1UMS 09-10

F O N D LY D O W E H O P E…F E R V E N T LY D O W E P R AY

B I L L T . J O N E S / A R N I E Z A N E D A N C E C O M P A N Y

T E A C H E R R E S O U R C E G U I D E

2 0 0 9 - 2 0 1 0

2 UMS 09-10

Michigan Council for Arts & Cultural Affairs

University of Michigan

Anonymous

Arts at Michigan

Arts Midwest’s Performing Arts Fund

Bank of Ann Arbor

Bustan al-Funun Foundation for Arab Arts

The Dan Cameron Family Foundation/Alan and Swanna Saltiel

Community Foundation for Southeast Michigan

Consulate General of the Netherlands in New York

Doris Duke Charitable Foundation

Doris Duke Foundation for Islamic Art

DTE Energy Foundation

The Esperance Family Foundation

David and Phyllis Herzig Endowment Fund

Honigman Miller Schwartz and Cohn LLP

JazzNet Endowment

W.K. Kellogg Foundation

Masco Corporation Foundation

Miller, Canfield, Paddock and Stone, P.L.C.

THE MOSAIC FOUNDATION (of R. and P. Heydon)

The Mosaic Foundation [Washington, DC]

National Dance Project of the New England Foundation for the Arts

National Endowment for the Arts

Prudence and Amnon Rosenthal K-12 Education Endowment Fund

Rick and Sue Snyder

Target

TCF Bank

UMS Advisory Committee

University of Michigan Credit Union

University of Michigan Health System

U-M Office of the Senior Vice Provost for Academic Affairs

U-M Office of the Vice President for Research

Wallace Endowment Fund

This performance is funded in part by the MetLife Community Connections Fund of the National Dance Project, a program administered by the New England Foundation for the Arts; Arts Midwest’s Performing Arts Fund; and the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.

This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched and written by Liz Stover.

Special thanks to the Bill T. Jones/Arnie Zane Dance Company, Leah Cox, Omari Rush, and Savitski Design for their contributions, feedback, and support in developing this guide.

SUPPORTERS

3UMS 09-10

Bill T. Jones at Lincoln Library , Photo: Russell Jenkins, courtesy of Ravinia Festival

F O N D LY D O W E H O P E…F E R V E N T LY D O W E P R AY

B I L L T . J O N E S / A R N I E Z A N E D A N C E C O M P A N Y

BILL T. JONES artistic director

FRIDAY

JANUARY 22

2 0 1 0

4 - 6 P MPOWER CENTER

T E A C H E R R E S O U R C E G U I D E 2 0 0 9 - 2 0 1 0

U M S Y O U T H E D U C AT I O N P R O G R A M

4 UMS 09-10

ATTENDING THE PERFORMANCE6 Attending the Show8 Map + Directions9 The Power Center

BILL T. JONES/ARNIE ZANE DANCE CO.11 Company History12 Who are Bill T. Jones and Arnie Zane?14 Meet the Dancers16 Behind the Scenes18 Artistic Influence

FONDLY DO WE HOPE...FERVENTLY DO WE PRAY21 The Work22 An Essay

TABLE OF CONTENTS

25 Artistic Elements of FDWH…FDWP26 The Set28 The Costumes

THEMES + IDEAS31 Abraham Lincoln33 Mary Todd Lincoln35 The Civil War: A Timeline38 The Second Inaugural Address + Text Exploration

ABOUT DANCE41 Elements of Dance43 Elements of Movement44 Vocabulary of Dance

LESSON PLANS47 Preparing for the Performance48 Practicing Observation50 Making a Photograph Come Alive52 Performance Notes54 More Resources56 Bibliography

ABOUT UMS58 What is UMS?59 Youth Education Program60 How to Contact UMS?

Short on time?If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents.

Those pages will provide the most important information about this performance.

5UMS 09-10

AT T E N D I N G T H E P E R F O R M A N C E

Photo: Paul B. Goode

6 UMS 09-10

TICKETS We do not use paper tickets

for Youth Performances. We hold school

reservations at the door and seat groups

upon arrival.

DOOR ENTRY A UMS Youth Performance

staff person will greet your group at your

bus as you unload. You will enter through

the front doors of the Power Center,

which faces Fletcher Street.

BEFORE THE START Please allow the

usher to seat individuals in your group in

the order that they arrive in the theater.

Once everyone is seated you may then

rearrange yourselves and escort students

to the bathrooms before the performance

starts. PLEASE spread the adults through-

out the group of students.

DURING THE PERFORMANCE At the

start of the performance, the lights well

dim and an onstage UMS staff member

will welcome you to the performance and

provide important logistical information. If

you have any questions, concerns, or com-

plaints (for instance, about your comfort or

the behavior of surrounding groups) please

IMMEDIATELY report the situation to an

usher or staff memer in the lobby.

PERFORMANCE LENGTH 90 minutes

with no intermission

AFTER THE PERFORMANCE When the

performance ends, remain seated. A UMS

staff member will come to the stage and

release each group individually based on

the location of your seats.

SEATING & USHERS When you arrive at

the front doors, tell the Head Usher at the

door the name of your school group and

he/she will have ushers escort you to your

block of seats. All UMS Youth Performance

ushers wear large, black laminated badges

with their names in white letters.

ARRIVAL TIME Please arrive at the Power

Center between 3:30-3:50pm to allow you

time to get seated and comfortable before

the show starts.

DROP OFF Have buses, vans, or cars drop

off students on Fletcher Street in front of

the Power Center. If there is no space in

the drop off zone, circle the block until

space becomes available. Cars may park

at curbside metered spots or in the visitor

parking lot behind the power Center.

Buses should wait/park at Briarwood Mall.

DETAILS

AT T E N D I N G T H E S H O WWe want you to enjoy your time with UMS!

PLEASE review the important information below about attending the Youth Performance:

TICKETS

USHER

7UMS 09-10

BUS PICK UP When your group is re-

leased, please exit the performance hall

through the same door you entered. A

UMS Youth Performance staff member will

be outside to direct you to your bus.

AAPS EDUCATORS You will likely not

get on the bus you arrived on; a UMS staff

member or AAPS Transportation Staf per-

son will put you on the first available bus.

LOST STUDENTS A small army of volun-

teers staff Youth Performances and will be

ready to help or direct lost and wandering

students.

LOST ITEMS If someone in your group

loses an item at the performance, contact

the UMS Youth Education Program (um-

syouth@umich.edu) to attempt to help

recover the item.

AAPS

SENDING FEEDBACK We LOVE feed-

back from students, so after the perfor-

mance please send us any letters, artwork,

or academic papers that your students

create in response to the performance:

UMS Youth Education Program, 881 N.

University Ave., Ann Arbor, MI 48109-1011.

NO FOOD No Food or drink is allowed in

the theater.

PATIENCE Thank you in adavance for

your patience; in 20 minutes we aim to get

1,300 people from buses into seats and

will work as efficiently as possible to make

that happen.

ACCESSIBILITY The following services are

available to audience members:

• Wheelchair, companion, or other

special seating

• Courtesy wheelchairs

• Hearing Impaired Support Systems

PARKING There is handicapped parking

very close to the Power Center on Fletcher

Street and in the parking structure behind

the Power Center on Palmer Drive. The

first three levels of the Palmer Drive struc-

ture have 5 parking spots on each level

next to each elevator. There are a total of

15 parking spaces in the garage.

WHEELCHAIR ACCESSIBILITY The

Power Center is wheelchair accessible and

has 12 seats for audience members with

special needs.

BATHROOMS ADA compliant toilets are

available in the green room (east corner)

of the Power Center for both men and

women.

ENTRY The front doors are not powered,

however, there will be an usher at that

door opening it for all patrons.

8 UMS 09-10

POWER

HILL

DR

OP

-OF

F Z

ON

E

PARK

PALMER DRIVE

E. HURON ST

E. LIBERTY ST

WILLIAM ST N. UNIVERSITY AVENUE

WA

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NA

W A

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NU

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FL

ET

CH

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ST

TH

AY

ER

ST

ST

AT

E S

T

CH

UR

CH

ST

MA

LL

PA

RK

ING

&

RACKHAM

Circle this block until

a spot is free in the

drop-off zone.

M A P + D I R E C T I O N SThis map, with driving directions to the Power Center, will

be mailed to all attending educators three weeks before the performance.

MAP

9UMS 09-10

T H E P O W E R C E N T E R

VENUE

THE POWER CENTER for the Performing

Arts grew out of a realization that the

University of Michigan had no adequate

proscenium-stage theater for the per-

forming arts. Hill Auditorium was too

massive and technically limited for most

productions and the Lydia Mendelssohn

Theatre was too small. The Power Center

was built to supply this missing link in

design and seating capacity.

In 1963, Eugene and Sadye Power,

together with their son Philip, wished to

make a major gift to the University. The

Powers were immediately interested in

supporting the University’s desire to build

University of Michigan, Power Center

a new theater, realizing that state and

federal governments were unlikely to

provide financial support for the con-

struction of a theater.

Opening in 1971, the Power Center

achieved the seemingly contradictory

combination of providing a soaring

interior space with a unique level of

intimacy. Architectural features include

two large spiral staircases leading from

the orchestra level to the balcony and

the well known mirrored glass panels

on the exterior. The lobby of the Power

Center presently features two hand-wo-

ven tapestries: Modern Tapestry by Roy

Lichtenstein and Volutes (Arabesque) by

Pablo Picasso.

The Power Center seats approximately

1,300 people.

POWER CENTER

121 Fletcher St

Ann Arbor, MI 48109

Emergency Contact

Number:

(734) 764-2538(Call this number to reach a UMS staff person or

audience member at the performance.)

10 UMS 09-10

Photo: Paul B. Goode

B I L L T. J O N E S / A R N I E Z A N E D A N C E C O M PA N Y

11UMS 09-10

THE BILL T. JONES/ARNIE ZANE

DANCE COMPANY is currently celebrat-

ing its 25th anniversary season. The

company was founded after 11 years of

collaboration during which Bill T. Jones

and Arnie Zane (1948–1988) redefined

the duet form and foreshadowed issues

of identity, form, and social commentary

that would change the face of American

dance. The company emerged onto the

international scene in 1983 with the

world première of Intuitive Momentum,

which featured legendary drummer Max

Roach, at the Brooklyn Academy of Mu-

sic. Since then, the 10-member company

has performed worldwide in over 200

cities in 30 countries including Australia,

Brazil, Canada, the Czech Republic, Ger-

many, France, Israel, Italy, Japan, Mexico,

South Africa, and the UK. Today, the

Harlem-based company is recognized as

one of the most innovative and powerful

forces in the modern dance world.

The company has distinguished itself

through its teaching and performing

in various universities, festivals, and

under the aegis of government agen-

cies such as the US Information Agency

(in Eastern Europe, Asia and South East

Asia). Audiences of approximately 50,000

to 100,000 annually see the company

across the country and around the world.

The work of the Bill T. Jones/Arnie Zane

Dance Company freely explores both

musically driven works and works using

a wide variety of texts (such as Reading,

Mercy, and the Artificial Nigger based on

Flannery O’Connor’s 1955 short story,

The Artificial Nigger). The repertoire is

widely varied in its subject matter, visual

imagery, and stylistic approach to move-

ment, voice, and stagecraft. The company

has been acknowledged for its intensely

collaborative method of creation that has

included artists as diverse as Keith Haring,

The Orion String Quartet, the Chamber

Music Society of Lincoln Center, Cassan-

dra Wilson, Fado singer Misia, Jazz pianist

Fred Hersch, Ross Bleckner, Jenny Holzer,

Robert Longo, Julius Hemphill, and

Peteris Vasks. The collaborations of the

Bill T. Jones/Arnie Zane Dance Company

with visual artists were the subject of Art

Performs Life (1998), a groundbreaking

exhibition at the Walker Art Center in

Minneapolis, Minn.

In 2007, Ravinia Festival in Highland Park,

Ill commissioned the company to create a

work to honor the bicentennial of Abra-

ham Lincoln’s birth. The company created

three new productions in response: 100

Migrations (2008), a site-specific commu-

nity performance project; Serenade/The

Proposition (2008), examining the nature

of history; and Fondly Do We Hope…

Fervently Do We Pray (2009), the making

of which is the subject of a feature-

length documentary by Kartemquin Films

entitled A Good Man, to be broadcast on

PBS American Masters in 2011.

C O M PA N Y H I S T O RY

ABOUT

12 UMS 09-10

BILL T. JONES is the Artistic Director

of the Bill T. Jones/Arnie Zane Dance

Company (BTJ/AZDC). Born in Florida in

1952, he was the tenth of 12 children.

His parents were farm workers. At age

three, his family moved to Wayland in

upstate New York. He became interested

in movement and dance while attending

college at Binghamton University in the

1970s, where he took classes in ballet

and modern dance. It was there that he

met Arnie Zane, a photographer, chore-

ographer, and dancer.

Together, Jones and Zane created dances

that drew on their physical contrasts:

Jones black, tall, and fluid, and Zane

white, short, and jagged. In 1978, they

moved to New York City, and in 1982

they founded the Bill T. Jones/Arnie Zane

Dance Company, which they directed

together until Arnie Zane’s death of an

illness related to AIDS in 1988. Jones has

since created more than 100 works for

W H O A R E B I L L T. J O N E S + A R N I E Z A N E ?

PEOPLE

Bill T. Jones and Arnie Zane in Rotary Action (1982) Photo: Lois Greenfield, courtesy of Bill T. Jones/Arnie Zane Dance Company

the company and has choreographed for

many other dance companies. He has

won many awards, including the 1994

MacArthur Genius Award, which awards

a large sum of money to American

individuals who “show exceptional merit

and promise for continued and enhanced

creative work.” He won the Tony Award

in 2007 for “Best Choreography” for the

musical Spring Awakening.

“I danced because I FELL IN LOVE WITH MY SWEAT.

But I wanted a type of sweat that was not the sweat

of the athletic field or the locker room.

I wanted a POETIC SWEAT.

I didn’t know what that was.

I was nineteen. I wanted to be great;

I wanted to be BEAUTIFUL; I wanted to be loved.

And I LOVED what my body would say to me

when I was dancing.”

- Bill T. Jones, from Speaking of Dance

14 UMS 09-10

M E E T T H E D A N C E R SPEOPLE

A N T O N I O B R O W NDancer

Antonio Brown is a native of Cleveland, Ohio. He

began his dance training at the Cleveland School

of the Arts and received his BFA from The Juil-

liard School in 2007 under the direction of Law-

rence Rhodes. Mr. Brown has been a member of

the Company since 2007 and is grateful to share

his gifts and talents with the world.

TA L L I J A C K S O NDancer

Talli Jackson was born and raised in Lib-

erty, N.Y. He received his first training with

Livia Vanaver at the Vanaver Caravan Dance

Institute in upstate New York. He received full

scholarships from the American Dance Festival

in 2006 and 2008, the Bates Dance Festival,

and the Ailey School. Mr. Jackson joined BTJ/

AZDC in 2009.

S H AY L A - V I E J E N K I N SDancer

Shayla-Vie Jenkins, originally from Ewing,

New Jersey, began her dance training at the

Watson Johnson Dance Theater and the Mer-

cer County Performing Arts School. In 2004,

she graduated with honors from Fordham

University. In 2008, she was featured in Dance

Magazine’s “On The Rise”. Ms. Jenkins joined

BTJ/AZDC in 2005.

L a M I C H A E L L E O N A R D , J R .Dancer

LaMichael Leonard, Jr. graduated from the

New World School of the Arts in Miami,

Florida. He joined the Martha Graham Dance

Company and danced lead roles touring

nationally and internationally. He most recently

danced with the Buglisi Dance Theatre. Mr.

Leonard joined BTJ/AZDC in 2007.

A S L I B U L B U LDancer

Asli Bulbul is from Istanbul, Turkey. In 1997,

upon graduation from Mimar Sinan State Con-

servatory, she moved to New York where she

worked with various choreographers including

Joanna Mendl Shaw and Guido Tuveri. Ms.

Bulbul joined BTJ/AZDC in 2001.

P E T E R C H A M B E R L I NDancer

Peter Chamberlin, born in Augusta, Maine,

trained at the North Carolina School of the Arts

and BalletMet of Columbus, Ohio, and graduat-

ed from SUNY Purchase in 2007. Mr. Chamberlin

continues his movement exploration under the

tutelage of Barbara Mahler and enjoys choreo-

graphing whenever he gets the chance. Mr.

Chamberlin joined BTJ/AZDC in 2007.

15UMS 09-10

I-Ling Liu, a native of Taiwan, received her

BFA from Taipei National University of the Arts

in 2005. Ms. Liu joined BTJ/AZDC as an ap-

prentice in 2007 and became a member of the

Company in 2008.

I - L I N G L I UDancer

Paul Matteson, originally from Cumberland,

Maine, has received undergraduate and

graduate degrees from Middlebury and Ben-

nington Colleges, respectively. Mr. Matteson

joined BTJ/AZDC in 2008.

PA U L M AT T E S O NDancer

Erick Montes, originally from Mexico City,

trained at the National School of Classical

and Contemporary Dance. In 2002, he col-

laborated with Stephen Petronio on projects

for Lincoln Center Out of Doors and Queens

Theatre in the Park. Mr. Montes joined BTJ/

AZDC in 2003.

E R I C K M O N T E SDancer

Jennifer Nugent is originally from Miami,

Florida. She enjoys creating dances and col-

laborating with Paul Matteson. Ms. Nugent

joined BTJ/AZDC in August 2009.

J E N N I F E R N U G E N TDancer

W H AT T O WAT C H F O R :

Who do some of the dancers represent throughout the performance?

Do these representations ever change, or do they stay the same?

UMS 09-1016

B J O R N G . A M E L A N Sculptor/Creative Director/Set Designer

Bjorn G. Amelan was the partner of fashion

designer Patrick Kelly from 1983 until his pass-

ing in 1990. He began collaborating with BTJ/

AZDC in 1993. As the company’s resident set

designer, he has created décor for many works

and special presentations.

L A U R A B I C K F O R DLighting Supervisor

Laura Bickford grew up in New York City and

studied at the Performing Arts High School,

Feld Ballet, and the Joffrey Ballet. She gradu-

ated from Smith College with a Bachelor of

Arts in Philosophy and Anthropology. Ms. Bick-

ford joined BTJ/AZDC in 2004.

S A M C R AW F O R DSound Supervisor

Sam Crawford completed both his Associate

of Science degree in Audio Technology and

Bachelor of Arts in English at Indiana Univer-

sity in 2003. A move to New York City led him

to Looking Glass Studios where he worked on

film projects with Philip Glass and Björk. He

currently lives in Jersey City where he works

as a freelance live sound recording engineer

and plays banjo and bass guitar in the groups

Stereofan and The Goodwill Orchestra. E R I C L A U N E RTechnical Director

Eric Launer started a band after graduating

high school. The next few years found Mr.

Launer behind the counter of a record store,

on the air as a radio DJ, and volunteering in

music therapy at an outpatient treatment

facility for mental health. Theater met him

again when he was invited to join the techni-

cal department at The Phillips Center for the

Performing Arts. Since then, Mr. Launer has

continued his career as a technical director.

J A M Y L D O B S O NActor

Jamyl Dobson’s New York City credits include

Romeo and Juliet, Ain’t Supposed to Die a

Natural Death, and the workshop of Fela!

with Bill T. Jones. Mr. Dobson received a BA

from Temple University and an MFA from the

University of Iowa.

L I N D S AY J O N E SSound Designer

Lindsay Jones has been involved in sound de-

sign nationally and internationally. He has also

worked internationally in Austria, Zimbabwe,

South Africa, and Scotland, and with the Royal

Shakespeare Company in Stratford, England.

C H R I S T O P H E R A N T O N I O W I L L I A MComposer/Cel lo

Christopher Antonio William Lancaster (Com-

poser/Cello) is a composer and performing

artist living in New York. His live and recorded

music is created by the processing acoustic

cello sounds through real-time samplers, audio

effects, and filtering. He composes predomi-

nately for theater, dance, and his band The

Black Sounds.

J E R O M E B E G I N Composer

Jerome Begin studied music composition at

Ohio University with Dr. Mark Phillips and

studied piano and music for dance, both ac-

companiment and composition, with André

Gribou. His works have been performed in the

United States, Korea, and Japan. Mr. Begin is

on staff at The Juilliard School (Dance Division)

and also works as a composer, performer,

teacher, and dance accompanist in Brooklyn,

New York, where he currently resides.

W Y N N E B E N N E T TPiano

Wynne Bennett made her Kennedy Center de-

but at the age of 18. Ms. Bennett is currently

working on a solo show involving laptop,

piano, keyboard, drum machine, and film.

PEOPLE

B E H I N D T H E S C E N E SGet to know the people who make the show happen!

17

L I Z P R I N C ECostume Designer

Liz Prince has worked extensively with Bill T.

Jones since 1990 designing for his company

as well as his productions at Boston Ballet,

Berlin Opera Ballet, and Alvin Ailey American

Dance Theater. Ms. Prince received a 1990

New York Dance and Performance Award for

costume design.

C L A R I S S A S I N C E N OSinger

Clarissa Sinceno, a Harlem native, began at

the Harlem School of the Arts and went on

to undergraduate studies at North Carolina

School of the Arts and Manhattan School of

Music. At 17, she performed at the Metropoli-

tan Opera. She has since performed at jazz

clubs the Blue Note and Birdland.

R O B E RT W I E R Z E LLighting Designer

Robert Wierzel has worked with artists in the-

ater, dance, new music, opera, and museums

on stages throughout the country and abroad.

He has a long history (21 years) with chore-

ographer Bill T. Jones and his company. Mr.

Wierzel is currently on the faculty of New York

University’s Tisch School of the Arts.

J A N E T W O N GAssociate Art ist ic Director/Video Designer

Janet Wong was born in Hong Kong and

trained in Hong Kong and London. Upon gradu-

ation she joined the Berlin Ballet where she first

met Mr. Jones when he was invited to choreo-

graph for the company. In 1993, she moved to

New York to pursue other interests. Ms. Wong

became Rehearsal Director of the company in

1996 and Associate Artistic Director in August

2006.

K R I S T I W O O DCompany Manager

Kristi Wood grew up in St. Louis, Missouri,

and since moving to New York in 2000, has

worked with New York City Center, Brooklyn

Academy of Music, The Juilliard School, the

School of American Ballet, and several Broadway

and off-Broadway theaters. She worked as a set

costumer on All My Children and America’s Next

Top Model. Ms. Wood holds a BFA in Drama

from the Tisch Institute of Performing Arts at

New York University. This is her second season

with BTJ/AZDC.

G E O R G E L E W I S , J R .Composer/Guitar/Vocals

George Lewis, Jr., is a Dominican born

songwriter and performer. In addition to his

composing credits with BTJ/AZDC, Isabel Lewis

(The Labor Union), and theater companies in

Copenhagen, Denmark, he plays rock and roll

music with his friends.

K Y L E M A U D EProduction Stage Manager

Kyle Maude has worked with Ballet Tech/Feld

Ballets New York, The Royal Ballet School of Lon-

don, Buglisi-Foreman Dance, and Lesbian Pulp-o-

Rama! Ms. Maude joined BTJ/AZDC in 2003.

D E A N P E R RY Head Carpenter

Dean Perry hails from Tampa, Florida and cur-

rently resides with his wife Jessica in Wash-

ington DC. He has worked on many theatrical

productions on the east coast, and holds a BS

in Business from the University of Florida. He

is thrilled to be working in his first season with

the talented people of BTJ/AZDC.

UMS 09-10

INSPIRATION

A R T I S T I C I N F L U E N C E

“Bill T. Jones has made dances with strong political messages,

using talking and décor to help REPRESENT THE UNDERREPRESENTED:

gays, blacks, those with HIV/AIDS, and others facing death.

In addition to being an activist and storyteller, Jones has increasingly

focused on structuring BEAUTIFULLY CRAFTED group dances.

In them he combines his mastery at improvising lush, complex phrases with his

DESIRE TO EXPLORE music, time, space, and movement.

Jones’s work ranges from CONFRONTATIONAL TO TENDER,

intuitive to formal, narrative to abstract.

His work is animated by his own commandingly athletic

and theatrical presence on stage and his ability to evoke a strong

COMMITMENT from his company members.”

— Joyce Morgenroth, from her book Speaking of Dance

UMS 09-1018

19UMS 09-10

Photo: Timothy Greenfield-Sanders

20 UMS 09-10

F O N D LY D O W E H O P E …F E RV E N T LY D O W E P R AY

21UMS 09-10

ABOUT

CONTINUING THIS TRADITION of challenging, thought-provoking work, Mr. Jones has created a new evening-length work about

Abraham Lincoln, Fondly Do We Hope...Fervently Do We Pray, which premiered at the Ravinia Festival and is now on tour. Commis-

sioned by the Ravinia Festival in Highland Park, Illinois, Fondly Do We Hope…Fervently Do We Pray has found Mr. Jones “leading

with his own heart,” seeking a way to articulate, if not reconcile the view of Lincoln he had as a young boy growing up during the

civil rights struggle and as a mid-life liberal artist who “has very few heroes.” The most ambitious project in the BTJ/AZDC’s 25-year

history, Fondly Do We Hope...Fervently Do We Pray investigates the myriad meanings of Lincoln, rejecting accepted truth in favor of

challenging (and celebrating) the lasting contributions of this great man. This dance-theater work investigates a handful of key mo-

ments from his remarkable life, allowing song and memory to transport the audience to an emotional and intellectual space beyond

the boundaries of space and time. By envisioning the America that might have been had Lincoln completed the Reconstruction, Mr.

Jones exposes the great distance between what is and what could have been.

T H E W O R K

22 UMS 09-10

A N E S S AYF O N D LY D O W E H O P E … F E R V E N T LY D O W E P R AY

By Suzanne Carbonneau

READING

IN HIS FIRST MONUMENTAL work of

dance-theater, Bill T. Jones addressed the

infernal contradictions at the heart of

America. His Last Supper at Uncle Tom’s

Cabin/The Promised Land revisited the

torturous history of a revered cultural

icon that had grown gangrenous over

time. Harriet Beecher Stowe’s 1852 novel

had argued the immorality of slavery and

was instrumental in turning Northern

sentiment towards abolition, but the

novel’s post-Civil War co-optation by

Confederate apologists resulted in Uncle

Tom becoming a synonym for “race

traitor.” With characteristic fearlessness,

however, Jones waded into this untouch-

able material, employing Stowe’s novel as

a springboard for meditations on identity,

hatred, sex, death, and religion. Jones’s

work was simultaneously personal and

political, and ultimately nothing less than

a moral history of America.

Nearly twenty years on, Jones revisits that

decisive moment in American history.

In his newest work of dance theater,

Fondly Do We Hope…Fervently Do We

Pray, AbrahamLincoln is the catalyst for a

rumination on the American conscience

that embraces past, present, and future.

With this commission by the Ravinia

Festival to mark the Lincoln bicentennial,

Jones once again looks into the heart of

American darkness through a figure who

has been both canonized and tarnished.

And once again, Jones has something

larger in mind than either hagiography

or condemnation, employing the Lincoln

myth to create a dream analysis of

America itself.

The title, of course, comes from Lincoln’s

magisterial Second Inaugural, words

carved into the Lincoln Memorial, where

21st-century visitors still burst into tears

at the sight of Daniel Chester French’s

statue of a careworn Lincoln. He is our

peerless, timeless national hero, en-

shrined in American myth as the man

who redeemed us from our foundational

sin of racial slavery. Unlike George Wash-

ington, who has been lost in historical

distance as an Olympian figure, Lincoln

appeals to our vision of the quintessential

American as a common man of noble ac-

tion. He is, as Jones points out, our Great

Man and our Everyman. How then to

reconcile the complexities of the histori-

cal record with this indelible myth?

But as in Last Supper, Jones is not out

to present a straightforward version of

history. Nor is this biopictorial theater.

Fondly Do We Hope is something else

entirely: a consideration of how the great

questions of an age sunder the body

politic; on how history repeats itself; and

on how we experience history not only

as fact but also as feeling. Jones employs

all the elements of theater to assemble a

reverie about Lincoln that is also a con-

templation about each one of us.

In recognition of Jones’s ambition to span

historical divides, Fondly Do We Hope

is a dance with history. Its conversa-

tion toggles between past and pres-

ent, between present and the future.

Appropriately for a work about mongrel

America, the languages of Fondly Do We

Hope are polyglot—kinetic, visual, aural,

textual. As he did in the Promised Land

apotheosis of Last Supper, Jones looks to

the experience of the body as our shared

human condition across culture, across

race, across time. “At the heart of the

piece,” says Jones, “are muscles, blood

and flesh.”

The lodestone text of Fondly Do We

Hope, repeated three times to suggest

its perennial relevance, is Walt Whit-

man’s paean to human anatomy, “Poem

of the Body.” Jones employs his danc-

ers’ bodies—so lovingly catalogued by

Whitman in their particulars (“Leg fibers,

knee, knee-pan, upper-leg, under-leg”)—

as the engine of the work. The perform-

23UMS 09-10

ers dance on a luxuriantly figured carpet

of words by Lincoln and his compatriots.

The movement is not intended to depict

psychological situations nor to illustrate

this text. Rather, it exists as evocative

counterweight to the specificity of the

narration. This movement material—

what Jones describes as “the DNA” of

this work—is laid out at the opening by

a single performer, dancing to Whit-

man’s delirious celebration of our physical

matter. Over the course of Fondly De We

Hope, Jones harvests this thematic inven-

tory for boundless variations. Always,

Jones says, the movement is in “the

service of feelings and ideas.” Together,

words and movement alchemize into

something greater than the sum of these

individual elements.

Music, too, is a central device that

bridges Lincoln’s day with our own.

Contemporary compositions are inter-

spersed with 19th-century music drawn

from every level of society, suggesting

the complexity of Lincoln’s experience

as frontiersman and person of hardwon

cultivation. Traditional tunes, including

“Annie Laurie” and the Lincoln favorite

“Weevily Wheat,” along with the Ameri-

can spiritual “Since I Laid My Burden

Down,” nuzzle against European classical

compositions. Befitting Lincoln’s person-

ality and the tragedy of the war he over-

saw, this score is largely melancholic. The

cemetery looms over a musical setting

of a verse Lincoln particularly admired,

Oliver Wendell Holmes’s “The Last Leaf.”

Death even seeps into Mendelssohn.

Passages from Whitman’s searing “The

Wound-Dresser” are heard as oratorio

within Mendelssohn’s score, reminding

us that Lincoln’s assassination followed

upon mass slaughter. A companion

oratorio from Lincoln’s Second Inaugural

is similarly death-soaked (“every drop of

blood drawn with the lash, shall be paid

by another drawn with the sword”).

The mix of voices in Fondly Do We Hope

reflects the breadth of Lincoln’s influence

and influences: in addition to Lincoln’s

own words, we hear Thomas Jefferson,

the King James Bible, Frederick Douglass.

But it is Whitman who speaks for Lincoln

from somewhere deep within his psyche.

Jones names Whitman as Lincoln’s

“proxy” with good reason. Whitman

himself declared a profound identification

with the President: “Lincoln is particu-

larly my man — particularly belongs to

me; yes, and by the same token, I am Lin-

coln’s man: I guess I particularly belong to

him; we are afloat on the same stream —

we are rooted in the same ground.” And

it is through Whitman, who famously

proclaimed his communion with all living

things in “Crossing Brooklyn Ferry,” that

Lincoln travels through time to speak

directly to us. We belong to Lincoln, as

he belongs to us.

In acknowledgment that Lincoln is “a

story that we tell ourselves, and more

importantly,a story that we tell our chil-

dren,” Jones presents us with faux-naïf

schoolbook biographies of Lincoln and

Mary Todd. Jones believes that we cling

to this Great Man version of Lincoln as

a model for how we might “make our

peace with an insane and oftentimes

unfair world.” But Jones believes that in

perpetuating these simplistic biographies,

we are obscuring the true nature of our

relationship with the past. We have only

to look to the character of Mary Todd,

for example, to recognize the value in a

more considered analysis. As she did in

Lincoln’s life, Todd holds a central place

in Fondly Do We Hope. Jones points to

Todd’s obsessive acquisitiveness as a pro-

found metaphor for our own unhinged

age. He cites her heartbreaking mad-

ness and grief as another. Jones links the

story of Todd and her inability to cope

upon the death of her husband, with the

national disarray experienced at the loss

of that same person. In this analogy, the

Song of Solomon speaks for both per-

sonal and communal sorrow (“Set me as

a seal upon thine heart. For love is strong

as death”).

Traveling again to the present, Jones

stages diagrammatic histories of four

of our contemporaries as companion

biographies to those of Lincoln and

Mary Todd. Taken together, these fel-

low citizens suggest the diversity of the

American public. The biography of one

of them corresponds with the outlines

of Jones’s own life (“born in 1952”; “a

family of fieldworkers”; “seven brothers

and four sisters”; “a life in the theater”;

“his great grandmother, he thinks, was

born a slave”). Ultimately, just as we did

with Lincoln and Mary Todd, we come to

understand the poverty of the schematic

biography, which focuses on the “facts”

of a life but ignores its resonances,

contradictions, reverberations. We begin

to see that this approach does injustice

to all its subjects—Great Man or the least

among us. But still, Jones has made us

consider how our own stories intersect

with history. He asks: Do we face great

questions in our day equivalent to the

conflagration over slavery? What is the

work still to be done? Who will do that

work?

And just as importantly, what are the

issues that shaped Lincoln’s thinking and

that forge our own? Jones looks to the

Lincoln-Douglas Debates for the marrow

of those ideas that divided Americans

in the mid-nineteenth century. Slavery,

the boil that would shortly burst into the

24 UMS 09-10

Civil War, was the inescapable sub-

ject of those arguments. With precise

calibration, Jones distills the Lincoln-

Douglas positions to their essences, while

introducing a more raucous discourse

touching on the issues of our own day. In

pairs, the dancers engage these debates

with richly abstracted and virtuosic move-

ment that Jones describes as “pitched

and performed in such a way that it’s

as if the dancers were orators.” That is,

the dancers do not act out the text, but

they do move to its cadences, pauses and

emphases.

The simple visual design of the work,

conceived by Bjorn Amelan, embodies a

complex metaphor. An imposing cylindri-

cal volume echoes a central movement

image in which the dancers circle the

stage in a cloudlike formation. Jones calls

this “The Maelstrom,” a reference to a

fabled oceanic whirlpool that terrorized

the 19th-century imagination. The Mael-

strom is, of course, a visual metaphor

for the great tumult of the Civil War,

just as it is, Jones says, an apt symbol for

our contemporary “undeclared cultural

war.” Amelan’s spare set also features

columns that simultaneously suggest the

White House, grand antebellum planta-

tions, and the birthplace of democracy

in ancient Greece. This décor creates a

continually evolving arena for the projec-

tion of spectral images that link past and

present. In her video of phantom figures

from the 19th century, Janet Wong con-

jures a ghost-world whose inhabitants

shadow the contemporary ensemble, just

as Whitman had projected himself into

the future.

In the end, Jones insists that Fondly Do

We Hope is not intended as a history

lesson. On the contrary, he cites its claims

on history as “glancing and ambivalent.”

Jones understands that his own rela-

tionship with history is too fraught, too

labyrinthine to allow himself to offer us

pieties or platitudes in place of the frus-

tratingly imperfect and genuinely great

Lincoln. Recognizing that Lincoln was a

man of his time—some of Lincoln’s earli-

er declarations about gradual abolition or

racial inferiority can be shocking—Jones

admires Lincoln all the more for his ability

to grow and change, to become a great

man. The choreographer declares that

at the end of his journey in making this

work, he finds himself genuinely moved

by Lincoln. “In some ways,” says Jones,

“I think I love him more than I ever did.”

At the conclusion of Fondly Do We

Hope…Fervently Do We Pray, we are

accorded what Jones calls “cautious

hopefulness” about Lincoln’s legacy.

Adapting Whitman’s example of imag-

ining ourselves into the future, Jones

leaves us with the biography of a person

just coming into life. We hear from this

descendant a hundred years hence, as

he nears the end of his days—as far from

us in time as is Lincoln. And in 2109, this

speaker is left with the same questions

about us that we have of Lincoln, expe-

riencing an identical desire “to believe in

great men and great women.” What will

this citizen of the future see in us when

he looks back? What will we have done

in answering the great challenges of our

day? Will he find us—as Lincoln grew

to be—led by the “better angels of our

nature”?

25UMS 09-10

A R T I S T I C E L E M E N T SO F F O N D LY D O W E H O P E … F E R V E N T LY D O W E P R AY

ABOUT

D A N C E

This is a modern dance company, but

it uses all kinds of movements, includ-

ing ones that many people do every day.

Examples of dance styles include modern,

ballet, hip hop, jazz, and ballroom.

M U S I C

The musicians in this work both write and

perform their parts. Some of the musi-

cians play several instruments and there

are many musical styles that they draw

from, including jazz, classical, heavy metal,

folk, and rock and roll. Because this piece

is about the Civil War period, some of the

music is drawn from that period of time

(1850–1860).

A C T I N G

The actor in the piece you will see is often

speaking text and not acting as if he were

in a play. The text he is speaking is drawn

from many famous writers and think-

ers, including Abraham Lincoln, Stephen

Douglas, William Shakespeare, and poet

Walt Whitman.

S TA G E D E S I G N

The stage is designed to make you feel like

you are entering another world, the world

of this piece. Stage designs can be very

obvious, like a set of the inside of a house.

This is designed to be more abstract. It

does not represent anything in particular.

It includes curtains, columns, and a small

stage built over some of the seats in the

audience.

V I D E O

There is also video in this piece. Sometimes

the video is meant to be watched alone.

At other times, it is shown while many

other things are going on. The video is

non-narrative, meaning it doesn’t have a

story. Rather, it operates poetically, sug-

gesting ideas and feelings.

W H AT T O WAT C H F O R :

What kinds of feelings does the music evoke at the different parts of the performance?

What is the actor’s purpose throughout the performance?

26 UMS 09-10

T H E S E T

ABOUT

THE SET IS MADE UP of an oval floor on the main stage and a smaller oval “satellite” stage connected by a walkway. An oval

traveler track hangs over the main stage from which white curtains are hung. The material is in four sections, 2 opaque and 2

translucent. They can close off the stage or be arranged in different configurations. They can also be used as projection surfaces.

There are also six white classical columns that will be arranged into various configurations.

Photos: Courtesy of Bill T. Jones/Arnie Zane Dance Company

27UMS 09-10

W H AT T O WAT C H F O R :

Notice the configurations of the six columns throughout the performance. What might each configuration represent?

How are the two stages used differently?

28 UMS 09-10

ABOUT

T H E C O S T U M E SThe costumes for Fondly Do We Hope…Fervently Do We Pray were designed by Liz Prince.

Pages 28-29 include original sketches of the costumes.

29UMS 09-10

W H AT T O WAT C H F O R :

Notice the color of the costumes. What do you think each color represents?

Photos: Courtesy of Bill T. Jones/Arnie Zane Dance Company

30 UMS 09-10

T H E M E S + I D E A S

Photo: Russell Jenkins/Ravinia Festival]

31UMS 09-10

A B R A H A M L I N C O L N

HISTORY

THE SON OF a Kentucky frontiersman,

Abraham Lincoln had to struggle to live

and learn. Five months before receiving

his party’s nomination for President, he

sketched his life:

“I was born Feb. 12, 1809, in Hardin

County, Kentucky. My parents were

both born in Virginia, of undistinguished

families—second families, perhaps I

should say. My mother, who died in my

tenth year, was of a family of the name

of Hanks....My father...removed from

Kentucky to...Indiana, in my eighth

year....It was a wild region, with many

bears and other wild animals still in the

woods. There I grew up...Of course when

I came of age I did not know much.

Still somehow, I could read, write, and

cipher...but that was all.”

Lincoln made extraordinary efforts to

attain knowledge while working on a

farm, splitting rails for fences, and keep-

ing store at New Salem, Illinois. He was

a captain in the Black Hawk War, spent

eight years in the Illinois legislature, and

as a lawyer rode the circuit of courts for

many years. His law partner said of him,

“His ambition was a little engine that

knew no rest.”

32 UMS 09-10

He married Mary Todd, and they had

four boys, only one of whom lived to

maturity. In 1858 Lincoln ran against

Stephen A. Douglas for Senator. He lost

the election, but in debating with Doug-

las he gained a national reputation that

won him the Republican nomination for

President in 1860.

Lincoln warned the South in his Inaugural

Address: “In your hands, my dissatisfied

fellow countrymen, and not in mine, is

the momentous issue of civil war. The

government will not assail you....You have

no oath registered in Heaven to destroy

the government, while I shall have the

most solemn one to preserve, protect and

defend it.”

Lincoln thought secession illegal, and was

willing to use force to defend Federal law

and the Union. When Confederate batter-

ies fired on Fort Sumter, South Carolina,

and forced its surrender, he called on the

states for 75,000 volunteers. Four more

slave states joined the Confederacy but

four remained within the Union. The Civil

War had begun.

As President, he built the new Reublican

Party into a strong national organization.

Further, he rallied most of the northern

Democrats to the Union cause. On Janu-

ary 1, 1863, he issued the Emancipation

Proclamation that declared forever free

those slaves within the Confederacy.

Lincoln never let the world forget that the

Civil War involved an even larger issue.

This he stated most movingly in dedicat-

ing the military cemetery at Gettysburg:

“that we here highly resolve that these

dead shall not have died in vain—that this

nation, under God, shall have a new birth

of freedom—and that government of the

people, by the people, for the people,

shall not perish from the earth.”

Lincoln won re-election in 1864, as Union

military triumphs heralded an end to war.

In his planning for peace, the President

was flexible and generous, encouraging

Southerners to lay down their arms and

join speedily in reunion.

The spirit that guided him was clearly that

of his Second Inaugural Address, now

inscribed on one wall of the Lincoln Me-

morial in Washington, DC: “With malice

toward none; with charity for all; with

firmness in the right, as God gives us to

see the right, let us strive on to finish the

work we are in; to bind up the nation’s

wounds....”

On Good Friday, April 14, 1865, Lincoln

was assassinated at Ford’s Theatre in

Washington, DC, by John Wilkes Booth,

an actor who thought he was helping

the South. The opposite was the result,

for with Lincoln’s death, the possibility of

peace with magnanimity died.

President Lincoln died at 7:22 the next

morning. Following a funeral at the White

House, his casket was viewed by millions

as it was carried on a special train back to

Illinois. He was buried May 4 in Oak Ridge

Cemetery in Springfield.

Biography used with permission from

www.abrahamlincoln200.org.

W H AT T O WAT C H F O R :

Who dances as Abraham Lincoln?

33UMS 09-10

M A RY T O D D L I N C O L N

HISTORY

EARLY YEARS: 1818–1838 Born in

1818, Mary Todd Lincoln lived in

Lexington, Kentucky, for 20 years. Her

father, Robert Smith Todd, became

a wealthy merchant and Whig party

leader. Her mother, Eliza Parker Todd,

also descended from an affluent fam-

ily, died in 1825. Thus began a series

of deaths that marred Mary’s life.

Her mother succumbed to puerperal

sepsis (“the childbed fevers”) after the

birth of her seventh child in 12 years.

Robert Todd quickly replaced his first

wife with a stepmother Mary hated.

Nine household slaves served the large

Todd family in an elegant brick home

in Lexington.

Among the prized values of the Todds

was a commitment to education for

daughters as well as sons. Mary ben-

efited from this aspiration; an excellent

student, she learned the basic curricu-

lum of reading, writing, and arithmetic

at John Ward’s local school. When she

was fourteen, she attended an all-girls

boarding school on the outskirts of

Lexington. There, her studies expanded

to include languages and the traditional

sewing and stitching. She continued to

be a superior student, acclaimed for her

performances in plays and her profi-

ciency in French.

SPRINGFIELD COURTSHIP AND

MARRIAGE: 1838–1861 In 1838, Mary

Todd left the social life of Lexington to

live in her sister’s home in Springfield,

Illinois. Such independence for young

women was unusual for the times. But

Mary despised her stepmother. Her

beloved sister Elizabeth had set up a

household in the rapidly growing new

capital. In her sister’s and brother-in-

law’s home she met Abraham Lincoln,

an aspiring Whig politician and state

legislator. Other men, mostly politicians

like Senator Stephen Douglas, courted

the attractive Mary Todd. Dances,

sleigh-rides, and railroad expeditions

34 UMS 09-10

brought the young people of the new

capital together.

It was the gangly Lincoln whom she

favored and married in 1842. Then fol-

lowed Mary Lincoln’s domestic years—

the birth of her four sons (and the death

of her beloved Eddie in 1850 from

tuberculosis), the management of her

home, and her support of her husband’s

emerging political career. She was unusu-

ally ambitious for what she called “our

Lincoln party.” An excellent hostess,

she invited important politicians to the

Lincoln home. When Lincoln was elected

president in 1860, he hurried home, call-

ing out “Mary, Mary, we are elected.”

FIRST LADY: 1861–1865 Mary Lincoln’s

four years in the White House began

with the Confederate attack on Fort

Sumter and ended with her husband’s

death. At a critical moment in the na-

tion’s history she expanded American

understanding of a First Lady’s role. She

oversaw expensive, much-needed and

tasteful improvements to the White

House. She organized receptions that

made the White House a center of

social and political importance. Elegantly

dressed, she presided over receptions

and soirees. She also visited wounded

soldiers in Washington hospitals and

raised money for the former slaves who

flocked into the city during the Civil War.

Her contributions to our national history

emerged from her understanding of the

significance of the White House as a sym-

bol of the power of the Union. She also

recognized the extent to which social

gatherings in the Red and Gold Rooms

provided opportunities for foreign diplo-

mats, congressmen, military leaders, and

common soldiers to meet the president.

But amid such triumphs Mary Lincoln lost

her son Willie to typhoid fever in 1862.

Then her husband died from an assassin’s

bullet in April 1865.

WIDOWHOOD: 1865–1882 A devas-

tated Mary Lincoln now began her years

of wandering. Leaving Washington for

Chicago, she was accompanied by her

eldest son, 23-year-old Robert, and her

youngest son, 12- year-old Tad. But she

was unable to afford a home in Chicago.

She took Tad to Germany where he

attended school in Frankfurt. She trav-

eled to European spas. She sought out

spiritualists, believing that mediums could

put her in touch with her dead sons and

husband. Then in 1871 Tad died of pleu-

risy in a Chicago hotel.

Four years later, her son Robert Lincoln

directed legal efforts to have her commit-

ted to a private mental institution outside

of Chicago. Never insane, she remained

in the asylum only four months. But Mary

Lincoln was convinced that her son would

try to send her back to an institution. So

she fled to Pau, a city near the Pyrenees in

southern France. She lived there alone for

four years. Eventually, her declining health

forced her to return to the United States,

where she lived quietly with her sister

Elizabeth Edwards in Springfield until she

died on July 16, 1882 from a stroke. She

was 63 years old.

Biography used with permission from

www.abrahamlincoln200.org.

W H AT T O WAT C H F O R :

Who dances as Mary Todd?

35UMS 09-10

T H E C I V I L WA R : A T I M E L I N E

HISTORY

1 8 5 9

O C T O B E R 1 6 – 1 8

John Brown, in an attempt to amass arms for a

slave insurrection, attacks the federal armory and

arsenal at Harpers Ferry, Virginia.

1 8 6 0

N O V E M B E R 6

Abraham Lincoln is elected President, with Han-

nibal Hamlin as his Vice President.

D E C E M B E R 2 0

As a consequence of Lincoln’s election, a special

convention of the South Carolina legislature votes

to secede from the Union.

1 8 6 1

J A N U A RY 9

Star of the West, an unarmed merchant vessel se-

cretly carrying federal troops and supplies to Fort

Sumter, is fired upon by South Carolina artillery at

the entrance to Charleston harbor.

J A N U A RY 9 – F E B R U A RY 1

Mississippi, Florida, Alabama, Georgia, Louisiana,

and Texas follow South Carolina’s lead and secede

from the Union.

J A N U A RY 2 9

Kansas is admitted as a state with a constitution

prohibiting slavery.

F E B R U A RY

Delegates from six seceded states meet in Mont-

gomery, Alabama, to form a government and

elect Jefferson Davis President of the Confederate

States of America.

M A R C H 4

Abraham Lincoln is inaugurated as the sixteenth

President of the United States.

A P R I L 1 2 – 1 3

Fort Sumter is bombarded and surrenders to South

Carolina troops led by P.G.T. Beauregard.

36 UMS 09-10

1 8 6 1 (cont.)

A P R I L 1 5

Lincoln declares a state of insurrection and calls

for 75,000 volunteers to enlist for three months

of service.

A P R I L 1 7 – M AY 2 0

Virginia, Arkansas, Tennessee, and North Carolina

secede from the Union.

A P R I L 1 9

Lincoln orders a blockade of all Confederate ports.

A P R I L 2 0

Colonel Robert E. Lee resigns his commission in the

United States Army.

M AY 2 9

Richmond becomes the capital of the Confederacy.

J U LY 2 1

Confederate forces win a victory at the First Battle

of Manassas. Confederate General Thomas J.

Jackson earns the nickname “Stonewall” for his

tenacity in the battle.

1 8 6 2

F E B R U A RY 6

General Ulysses S. Grant captures Fort Henry, Ten-

nessee. Ten days later he accepts the “uncondi-

tional and immediate surrender” of Fort Donelson.

These victories open up the state of Tennessee for

Union advancement.

M AY 3 1 – J U N E 1 , 1 8 6 2

During the Battle of Seven Pines in Virginia, Robert

E. Lee takes over command of the Confederate

army from the wounded Joseph E. Johnston.

A U G U S T 2 0

Horace Greeley of the New York Tribune publishes

The Prayer of Twenty Millions, a plea for Lincoln to

liberate slaves in the Union.

A U G U S T 2 9 – 3 0

The South is again victorious at the Second Battle

of Manassas.

S E P T E M B E R 1 7

The Battle of Antietam, Maryland, exacts heavy

losses on both sides.

S E P T E M B E R 2 2

President Lincoln issues the Preliminary Emancipa-

tion Proclamation.

N O V E M B E R 7

General McClellan receives Lincoln’s order relieving

him of command of the Army of the Potomac.

1 8 6 3

J A N U A RY 1

Lincoln issues the Emancipation Proclamation,

which declares that slaves in the seceded states

are now free.

J U LY 1 – 3

The Battle of Gettysburg is fought in Pennsylva-

nia. General George G. Meade compromises his

victory by allowing Lee to retreat South across

the Potomac.

J U LY 1 3 – 1 5

Violent riots erupt in New York City in protest of

the draft.

N O V E M B E R 1 9

Lincoln delivers his Gettysburg Address, in which

he reiterates the nation’s fundamental principle

that all men are created equal.

N O V E M B E R 2 3 – 2 5

After three days of battle, the Union victory

at Chattanooga, Tennessee, opens the way

for Union advancement into the heart of the

Confederacy.

37UMS 09-10

1 8 6 4

M A R C H 1 0

Newly commissioned to the rank of lieutenant

general, Ulysses S. Grant is given official authority

to command all of the armies of the United States. M AY 5 – 6

The Battle of the Wilderness in Virginia is the first

of a bloody series of month-long engagements

between Grant and Lee.

J U N E 2 8

Lincoln signs a bill repealing the fugitive

slave laws.

J U LY 1 1 – 1 2

Confederate forces under Jubal Early probe and

fire upon the northern defenses of Washing-

ton, D.C., throwing the Capital into a state of

high alert.

N O V E M B E R 8

Lincoln is reelected President, with Andrew John-

son as Vice President.

D E C E M B E R 2 1

Savannah falls to Sherman’s army without

resistance. Sherman gives the city to Lincoln as a

Christmas present.

1 8 6 5

J A N U A RY 3 1

Congress passes the Thirteenth Amendment,

which abolishes slavery throughout the

United States.

M A R C H 4

Lincoln is inaugurated as President for a

second term.

A P R I L 3

Union troops occupy Richmond. A P R I L 9

Robert E. Lee surrenders the Army of North-

ern Virginia to Grant at Appomattox.

A P R I L 1 4

John Wilkes Booth shoots President Lincoln at

Ford’s Theater; Secretary of State William H.

Seward is stabbed and wounded in an assas-

sination attempt inside his Washington home.

A P R I L 1 5

Lincoln dies, and Andrew Johnson is inaugu-

rated as President.

A P R I L 2 6

John Wilkes Booth is shot in a barn in Virginia

and dies.

1 8 6 5 (cont.)

M AY 1 0

Jefferson Davis is captured and taken prisoner

near Irwinville, Georgia.

M AY 2 6

In New Orleans, terms of surrender are of-

fered to General E. Kirby Smith, commander

of the Trans-Mississippi Department. His

acceptance on June 2 formally ends Confeder-

ate resistance.

J U N E 3 0

All eight conspirators are convicted for the assas-

sination of President Lincoln; four are sentenced

to death.

Timeline courtesy of the Smithsonian Institution (www.

si.edu) and used with support of its mission for the

increase and diffusion of knowledge.

38 UMS 09-10

T H E S E C O N D I N A U G U R A L A D D R E S SB Y P R E S I D E N T A B R A H A M L I N C O L N

HISTORY

WASHINGTON, DC - MARCH 4, 1865

At this second appearing to take the oath

of the presidential office, there is less

occasion for an extended address than

there was at the first. Then a statement,

somewhat in detail, of a course to be

pursued, seemed fitting and proper. Now,

at the expiration of four years, during

which public declarations have been

constantly called forth on every point

and phase of the great contest which

still absorbs the attention, and engrosses

the energies of the nation, little that is

new could be presented. The progress

of our arms, upon which all else chiefly

depends, is as well known to the public

as to myself; and it is, I trust, reasonably

satisfactory and encouraging to all. With

high hope for the future, no prediction in

regard to it is ventured.

On the occasion corresponding to this

four years ago, all thoughts were anxious-

ly directed to an impending civil war. All

dreaded it—all sought to avert it. While

the inaugural [sic] address was being

delivered from this place, devoted alto-

gether to saving the Union without war,

insurgent agents were in the city seeking

to destroy it without war—seeking to dis-

solve [sic] the Union, and divide effects, by

negotiation. Both parties deprecated war;

but one of them would make war rather

than let the nation survive; and the other

would accept war rather than let it per-

ish. And the war came.

One eighth of the whole population

were colored slaves, not distributed

generally over the Union, but localized

in the Southern part of it. These slaves

constituted a peculiar and powerful

interest. All knew that this interest was,

somehow, the cause of the war. To

strengthen, perpetuate, and extend this

interest was the object for which the

insurgents would rend the Union, even

by war; while the government claimed

39UMS 09-10

no right to do more than to restrict the

territorial enlargement of it. Neither party

expected for the war, the magnitude,

or the duration, which it has already at-

tained. Neither anticipated that the cause

of the conflict might cease with, or even

before, the conflict itself should cease.

Each looked for an easier triumph, and a

result less fundamental and astounding.

Both read the same Bible, and pray to

the same God; and each invokes His aid

against the other. It may seem strange

that any men should dare to ask a just

God’s assistance in wringing their bread

from the sweat of other men’s faces;

but let us judge not that we be not

judged. The prayers of both could not

be answered; that of neither has been

answered fully. The Almighty has his own

purposes. “Woe unto the world because

of offences! for it must needs be that

offences come; but woe to that man by

whom the offence cometh!” If we shall

suppose that American Slavery is one of

those offences which, in the providence

of God, must needs come, but which,

having continued through His appointed

time, He now wills to remove, and that

He gives to both North and South, this

terrible war, as the woe due to those by

whom the offence came, shall we discern

therein any departure from those divine

attributes which the believers in a Living

God always ascribe to Him? Fondly do

we hope—fervently do we pray—that

this mighty scourge of war may speed-

ily pass away. Yet, if God wills that it

continue, until all the wealth piled by the

bond-man’s two hundred and fifty years

of unrequited toil shall be sunk, and until

every drop of blood drawn with the lash,

shall be paid by another drawn with the

sword, as was said three thousand years

ago, so still it must be said “the judg-

ments of the Lord, are true and righteous

altogether”

With malice toward none; with charity

for all; with firmness in the right, as God

gives us to see the right, let us strive on

to finish the work we are in; to bind up

the nation’s wounds; to care for him who

shall have borne the battle, and for his

widow, and his orphan—to do all which

may achieve and cherish a just and last-

ing peace, among ourselves, and with all

nations.

Lincoln’s Second Inaugural Address is in the public domain.

T E X T E X P L O R AT I O N There are many excerpts of texts

throughout Fondly Do We Hope…

Fervently Do We Pray. They include:

Lincoln’s Address to the Washington

Temperance Society of Springfield, IL

(2/22/1842)

Lincoln’s House Divided Speech

(6/16/1858)

Lincoln’s First Inaugural Address

(3/4/1861)

Lincoln’s Address at Sanitary Fair

(4/18/1864)

Lincoln’s Second Inaugural Address

(3/4/1865)

Frederick Douglass’s “Colonization”

from The North Star

Declaration of Independence

Walt Whitman’s The Wound-Dresser

Walt Whitman’s Poem of the Body

Walt Whitman’s Crossing

Brooklyn Ferry

Song of Solomon from the King

James Bible

Book of Revelation from the King

James Bible

40 UMS 09-10

A B O U T D A N C E

Photo: Russell Jenkins/Ravinia Festival]

41UMS 09-10

drawing loops, a hip jutting out straight

to the side, or the head swooping down

and up through an arc. The range of

these movements can vary from so small

as to be almost invisible, to as large as

the reach of the dancer or the size of the

dance area. There are countless variations

and combinations of ways that move-

ment can occur in space.

TIME “When?” is a question about

time or timing. Choices about time in-

clude such things as duration, speed, di-

visions of time (e.g., beats and intervals),

timing of accents, and rhythmic patterns.

ABOUT

E L E M E N T S O F D A N C EANYONE CAN PARTICIPATE IN DANCE. You do not necessarily need years of practice or special classes to enjoy it. Dance has

been a part of human lives since the beginning of history, sometimes as a part of ceremonies or rituals, other times to create a per-

formance for other people, and even for people to just have fun and socialize. Below are a few of the reasons people dance today.

Dance gives people the opportunity to express their feelings, culture, and values through body movement. Every type of dance,

from break dancing to ballet, tells a story about the society and time in history that it comes from. Dance is one of the few things

that cultures all over the world from all time periods have in common, so it is able to express individual cultures and the human

qualities we all have in common at the same time.

There are four words that can be used while describing dance: body, energy, space, and time. By talking about these four ele-

ments, dance artists find it easier to communicate in words what is normally expressed only with movement. While performing,

they use physical, outward movement to show other people what they feel emotionally inside.

During a dance performance, more goes on than just a dancer expressing him or herself on stage while the audience passively

watches. Seeing dance is an active experience. While you watch the dancers, think about the way they are moving and how they

might be feeling. Think about how the dancers feel about each other, and how their movement helped you understand that. The

key to watching dance is to imagine that you’re living in the dancer’s body, that you are actually doing the moves that you see.

ENERGY Energy choices may reveal

emotional states. For example, a power-

ful push might imply aggression or

confidence depending of the intent and

situation. A delicate touch might reflect

affection and timidity or perhaps preci-

sion and skill. Some types of energy can

be described in words; others spring from

the movement itself and are difficult to

label with language. Sometimes differ-

ences in the use of energy are easy to

perceive; other times these differences

can be quite subtle. Variations in move-

ment flow, force, tension, and weight

can be combined in many ways and may

communicate a wide spectrum of human

emotional states.

SPACE “Where?” is a question about

space and spacing. Choices about use of

space include such variables as position

or place, size or range, level, direction,

and pathway. Here are some examples

of space choices applied to actions: the

dancer might choose to move or pause

at any specific place in the dancing area.

A skip could be in any direction such as

diagonally forward and toward one side

of the room. A twist might be high in the

air or low to the ground or in between.

A run or turning action could be in place

or perhaps travel a certain distance along

a particular pathway. The pathway might

be curved, straight, zigzagging, or mean-

dering. The dancer’s movements can also

trace pathways in the air as in an elbow

42 UMS 09-10

Timing choices are applied to actions.

Here are some examples: a twist could

be gradual or quick. A stop might be

suddenly followed by a pause. Leap-

ing might speed up, slow down, or be

paced by even beats. A series of sitting,

standing, and stretching actions could

occur with an even pace taking a short

or a long time. Such actions could be

accented with pauses at regular intervals

or occur sporadically. Bending, jumping,

and shaking actions might be arranged

in a rhythmically patterned sequence.

Rising and curling might ride on the

rhythm of breathing.

There are endless possibilities for timing

one’s movements; timing variables such as

speed, duration, accents, and rhythmic pat-

terns, simple to complex, can be applied to

actions in many different combinations.

IS ALL MOVEMENT DANCE? The dancer moves with energy through

time and space. But then, who doesn’t?

Are we always dancing every moment

we are alive? Or are there some special

features that lead us to call some of our

movement experiences dance? It does

seem that in dance, people tend to be

more consciously involved in their move-

ment, taking particular enjoyment or

interest in their body.

LANGUAGE Dance is a language. It

is spoken through the movement of the

human body. It tells stories, expresses

emotions, and creates images. All dance

is based upon a universal experience:

the rhythms and movement of the hu-

man body. At a party, at home, or even

on the street, most of us have felt the

urge to dance. Whether it is hip-hop,

swing, salsa, meringue, foxtrot, waltz, or

twist, we all know a style of dance.

In dance we take in, synthesize, and

transmit our ideas and feelings about

life through our bodies. Dance is a medi-

um for learning about oneself and one’s

world. It is truly a universal artas all hu-

mans relate to body movement and the

need to communicate with each other.

As we dance, we sense our bodies and

the world around us. We learn how and

where our bodies can move, expanding

our movement possibilities and enjoy-

ing our sense experience as we dance.

Dance is a vehicle for understanding life

experience giving dynamic form to our

thoughts and feelings. It symbolizes our

thoughts and feelings kinesthetically.

Dance is a unique form for communi-

cating. As we manifest our experience

of life in dance, we send out messages

through our bodies. We can appreciate

these messages ourselves, and others

can receive them. Dancecommunicates

in ways that words cannot.

PRACTICE Sometimes, dance is

designed to be performed and seen by

an audience. In those cases, no matter

what the style, dancers must train their

bodies and their imaginations to be

more expressive. Dance artists extend the

vocabulary of their movement language

through classes, rehearsals, and perfor-

mances. The elements of their practice

are the basic building blocks of dance.

DANCE INSTRUMENT The art

of dance takes place through the dancer.

Human beings are both the creators and

the instruments. The physical manifesta-

tion of the dancer’s ideas and feelings

is the living, breathing human body. In

dance, the body is the mobile figure or

shape: felt by the dancer, seen by others.

The body shape is sometimes relatively

still and sometimes changing as the

dancer moves in place or travels through

the dance area. Whether moving or

pausing, dancers are alive with inner

movement, feelings and thoughts.

ARTISTIC MEDIUM Movement

is the artistic medium of dance, just as

sound is the artistic medium of music.

The movement of human beings includes

a wide range, from large and obvious

to so small and subtle that it appears to

be stillness. Periods of relative stillness

are as effective and essential in dance

as are silences or rests within music. The

movement vocabulary of modern dance

is made up of human actions. A few

of many possible actions are run, hop,

crawl, stop, rise, jump, fall, bend, hold,

shake, stand, walk, twist., turn, bal-

ance, roll, stretch, slide, leap, jiggle, pull,

push,kick, hover, reach and hang.

43UMS 09-10

ABOUT

E L E M E N T S O F M O V E M E N TANOTHER WAY TO THINK about the key elements of movement and dance is to remember the pneumonic “BEST”: body,

energy, space, and time. These components drive all movement: pedestrian (everyday movement), athletic, the movement of

animals, as well as dance in all its variety. These elements are constantly woven together to create an unbroken fabric, but the

threads can be separated for a clearer understanding of the art form.

B O D Y

B O D Y PA RT S :Head, shoulders, arms, hands, back, rib cage, hips, legs, feet, muscles, bones, joints, heart, lungs (breath)

E N E R G Y

Q U A L I T I E S :Swinging, sustained (smooth), percussive (sharp), vibratory (shaking)

D Y N A M I C S :Strong (powerful), light (delicate)

F L O W :Free-flowing, controlled

S PA C E

S H A P E : Body design in space

L E V E L :High, middle, low

D I R E C T I O N :Forward, backwards, sideways, diagonal, up, down

PAT H WAY:Curved, straight, jagged,combinations of these

F O C U S :Direction of gaze/focus of eyes

T I M E

T E M P O :Fast, slow

B E AT:Underlying pulse, rhythm

A C C E N T:Emphasis

D U R AT I O N S :Long, short

Photo: Russell Jenkins/Ravinia Festival]

44 UMS 09-10

LANGUAGE

V O C A B U L A RY O F D A N C E

ART The production of something that

shows a level of skill (or specific inten-

tion) in the chosen medium and an intent

to communicate meaning. Art may be

classified as architecture, dance, music,

theater, visual, literary, technological, etc.

BODY SHAPES The design of the body

in stillness; shapes may be curved, angu-

lar, twisted, or straight.

CHOREOGRAPHY The process of creat-

ing a dance; originating from the Greek

word choros (meaning “to dance”) and

graphos (meaning “to write”). This pro-

cess includes an understanding of form

and movement development in dance.

CHOREOGRAPHER A person who creates

a dance work and decides how, when, and

where the dancers should move.

COMPANY A group of dancers who

perform together.

DANCE ELEMENTS Dance is an art

form comprised of the elements of time,

space, energy and the body; each of

these elements has its own knowledge

base which is interpreted uniquely by

each dance whether it be folk, ballet,

modern, jazz, or ethnic dance.

DANCE TECHNIQUE The specific vocab-

ulary of dance and the physical principles

for producing efficient and correct body

movement are called technique.

DANCE THEATER A dance-theater work

can incorporate elements of both dance

and theater: including dancing, singing,

dialogue, film, and multimedia.

ENERGY One of the elements of move-

ment; energy propels or initiates move-

ment or causes changes in movement or

body position.

ENSEMBLE A group of dancers who

perform together.

EXPRESSION A manner of speaking,

playing music, dancing, writing, or visu-

ally producing something that shows

feeling and meaning.

GENERAL SPACE The area of space

through which a dancer travels or takes

his/her personal space; it may include a

dance studio, a stage, a classroom, or the

gymnasium; pathways and directions are

defined in this space.

GESTURE A movement of the body or

part of the body that a dancer makes in

order to express an idea or an emotion;

everyday gestures include a hand shake,

a wave, or a fist; abstract gestures in

dance are those movements given special

emotional or content meaning by a

choreographer.

IMPROVISATION Movement that is cre-

ated spontaneously.

ISOLATION Movements restricted to one

area of the body such as the shoulders,

rib cage, or hips.

KINESTHETIC SENSE The sense of

movement and bodily awareness of

oneself, others, and the environment;

this sense provides feedback about

speed, height, tension/relaxation, force,

exertion, direction, etc. to audience and

performers alike.

LEVELS The height of the dancer in

relation to the floor: high, medium, or

low. When a dancer is low, a part of his/

her torso is touching the floor; when a

dancer is middle level the feet are flat on

the floor; when a dancer is on high level,

he/she is in the air or on the toes.

LOCKING A movement that creates the

illusion that a dancer’s joints are stuck,

almost like a freeze frame in a movie.

MODERN BALLET A choreography that

maintains elements of traditional ballet

created during the 20th century; many

modern ballets are abstract and non-

literal.

MODERN DANCE A performance move-

ment form that evolved at the beginning

of the 20th century, modern dance can

be contrasted with ballet, tap or jazz.

Creative work on choreography is an

important part of the learning experience

in modern dance.

45UMS 09-10

NON-LITERAL CHOREOGRAPHY Cho-

reography that emphasizes movement

manipulation and design without the

intent of telling a story; non-literal works

communicate directly through movement

and need no translation.

PERCUSSIVE Use of energy that is pow-

erful, staccato, and explosive.

PERSONAL SPACE The kinesphere that

one occupies that is defined by the reach

space around the body; it includes all

levels, planes, and directions both near

and far from the body’s center.

REPERTOIRE Movement phrases or full

sections from completed dance works

that are taught in order to familiarize

dancers with a specific choreographer’s

style and movement vocabulary. Reper-

toire can also mean the dance pieces a

dance company is prepared to perform.

PHRASE The smallest and simplest unit

of dance form; usually part of a larger,

more complex passage. A phrase is

frequently repeated throughout a work in

order to give it continuity.

PROP An object that is separate from the

dancer’s costume but that is a part of the

action or spatial design in the choreog-

raphy or that contributes to the meaning

of a dance.

RHYTHM The organization of sound

in time; rhythm is a pattern of pulses/

beats with selected accents that can be

repeated or joined with other patterns to

form longer phrases. Rhythm is one of

the basic elements of music.

SECTION A smaller part of a whole work

that contains many phrases in and of

itself.

SET How the stage is set up and what

the stage looks like.

SHAPE An interesting and interre-

lated arrangement of body parts of one

dancer; the visible makeup or molding

of the body parts of a single dancer; the

overall visible appearance of a group of

dancers; also the overall development or

form of a dance.

SOLO A section of a work that is danced

by only one dancer.

SPACE One of the elements of move-

ment. Direction, level, size, focus and

pathway are the aspects of space.

STYLE A distinctive manner of moving.

SYMMETRICAL A visually-balanced body

shape or grouping of dancers.

TECHNIQUE The learning of movement

skills; the ability to use specific methods

to create a dance.

TEMPO The speed of movement.

UNITY A principle of choreographic form

in which phrases fit together, with each

phrase important to the whole.

VIBRATORY Use of energy that involves

shaking or trembling actions.

46 UMS 09-10

L E S S O N P L A N S

Photo: Russell Jenkins/Ravinia Festival]

47UMS 09-10

P R E PA R I N G F O R T H E P E R F O R M A N C EThe following the steps below help audience members understand how to make sense

of all that they are seeing in a live performance

CONNECT the elements to one

another. Notice how the parts create a

whole work of art.

RESPOND to the work by reflecting

on how it makes you feel and what you

think about it.

EXPERIENCE each of these elements

with all of your senses, with your emo-

tions, and with your imagination.

DESCRIBE these elements and your

response to them.

ENGAGE

BE QUIET AND ALERT during the

performance. This allows you and your

fellow audience members to see and

hear everything that is going on.

IDENTIFY all of the elements that

are present in the performance. These

include the components of a live perfor-

mance previously listed!

48 UMS 09-10

IDENTIFY EVERYTHING AND EVERYONE IN THE PHOTO.

How many performers are in the photo?

What are they wearing?

What are the elements of a set on the stage?

EXPERIENCE THE EVENT CAPTURED IN THE PHOTOGRAPH.

Observe what is going on. Notice your thoughts about it.

DESCRIBE THE INDIVIDUAL PARTS AND THE THOUGHTS THAT COME TO YOU.

What words or phrases describe the movement?

What words or phrases describe the costumes?

What words or phrases describe the set and lighting?

How would you describe your response to it?

CONNECT ALL OF THE ELEMENTS

What seems to be going on?

RESPOND TO WHAT YOU SEE

Is this photograph interesting to you?

Does it seem to be communicating a specific feeling?

What story could you create about it?

CREATE AN ARTFUL RESPONSE USING WORDS OR DRAWINGS.

These responses can be anything. Examples of responses include:

poems inspired by the photo•

descriptions of what you see in the actions•

word phrases or sentences that describe your feelings and thoughts about the image•

action poems or phrases that describe the movement and dynamics •

drawings inspired by the photo•

P R A C T I C I N G O B S E R VAT I O NUsing the photo on the next page (page 49), practice the skills of observation.

All of the elements of a live performance cannot be captured in a photograph, but focus on the ones that are present.

ENGAGE

49UMS 09-10

Photo: Paul B. Goode

50 UMS 09-10

M A K I N G A P H O T O G R A P H C O M E A L I V E

Look closely at the photograph on the previous page (page 49). Notice everything you can about it and then use the following questions to help you create your own artful response.

WORKSHEET

Identify all of the performers. How many are there? Briefly describe one of them.

How would you describe the costumes they are wearing? Do the costumes seem like modern clothes or clothing from another time?

Look at the environment the dancers are in. Do you notice any elements of a set? What are they?

Notice the movement that the photograph has caught. What words could describe the move-ment? Examples of descriptive movement words are: energetic, suspended, dramatic, dangerous, frantic, calm.

Connect everything together. What seems to be going on in this moment? Is there a story you can imagine goes with this picture?

What do you feel in response to this photo? Does it make you curious? Does it make you want to see the whole dance?

51UMS 09-10

Create your own response to the photo. You can do this by filling in the word poem below or by using the rest of the page to make your own poem, written response, or drawing.

Action cannot be traced, yet it is suspended in this moment.

A man is caught ______________________________

White, white surrounds.

Determined _________________________________

Among many men, one is ______________________________

_________________________________ floats and time is suspended

All movement ______________ in this instance of ________________.

Use the space below for your own poems, drawings, and thoughts.

52 UMS 09-10

P E R F O R M A N C E N O T E SReview these questions before the performance and reflect on them after.

You can also use these to take notes during the performance if you choose.

ENGAGE

DANCE/MOVEMENT

How many dancers are there? Do you recognize any of the dancers on the stage as one of the dancers in the •photograph you looked at earlier?

How would you describe the kind of dancing they are doing? Is it active, daring, graceful?•

Look for a moment when the dancing is especially exciting to you. Write down a few words that capture the •essence of this moment.

MUSIC

Find the musicians. How many are there and what instruments are they playing?•

What kind of music styles can you recognize? Are the musicians playing jazz, classical, rock-and-roll, heavy •metal?

Does the music surprise you? Why or why not? •

Listen for an exciting musical moment. Write a few words that describe this moment for you. •

THEATER/ACTING

Find the speakers in the piece. What words describe how they say their lines? Are they energetic, enthusiastic, sad? •

Do you understand everything that is being said? •

53UMS 09-10

SET DESIGN

Notice the set. Briefly describe some of the parts of the set. Are there hanging objects? Is there a special floor •or stage?

PUT IT ALL TOGETHER

What does this performance seem to be about to you? •

Is the piece telling one story, many stories, or none at all? •

Performances can also be about ideas. What ideas are talked about or danced about?•

Did this performance connect to anything in your life? Did the performers move like someone you know or •watch on TV? Did the music remind you of a song you’ve heard before?

54 UMS 09-10

M O R E R E S O U R C E S

EXPLORE

LESSON PLANS

ARTSEDGE

www.artsedge.org

Artsedge offers a wide range of arts-

infused lesson plans and materials for

educators to use. Below are a few that

relate to this performance.

DANCING THROUGH POETRY

http://artsedge.kennedy-center.org/

content/3534/

In this lesson students will look at poetry

as a way to express the art of dance

metaphorically. Students will read two

different poems about break dancing in

which one will show dance visually in

the way the words are placed on paper

and the other using its content to repre-

sent dance.

ELEMENTS OF DANCE

http://artsedge.kennedy-center.org/

content/2338/

How many ways can a person move?

Students will explore and discover the

elements of dance by demonstrating

various simple movements. This exercise

will help the teacher assess the students’

level of experience and ability with

respect to dance. Students will cre-

ate simple dances in small groups and

perform them for the class. Students will

manipulate task cards to comprehend

the elements of dance and then they

will be tested on their knowledge.

CIVIL WAR MUSIC

http://artsedge.kennedy-center.org/

content/2095/

Using songs popular during the Civil

War, students will identify songs as ral-

lying songs, recruiting songs, popular

entertainment songs, campfire songs,

sentimental songs, or patriotic songs.

Students will compare and contrast songs

from the North and from the South, then

choose a Civil War song to perform using

voice or an instrument.

RELIVING HISTORY THROUGH SLAVE

NARRATIVES

http://artsedge.kennedy-center.org/

content/2358/

After reading narratives from former

slaves that were recorded in the 1930’s

as part of the Federal Writers’ Project,

students conduct research on slavery,

and tell a story based on their findings.

The lesson incorporates an exploration of

storytelling techniques.

PBS

www.pbs.org/civilwar

PBS offers lesson plans surrounding the

Ken Burns film The Civil War.

WALT WHITMAN, PATRIOT POET

http://www.pbs.org/civilwar/class-

room/lesson_whitman.html

Walt Whitman, journalist and poet, cre-

ated poems that are boldly American in

style and substance. He idealized Ameri-

can leaders and workmen, chronicled

Civil War battles, praised 19th Century

technology, and memorialized Abraham

Lincoln. While his perspective changed as

the nation developed, Whitman’s poems

retained their democratic spirit and faith

in the American experiment. In this les-

son, students will have an opportunity

to analyze historic events and concepts

recorded in Whitman’s poems, examine

conditions in Civil War hospitals and the

poet’s reactions to those conditions, and

evaluate Whitman’s role as poet, histo-

rian, and American visionary.

55UMS 09-10

LINCOLN AND RECONSTRUCTION

http://www.pbs.org/civilwar/class-

room/lesson_lincoln.html

This lesson focuses on Lincoln’s role

as president during the Civil War. After

reading a variety of primary sources writ-

ten by Lincoln or to him, students analyze

under what provisions of the Constitu-

tion he acted as president. They then try

to imagine what a week in the life of the

President might have been like by writing

a diary as Lincoln or his secretary. The

lesson then focuses on Lincoln’s role in

reconstructing the nation, which he initi-

ated in his Proclamation of Amnesty and

Reconstruction of December 8, 1863.

Students role play members of his cabi-

net as they hear from a variety of con-

stituents about the effect this document

is having on the course of the war and

the future of the Freedmen. The cabinet

considers a variety of amendments to

Lincoln’s plan and through debate, either

adopts or rejects them.

LIBRARY OF CONGRESS: LINCOLN

BICENTENNIAL

www.abrahamlincoln200.org

Abrahamlincoln200.org has a “For Teach-

ers” section with many lesson plans.

THE GREAT “WHAT IF” QUESTION

http://abrahamlincoln200.org/

learning-about-lincoln/for-teachers/

default.aspx

This lesson encourages students to think

about how American history might have

been different had Lincoln lived. Stu-

dents will discuss the impact of President

Lincoln’s assassination on our nation’s

Reconstruction policy.

ONLINE RESOURCES

BILL T. JONES/ARNIE ZANE DANCE

COMPANY

www.billtjones.org

The Bill T. Jones/Arnie Zane Dance

Company’s official website.

FONDLY DO WE HOPE…FERVENTLY

DO WE PRAY

www.fondlydowehope.com

The official website of the dance

work, including a trailer, an extensive

video diary of the work’s creation,

photos, video interviews with Mr.

Jones, and information on the music,

set, and costumes.

SMITHSONIAN INSTITUTION: THE

CIVIL WAR

www.civilwar.si.edu

The Smithsonian’s Civil War collec-

tion, a timeline, and further online

resources.

UMS

www.ums.org

The official website of UMS. Visit the

Education section (www.ums.org/edu-

cation) for study guides and informa-

tion about community and family

events.

56 UMS 09-10

ARTSEDGE: ARTSEDGE Home. Web. 11 Dec. 2009. www.artsedge.org.

Bill T. Jones/Arnie Zane Dance Company | Home. Web. 11 Dec. 2009. www.billtjones.org.

The Civil War . PBS. Web. 11 Dec. 2009. www.pbs.org/civilwar.

CivilWar@Smithsonian. Web. 11 Dec. 2009. www.civilwar.si.edu.

Fondly Do We Hope...Fervently Do We Pray. Web. 11 Dec. 2009. www.fondlydowehope.com.

Lihs, Harriet. Appreciating Dance: A Guide to the World’s Liveliest Art. Highstown: Princeton Book Company, 2002.

Lincoln Bicentennial | 1809-2009 | Live the Legacy. Web. 11 Dec. 2009. www.abrahamlincoln200.org.

McGovern, George. Abraham Lincoln. New York: Times Books, 2009.

McPherson, James. Abraham Lincoln. New York: Oxford, 2009.

Morgenroth, Joyce. Speaking of Dance. New York: Routledge, 2004.

Robertson, Allen, and Donald Hutera. The Dance Handbook. New York: GK Hall & Co, 1988.

BIBLIOGRAPHY

57UMS 09-10

A B O U T U M S

58 UMS 09-10

W H AT I S U M S ?

UMS

UMS IS COMMITTED to connecting audiences with performing artists from around the world in uncommon and engaging experiences.

One of the oldest performing arts presenters in the country, the University Musical Society is now in its 131st season. With a

program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a

vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activi-

ties each season.

UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and interna-

tional partners.

UMS EDUCATION &

AUDIENCE DEVELOPMENT

DEPARTMENT MAILING ADDRESS

100 Burton Memorial Tower

881 North University Ave

Ann Arbor, MI 48109-1011

STAFF

Kenneth C. FischerUMS President

Claire C. RiceInterim Director

Mary Roeder Residency Coordinator

Omari RushEducation Manager

Liz StoverProgramming Coordinator

INTERNS

Emily Barkakati

Mark Johnson

Neal Kelley

Michael Michelon

Leonard Navarro

Bennett Stein

59UMS 09-10

K-12 SCHOOL PARTNERSHIPS

Working directly with schools to

align our programs with classroom

goals and objectives

• 13-year official partnerships with the

Ann Arbor Public Schools and the Washt-

enaw Intermediate School District.

• Superintendent of Ann Arbor Public

Schools is an ex officio member of the

UMS Board of Directors.

• UMS has significant relationships with

Detroit Public Schools’ dance and world

language programs and is developing

relationships with other regional districts.

• UMS is building partnerships with or of-

fering specialized services to the region’s

independent and home schools.

UNIVERSITY EDUCATION PARTNERSHIPS

Affecting educators’ teaching prac-

tices at the developmental stage

• UMS Youth Education is developing

a partnership with the U-M School of

Education, which keeps UMS informed

of current research in educational theory

and practice.

• University professors and staff are

active program advisors and workshop

presenters.

ACCESSIBILITY

Eliminating participation barriers

• UMS subsidizes Youth Performance

tickets to $6/student (average subsidy:

$25/ticket)

• When possible, UMS reimburses bus-

sing costs.

• UMS Youth Education offers person-

alized customer service to teachers in

order to respond to each school’s unique

needs.

• UMS actively seeks out schools with

economic and geographic challenges to

ensure and facilitate participation.

ARTS EDUCATION LEADER

One of the premier arts education

programs in the country

• UMS’s peer arts education programs: Car-

negie Hall, Lincoln Center, Kennedy Center.

• UMS has the largest youth education

program of its type in the four-state region

and has consistent school/teacher participa-

tion throughout southeastern Michigan.

• 20,000 students are engaged each sea-

son by daytime performances, workshops

and in-school visits.

• UMS Youth Education was awarded

“Best Practices” by ArtServe Michigan

and The Dana Foundation (2003).

U M S Y O U T H E D U C AT I O N P R O G R A M1 0 T H I N G S T O K N O W

UMS

QUALITY

Every student deserves access to

“the best” experiences of world arts

and culture

• UMS presents the finest international

performing and cultural artists.

• Performances are often exclusive to

Ann Arbor or touring to a small number

of cities.

• UMS Youth Performances aim to

present to students the same perfor-

mance that the public audiences see (no

watered-down content).

DIVERSITY

Highlighting the cultural, artistic,

and geographic diversity of the world

• Programs represent world cultures and

mirror school/community demographics.

• Students see a variety of art forms:

classical music, dance, theater, jazz,

choral, global arts.

• UMS’s Global Arts program focuses

on 4 distinct regions of the world—

Africa, the Americas, Asia, and the Arab

World—with a annual festival featuring

the arts of one region.

60 UMS 09-10

KENNEDY CENTER PARTNERSHIP

• UMS Youth Education has been a

member of the prestigious Kennedy

Center Partners in Education Program

since 1997.

• Partners in Education is a national con-

sortium of arts organization and public

school partnerships.

• The program networks over 100 na-

tional partner teams and helps UMS stay

on top of best practices in education and

arts nationwide.

PROFESSIONAL DEVELOPMENT

“I find your arts and culture work-

shops to be one of the ‘Seven Won-

ders of Ann Arbor’!”

–AAPS Teacher

• UMS Youth Education provides some

of the region’s most vital and responsive

professional development training.

• Over 300 teachers participate in our

educator workshops each season.

• In most workshops, UMS utilizes and

engages resources of the regional com-

munity: cultural experts and institutions,

performing and teaching artists.

TEACHER ADVISORY COMMITTEE

Meeting the actual needs of today’s

educators in real time

• UMS Youth Education works with a

50-teacher committee that guides pro-

gram decision-making.

• The Committee meets throughout

the season in large and small groups

regarding issues that affect teachers and

their participation: ticket/bussing costs,

programming, future goals, etc.

IN-SCHOOL VISITS & CURRICULUM

DEVELOPMENT

Supporting teachers in the classroom

• UMS Youth Education places interna-

tional artists and local arts educators/

teaching artists in classes to help educa-

tors teach a particular art form or model

new/innovative teaching practices.

• UMS develops nationally-recognized

teacher curriculum materials to help

teachers incorporate upcoming youth

performances immediately in their daily

classroom instruction.

UMS Youth Education Programumsyouth@umich.edu | 734-615-0122 |

www.ums.org/education

61UMS 09-10

S E N D U S Y O U R F E E D B A C K !UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters, or reviews.

UMS YOUTH EDUCATION PROGRAM

Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011

(734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu

www.ums.org/education