of what makes Don Quixote magical is the demand that the ballet has others don’t: this one requires the chemistry of dancers and what looks like interaction. It’s highly social in ways other ballets don’t seem to be. It’s a really great night out, even if you’re not a ballet nerd:-)

Tickets to SF Ballet’s last weekend with Don Quixote here!

Hansel & Gretel

Hansel and Gretel is a lesser produced ballet and so lesser known. The modern ballet music is hard to find—I, myself, couldn’t find the Edvard Grieg ballet music to download. (You can see a piece to that music in this link  at the 35 minute mark.) So, when music is harder to get ballet schools or universities set their productions to the wrong music: like this production by the Lake Erie Ballet School  that used music from La Fille Mal Gardee, or this National Youth Ensemble/National Ballet of Cuba production set to Arthur Fielder.

In my classes, I teach the older version of the ballet which uses the music of the German opera by Engelbert Humperdinck. I tell the children ‘long ago you could only see ballet at the opera’ and as opera developed ballet was less of a fixture in it.  You can get a sense of what I’m describing from  this Idaho Falls Opera production. 

I’ve been most inspired by  this Washington Ballet production of Hansel and Gretel. In it, you’ll hear the translated opera which acts as background music. Each production takes a little liberty with certain set pieces, and this one puts a lot into the witch and her relationship with the woodland creatures. It’s pretty spectacular.

The IBAM production follows the lead of the modern UK productions by presenting the witch as an angelic vision—they differ from the modern production by giving a lot of room to small children in the corps de ballet.

The more modern productions of the ballet came out of the UK. Celebrity choreographer Liam Scarlett choreographed a production with new music by Dan Jones. The Royal Ballet doesn’t allow their productions on YouTube but you can see videos about their productions via their channel. Here, Scarlett talks about his vision  here, the production designer talks about creating the look of the ballet. The Scottish Ballet has a well publicized production and in their trailer you can get a sense of the dreamlike production design and the magical effect of their deceptively angelic witch. It makes the whole thing seem new again.

June Ballet – Firebird

Stravinsky’s Firebird really piques the children’s imaginations. Do you remember the fad surrounding “Let it Go,” from Disney’s FROZEN? Somehow, their response to Firebird is a similar form of fascination. They play it on the playground! I just love how they get into it!

This 1977 production is my favorite of all those I’m linking you to! It begins with the “birth” of Katschei, which is really intriguing!

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May Ballet – Coppelia: A Comedy of Toys and Ballerinas

 

As with all the ballets teach the children, I’ve simplified this some. Your children won’t recognize the “jealousy plot” that brews with Rhinehardt offers a flower to Coppelia (the doll). When we dance like Swanilde entering the Inventor’s studio I fail to mention she does so with friends. I also regularly forget the occult undertones of the Inventor’s work (I just say he’s “silly”). Yet, despite literal differences it’s likely the dancers won’t be too bothered with variation. This said, the ballets listed below are incredibly similar to each other so choosing which to watch is a matter of preference: watch a few moments from the middle and see which you prefer.

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April Ballet of the Month: Peter and the Wolf

Peter and the Wolf is such a beloved story it’s inspired at least two major composers to render the story into song. In my class, we begin with the symphony Sergei Prokofiev composed to introduce children to the orchestra. I love the Little Long Playing Record Disney produced, I know I had one as a child. In the class, I use a recording Disney produced for the titular cartoon featuring narration by Boris Karloff. Here is the link to buy and the link to hear in entirety on YouTube. This was also a cartoon you might have seen in your childhood. It doesn’t appear in it’s entirety on youtube–so far as i can find–but there are so many foreign language cartoons of the story there, it’s remarkable! If you haven’t seen the Disney version, maybe you’ve seen this Mel-O-Toon from the 60s.

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CINDERELLA (Like Nutcracker for the Spring)

The ballet Cinderella is the most popular ballet for children (after Nutcracker, that is). The ballet’s composer, Sergei Prokofiev, was also responsible for Peter and the Wolf, which he designed as an child’s introduction to the orchestra. Despite Prokofiev’s evident interest in bringing children culture, the music of Cinderella doesn’t sound at all like children’s music. It’s moody and modern with patches of darkness that make the magic in the story seem little edgy. Don’t worry, it’s nothing the kids can’t handle. The choreography is cartoonish and loaded with pantomime and character steps for easy reading for any age. Below I’m providing links for three different production of Cinderella so that you might share the ballet with your tiny dancer!

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February is Sleeping Beauty Month

 

Tchaikovsky’s Sleeping Beauty is among the longest and most technically difficult ballets of the canon—and, as if understanding this, the companies who produce the ballet have the most glorious sets and costumes. The attention to detail is inspiring!

You should know the ballet is different in some ways to the movie—though Disney did use a few of the more prominent pieces of Tchaikovsky’s score for his movie. Most notably, he retooled the Sleeping Beauty Waltz for “Once Upon a Dream.” In addition to being a more familiar story than most ballets, you’ll recognize a lot of songs from Sleeping Beauty you’ve heard before in other places.

The two productions I want to direct you to are real treats! Traditionally, the hardest roles for men and women are in Sleeping Beauty: for women, it’s the title role. For men, it’s the role of the Bluebird (in the final act), which is also, often played by the same man who plays Carabosse. Among the most famous ballet dancers in history, Enrico Cecchetti, made the two male roles famous. Cecchetti is also responsible for one of the four principle ballet methods: Cecchetti, Vaganova, Bournonville and Royal Ballet.

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Sizing Swan Lake to Fit Pre-School

When I talk about “Sizing Ballet Stories to Fit” preschool, Tchaikovsky’s Swan Lake is always the first ballet people ask about. I feel it’s a really tidy example of how treating the actions of the ballet literally can answer the trickier aspects of retelling ballet stories to kids. At the end of most ballet productions of Swan Lake, Odette jumps off a cliff and Siegfried jumps after her. I tell the children what the dancers literally do: they jump. I also add that the sun rises and Odette becomes a magical swan again (which means she can fly) and Siegfried follows her into the sky. Ultimately my storytelling ends ambiguously but the couple are together and free of the villain. Tidy enough. I base my storytelling loosely on the San Francisco ballet production.

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