Home News Events Materials Videos Programs Ensemble Artist A-Z Product A-Z Orders/Bookings Support FAQ About Team Contact		Frequently Asked Questions: Questions about Materials and Programs Questions about Repertory EtudesTM Questions about the Institute's Methodology QUESTIONS ABOUT MATERIALS AND PROGRAMS Q. What materials and programs are available through the American Dance Legacy Institute? Q. What are Repertory EtudesTM? Q. What is included in your Documentaries? Q. What is included in your Educational Resources and whom are they designed for? Q. How much do your materials and programs cost and how did you decide on the fee scale? Q. What if I cannot afford the materials or programs? Q. How do your materials and programs relate to the standards in the arts? Q. How do your materials and programs relate to other academic subject areas? QUESTIONS ABOUT REPERTORY ETUDESTM Q. Does a dancer have to be at a certain "level" to get a Repertory EtudeTM? Can I be a beginner? Q. When a Repertory EtudeTM is performed, what text must appear in programs? Q. When a Repertory EtudeTM is performed, what text should be used in promotional materials and press releases? Q. If I have learned a Repertory EtudeTM and want to be coached how to do I find the best coach? Q. When I perform a Repertory EtudeTM can I make any changes for myself or my students? For example, can I adjust the spacing, make simplifications or stage it for different numbers of people? Q. Where can I see performances of Repertory EtudesTM and other works by choreographers in your collection? QUESTIONS ABOUT THE INSTITUTE'S METHODOLOGY Q. What does the Institute do? Q. How is a Repertory EtudeTM created? Q. Why do people seem to know less about dance than about the other arts forms? How is the Institute addressing this issue? Q. What makes any dance worth saving? How does the Institute choose specific dances for its preservation initiatives? Q. Who are some of the other choreographers that you are planning to work with in the future and what "styles" of dance does the repertory include? Q. How does the Institute define a masterwork, when referring to "masterworks" as the basis for Repertory EtudesTM or documentaries? Q. What is the difference between a masterwork and a Repertory EtudeTM? Q. How does the Institute choose the choreographers it works with in the REPERTORY ETUDESTM Dance Instructional Collection? Q. Why does the REPERTORY ETUDESTM Dance Instructional Collection include works by young and emerging choreographers? Q. Why would a choreographer be interested in "giving away" one of his or her dances to the REPERTORY ETUDESTM Dance Instructional Collection? Q. Why would a choreographer not be interested in being part of the REPERTORY ETUDESTM Dance Instructional Collection? Q. Why can people learn, perform and teach Repertory EtudesTM without having to pay royalties? Q. If the Institute doesn't check up on dancers who buy Repertory EtudeTM packages, how do you control quality? QUESTIONS ABOUT MATERIALS AND PROGRAMS Q. What materials and programs are available through the American Dance Legacy Institute? A. The Institute's materials include the REPERTORY ETUDESTM Dance Instructional Collection, Documentaries (that focus on dance masterworks) and Educational Resources. For more information: Materials The Institute's Access and Education Programs include: Repertory EtudesTM Instruction and Coaching; Professional Development for dancers, dance educators, classroom teachers, education students and scholars; and Custom-Designed Workshops for all populations. For more information: Programs Q. What are Repertory EtudesTM? A. Repertory EtudesTM are short dances based on signature works of American choreographers. Dancers who learn the "Etudes" have broad license to perform and teach them without royalties. Repertory EtudesTM stand on their own as performance pieces and make a dynamic contribution to any concert. These challenging studies also serve as rich tools for improving technique and performance skills. As with the study of a detail in a painting or a musical motif, the larger work and the choreographer are explored in the Repertory EtudeTM through re-examination, reflection, and performance. Currently Available Repertory EtudesTM Q. What is included in your Documentaries? A. Documentaries focus on dance masterworks. The documentaries contain a complete performance of the work - with the original cast when possible - and include discussions with the choreographer and/or dancers who have performed the work. In some cases there are also Educational Resources and a Repertory EtudeTM based on the dance. Currently Available Documentaries Q. What is included in your Educational Resources and whom are they designed for? A. The educational resources include biographies, dance videotape supplements, student activities, annotated bibliographies, kinesthetic experiences, lesson plans, interdisciplinary units, and assessment tools keyed to the National Standards for Dance Education. They are designed for school-based dance educators; for teachers of other academic subjects to provide connections between dance and the humanities; and for dancers who are developing educational programs with schools. Currently Available Educational Resources Q. How much do your materials and programs cost and how did you decide on the fee scale? A. Materials cost: $25.00 - $135.00. These fees only cover a fraction of the cost of commissioning and developing these materials. The Institute desires to keep the costs affordable while covering some post-production expenses. Funding can then be available for development of new materials. Programs fees range based on instructor and length of program. Q. What if I cannot afford the materials or programs? A. Here are a few suggestions for ways to pay for the materials or programs if you cannot afford them by yourself. If you are affiliated with a dance studio, community organization, or elementary-, middle-, or high-school, see if there are any funds available for cultural enrichment. Get together with a group of dancers and pool your money. Seek out scholarships and other resources for dancers.. Q. How do your materials and programs relate to the standards in the arts? A. Educational Resources contain specific guidelines for K-12 teachers to assess their students' work based on the national standards. Professional Development Workshops and Custom-Designed Workshops include discussions and seminars on connecting to National Dance Standards. Q. How do your materials and programs relate to other academic subject areas? A. Institute materials provide specific activities that support connections between dance and other academic disciplines. Professional Development Workshops and Custom-Designed Workshops include discussions and seminars on connecting to curricula. QUESTIONS ABOUT REPERTORY ETUDESTM Q. Does a dancer have to be at a certain "level" to get a Repertory EtudeTM? Can I be a beginner? A. Anyone can learn a Repertory EtudeTM, even a beginner. Some "Etudes" are more technically challenging than others, but dancers and teachers have found ways to use them with beginners and even non-dancers. Contact the Institute for consultations on using Repertory EtudesTM with dancers of all levels. Q. When a Repertory EtudeTM is performed, what text must appear in programs? A. All programs must include: Names of choreographer, composer and any other designers and the statement: The "(Name) Etude" is part of the REPERTORY ETUDESTM Dance Instructional Collection, curated and directed by Carolyn Adams and Julie Adams Strandberg. (This information is also included with each Package.) Q. When a Repertory EtudeTM is performed, what text should be used in promotional materials and press releases? A. Feel free to contact the Institute to coordinate the promotion for a specific event. For press releases and other promotional material, a suggested text is: The "(Name) Etude" will be performed on the program. It is included in the REPERTORY ETUDESTM Dance Instructional Collection curated and directed by Carolyn Adams and Julie Adams Strandberg. Repertory EtudesTM are short dances based on signature works by American choreographers. They are available for purchase through teaching videos or in-person instruction. Dancers who learn the "Etudes" have broad license to perform and teach them without royalties. For more information about the REPERTORY ETUDESTM Dance Instructional Collection contact: web site: www.adli.us, email: info@adli.us, phone: 401-863-7596 Q. If I have learned a Repertory EtudeTM and want to be coached how to do I find the best coach? A. Contact the Institute about Repertory EtudeTM Coaching sessions with the choreographers and other coaches. Q. When I perform a Repertory EtudeTM can I make any changes for myself or my students? For example, can I adjust the spacing, make simplifications or stage it for different numbers of people? A. You are encouraged to adapt the material for yourself and/or your students. Examples: People have staged group versions of the challenging "Rainbow Etude" by assigning more difficult sections to stronger dancers and dividing other sections among less experienced dancers. "Parsons Etude" has been staged as a solo as well as for larger groups. In addition, the "Parsons Etude Jam" encourages improvisation and even the inclusion of audience members. "Bushasche Etude" has been repeated twice for two groups of 17 to accommodate 34 dancers. All of these examples maintain the integrity of the work and do not compromise the choreographer's intent or vision. If you have any questions about your adaptations or need help designing adaptations, contact the Institute. Q. Where can I see performances of Repertory EtudesTM and other works by choreographers in your collection? A. Contact the Institute for information about upcoming performances and/or refer to the following web sites for performances by choreographers included in the collection. Battleworks Danny Grossman Dance Company Limón Dance Company The Parsons Dance Company QUESTIONS ABOUT THE INSTITUTE'S METHODOLOGY Q. What does the Institute do? A. The American Dance Legacy Institute develops repertory, documentaries, educational resources and programs on American Dance. Youth are always engaged in the development of these resources, which provide students, educators, scholars, and the general public with on-going access to dance masterworks and dance artists. Through its materials and education/access programs, the Institute: Gathers and preserves archival materials on American dance artists through interactive projects involving dance artists, students, teachers, archivists, and computer scientists Assists dance artists in the development, presentation, and preservation of their work Provides meaningful interaction between professional dance artists and dance students Supports excellence in dance education by providing K-University teachers and teachers-in-training with dance materials, methodologies, and assessment tools Fosters exploration of personal and cultural identity through kinesthetic experiences with primary sources Q. How is a Repertory EtudeTM created? A. It takes about a year to create a Repertory EtudeTM and begins with a series of meetings with the choreographer to determine what the "Etude" will "look like" and to gather the rest of the artistic team - composer and designers. Then the choreographer workshops his or her ideas for the "Etude" with diverse populations of dancers from students to professionals. A notator and video producer are present throughout this process. Once the choreographer and the Institute are satisfied with the "Etude," when funding is available, the elements of the Package are also completed and compiled. The notator completes and checks the score; a performance of the "Etude," the step-by-step breakdown, coaching sessions, and interview with the choreographer are filmed. The Institute is concurrently designing workshops, seminars, residencies and materials that support the "Etude." All materials are then assembled and made available for purchase. Q. Why do people seem to know less about dance than about the other arts forms? How is the Institute addressing this issue? A. Dance is the only art form seeking to educate the next generation, reach broad constituencies, and perpetuate its legacy, without providing the public with on-going access to dance repertory and materials. The valuing of an art form has everything to do with its accessibility. The Institute was established to provide all Americans - and the world - with direct, intimate, on-going access to American dance. The goal of the Institute is to provide materials and services that will assure that in the near future, dance will be as well known as its sister arts. Q. What makes any dance worth saving? How does the Institute choose specific dances for its preservation initiatives? A. A dance is worth saving if it provides insight into a choreographer's vision and/or style. A dance is also worth saving if it provides insight into a specific historical period, socio-political issue or cultural phenomenon. A dance that is a clear example of the dances of cultural group is also worth saving. At the Institute, dances are considered worth saving if they fill in gaps in the history of American dance and American culture. The Institute also endeavors to save dances that are in danger of being lost but are retrievable. These are often dances that have never been documented, but the choreographer and/or original dancers are available to direct the reconstruction and to provide insight into the inspiration for and style of the dance. Q. Who are some of the other choreographers that you are planning to work with in the future and what "styles" of dance does the repertory include? A. The Institute is planning to add works by other dance pioneers and contemporary choreographers as well as vernacular and cultural dance forms. Both the historic and contemporary dances reflect the multi-cultural roots of America and American dance. Q. How does the Institute define a masterwork, when referring to "masterworks" as the basis for Repertory EtudesTM or documentaries? A. The Institute defines a masterwork as a dance that contains many layers of information about both form and content and lends itself to multiple viewings and interpretations. Q. What is the difference between a masterwork and a Repertory EtudeTM? A. A masterwork is a work of art created by a choreographer. A Repertory Etude TM is a preservation/education tool that is created by a choreographer specifically to provide insight into a specific dance or style. While there are usually some restrictions on who can perform full masterworks, the general public is given broad license to perform and teach Repertory EtudesTM. As with music etudes, some Repertory EtudesTM are also masterworks. Q. How does the Institute choose the choreographers it works with in the REPERTORY ETUDESTM Dance Instructional Collection? A. The Institute chooses choreographers whose style or repertory provides dancers with challenges and/or provides insights into diverse aspects of American dance. These choreographers are also willing to share their creative process with a broad population and are comfortable relinquishing total control over the Repertory EtudeTM. Q. Why does the REPERTORY ETUDESTM Dance Instructional Collection include works by young and emerging choreographers? A. The REPERTORY ETUDESTM Dance Instructional Collection includes works by young and emerging choreographers because legacy must include every generation. Not including young choreographers would be like having a family album that just had pictures of parents and grandparents. The older dances in our collection were created by the young and emerging choreographers of their day. Each generation of artists reflects the dance styles as well as the socio/political issues of the times they live in. Including young and emerging choreographers is the Institute's gift to future generations. Q. Why would a choreographer be interested in "giving away" one of his or her dances to the REPERTORY ETUDESTM Dance Instructional Collection? A. Choreographers who have created Repertory EtudesTM have benefited in many ways. As artists they have honed in and identified their unique style and influences; they have the pleasure of knowing that their work is known and valued by a broad population; they know that the Institute's support materials are giving them a place in American dance history; they find employment teaching and coaching the "Etude". For choreographers with companies: the "Etude" is an audience development tool; an audition piece; a keystone of outreach programs and a source of employment for them and their dancers as teachers and coaches for the "Etude." Q. Why would a choreographer not be interested in being part of the REPERTORY ETUDESTM Dance Instructional Collection? A. Some choreographers are just not interested in giving the general public broad access to their work. Many are not comfortable with the thought of dancers of all body types, ages and ethnicities doing their work and want to have final say on who gets to perform their dances. Some with companies believe that if they allow broad access to one of their works, they will lose audiences for their own company. Q. Why can people learn, perform and teach Repertory EtudesTM without having to pay royalties? A. Repertory EtudesTM are created with the understanding that the public is given broad license to perform them without royalties. All of the artists involved agree to this at the outset and create the "Etudes" with this goal in mind. Q. If the Institute doesn't check up on dancers who buy Repertory EtudeTM packages, how do you control quality? A. Repertory EtudeTM packages include a wealth of information similar to that found in a musical score or a theatrical script. Similar to music and theatre, there will be a range of quality in the performances of the "Etudes," just as there is a range in the quality of musical performances and play productions. The Institute also provides support services for purchasers of the "Etudes" and facilitates interactions with the choreographers of the "Etudes," which give dancers the opportunity to work on the quality of their interpretations. Quality is also a function of multiple viewings. Again, as with music and theatre, if there are multiple versions of a concerto, a play, or a Repertory EtudeTM , then versions can be compared and quality accessed in the public arena.
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