Friday, November 4, 2016

Beginning Theater - Hand Scenes

Check yourself! Do your hands reflect the emotional level of your character/inflection in your voice?

Thursday, November 3, 2016

Black Box Dance Company Workshop and Performance

Thank you so much to Black Box Dance Company for providing our students and incredible dance experience this week! They learned a lot and had a blast!

Here is a video clip as well as some photos.

Friday, October 21, 2016

Wahamba Nathi

Wahamba nathi, oh wahamba nathi (You walked with us, oh you walked with us)

Oh wahamba nathi, siyabonga (Oh you walked with us, we thank you)

Wahamba nathi, oh wahamba nathi (You walked with us, oh you walked with us)

Oh wahamba nathi, siyabonga(Oh you walked with us, we thank you)


Siyabonga Jesu, Siyabonga ngonyama yezulu (We thank you Jesus, we thank you Lion of heaven)

Siyabonga Jesu, Siyabonga (we thank you Jesus, we thank you)

Siyabonga Jesu, Siyabonga ngonyama yezulu (We thank you Jesus, we thank you Lion of heaven)

Siyabonga Jesu, Siyabonga (we thank you Jesus, we thank you)

Wakhamba nathi, oh wakhamba nathi(You walked with us, oh you walked with us)

Oh wakhamba nathi, Siyathokoza (Oh you walked with us, we thank you)

Wakhamba nathi, oh wakhamba nathi(You walked with us, oh you walked with us)

Oh wakhamba nathi, Siyathokoza (Oh you walked with us, we thank you)

Siyathokoza Jesu, Siyathokoza kakaramba (We thank you Jesus, we thank you mighty God)

Siyathokoza Jesu, Siyathokoza (We thank you Jesus, we thank you)

Siyathokoza Jesu, Siyathokoza kakaramba (We thank you Jesus, we thank you mighty God)

Siyathokoza Jesu, Siyathokoza (We thank you Jesus, we thank you)

Wahamba Nathi music link

Thursday, October 6, 2016

Tuesday, October 4, 2016

Dance That Moves Clinic and Performance Auditions

Dance That Moves will be offering a dance clinic for selected Columbus County dance students. If you are enrolled in Proficient or Advanced dance you are invited to audition for the clinic/performance. Seven will be selected from our school. Numbers are based upon enrollment numbers in the Advanced and Proficient levels at each school.

Students who participate must commit to the dates below, highlighted in red. It will require a lot of missed class time but I think it will be a worthwhile experience. Let me know if you are interested in auditioning.

Information about the choreographer/company:

Schedule for Dance Clinic
Rehearsal with HS Students
Arts Council
Rehearsal with HS Students
Arts Council
Performance for 8th Graders
Bowers - WHS
School Visit - ECHS AM WCHS PM
School Visit - SCHS AM WHS PM

Performance Video of Dance That Moves

Monday, October 3, 2016

Maya Angelou - Still I Rise

Still I Rise (full poem)

You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I'll rise.

Does my sassiness upset you?
Why are you beset with gloom?
'Cause I walk like I've got oil wells
Pumping in my living room.

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops.
Weakened by my soulful cries.

Does my haughtiness offend you?
Don't you take it awful hard
'Cause I laugh like I've got gold mines
Diggin' in my own back yard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I'll rise.

Does my sexiness upset you?
Does it come as a surprise
That I dance like I've got diamonds
At the meeting of my thighs?

Out of the huts of history's shame
I rise
Up from a past that's rooted in pain
I rise
I'm a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that's wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

About the Author - Maya Angelou

Maya Angelou was born Marguerite Johnson in St. Louis, Missouri, on April 4, 1928. She grew up in St. Louis and Stamps, Arkansas. She was an author, poet, historian, songwriter, playwright, dancer, stage and screen producer, director, performer, singer, and civil rights activist. She was best known for her seven autobiographical books: Mom & Me & Mom (Random House, 2013); Letter to My Daughter (Random House, 2008); All God’s Children Need Traveling Shoes (Random House, 1986); The Heart of a Woman (Random House, 1981); Singin’ and Swingin’ and Gettin’ Merry Like Christmas (Random House, 1976); Gather Together in My Name (Random House, 1974); and I Know Why the Caged Bird Sings (Random House, 1969), which was nominated for the National Book Award.

Among her volumes of poetry are A Brave and Startling Truth (Random House, 1995); The Complete Collected Poems of Maya Angelou (Random House, 1994); Wouldn’t Take Nothing for My Journey Now (Random House, 1993); I Shall Not Be Moved (Random House, 1990); Shaker, Why Don’t You Sing? (Random House, 1983); Oh Pray My Wings Are Gonna Fit Me Well (Random House, 1975); and Just Give Me a Cool Drink of Water ‘fore I Diiie (Random House, 1971), which was nominated for the Pulitzer Prize.

In 1959, at the request of Dr. Martin Luther King Jr., Angelou became the northern coordinator for the Southern Christian Leadership Conference. From 1961 to 1962 she was associate editor of The Arab Observer in Cairo, Egypt, the only English-language news weekly in the Middle East, and from 1964 to 1966 she was feature editor of the African Review in Accra, Ghana. She returned to the United States in 1974 and was appointed by Gerald Ford to the Bicentennial Commission and later by Jimmy Carter to the Commission for International Woman of the Year. She accepted a lifetime appointment in 1982 as Reynolds Professor of American Studies at Wake Forest University in Winston-Salem, North Carolina. In 1993, Angelou wrote and delivered a poem, “On The Pulse of the Morning," at the inauguration for President Bill Clinton at his request. In 2000, she received the National Medal of Arts, and in 2010 she was awarded the Presidential Medal of Freedom by President Barack Obama.

The first black woman director in Hollywood, Angelou wrote, produced, directed, and starred in productions for stage, film, and television. In 1971, she wrote the original screenplay and musical score for the film Georgia, Georgia, and was both author and executive producer of a five-part television miniseries “Three Way Choice.” She also wrote and produced several prize-winning documentaries, including “Afro-Americans in the Arts," a PBS special for which she received the Golden Eagle Award. Angelou was twice nominated for a Tony award for acting: once for her Broadway debut in Look Away (1973), and again for her performance in Roots (1977).

Angelou died on May 28, 2014, in Winston-Salem, North Carolina, where she had served as Reynolds Professor of American Studies at Wake Forest University since 1982. She was eighty-six.

Learn more about the poem's meaning here:

Choreographic Interpretation/Performance

October Performances!


Stallion Varsity Football Half Time Performance
Friday, October 7, 2016

7:30 PM, SCHS Football Field

Columbus County Fair Performance
Saturday, October 15, 2016
Arrive at 3:15PM, Perform at 3:45PM

Columbus County Fairgrounds

Theater Home Festival
Thursday, October 20, 2016
7:00 PM, SCHS Auditorium

Stallion Classic
Saturday, October 22, 2016
SCHS Football Field (All day, selected students to announce competing bands)

Yam Festival Performance
Saturday, October 22, 2016
Arrive at 1:45PM, Perform at 2:00PM

The Ritz Plaza in Tabor City

Minnie Evans Play Festival
Saturday, October 29, 2016, Departure time 7AM
Ashley High School, Wilmington, NC

Sunday, September 25, 2016

Radio Plays - The War of the Worlds by Orson Welles

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.

- 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.

Thursday, September 22, 2016

Monday, September 19, 2016

The Radio City Rockettes!

The Rockettes are a precision dance company. Founded in 1925 in St. Louis, Missouri, since 1932, they have performed at Radio City Music Hall in Manhattan, New York City. During the Christmas season, the Rockettes present five shows a day, seven days a week. Perhaps their best-known routine is an eye-high leg kick in perfect unison in a chorus line, which they include at the end of every performance. Their style of dance is a mixture of modern dance and classic ballet. Auditions to become a Rockette are always in April in New York City. Women who audition must show proficiency in several genres of dancing, mainly ballet, tap, modern, and jazz. Normally, 400 to 500 women audition yearly.

The Radio City Christmas Spectacular is performed annually at Radio City Music Hall. Numerous other shows are performed in American and Canadian cities by a touring company of Rockettes. It is one of the most-watched live shows in the United States, with over 2 million viewers per year. The Rockettes have performed annually at the Macy's Thanksgiving Day Parade since 1957 as the last pre-parade acts to perform. The NBC Rockefeller Center Tree-Lighting Ceremony  also traditionally includes a performance by the dance troupe.

Orson Welles - War Of The Worlds - Radio Broadcast 1938 - Complete Broadcast

The War of the Worlds was an episode of the American radio drama anthology series Mercury Theatre on the Air. It was performed as a Halloween episode of the series on October 30, 1938 and aired over the Columbia Broadcasting System radio network. Directed and narrated by Orson Welles, the episode was an adaptation of H. G. Wells' novel The War of the Worlds.

The first two thirds of the 60-minute broadcast were presented as a series of simulated "news bulletins", which suggested to many listeners that an actual alien invasion by Martians was currently in progress. Compounding the issue was the fact that the Mercury Theatre on the Air was a 'sustaining show' (it ran without commercial breaks), thus adding to the program's quality of realism. Although there were sensationalist accounts in the press about a supposed panic in response to the broadcast, the precise extent of listener response has been debated. In the days following the adaptation, however, there was widespread outrage. The program's news-bulletin format was decried as cruelly deceptive by some newspapers and public figures, leading to an outcry against the perpetrators of the broadcast, but the episode secured Orson Welles' fame.

A Brief History of Radio Drama in America; Radio Play Project

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:

Radio Play Project (3 people per group): 
Students will create their own radio play, Murder Mystery. 

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

Playwright: 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 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 for the radio drama. This person should decide where the commercials should be placed in the script and inform the playwright of these decisions.

Have you signed up for Remind yet?

Remind is an easy-to-use communication tool that helps teachers connect instantly with students and parents. 

Instead of sending home an endless paper trail of student letters, etc… I will use Remind to keep students and parents informed about upcoming events, assignments, fees, etc… The only device you need is a cell phone.

Step 1 - Type the Remind number where you ordinarily enter a phone number.
Step 2 - Type your class code where you ordinarily post your text message.

Step 3 - When prompted, type and send your name.

Once you’ve done this you will be registered to receive messages.

My Classes:

Remind Number: 81010
Intermediate, Proficient and Advanced Dance Class Code: @561ab

Remind Number: 81010
Beginning Theater Class Code: @561abc

Remind Number: 81010
Intermediate, Proficient and Advanced Theater Class Code: @9eb3b2

Sunday, September 18, 2016

Silent Film History

Silent Film History

Silent Film Project - Your group will use your mime, pantomime and combat mime scenes to create a silent film by mapping it out on a storyboard.

Storyboard - A sequence of drawings, typically with some directions and dialogue, representing the shots planned for a movie or television production.

What should be on my storyboard?
Shots and Signs - Each square represents a shot (video recording of scene work) or sign. The lines below the square are designated for writing descriptions of what happens in your scenes/shots.

Types of Shots - Close-up, Long and Mid-range (You should have at least one close-up and mid-range shot in your film).

What is on a sign?
Dialogue - "Oh no! Watch out!!!"

Project Example/Previous Student Work

Thursday, August 18, 2016

Welcome Back!

August 18, 2016

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 2016 – 2017 academic school year will be filled with much learning, special events and performance opportunities.

For your convenience I have provided my information and policies online. Simply click the link, Important Classroom Information located in the left-hand column on my site 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, Remind, Student Blogs (Online Portfolios)
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 are 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.

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, Intermediate, Proficient and Advanced classes will have extensive performance requirements and outside-of-class related activities. Beginning students are learning fundamentals and aren’t quite ready for formal performance. Beginning Theater does not have a required performance. Beginning 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.

Why do I have to submit a course contract?
A signed course contract is my way of knowing 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) or by email (

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. They always amaze me and make me very proud. I hope the parents and family members of students in the Arts department will continue their support at our performances. Every year the seats in the auditorium fill up quickly. This means so much to our kids! The only thing better than performing, is performing for a full house! Additionally, please remember, it takes a great deal of courage to stand onstage and share something you are passionate about. I ask you to be encouraging and praise them for their exceptional efforts each time they step onstage. 

Thanks so much for your time and attention. Let’s have another great semester!

Amy Jones