Friday, August 17, 2018

Welcome Back!

August 27, 2018

Dear Student and Parent/Guardian,

Welcome back to another exciting year at South Columbus High School. Perhaps this is your first year at South or maybe this year will lead to the conclusion of your high school career. In either case, as the dance and theater educator at SCHS, I assure you the 2018 – 2019 academic school year will be filled with many learning experiences, special events and performance opportunities.

For your convenience I have provided my information and policies online. Simply click the link, Important Classroom Information which is located in the left-hand column of my website to access links for:

1 – The Common Core Curriculum for Dance and Theater
2 – Classroom Procedures and Grading (Parent Portal, BYOT Policy, Course Contracts, NC Essential Standards Pacing Guides for Dance and Theater, Make-Up Work Policy, Band)
3 – Additional Resources

*Please take the time to read the above listed information thoroughly, so you may know what your child is responsible for.

What do I expect from my students?

My classes are heavily participation- based. Therefore, regular attendance and class participation is necessary to insure success. If a student is absent from class, they should consult the Make-Up Work Policy on my website. * Please note that all make-up work must be completed and submitted within five days of the student’s return to school unless there are special circumstances which have been approved by me in advance.

Do I have to perform?

Of course, you are enrolled in a performing arts course! We perform in class every day! As far as formal performances are concerned, Proficient and Advanced level students (and some Intermediate level students) will have extensive performance requirements and outside-of-class related activities. Beginners (and some Intermediate level students) are still learning fundamentals and aren’t quite ready for formal performance. Beginning Theater does not have a required performance. Beginning/Intermediate Dance has one performance at the end of the semester, our annual spring concert.

*Please note, students who miss performances/events/rehearsals, etc… are required to complete an alternate assignment to replace the missed grade. Students who fail to complete and submit an alternate assignment will not receive credit for the missed grade.

How will I be graded in your class?


As mentioned before, my class is largely participation-based. For this reason, students will receive a weekly participation grade. This grade is an average of their daily participation in my class. When students are absent they do not receive points for the day. It is imperative that students are familiar with my Make-Up Work Policy and complete make-up assignments when they are absent.

Why do I have to submit a course contract?

A signed course contract is my way of knowing my students and their parents/guardians have been informed of my classroom procedures and expectations. For this reason, I treat the contract as a graded assignment. *Students who turn in a signed contract will receive a one-hundred percent, quiz grade. Students who do not will receive a zero, failing quiz grade.

How can I contact you?

If you have any questions or concerns about my class, you may contact me at SCHS (910 – 653 – 4073), by email (amj@columbus.k12.nc.us), or through the Band APP.

When and where can we see students perform?

I have a calendar including performance dates and events for my classes on my website!

I am excited to see how much each of my students will learn and grow in class, day by day. They are hard-working, creative and intelligent people who always surprise me with their accomplishments. The parents and family members of students in the Arts department have faithfully supported our student’s work and performances. This means so much to them, the only thing better than performing, is performing for a full house! It takes a great deal of courage to stand onstage and share something you are passionate about, especially when it is personal to the individual person. Thank you in advance for encouraging and praising our students for their exceptional efforts.

Let’s have another great semester!

Sincerely,


Amy Jones


Friday, May 11, 2018

The Wiz! Spring 2018

Photos from Monday's dress rehearsal.





































Friday, February 16, 2018

Beginning and Intermediate Dance Ballet Terminolog

Did you know Ballet originated in France under the reign of King Louis the XIV (14th)? Only nobility members were permitted to perform Ballet. When they performed with the King they were not allowed to perform choreography which would upstage him. If they did this, he had them beheaded!





























Plie – To bend

Releve – To rise

Tendu – to stretch

Passe – half passed

Degage – To disengage

Grande Battement – large beating

Ronde de jambe – circle or round of the leg

Glissade – to glide

Jete – to throw

Pas de chat – step of the cat

Coupe – to cut

Pas de bourreeBourree step (the “Bourree” was a French folk dance form)


Tuesday, January 9, 2018

SCHS Singing Stallions: Musical Theater

SCHS Singing Stallions: Musical Theater: The South Stage Company will present the musical, The Wiz    Thursday, May 10, 2018      Saturday, May 12, 2018 Sign Up to Audition   ...

Wednesday, October 25, 2017

Vocal Development and Tongue Twisters

Vocal Development

Volume - The degree of loudness or intensity of a voice.

Rate - How fast or slow you speak.

Pitch - The highness or lowness of voice

Flexibility - The manipulation of pitch to express emotion.

Projection - The placement and delivery of volume, clarity, and distinctness of voice for communicating to an audience.

Articulation
 - The clear and precise pronunciation of words.

Diction - The pronunciation of words, the choice of words, and the manner in which a person expresses himself or herself.



The Ultimate List of Tongue Twisters

Unique New York

Three free throws

Red Leather, Yellow Leather

I thought a thought.
But the thought I thought wasn’t the thought I thought I thought.

One-One was a racehorse.
Two-Two was one, too.
When One-One won one race, Two-Two won one, too.

Say this sharply, say this sweetly,
Say this shortly, say this softly.
Say this sixteen times very quickly.

Rubber Baby Buggy Bumpers! (Repeat. Increase the tempo.)

Silly Sally swiftly shooed seven silly sheep.
The seven silly sheep Silly Sally shooed Shilly-shallied south.
These sheep shouldn’t sleep in a shack; Sheep should sleep in a shed.

Red Bulb Blue Bulb Red Bulb Blue Bulb Red Bulb Blue Bulb

Red Blood Blue Blood

I wish to wish the wish you wish to wish, but if you wish the wish the witch wishes, I won’t wish the wish you wish to wish.

She sells seashells on the seashore.

Mix a box of mixed biscuits with a boxed biscuit mixer.

A proper copper coffee pot.

Toy boat. Toy boat. Toy boat.

Betty bought butter but the butter was bitter, so Betty bought better butter to make the bitter butter better.

I thought a thought.
But the thought I thought wasn’t the thought I thought I thought.
If the thought I thought I thought had been the thought I thought, I wouldn’t have thought so much.

How much wood could a wood chuck; chuck if a wood chuck could chuck wood.

Comical economists.

Which wristwatches are Swiss wristwatches?

Peter Piper picked a peck of pickled peppers,
A peck of pickled peppers Peter Piper picked.
If Peter Piper picked a peck of pickled peppers,
Where’s the peck of pickled peppers Peter Piper picked?

Sascha sews slightly slashed sheets shut.

She should shun the shinning sun.

The big black back brake broke badly.

The big beautiful blue balloon burst.

A shapeless sash sags slowly.

Smelly shoes and socks shock sisters.

Which wrist watches are Swiss wrist watches?

Dick kicks sticky bricks.

Shave a single shingle thin.

Stick strictly six sticks stumps.

Cinnamon aluminum linoleum.

New York is unanimously universally unique.

Cooks cook cupcakes quickly.

Flora’s freshly fried fish.

A bragging baker baked black bread.

Buy blue blueberry biscuits before bedtime.

She sold six shabby sheared sheep on ship.

The sixth sick sheik’s son slept.

These thousand tricky tongue twisters trip thrillingly off the tongue.

Sunday, October 15, 2017

Radio Play History and Significant Moments in the Era







Radio drama is over 70 years old, and, for all serious purposes, has been dead for 50 of those years, being used only occasionally in the classroom as a novelty or curiosity. During the middle to late 1940's, radio drama reached its peak, then, with the advent and expansion of television, it quickly faded into history. Before the 1920's formal radio programs were unknown. Most broadcasts were one time events consisting mainly of talk and music. Broadcast hours were irregular, usually four or five hours a day, and the only regularly scheduled broadcasts were weather reports. Once in a while, musical events such as symphonies and operas were broadcast from the locations where they were being performed. Occasionally stage plays were broadcast from the theatre, and sporting events were broadcast with play-by-play announcing.

In the mid 20's, larger stations began to develop programs using announcers or narrators. These programs used definite openings and closings and were built around specific program ideas. Radio drama was born in 1927, when networks began adapting short stories, and even writing original scripts, for broadcast.

During the last part of the 1920's many one-hour, sponsored network programs started. Musical variety and concert music programs were the most popular forms during this period. Some of these network variety programs used a different format each week—a musical program one week, a talk or a debate the next week, and perhaps a dramatization the third week. During this period the network schedules included two or three minstrel variety programs and a comedy variety program using a series of several comedy acts in a half hour. Song-and-patter teams, usually two person teams that used talk between songs, became popular during this period. Later on patter-only comedy acts appeared. The Amos 'n' Andy show was one of the first to use this format. At first Amos 'n' Andy presented patter five nights a week for fifteen minutes each night.

During the 1930-31 season, the comedy dramatic form became an important part of radio programming, when Amos 'n' Andy adopted a story line. Amos 'n' Andy was so popular that the program survived even into the TV era.

In the early 1930's national advertisers recognized the potential for radio advertising and became willing to buy air-time and sponsor programs. As this happened, networks competed for their share. The result was the development of many new program forms. Among the new program types were: vaudeville variety programs, dramatized news programs, programs built around a comedian, advice/interview programs, amateur contest programs, town meeting programs, daily network news programs, daytime "soap opera" serialized drama, after school juvenile serialized adventure drama, and hillbilly variety programs. As network daytime serials became popular, stations developed daytime schedules.

In order to survive the depression years, many local stations scheduled commercial religious programs, programs with cultural appeal (country music for instance), and astrology programs that included strong appeals for donations to keep the show on the air. During this time, local news programs were usually one fifteen-minute broadcast per day, getting their news from daily newspapers.

In the early 1940's, radio programs reflected America's involvement in World War II. As the number of news and human interest programs grew, evening variety, musical, quiz, and audience participation programs shrunk. During this time, evening dramatic programs exploded in number.

As a result of the country's involvement in the war, the number of hours per week devoted to news broadcasts nearly doubled. It was probably this abundance of war news that propelled the spectacular growth of evening dramatic programs. As listeners grew tired of war talk, they turned to other programs for escape. The forms that offered the most escape were comedy-variety, comedy drama, and thriller drama. As a matter of fact, one of the dramatic series created during this period was entitled Escape. During the 1944-45 season, the networks scheduled 8 hours of comedy variety, 8 hours of comedy drama programs, and 14 hours of thriller drama each week. By the end of this period, networks offered 47 hours a week of dramatic programs during the evening and on Sunday. Thriller drama programs counted for about 25 hours of these each week.

In the early years of television, not enough homes had a TV receiver and national sponsors were hard to find, therefore, production costs had to be controlled. It was too expensive to create new forms and take a chance on an unknown show, so the forms that existed at the time on radio were moved directly to television. In fact, many of the successful radio series went directly to television. Gunsmoke, an extremely successful western drama, was one among several that could be heard on radio and seen on TV. Suspense, radio's longest running thriller series, was another.


Web Resource: balancepublishing.com

Radio Play Project (4 people per group): 
Students will create their own radio play, Murder Mystery. 

Materials Needed: 
character plot, plot mountain, script, sound effects, commercials, recording device, lots of imagination

Duties:
Two Playwrights: It is the responsibility of the playwright to write the actual script for the radio drama. The other members of the group will provide creative input, but the playwright will be held accountable for actually writing the script on paper.

Foley Artist: It is the responsibility of the Foley artist to create the sound effects (six) for the radio drama. This person will be responsible for ensuring that all props are brought to the recording studio when needed. The Foley artist will make sure that the playwright includes all sound effects in the script.

Advertising Executive: It is the responsibility of the advertising executive to write the commercials (three) for the radio drama. This person should decide where the commercials should be placed in the script and inform the playwright of these decisions.