Reverse chronology

1. Dance 2019 v1.1 Reverse chronology Examples provided in this resource are not exhaustive. Teachers will find their own threads and links to investigate and make connections between aspects of background, choreographic style, and influences on chosen dance works. Highlight the bubbles and make the connections as you and students investigate influences and impacts.

2. Reverse chronology for historical understanding Within each unit, reverse chronology is an effective approach to investigate arts practice. This approach begins with a contemporary focus and follows logical pathways backwards to learn about relevant historical, cultural and traditional styles and art forms. Reverse chronology follows a cause-and-effect pathway to understanding influences on artists, styles and practices. This differs from a customary chronological approach that would begin in the past and follow a sequential path to the present.

3. The benefits of a reverse-chronology approach to learning about historical traditions of the art form of dance include: • helping an understanding of ourselves, and the decisions and choices made by artists in the present, by examining and acknowledging the influences and events that affected previous generations • fostering research skills in an inquiry learning model, in which students pose questions about the causes and effects of influences and compare dance of past and present times • ensuring enough time is dedicated to focus on relevant historical practices • engaging students who are more interested in ideas that relate to themselves and the time they inhabit, which enables them to follow connecting pathways more effectively • understanding how knowledge of historical forms and practices helps an understanding of those of the current day.

4. Reverse chronology approach This approach enables the development of an understanding of the background and life experiences of a choreographer (influences on philosophies, choreographic processes, choice of genre/s, development of personal movement style and aesthetic).

5. Reverse chronology example Current Past Beyoncé JanetJackson Justin Timberlake Tiger Shroff Gene Kelly MichaelJackson Usher James Brown Bruno Mars West Side Story dancers Madonna Jerome Robbins Bhangra dance Signature (dance group)

6. Unit 3: Moving statements • Subject matter • identify and demonstrate, using a reverse chronology approach, an understanding of the background and life experiences of Stephen Page and at least one other choreographer* to consider influences on • ­philosophies • choreographic processes • choice of genre/s and the development of their personal movement style and aesthetic • aesthetic choices to communicate meaning in their dances *Choice of choreographer: Robert Battle — current Artistic Director of Alvin Ailey American Dance Theater

7. Matthew Rushing Clifton Brown Linda Celeste Sims African-American dance revues 20th century concert dance Ballet Russe de Monte Carlo Katherine Dunham Alvin Ailey American Dance Theater 2018 Parsons Dance Pearl Primus David Parsons African dance Blues Spiritual Gospel music Robert Battle Judith Jamison Alvin Ailey Broadway musicals Paul Taylor Dance Company Lester Horton Battleworks Dance Company Dudley Williams Martial Arts Ulysses Dove Masazumi Chaya Carmen de Lavaallade Social dance Carolyn Adams James Truitte Jazz dance Mikhail Baryshnikov Donald McKayle Martha Graham American Ballet Theatre

8. RobertBattle African dance • Reverse chronology thread from current to past • Robert Battle is the current Artistic Director of Alvin Ailey American Dance Theater (AAADT). He was a former dancer and influenced by Parsons Dance Company (David Parsons) • David Parsons was a dancer in Paul Taylor Dance Company • David Parsons created works for AAADT • Battle was also influenced by Alvin Ailey • Ailey was in turn influenced by: • Lester Horton, African American dance revues andBroadway musicals • 20th Century concert dance, African American culture,Blues, Spirituals and Gospel music • Jazz Dance and African Dance Alvin Ailey American Dance Theater2018 Jazz dance Parsons Dance African-American dance revues 20th century concert dance David Parsons Paul Taylor Dance Company Alvin Ailey Lester Horton Blues Spiritual Gospel music Broadway musicals

9. Example linked to work • No Longer Silent — Robert Battle • choreography mirrors the rhythmic complexity of the long-forgotten score by Erwin Schulhoff whose work the Nazis had banned. • powerful movement phrases exploring the life of the composer through abstract themes of flight and fatigue, chaos and unity, the group and the individual • reminiscent of the early works of Martha Graham • reflects theatricality of Paul Taylor Martha Graham Paul Taylor Dance Company Robert Battle Alvin Ailey Alvin Ailey American Dance Theater2018 African dance African-American dance revues 20th Century concert dance Blues Spiritual Gospel music • References • Alvin Ailey American Dance Theater, www.alvinailey.org/performances/repertory/no-longer-silent (excerpt) • Robert Battle Interview: Why did you select Erwin Schulhoff's music for "No Longer Silent?” www.youtube.com/watch?v=rZ8ZUwbY1B0 • Introduction to Robert Battle, www.youtube.com/watch?v=9u2LnkjgZ1s

10. Useful links Alvin Ailey American Dance Theater, www.alvinailey.org/alvin-ailey-american-dance-theater/robert-battle Dance Consortium, ‘Robert Battle’, www.danceconsortium.com/features/choreographer/robert-battle/ Battle, R 2016, ‘Alvin Ailey’s Robert Battle on His First Real Dance Shoes’, The New York Times, www.nytimes.com/2016/11/23/arts/dance/alvin-aileys-robert-battle-on-his-first-real-dance-shoes.html Bauer, P 2016, ‘Robert Battle: American Dancer and Choreographer’, Encyclopaedia Britannica, www.britannica.com/biography/Robert-Battle Mackrell, J 2016, ‘Revelations and revolutions: How Robert Battle put Alvin Ailey’s dancers to the test’, The Guardian, www.theguardian.com/stage/2016/aug/30/revelations-robert-battle-alvin-ailey-dancers

11. Unit 4: Moving my way • Subject matter • identify and explain, using a reverse chronology approach, the effect of background and influences on choreographers* and how these are reflected in their dance through • discrete and fused movement genres and styles • innovative practices, including choreographic processes, integration of production elements • philosophies and viewpoints • the selection and manipulation of movement by the elements of dance, structure, production elements and dance skills *Choice of choreographer — Akram Khan

12. Akram Khan — examples of influences

13. Sylvie Guillem English National Ballet Tai chi, meditation, martial arts, modern dance, ballet Indian classical dance Kathak Cloud Gate Dance Theatre Spanish flamenco BalletBoyz Martha Graham Akram Khan Anne Teresa De Keersmaeker Peter Brook’s experimental Shakespeare productions DV8Physical Theatre Sidi Larbi Cherkaoui Michael Jackson hip-hop Merce Cunningham Charlie Chaplin Pina Bausch

14. Akram Khan — Key influences and impacts on choreographic style • narrative through movement; collaborator across cultures and disciplines • classical south Asian dance form of Kathak (classical dance form of northern India and Pakistan) • Pandit Birju Maharaj, Padmashri Pratap Pawar — Kathak gurus • Contemporary dance • studied Martha Graham and Merce Cunningham techniques, exposed to Pina Bausch (especially Rite of Spring), JiřiKylián and DV8 in early contemporary career • worked with/choreographed for • Anne Teresa De Keersmaeker’s Brussels-based X-Group project • cross-cultural collaborations including with the National Ballet of China; Cloud Gate Dance Theatre of Taiwan • Sylvie Guilliem • Sidi Larbi Cherkaoui; Israel Galván • Kylie Minogue • BalletBoyz • 2012 London Olympics opening ceremony • actress — Juliette Binoche in a dance-drama piece • visual artists — Anish Kapoor, Antony Gormley and Tim Yip, • writer — Hanif Kureishi • composers — Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost. • popular culture — Michael Jackson, movie Matrix, Charlie Chaplin, Bruce Lee • current influences: film directors — AsgharFarhadi, Alejandro G. Iñárritu, Satyajit Ray

15. Akram Khan — Work and key influences • Until the Lions (2016) • uses kathak and contemporary dance (blend of styles) and explores the notion and the physical expression of gender • uses the text Karthika Naïr’s book Until the Lions: Echoes from the Mahabharata, an original reworking of the epic Mahabharata which is one of the two major Sanskrit narratives of ancient India. • Khan originally performed (age 13) in Peter Brook’s experimental Shakespeare production of Mahabharata • References • Until the Lions / Akram Khan Company – trailer, www.youtube.com/watch?v=6xtrmMwNABU • Crompton, C 2016, ‘Akram Khan: I’m terrified that my body will give in,’ The Guardian, www.theguardian.com/stage/2016/jan/08/akram-khan-until-the-lions-interview • Akram Khan – Until the Lions – post show talk, www.youtube.com/watch?v=H2mwxnsr2kE • Akram Khan & Guruji Pratap Pawar in conversation, May 2017,www.youtube.com/watch?v=qg7gM4vlH9M

16. Akram Khan — Work and key influences • Dust (2014) • features as part of English National Ballet’s production of Lest We Forget which commemorates the centenary of the First World War focusing on the men in the trenches and the women at home supporting the war effort • combines his choreographic style with exploration and creation of movement material on ballet bodies • References • Akram Khan Company, ‘Dust/English National Ballet’, www.akramkhancompany.net/productions/dust-english-national-ballet-2014/ • Jocelyn Pook Dust Akram Khan, English National Ballet, www.youtube.com/watch?v=U0CuMWTQUy8 • Lest We Forget: Choreographer Akram Khan on Dust,https://www.youtube.com/watch?v=3RAmOes2U0Q

17. Other useful links Dance Umbrella, ‘My dance DND | Interview with Akram Khan’, www.danceumbrella.co.uk/my-dance-dna/akram-khan-kathryn-hunter/ Jaggi, M 2010, ‘A life in dance: Akram Khan’, The Guardian, www.theguardian.com/culture/2010/sep/27/akram-khan-dance-life Akram Khan Company, www.akramkhancompany.net/ Akram Khan: an interview, www.youtube.com/watch?v=h4h72Rd5lBg Welbye, H 2014, ‘theartsdesk Q&A: Choreographer Akram Khan’, theartsdesk.com, www.theartsdesk.com/dance/theartsdesk-qa-choreographer-akram-khan Mitra, R. (2015) Akram Khan: Dancing New Interculturalism, Palgrave Macmillan, United Kingdom

18. Useful reverse chronology resources Daniel, J T 2014, ‘Pedagogy of teaching history: Comparing the chronological and thematic approaches’ (Honors Senior Theses/Projects) West Oregon University, Oregon, http://digitalcommons.wou.edu/cgi/viewcontent.cgi?article=1005&context=honors_theses Hartman, J 2015 , ‘Teaching the history of rock music using reverse chronology’, iAchieveLearninghttps://iachievelearning.com/2015/12/teaching-the-history-of-rock-music-using-reverse-chronology/ Himes, G 2015, ‘Why we should teach music history backwards’, Smithsonian.com, www.smithsonianmag.com/arts-culture/why-we-should-teach-music-history-backwards-180955053/ Steal Like An Artist: Austin Kleon at TEDxKC, www.youtube.com/watch?v=oww7oB9rjgw