Art Day at Reilly Elementary School

Mandy Compton, COT Teaching Artist

Monday was the day that our students have been anticipating for quite some time--Art Day with Ms. Sonja.

 As each class filed in to begin their all-too-short class period, they were treated to the wondrous materialization of their imaginations that Sonja had designed.  Alien Dogs made out of crunched scrap paper and brightly colored tape, Star Cars made out of foam board with push lights for headlights,

and three-dimensional canvasses for the Green Sun, Ummm Burgers, Worm Waffles, and Squid Sandwiches that comprise our "Alien Buffet." 

As we assigned projects for our first class to work on, we had so much interest for each project that we had no trouble putting everyone to work right away.  As the painting and decorating got underway, it was encouraging to see how invested the kids were in the importance of their work.  One little girl was so specific with her project that she insisted her dog have a collar so she could write his name on it.  During the two second-grade classes, we focused on creating their alien antennas (pipe cleaners attached to headbands) and alien skin (puffy paint designs on knee highs for their arms). 

 

 

The kids were really dedicated to putting just the right colors in just the right place , and finishing their projects.  

 

 

 

 

 

 

In fact, one little girl who was only able to attend the last five minutes of class was intently focused on finishing her headband and having the googly-eyes in a specific pattern.  We stayed a little late to help her finish and she was thrilled when we let her take her newly created treasure home with her. 

 

Art Day during Opera For All exemplifies one of the many reasons that I am proud to be a part of this outstanding educational program.  We teach kids about every element of an operatic performance, not just singing or music.  Giving each child an opportunity to shine during the different guest artist visits and diverse projects we assign gives them a sense of ownership of the final performance, and a new means of connecting to the operatic genre.  Keep checking back for more news about Reilly's progress in 2013!

Reigniting the Stars

Caryn Ott Hillman, COT Teaching Artist - COT for Teens

Hello, my name is Caryn Ott Hillman.  I am the new stage director and choreographer for After School Matters’ COT for Teens at Gallery 37. 

Let’s see…where to begin?  I grew up in Milwaukee, WI where I took dance lessons from ages three to eighteen. 

Me at the tender age of 10, in one of my many dance costumes.

I started voice lessons in high school and was inspired to study music in college.  I moved to Chicago to attend Roosevelt University where I studied voice under Maria Lagios.  

Posing with Maria and my accompanist at my senior recital

Hugging my Candide when I played Cunegunde in CANDIDE at Roosevelt

After graduation, I performed both opera and musical theater throughout Chicagoland.  

My fellow fairies- I am in orange as Cobweb in A Midsummernight’s Dream at Metropolis Center for the Performing Arts

Model face with another gypsy in GYPSY LOVE at Light Opera Works

Ready to dance in THE STUDENT PRINCE

Now, where did the teaching come into play, you ask?  Well, in college, I returned home to Milwaukee to teach musical theater at a summer camp at First Stage Theatre Academy.  Since then, I have joined the team at Light Opera Works to direct and choreograph their winter/summer workshops and I teach at Emerald City Theatre, as well.  My first thought of working at Chicago Opera Theater came from my dear friend - Chris Richard.  We have performed together on stage in KISS ME KATE and have taught together side by side at Light Opera Works.  My first thought was that working teens was going to be much different than working with grade schoolers, but I was thrilled by the idea!  Having students that appreciate classical music or have a love of singing was going to be HUGE!

I am now only two weeks into the process and I have already witnessed the class come alive when they sing the chorus to the Merry Wives of Windsor. I am filled with so many ideas that I want to add to the pieces that Chris and I have selected for this term:

·        Flamenco dance to Dance the Cachucha

·        Embodying demons from Hades instead of woodland creatures for the chorus in Merry Wives of  Windsor

·        Perform on a dark stage with flashlights for the Ballad of Sweeney Todd

That is just a start!

I truly am inspired by these teens that may have more “real life” issues to deal with than the average teen.  I hope I can be a mentor that can create a Safe Zone for them to feel supported so that their self-esteem can flourish.  I am a foster parent to two beautiful girls.  Therefore, I feel I have a small insight as to how to take a “broken” child and help rebuild him/her.  No child is lost forever, he/she just needs to be harbored and nurtured. 

This is me with my husband Kyle and the girls, Kyla and Shauntae.  Their adoption will be finalized later this month!!!

Dim stars can be reignited – I intend to do that for these teens through preforming.                      

They deserve it!

Composing Through Collaboration

Myron Silberstein, Opera for All Guest Composer

           

          It was a pure delight to participate in Chicago Opera Theater’s Opera for All Program for my first season as composer at two schools: Clinton and Saint Vincent DePaul. I particularly valued the interactive aspect of my work with COT’s elementary students. Composing is a notoriously solitary act; in both schools, though, we enjoyed a genuine collaborative experience in which each student had input into their songs’ rhythms, melodies, and harmonies. My role as a composer was simply to put the students’ ideas together.

           I began each class by asking students to read the text we would be setting. I next facilitated discussion about the text’s emotional content and asked for another reading emphasizing the emotions of the text. We were then able to notice when students’ voices instinctually went up or down, when the speed increased or decreased, and when volume changed. 

Once the broad-strokes structure of our music was on paper, I asked students at Clinton to form small groups to collaborate on creating the rhythm of their song. As Saint Vincent DePaul, the class size was small enough to continue our discussion as a full group. Each group had five to ten minutes to discuss, and then spoke the text in rhythm to the entire class. And then we voted on which rhythm to use. We did the exact same thing when constructing a melody. This is true composition by committee!

I offered occasional coaching: when a group set a text to a repeated interval, I asked whether the repetition produced the tension they had found in the text. We discussed the possibility of using different intervals or of transposing the same interval to different scale degrees and voted for the transposition. I also presented options for the piano accompaniment: should it be bouncy or flowing? Should it stick to a few basic chords or should it have more harmonic variety? But the ultimate decision was in the hands of the students.

And so I left class each day with a notebook full of scribbled transcriptions and jottings about decisions the students had made. I entered the melodies directly into my notation software and then set to work creating an accompaniment that fit the students’ intentions. 

Among the highlights of my work with Opera for All was the students’ reaction to hearing the realization of their melodies. One young singer, who had improvised a very beautiful alien welcome song, was particularly moved: “That’s exactly what I imagined,” she told one of the school’s teaching artists. And she was one of many young composers who are on the verge of bringing their imaginings to reality.

Listening = Art Making at Marillac

Lisa Golda, COT Teaching Artist

 

It's been so exciting to get back to our two after-school classes at Marillac and start creating a script and dialogue for their school-themed opera! 

 

We had been struggling to get the kids' creativity going: our outer space theme seemed too far removed from their own world to resonate with their daily experiences, and they had no interest, or ability, to create a story for characters whose challenges were unrelated to their own. The students came in one day after a particularly hard day at school, and we decided to ask them, as if reporting for a TV news broadcast: Just what is bugging you all? How was your day? Why are you all so grumpy? I thought that if we just found the subject that the kids wanted and needed to discuss, that a creative direction would emerge.

And of course, it did. It's amazing how most if not all art arises from our need to process and share our experiences, good and bad. Answers ranging from salty nachos to teachers assigning READING (horror of horrors, 45 minutes of it!!)  and asking kids to take TicTacs came in torrents from indignant, but giggly, kids delighting in imitating their teachers--- and quickly forgetting their bad moods. We wrote it all down.

Going with the kids' emotional flow, we decided to create a short opera based on the aftermath of a bad day at school and the last day of school before summer vacation. "After School Blues" came out of the initial discussion with our first class, with a trio of "teachers" (reminiscent of the Three Ladies in The Magic Flute) scolding and nagging the kids in their imaginations prior to their entrance. 

 

Teaching Artist, Justin, and Marillac students working through their new piece

 

That rhythmic number is followed by a Marillac counselor's advice to the kids to "sing the blues" to feel happier and the original blues song, "Not So Cool After School Blues". Next, the kids discuss how they will spend their summer break, and then perform "In the Summertime," a very evocative rap.  The rap's first stanza was so beautifully written by one of our older participants, Kobe, that we followed the meter and pattern he set when creating additional verses. 

 

Marillac students working together to create their music.

 

The students have bought in 100%, with even our most challenging and apathetic (seemingly depressed, exhausted, or both?) kids volunteering to do verses, provide beat box beats, etc.. All but a couple of the students doing rap verses came to their second class memorized and obviously ready to deliver their text--and the couple who were not totally memorized quickly stepped it up and got there. The kids were universally fascinated by the process of writing their own dialogue and became very possessive of "their" lines. And they have already almost learned the melody to their song. Art projects to complete the scene are next on the docket. We've gone from struggling to maintain order in class to rowdy but focused 99% participation. I wouldn't be surprised if we ended up with further songs composed! 

 

 

 

Welcome to Our Opera For All Teaching Artist!

Jennifer D'Agostino - Opera for All Teaching Artist

It has been a couple weeks since I started working for Chicago Opera Theater's "Opera for All" program and I am still amazed at how the students react to the various aspects of putting together an opera! Not only have they had opportunities to watch opera performances, but they also know musical terms, sing out in class and have opinions on how the text/poetry they have written will affect the story of their opera! I am so excited for the plans I have made with Linden Christ for Chase Elementary and for the ideas Mandy Compton and I have discussed for Reilly Elementary, but I'm getting ahead of myself. Who am I and why am I so excited to work with these kids?!

My name is Jennifer D'Agostino. I grew up in Lockport, NY and attended Baldwin-Wallace Conservatory for undergraduate college, The University of Tennessee-Knoxville for graduate school and The University of Wisconsin-Madison for my doctoral degree. All of my degrees are in voice performance with specification on classical music and opera. I have performed in many musicals and operas, have programmed about 10 different song recitals and have even directed, assistant directed and produced shows. A lot of my time in college was spent working in outreach, either for organized groups like the Knoxville Opera Company, "Opera for the Young" which is based in Madison, WI, or as part of a class. I have worked (not in music) in various YMCA after-school programs and church school programs. I feel like my entire life has led me to this job!

Based on what I've seen so far, I can't wait to hear the students gain more confidence as they audition for parts in the operas they've created. I am excited to see the different props and sets the students will create as well as how much fun we'll all have on choreographer day! I am so psyched to see the final performance!

Hampton and Cameron off to Great Start 2013

Hampton

At Hampton we are off to a great start in 2013. The students at Hampton are not singing the Blues. They are hard at work learning all there is to know about the “Call and responses singing of spirituals”.  Hampton students are discovery and exploration singing to get ready for their Opera. To get started in there exploration of their voices, we are studying spirituals.  At Hampton we are eagerly learning all about the history of the folk song style of Spirituals. Originally monophonic and a cappella and were antecedents of the blues- spirituals have a simple melodies and repeated text, get learning tools for new singers, needing practice with their instruments. Spirituals sometimes provided comfort and eased the boredom of daily tasks. They were an expression of spiritual devotion and a yearning for freedom from bondage. Sometimes they were a means of releasing pent up emotions and expressing sorrow. But at Hampton we are studying the “Call and Response” relationship of the singing of spirituals. My teaching partner Lisa Golda and I began each class with a performance for three spirituals, “Wade in the Water”, “My Lord What a Mornin”, “Sometimes I feel Like a Motherless Chil” Then we performed each song in call and response, no matter what line I sang as the call, Lisa sang it as a response. As always we had to have fun with, so we changed the rhythms and pitch of ‘call and response’ to keep the class interested, and they wanted to take part right away.

Take a look at this Game for classroom: Tap Your Feet
Students will practice following a pattern and become familiar with the concept of beat in music. They will be introduced to tempo. They will gain experience playing the beat on non-pitched rhythm instruments, at various tempos. This activity will culminate in the creation of a rhythm piece.

Objectives:

• Students will listen to, analyze, and describe music.
• Students will gain experience performing on instruments, alone and with others, a varied repertoire of music.
• Students will gain experience composing and arranging music within specified guidelines.
• Students will gain experience in speaking and listening as tools for learning.

Materials:

• Computer(s) with Internet access will be used for online activity
• Available non-pitched rhythm instruments
• Picture cards of non-pitched instruments with the names of the instruments written below the picture
• Big book stand, music stand, flannel board-anything to arrange cards in sequence from left to right

Procedure:

1. AccessPBS's Bandleader. Have the students work in the first level to gain experience with following a pattern.
2. Have the group find their individual heartbeats by placing their hands on their chests. Have them tap along with their heartbeat.
3. Do a few simple exercises/movements with the children to raise their heartbeat. Immediately following this, have them find their heartbeat again. Ask them what they notice. Is their heart beating faster or slower? (Tempo) Explain that music can also have a fast beat or slow beat.
4. AccessPBS's Bandleader. As a class, create a composition. Listen several times and help the children keep the beat with the created composition using a different type of body percussion (pat, tap, clap, etc.) each time. Students will attempt to follow a pattern.
5. Continue to develop the concept of beat in music, creating a "beat" composition using a variety of non pitched instruments. Have the children select an instrument (i.e. hand drum) and play a group of four beats. Allow children to take turns as necessary, while others practice with body percussion.
6. After the students have practiced groups of four beats on the various instruments; ask them to suggest a sequence for the instruments to play in. Arrange the picture cards in the sequence the students have selected from left to right. Guide them in playing this rhythm composition.
7. Compose a variety of these compositions. Play at various tempos. Try having children play instruments in combinations (i.e. hand drum and maracas together, triangle and claves).

Assessment:

• Students should actively participate in all activities.
• Teacher assessment of student's ability to keep a steady beat through observation.

Extensions and Adaptations

• Continue to develop the beat by using it with picture books and poems. When reading to children, look for text that is rhythmic. Help students select appropriate places to insert beat patterns in the story/poem.
• Listen to a variety of music with children and have them determine the beat and play along.

Relevant National Standards:

Music

Performing on instruments, alone and with others, a varied repertoire of music.

Composing and arranging music within specified guidelines.

Listening to, analyzing, and describing music.

Language Arts

Demonstrates competence in speaking and listening as tools for learning.

Cameron

At Cameron we are off to a fresh new start for 2013. In the afterschool program at Cameron, we now have a new day of the week( Wednesday) and a new time, so students can take a fresh look at Opera for all at Cameron. I don’t want to Jinks us, but we had more than twenty students this Wednesday, at some point or another. Already to explore opera, staging and acting and improv games for fun. The group of five 3^rd graders, ten 5^th and 6^th graders, and five 7^th and 8^th graders, loved Zip ZapZog and “The Impossible Dream” from Man of La Mancha. This semester students will focus on singing in groups and their cultures, to develop a story for the Sharing at the end of the year. So getting the students to connect with the inner opera singer and not be shy, was the Challenge of the Year. Check out the video below of class.

Call and Response models ways to read fluently and with meaning and invites students to participate in an aesthetic reading of a text. For those students who have difficulty with reading, Call and Response provides an opportunity to practice reading a text as a community without being singled out. The activity Call and Response comes out of traditions in the African American church and hip-hop concerts, where vocal participation is encouraged.

Duration: 10 minutes

Preparation: Before class, select a list of key phrases or sentences from the designated text. Virtually any lines can work, though the best choices are lines that carry an emotional or aesthetic punch and that are essential to an understanding of the text.

Procedure:  The class gathers in a large circle. Everyone in the room needs to be able to make eye contact with one another. Ask the students to pull their shoulders back, take their hands out of their pockets, and avoid crossing their arms during the vocal warm-up. This will help them to open their voices, to speak with conviction and clarity. Next, walk into the center of the space and call out lines of text. The students repeat the lines back in chorus. Read with emotion, matching the tone of the text and encouraging students to match the energy and quality of the reading.

You might then playfully point to individual students and challenge them to match your level of energy. The warm-up continues with many lines, moving back and forth between you, individual students, and the entire group.

This activity can become a daily ritual in the classroom. As students become comfortable, they can take over the lead, calling out the lines to the rest of the group. It’s important for student leaders to review the text carefully beforehand, choosing, marking, and practicing the lines they will lead the class in reading. This makes an excellent and purposeful homework assignment. 

In Daniel and Kurt’s final performance at Brown Summer High School, the Call and Response became the opening event. An entire class stood on the stage in a U formation. Standing in the center, three student leaders called out lines from Whitman. The class, and eventually the entire auditorium, repeated the lines in response. The class then added a Brazilian choral melody, accompanied by a guitar, between the calls and responses: “I celebrate myself . . . and sing myself.”

Reflection: Based on the lines you heard in the Call and Response, what predictions can you make about the text?  What was your favorite line of today’s Call and Response?