For booking or other inquiries contact
Celeste Miller
404-653-0951
404-625-4846 (cell)
email
Curriculum in Motion
Teacher Training
Celeste Miller has been working on arts-in-education projects
for over fifteen years. In 1993 she began working with Jacob's
Pillow Dance Festival to develop "Curriculum in Motion" – This
innovative arts-integration learning mode encourages students
to engage in their curricular material more deeply. Students are
introduced to basic dance and choreographic tools which they then
apply to a classroom unit of study (i.e. electric circuits, story
structure, the x/y axis). The result - students wtih a deeper
conceptual understanding of a particular unit of study. This workshop
for teachers has been offered at numerous Arts & Educators conferences
including: HOTSchools Summer Institute, Brown University, Alabama
Dance Council, Project FARE/Atlanta Public Schools, Institute
for Education and the Arts and others.
Performance Key Note: How I Became God in Social Studies
In this interactive Key Note, Celeste offers up a true-tale of
an in-school residency with a high school social studies class.
Through the story of the residency, Celeste introduces the key
elements of "Curriculum in Motion" while also discussing the ups
and downs of working in the schools. Audience invited participation
allows for a "hands on" feel to learning the material. This keynote
is filled with humor, revelations and insights into the power
of arts integration in the schools.
Performance Key Note: Drowning in the Evidence
Commissisoned by Jacob's Pillow Dance Festival
Its been forty years of educational reform in the United States....
we are drowning under the evidence of how the arts are important
in the lives of our students... yet nothing really changes. What
if we change how we look at the paradigm?
Celeste presents, once again, in a mixture of dance and storytellling,
insights, anecdotes and highlights of her experiences, replete
with a list of "what we can do" items. Book through jrglover@jacobspillow.org
Artist in Residence
During a residency of one to two weeks, Celeste can work with
up to three classrooms, using movement to explore curriculum.
Past examples include: an English class on "The Odyssey", a biology
class on identifying pond life through movement characteristics,
a physical science class on the properties of electro-magnetism,
and a gym class on "embarrassing moments." She has worked with
sixth graders to explore scenarios for "the discovery of fire";
and second graders on dances of the planets. Residencies usually
conclude with students performing their works-in-progress.
Curriculm in Motion: Teacher Training Workshops
Workshops for teachers to learn how to design and incorporate
movement learning into their classrooms.
- Experience the natural connections between dance and math, such as patterns, relations, functions, geometry and measurement.
- Books and literature come alive when students learn to picture setting, imagine characters' traits and make connections between characters' experiences and their own. Use movement activities to stimulate students' curiosity about text patterns, story content, details and story structure.
- The world of science is filled with concepts that can be explored with movement activities to enhance students' understanding of conceptual ideas.
- Social studies take on new meaning when students use dance to explore the relationships between the physical environment, and the human experience; and chronological actions.
Celeste Miller has been on the educational rosters of the Massachusetts Cultural Council and the Arlington Humanities Division. She was trained through the Kennedy Center for the Arts, Artist as Educator program. Celeste is the lead artist in the Community Dance Programs of Jacob's Pillow Dance Festival - a program which includes an eleven year program at Monument Mountain Regional High School. Miller is recognized as a leader in the field of Arts in Education programs that integrate dance and academic curriculum. She has been a presenter for Arts & Education summits for many organizations including: Connecticut Commission for the Arts HOTSchools Institute, Young Audiences of Indiana, Montalvo Center of California, Georgia Council for the Arts, Atlanta Public Schools, Arts Literacy Project at Brown University, Cultural Education Collaborative of Charlotte North Carolina, The National Institute for Education and the Arts and others. Miller co-presented with Eric Booth at the 2004 Alabama Dance Summit, and then returned solo to the summit in 2005.
if you have been a participant in a Teacher Training WORKSHOP
with CELESTE
THESE NOTES ARE FOR YOU
Curriculum in Motion
These notes are for Arts & Educator participants in Celeste's
workshops.
Definition:
What is dance?
Dance is movement aware of itself. Dance transcends steps. Dance
transcends pantomime. Dance, used as a tool for learning, is a
way of probing the extension of important ideas into movement;
and shaping them with the rigor of choreographic structures.
Curriculum in Motion gives students basic tools and skills in
dance and choreograpy so that they can begin the fundamental application
of dance as a means of understanding and analysing.
Curriculum in Motion takes academic units of study as mini-commissions.
The units of study become the content out of which to make art
(in this case, dance). As the students deepen their understanding
of the unit of study, they are also learning and practicing the
art form of dance.
Following is an outline of the workshop you have participated
in. Depending on the length of the workshop, the focus of the
group - we may have worked with any of the following. 
Standing, or sitting, in a circle is the formation used for the
workshop.
WARM UP:
*Breathe
From T’ai Chi:
Note: These descriptions are to help you remember what you have
done. The descriptions are not appropriate for someone who was
not in the workshop.
* Circular arms: standing in a wide stance, one foot placed in
towards the circle, and one foot back on the circle line - shifting
the weight into the forward foot as arms begin a low circle away
from the body, arms reach shoulder height and return to the body
as your weight shifts between both legs, as the arms drop down
to the bottom of the circle, the weight has shifted to the back
leg. Repeat several times, changing feet and repeating on other
side.
* Apple picking: both feet parallel about hip width apart. Bend
the knees and make a ‘table’ with the hands in front of the chest.
Reach one arm overhead as if reaching to pick an apple from a
tree - legs extend as the arm reaches. Put the “apple” on the
table, bending into the knees again. Repeat several times.
*Smoothing rice paper: Stand in a wide stance. Shift the weight
onto the right leg, so that the right leg is bent and the left
leg is straight. Imagine a piece of rice paper, or tissue paper,
in front of you. Smooth the paper, from one side to the other,
alternating between bending and straightening the legs.
*Good Mental Health: Standing in a neutral position, bend the
arms at the elbows and on an exhale “push” the air behind you.
*Knocking on heaven’s gate: Feet are hip-width apart. Bend the
knees slightly. Twist gently from side to side, letting the arms
swing and wrap around the body. Gradually increase, and then decrease
the momentum.
Yoga: Sun Salutation
Brain Gym: www.braingym.com
SKILLS BUILD:
Fun House Mirror
Rolling/Stretching
1- Explore the action of “rolling” through your body. Use gross
and fine motor skills. (Full body, and body parts). Explore different
ways of rolling. If you run out of ideas, look around the room
and copy someone else for awhile.
2- Compose a four count phrase of your favorite rolling movements.
Be sure you are COMPOSING, and not continuing to IMPROVISE. Be
very clear about your beginning, middle and end.
3- Everyone, altogether, perform your four count phrase.
4- Choose someone in the circle to watch. They do not also have
to watch you. On the counts 1-2-3-4 you will do your phrase from
step 2. On the counts 5-6-7-8 you must do their four count phrase
even though they are no longer your leader! Try this several times.
5 - What was hard? What was easy? How did you manage the task?
6 - Repeat the same process using “stretching”.
7 - Master Round! Do your four count rolling phrase, while watching
someone else. Then do their four count rolling phrase. Do your
four count stretching phrase while watching someone else. Then
do their four count stretching phrase. Repeat several times.
Shapes and Sculptures
Vocabulary: In dance the word “shape” refers to a physical sculptural
design made with the body, that is held still. Shape is not limited
to “square”, “circle”, etc.
I.
1. In place, take four counts to go from standing to a low level
shape close to the ground. Hold. Observe similarities, differences,
etc.
2. Take four counts to go from this low level shape to a high
level shape, that has an element of balancing to it.
3. Take four counts to go to a middle level shape.
4. Repeat. experimenting with new shapes.
5. Take a shape and look around the room. Observe someone else’s
shape carefully, when I say “go!”, put their shape in your body.
Repeat several times at different levels, etc.
Variations: Instead of moving smoothly from shape to shape, try
stacatto movements. Try asserting the energy differently. What
other ways can you change the ways you move in and out of the
shapes? What ways can you think about the shapes you are making?
Narrow/wide? Symmetrical/Assymetrical? Off-balance/centered?
II.
1. One person goes into the center of the circle and makes a shape
- low, middle, or high - that they can hold. The next person in
the circle, connects to that shape in some way. When the sculpture
has settled, the first person leaves.
2. The third person in the circle goes in and connects to the
shape. When the sculpture has settled, the second person leaves.
Etc.
3. Repeat all around the circle.
4. Begin increasing the number of people that are in the center.
5. Observations:
Positive/negative space
Focus/detail
What kind of movement can you use to enter and exit?
How can you support a hard to hold shape?
Different uses of energy to enter the space
symmetry/assymetry
note the difference between a narrative reading of the shape and
an abstract reading.
Add to this list.
CONTENT:
A sample Curriculum Connection lesson.
Curriculum Content - Honors Biology, grade 9
Students will understand the conditions necessary for the formation
of fossil fuels. The conditions are:
* - Time
* - Heat
* - Pressure
* - No air
* - No movement
1 - Following the information distributed by the classroom teacher
- either through lecture, or reading assignment. Ask the students
to name the five conditions. Post.
2 - In small groups of 3-6 people, work together to create a way
to express in movement, each of the five ideas. As you compose
the dance consider:
interesting transitions between each idea
are you using different levels?
different kinds of energy?
entrances/exits?
positive/negative space?
how are you using the space?
clear beginning/middle/end/
what is the best vantage point for the audience?
unison and non-unison movement?
are you challenging yourself physically?
add your own ideas to this list.
3 - Perform for each other. Instructor layers different musical
selections on each study. Group responds to each performance with
“highlighter” moments. Keep a list of these, and use as a way
to discuss tools of choreography.
4 - Ask each group to think of one thing that they would like
to expand upon, improve, deepen, highlight, change, etc. Groups
are then given time to go back and revise their composition.
5 - View again. Optional: This time layer text, which could be
taken from newspaper account of what is going on in a part of
the world where fossil fuels are at a premium.
6 - Discuss the studies. Ask questions for both science curriculum
and dance curriculum.
What knowledge about fossil fuel formation was embodied for you,
will you think of differently?
What do you know now about dance/choreography that you didn’t
know before?
Reference Material:
Music -
I find the following CD’s and artists to be effective. I look
for music that is a range between no-discernible beat to solid
and complex rhythms. I usually avoid music with lyrics.
Peter Jones “Gradual Movement” and “The Fifth Movement”
Cirque du Soleil - any CD
New Native Music “I Am Walking”
Putamayo presents “A World Instrumental Collection”
Gabrielle Roth and the Mirrors - any CD
Gotan Project - any CD
Mickey Hart - Planet Drum
Bobby McFerrin - Circlesongs
Latin Colors of the World
Spiritual Life Music
Ladysmith Black Mambazo
Books:
Creating Meaning Through Literature and the Arts
by Claudia E. Cornett
Renaissance in the Classroom
Edited by Gail Burnaford, Arnold April, Cynthia Weiss
Making an Entrance by Adam Benjamin
Dance and the Specific Image by Daniel Nagrin
Class Trips:
Beyond the Ballet -- Check out interesting Modern Dance, Tap,
Jazz and Ethnic Dance concerts in your city. Be advised: go see
the show yourself first before you bring your students. Use your
own judgement, not a promoters double speak. Some material might
be too esoteric for the new-to-dance audience.
Workshops
& Residency Activities for Community Engagement and Professional
Development
Text & Movement
In these workshops Miller leads participants through movement,
storytelling, journaling and theatre exercises to examine the
storyline of their lives. This workshop is suitable for anyone
interested in connecting art-making and life reflection, and does
not require any previous experience.
Dancing the Words, Writing the Dance
A technique to train dance artists in writing and vocal skills
to create movement and text works for the stage.
Page to Stage
The use of movement and autobiography to explore works for the
stage; working from scripted and self-scripted material.
Leading Communities to Dance
Offered at The School at Jacob's Pillow Dance Festival on alternate
year. The next course will be in 2008
A two week immersion course for professional dance artists to
study the use of dance in community settings; and structures for
choreographic approaches informed by a Community Arts Practice
philosophy. College credit available. For more information: www.jacobspillow.org
Community Engagement Projects:
Celeste Miller has been working to develop projects in collaboration with community members for over fifteen years. Her involvement with Alternate ROOTS (www.alternateroots.org) shaped the early years and approach to her work in this area. Miller's tenure as Co-Artistic Director at Liz Lerman Dance Exchange continued to deepen her work in this area.
Following are some descriptions of Miller's past work.
The Nurses Project
Workshops and performances to celebrate, honor and give voice
to the nurses and caregivers in our communities The Nurses Project
is a multi-faceted project. It can be a single performance, or
a community performance using the nurses and caregivers in your
community. It can be a residency during which Celeste Miller works
with nurses and caregivers to explore their work through storytelling
and movement. It can be workshops for nurses and caregivers. It
can be a tailor-made combination of all these things.
Performance
Celeste Miller presents a performance of stories and reflections
of nurses, collected from workshops and storygatherings around
the country. This performance includes "Nurse Mom" - Miller's
own reflection on life as the daughter of a nurse, "Happy Birthday,
Flo" a new look at Florence Nightingale, and "100 Nurses All Dancing
in Unison". This performance is suitable for conventions, meetings,
theatre venues or other gatherings.
Community Performance
Celeste spends time in workshops with nurses and healthcare workers
in your community to develop writings drawn from their experiences
and reflections. Celeste then compiles these writings into a performance
that she directs, and that is performed by the nurses.
Workshops
Stories to Tell: This workshop begins with a short performance, drawn from the
stories of other nurses who have participated in workshops. Following
that is an opportunity for the nurses to share their own theme-related
stories. The session concludes with the writing of a group poem
drawn from related experiences.
Journaling Workshop: A journaling workshop for nurses who would like to reflect more deeply in expressing their reflections on their work. Celeste brings topics to the table and participants write and share their observations, stories and reflections. Past topics have included: "nurses' pockets", "firsts - first day on the job, first injection, first triumph..." , "the real job description".
Caring for Ourselves as Caregivers: This creative arts workshop is for everyone for whom caring for others is an integral part of their life; whether it be through profession, the charge or parenthood, taking care of elderly parents, or our innate nature. This workshop gives participants an opportunity to reflect on their caregiving and develop ways to manage the stress and challenge of caregiving creatively.
Please call us to discuss designing a Nurses Project for your community.
The Climbable Tree:
Year One - Mothers/Daughters
A family storytelling project with oral histories, writing, dance,
photography and music. All women are daughters of a mother. Whether
that is a biological mother or a spiritual mother or a mentor
mother. Some women become mothers to others. Some women become
mothers of daughters. This is a series of workshops and performance
to explore these relationships.
Some of the workshop focuses:
How do we see? The infant's eye develops to first be able to see
the mother's face - the distance we can see is the distance between
mother's breast and mother's face. The second stage of visual
development is to see that which is in reach. The final stage
opens us to horizons. Using this visual development as a metaphor
for our relationships we explore the spatial relationships of
being within about twelve inches from one another, being within
one's reach, and being as far apart as possible. Portrait photographer
joins the workshop to look at the relationships from a visual
arts point of view. The session also includes photographic portraits
of the participating mothers and daughters. Women who don't bring
a partner to the workshop are encouraged to have a portrait done
using an object or other representation of their partner.
How do we measure? How many things can you measure, or find a numerical equivalent for in your life, your mother's life, your daughter's life, your grandmother or grandaughter's life?
How many birthdays lived through? How many wars? How many places lived? What numerical relationships can you make between each other? My hair is longer. Her hands have more wrinkles. I have had more husbands, she has had more children.
Mother/Daughter Partners of All Ages and All Life Situations are invited to participate in the workshops.
COMMUNITY PERFORMANCE - drawn from the work in the workshops, structured and directed by Celeste Miller - performed by the workshop participants.
"The Burning Lake"
Workshop & Performance Package: Adults are invited to attend a 4:00Pm workshop on the day of a performance of "The Burning Lake". In this workshop they explore themes from the performance, as they relate to the participants' lives, through the dance/text techniques of Celeste Miller. At 6:00PM the workshop breaks, and participants dine at a local restaurant together, returning to the theatre for the 8:00PM performance. After the performance, workshop participants and Celeste get together for an informal closure to the day.
This format has proved to be an invaluable audience building tool for the peformance. Workshop participants become repeat audience members, bringing friends with them.
