Leaps & Rounds November/December 2002

Volume One, Number Three
Theme: From (phrase, repeat, contrast)
Focus: Core-distal

WELCOME ARTISTS & EDUCATORS!

Dear Friends;

Thank you for visiting the Tree Frog Productions web site! As we move into winter, I am reminded of the themes of the Winter Solstice. As I work with children and adults, we have been talking about the concept of the light illuminating and dispelling the darkness in the world.

In the old days, communities used to perform winter solstice celebrations. These informances would always include music and dance, a feast from the earth and other symbols of light and nature. Their greatest fear was that the sun, the source of life, was disappearing. As they held their rituals and ceremonies, they noticed that gradually, the days became longer again and the light returned. What a testimony of empowerment for us today!
 
We are in a period of dark times in our world, but let us not forget that within each heart there is a bright light that in its own way, returns the truth of love and peace to us as a global people. Remind your family and students of this and let your heart light shine brightly always!
 
Musically yours,
 
Kerri Lynn Nichols
Artistic Director, Tree Frog Productions
 

UPCOMING EVENTS
Kerri Lynn has a full schedule of great events this winter. Be sure to check out the calendar to see what is offered in your area. Look ahead to summer 2003 for teacher training workshops.

NEW RELEASES!!!

The BrainDance Poster by Kerri Lynn Nichols
Trying to do the BrainDance with your students and can’t remember the sequence? Never fear! The BrainDance poster is here! The poster features the outline of the brain encircled by specially designed symbols for each of the eight developmental patterns. Available in a variety of sizes and colors. Take a look at this item in our resources section.


RESOURCE REVIEW

Medicine Wheels: Ancient Teachings for Modern Times
By Roy Wilson, 1994.  Published by The Crossroad Publishing Company, New York, NY.  $14.95.

Tree Frog Rating: (three out of three frogs!)

This book, written by the eclectic Roy Wilson (native of the Yakima Reservation, traditional spiritual leader of the Cowlitz Indian tribe and retired Methodist pastor), is an incredible source of information for those interested in incorporating the ideas and philosophies of the Native American Medicine Wheel ritual into their life and teaching. Clear, concise and well-organized, the book makes clear the “circular philosophy” of this spiritual practice in laymen’s terms. It includes chapters on creating a personal medicine wheel, the teachings of the four directions, circles and cycle teachings as well as relating the concepts to a variety of world philosophies and ways of believing. A quick read, it is an excellent introduction in this traditional native practice that emphasizes wellness and wholeness for every individual within the community. This book is a great resource for those interested in winter solstice or other kinds of celebrations. We give it our highest rating of three frogs!

You can order this book at http://www.amazon.com/

 

QUOTE

"He who hears music, feels his solitude peopled at once."
- Robert Browning

Special Feature: Music And Global Connectivity by Kerri Lynn Nichols

 

Concept

 

Human Expression

Voice                           Body

 

Elemental Process

 

Play/Improvisation

 

Life Skills/Global Connections

 

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“The essence of Orff-Schulwerk is to awaken

and develop musical creativity,

which. . .is inherent in everyone.” 

- Brigitte Warner

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Concept  

Just as the Schulwerk began with a vision and philosophy, so each lesson should begin with a musical concept that is woven throughout the musicking process for the children.  This concept, set by the teacher, serves as a beacon for the children to follow.  A conceptual approach empowers the children to create, question, and discover  independently for the joy of it. The ultimate goal is for the teacher to become superfluous.

 

Human Expression

Oral:    We weave the basic building blocks of language through speech, chant and song into the elements of music: rhythm, melody, form,  expression, timbre and texture. This gives the children a grounded approach to musicking and facilitates responsive learning for every child.

 

Body:  Movement is the key to learning. Orff and Keetman knew that music and movement were inseparable in terms of learning, something that current research continues to substantiate. From the time we are born, our movement is sequentially linked to the development of the brain and it’s functions and growth. Orff-Schulwerk addresses each of these fundamental stages in depth through a variety of experiences.

 

Elemental Process

Orff-Schulwerk is an approach, as opposed to a methodology, therefore, the forms and interpretations of the work are as varied as each person who experiences it. What is common is that which is elemental in nature: close to the earth, simple and fundamental, the fewest blocks needed for the child’s expression. Indeed, the focus is on the process of learning itself, rather than an end product. The elemental nature of the approach is a model for inclusion.

 

Play and Improvisation

The magic of childhood play is eloquently integrated in the Orff approach. This creates a safe environment for the children and teacher to experiment with the concepts of music and movement and be spontaneous in their creations. Indeed, this “letting go” is what leads to inspiration, a moment in time that may or may not be repeated, but comes from a deeply awakened place in the spirit.

 

Life Skills

Ultimately, the Schulwerk weaves and connects the children to others in the global community and teaches essential life skills. It empowers children to make choices and changes in their world.

 

 

TEACHER TIPS
Use the concepts of Form (phrase, repeat, contrast) to help your students develop social skills and build the classroom community:

 1.  Say your name and have your partner echo you. Change leaders. Ask a question (phrase) and have your partner answer you (phrase). Change leaders.

 

2.  Improvise a short movement phrase and have your partner copy you exactly.  Improvise a short melodic phrase (with voice or instrument) and have your partner echo you. Improvise a short  rhythmic phrase with body percussion or unpitched instrument and have your partner echo you.  Try the same ideas but have your partner contrast your phrases. Switch leaders.

 

3.  Get into a group of four and repeat the sequence. Add phrases together to  create a short group dance, melody or rhythmic piece. Share these pieces with the larger group, or allow groups to  perform at the same time.

 

4.  Sit in a circle and allow the students to reflect upon where they observed repetition and contrast. Relate this to life skills (when to we need to follow, lead or change things?, etc.)

LESSON PLAN

Musical Element: FORM
Concepts: REPEAT and CONTRAST

Warm-up:
Introduce the concepts (repeat and contrast) through hear, see, say and do. Write the words on the board, say them and have the class echo you. Say a word and have the class echo you back. Say a word and have the class answer something different (i.e. word association). Make a shape and have the class copy you. Make a shape and have the class contrast you.

Exploration:

“Monkey See, Monkey Do”

Music For Dancers, #20 “Paraphony & Polyphony”, by Kerri Lynn Nichols

This music is in AB repeated form. For A, mirror or shadow with your partner, copying their movements exactly. For B, dance away from your partner and do your own thing to find a new partner. Repeat the process.

Developing Skills:

Teach the piece, “Rondo ala Copland” from Inspirations (by Kerri Lynn Nichols) or use the CD (Music For Dancers # 10). A rondo is a piece where the A section repeats amongst contrasting sections. Create a dance for A that the group does together. For all of the contrasting sections (B, C, D, etc.), a different leader can lead the group in contrasting movements or students can improvise on their own. Variation: A sections are instrumental, contrasting sections are vocal.

Creating:

Idea #1:   Play “Rondo ala Copland” tutti for A and allow individuals to improvise in C pentatonic (on recorder or barred instrument) for the contrasting sections.

Idea #2:  Choose a story that has a repeated phrase (i.e. Where The Wild Things Are or Chicken Soup With Rice by Maurice Sendak). The class chants or sings the repeated phrase between each contrasting passage. Divide into small groups and let the students create a piece with instruments, voices and percussion for each contrasting passage.

Reflection:

Create a final informance of the pieces worked out in the creating section of the lesson. Share so that each student has an opportunity to inform and observe. In a circle, allow the students to share their insights or favorite parts in a supportive way. Review the concepts of repeat and contrast and where the students noticed them in the lesson plan. Relate these concepts to life skills.

BUILD YOUR BRAIN!

Play games with the students that encourage exploration of the core-distal connection:

Core = coil into a small, letter O shape around your center (core).

 

Distal = grow and expand, stretching out to the X and big as you can.

 1.  Create a dance about a seed that grows (seed to stem to leaves to flower) and then returns to the earth as it withers. Music Selection: I Am The Song, #6 Journey To The Moon, by Kerri Lynn Nichols

 

2.  Create a movement sequence as you sing “The Eency Weency  Spider”. When the rain comes down, the spider coils into a little ball, but as the sun comes up, she stretches out her wonderful legs to continue to spin her web.

 

3.  Play a game in self and general space. In the core, we are taking care of ourselves in our own space. As we open (distal) our shape, we see others and travel about the space to connect with them. Then, we melt away and repeat the process. Music Selection: Music For Dancers, #19 Mango Walk, by Kerri Lynn Nichols.

 

SPECIAL FEATURE:

"Music Essentials For Enhanced Learning"
by Kerri Lynn Nichols

ONCE A ROUND:

“If Music Be The Food Of Life” by Kerri Lynn Nichols








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