Peking Acrobats Study Guide 0910

2009—2010 Season

SchoolTime Study Guide

Peking Acrobats

Monday, January 25 & Tuesday, Janyary 26, 2010 at 11 a.m.

Zellerbach Hall, University of California, Berkeley

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On Monday, January 25 or Tuesday, January 26 at 11am, your class will attend a

performance of the Peking Acrobats.

During the

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performance, the Peking Acrobats will astound the audience with

their mastery of this 2,000-year-old art form. Gymnasts, contortionists, tumblers and

jugglers will spin plates, perform balancing and aerial acts, create a bicycle pagoda and

juggle everything from hats to jars with their hands, feet and entire bodies.

Using This Study Guide

This study guide will help engage your students with the performance and enrich their

ﬁ eld trip to Zellerbach Hall. Before coming to the performance, we encourage you to:

• Make copies of the Student Resource Sheet on pages 2 -3 and pass them out to

your students several days before the show.

• Share the information on page 4 About the Performance & the Artists with

your students.

• Read to your students from the History of Chinese Acrobats (pages 8-10) and Facts

about China (page 11) sections

• Have your students participate in two or more of the activities on pages 14-16

• Reﬂ ect about the performance with your students by asking them guiding

questions on pages 2, 4, 5 and 8.

• Use the glossary and resource sections on pages 13 & 16 to immerse students

even further in the art form.

At The Performance

Your students can actively participate during the

performance by:

• OBSERVING how the performers use their bodies when working alone or in groups

• MARVELING at the skill & technique demonstrated

by the performers

• THINKING ABOUT all the practice and training that goes into each act

• NOTICING how the music and lights enhance the acts

• REFLECTING on the sounds, sights, and performance skills on display

We look forward to seeing you at

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Laura Abrams Rica Anderson

Director, Education & Education Programs Administrator

Community Programs

Welcome to

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1. Theater Etiquette 1

2. Student Resource Sheet 2

3. About the Performance & Artists 4

4. About the Art Form 5

5. Acrobatics in Chinese History 8

6. Facts about China 11

7. Glossary 13

8. Learning Activities & Resources 14

9. California State Standards 17

About

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Table of Contents

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1 Theater Etiquette

Be prepared and arrive early.

Ideally you should arrive at the theater 30 to 45 minutes before the show. Allow for travel time and

parking, and plan to be in your seats at least 15 minutes before the performance begins.

Be aware and remain quiet.

The theater is a “live” space—you can hear the performers easily, but they can also hear you, and

you can hear other audience members, too! Even the smallest sounds, like rustling papers and

whispering, can be heard throughout the theater, so it’s best to stay quiet so that everyone can enjoy

the performance without distractions. The international sign for “Quiet Please” is to silently raise your

index ﬁ nger to your lips.

Show appreciation by applauding.

Applause is the best way to show your enthusiasm and appreciation. Performers return their

appreciation for your attention by bowing to the audience at the end of the show. It is always

appropriate to applaud at the end of a performance, and it is customary to continue clapping

until the curtain comes down or the house lights come up.

Participate by responding to the action onstage.

Sometimes during a performance, you may respond by laughing, crying or sighing. By all means, feel

free to do so! Appreciation can be shown in many different ways, depending upon the art form. For

instance, an audience attending a string quartet performance will sit very quietly, while the audience

at a gospel concert may be inspired to participate by clapping and shouting.

Concentrate to help the performers.

These artists use concentration to focus their energy while on stage. If the audience is focused while

watching the performance, they feel supported and are able to do their best work. They can feel that

you are with them!

Please note:

Backpacks and lunches are not permitted in the theater. Bags are provided for lobby storage in the

event that you bring these with you. There is absolutely no food or drink permitted in the seating

areas. Recording devices of any kind, including cameras, cannot be used during performances.

Please remember to turn off your cell phone.

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Ques ons to Think About:

What do the Peking Acrobats have in common with other acrobats you’ve •

seen? How are they diﬀ erent?

What elements of China’s culture, history or everyday life do you see in •

the performance?

2 Student Resource Sheet

Peking Acrobats

The Performers

The Peking Acrobats are from the

People’s Republic of China. They have

performed all over the world for more

than 50 years. Unlike most Chinese

acrobatic companies, the Peking Acrobats

are accompanied by live music. Objects of

daily life—chairs, tables, poles, ladders,

bowls, plates, bottles, and jars—are often

used for props as the troupe performs

dazzling feats of acrobatics, contortion,

martial arts, aerial acts, juggling and

more.

The Performance

The acrobats will do their best

to impress with amazing acts, such

as spinning plates on sticks, juggling

objects with their feet, balancing human

pyramids on top of moving bicycles,

twisting their bodies into all kinds of

shapes, and much more. The acrobats

perform alone (solo) or with others (in a

group or “ensemble”). Each act requires

strength, ﬂ exibility and concentration.

Group acts also need the performers

to cooperate well with each other. One

person’s carelessness puts everyone in

danger.

History of Chinese Acrobats

Acrobatics developed over 2,500 years

ago in the Wuqiao area of China’s Hebei

Province. As people didn’t have television

or other electronic inventions, they learned

new skills that developed into complicated

acrobatics. Using their imaginations, they

took everyday objects like tables, chairs,

jars, plates and bowls and practiced

juggling and balancing with them.

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Acrobatic acts became a feature

at celebrations, like harvest festivals.

Soon the art form caught the attention

of emperors who helped spread the

acrobats’ popularity. As their audience

grew, acrobats added traditional

dance, eye-catching costumes, music

and theatrical techniques to their

performances to make the experience

even more enjoyable and entertaining.

Acrobatic Families

Like European acrobatic troupes,

many Chinese troupes were family-

owned, and several still are today. Family

troupes would keep the techniques of

their acts secret, teaching them only to

their children and other close relatives.

Touring the countryside as street

performers, certain families became

successful for their signature acts. Two

famous acrobatic families were the

Dung

family, known for their magic acts, and

the Chen Family, known for their unique

style of juggling.

Acrobatics in the People’s

Republic of China

In October 1949, a communist

government came into power in China.

China’s companies and businesses

became the government’s property,

including the acrobatic troupes. Since

acrobatics was considered an art form

that was popular with all people, not just

the rich or educated, the government

supported acrobatic troupes, and even

gave money to create new troupes

in different regions of the country.

However, government ownership also

meant that troupes had less artistic

freedom and individual acrobats didn’t

have a choice about where they worked

or who they worked with.

Today, in the “new” China, acrobats

have made great improvements in both

the staging and skill of their art form.

Companies use music, costumes, props

and lighting to create striking and

imaginative stage productions.

Acrobatic Training

There are as many as 100,000

people who attend special acrobat

schools in China today. Students start

training at age ﬁ ve or six, working from

early in the morning to late afternoon,

six days a week. Students learn and

then continue developing the four skills

which are an acrobat’s foundation:

handstand, tumbling, ﬂ exibility and

dance. After almost 10 years of hard

training, the most talented students join

professional city-wide troupes, and only

a few of these skilled performers are

then chosen to be part of internationally

known companies like the Peking

Acrobats.

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Guiding Questions:

What qualities are unique to the Peking Acrobats? ♦

Name three possible acts you will see at ♦

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3 About the Performance & Artists

Peking Acrobats

The artists of this troupe perform under the

direction and choreography of Hai Ken Tsai,

a famous performer whose family goes back

three generations of Chinese acrobatics.

Although Chinese acrobats rarely

perform with live music, the Peking Acrobats

are accompanied onstage by the Hong Kong

Chinese Orchestra. The musicians play

traditional instruments like the Pipa (similar

to the Western lute), the Er Hu, a bowed

instrument with two strings and a sound box

covered with snake skin, and the Di Zi, a ﬂ ute

made of bamboo or wood.

Among the ﬁ nest acrobatic artists in China

today, members of the Peking Acrobats bring an

ancient folk art to life, along with the pageantry

and spectacle of a Chinese circus. Through their

performance, you will experience a taste of

Chinese culture and virtuosity.

“At no time have we seen anything like the

Peking Acrobats. Feats of clowning, dexterity,

grace, strength and coordination rippled from

the stage...” (

The Chicago Tribune

)

The Peking Acrobats’

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performance features theatrically staged

acts of astounding acrobatics. Contortionists

bend like rubber, while acrobats and jugglers

perform amazing balancing and aerial acts,

spin plates, create a bicycle pagoda and juggle

everything from hats to jars using not only

their hands but also their feet and sometimes

their entire bodies.

Please see page 6 in “About the Art

Form” for a list of acrobatic feats that may be

included in this performance.

“Nearly everything the Peking Acrobats

did was amazing -- and stunning, and

breathtaking and WOW!” (

Seattle Times

)

The Peking Acrobats

The Peking Acrobats are from the People’s

Republic of China. An offspring of the Great

China Circus popular during the 1920’s, the

Peking Acrobats became a professional

acrobatic company in its own right in 1958.

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Acrobatic Artistry

4 About the Art Form

Guiding Questions:

How does a student learn to be an acrobat? ♦

What are the four basic acrobatic skills? ♦

How is Chinese culture reﬂ ected by the acrobats’ on stage? ♦

The acrobatic arts have evolved for

over 2000 years in China, a country credited

with producing some of the best acrobats

in the world. Chinese acrobats maintain a

notable style and standard routines. Chinese

acrobats learn handstands, juggling, trapeze,

and balancing, and, as in most recognizable

circuses around the world, also maintain

juggling, trapeze, handstand acts and comic

relief. Differences between troupes are

reﬂ ected in theatrical presentation, including

music, novelty acts such as clowns, and

lighting.

Acrobatic Training and Handstands

In China, acrobats are selected to attend

special training schools at about age six.

Students work long and challenging hours six

days a week. The ﬁ rst two years of acrobatic

training are the most important. They practice

gymnastics, juggling, martial arts and dance

in the mornings, and then take general

education classes in the afternoons.

Students work daily on core skills: the

handstand, tumbling, ﬂ exibility, and dance.

They are also expected to be skilled in

juggling.

Each student will have a more

pronounced talent for one of the four core

acrobatic skills. The handstand is considered

the essence of Chinese acrobatics. Many

signature acrobatic acts include some

form of handstand. Master teachers have

commented that, “handstand training is to

acrobats what studying the human body is to

a medical student.”

An acrobat trains in progressive

steps from basic to advanced handstands.

Training directly affects three areas of the

body— shoulders, lower back, and wrists. A

weakness in any one area compromises the

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acrobat’s ability. Beginning students begin

by doing handstands against a wall. In three

to six months, they build up to a half hour of

wall handstands. The three areas of the body

become stronger until at last students are able

to hold the free handstand.

In Chinese, holding a still handstand is

translated as a “Dead handstand.” A good

handstand has pleasing form and versatility,

meaning the acrobat can execute many

variations from that position.

Understandably, young acrobats ﬁ nd this

early training unpleasant. In a basic handstand,

one is upside down with all the body’s weight

on the wrist, shoulder and lower back. There

is natural pressure to want to come down and,

since the hands are the body’s only support,

there is no way to cheat.

After the initial two-year training, only

a few acrobats specialize in the handstand.

However, handstand training is essential to

all acrobatic work, due to the role it plays in

strengthening the body, mind and spirit of the

acrobat.

Signature Chinese Acrobatic Acts

Acrobatic acts can be performed

solo or in groups. Group acts require

team cooperation, trust and constant

communication.

The disadvantage of a group act is that

when one acrobat cannot perform or leaves the

act this puts the others at risk in their careers,

and they must start over again. But, at least

the new acts or new specialties they develop

are based on central acrobatic skills; tumbling,

ﬂ exibility, handstand and dance.

The

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performance of Peking

Acrobats may include the following acts:

Spinning Plates: Acrobats spin plates on

iron sticks while balancing, dancing or tumbling

all the while.

Contortion: Performers squeeze their

bodies into tiny spaces and twist into

unbelievable knots while delicately balancing

objects.

Hoop Diving: With dynamic speed and

rhythm, acrobats jump, dive and tumble through

stacked hoops up to 7 feet high.

Balancing: Performers balance precariously

perched items on various parts of their bodies

and balance themselves on large and small

objects.

Aerial Acts: Using leather straps or strips

of silk acrobats perform feats of strength and

daring high in the air.

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Double Pole: A group of acrobats climb

up and down thin poles to execute a variety

of dangerous movements. This act requires

a considerable amount of upper body and

abdominal strength.

Juggling: A team of acrobats juggle,

throw and catch hats with amazing speed,

synchronization and dexterity. Others juggle

jars, tables, umbrellas and other objects with

their feet.

Lion and Dragon: This act comes from

Chinese folk dance developed from Buddhist

beliefs. The lion represents the spirit of renewal

and is revered for dispelling bad luck. Big Lion

is played by two acrobats, while Small Lion

is played by one. The lion rolls and jumps,

displaying qualities of strength, agility and

tranquility.

Bicycle: Acrobats perform on moving

bicycles creating a human pyramid, pagoda and

other stunning shapes and images.

Finale: The entire company comes onstage

to create striking stage pictures and perform

spectacular balancing and tumbling acts.

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5 Acrobatics in Chinese History

Acrobatics is a time-honored art

form in China. With a long and rich history,

acrobatics is one of the most popular art

forms among the Chinese people. Some

historical records provide evidence for the

development of this art form as far back as

the Xia Dynasty (4,000 years ago), though

is more likely that acrobatics were not

developed until approximately 2,500 years ago

when its impressive physical feats caught the

attention of the country’s powerful emperors.

Acrobatic arts were developed during

the Warring States Period (475BC-221BC),

evolving from the working lives of people in

Wuqiao (pronounced oo-chow) county of Hebei

Province. Acrobats ﬁ rst used everyday items

around them—instruments of labor such as

tridents, wicker rings and household articles

like tables, chairs, jars, plates and bowls—as

performance props in balancing and juggling

acts.

At a time when China was

an agricultural society, when there

were no distracting electronic

gadgets or telephones, people used

their imaginations to practice skills

of acrobatics: handstands, tumbling,

balancing, juggling, and dancing. Their

acts were incorporated into community

celebrations, for example, to celebrate

a bountiful harvest. These entertainments

eventually evolved into well-appreciated,

professional performances.

Guiding Questions:

How did acrobatics become popular in China? ♦

What are some common traits of acrobatic troupes? ♦

How have Chinese political and social changes affected acrobatics? ♦

People’s Republic

of China

Most of Chinese history is studied

as Dynasties, periods known by the names

of their rulers. During the Han Dynasty

(221BC-220AD) home-made rudimentary

acrobatic acts developed into the “Hundred

Entertainments,” followed by many variations.

Music and other theatrical elements were

added as interest in the art form grew among

the emperors.

Stone engravings from Shandong

Province unearthed in 1954 show acrobatic

performances with musical accompaniment

on stages of 2,000 years ago, including acts

that are familiar to this day, such as Pole

Climbing, Rope-Walking, conjuring and

Balancing on Chairs

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In the Tang Dynasty, known for the

extraordinary cultural ﬂ ourishing, the number

of acrobats increased and their performing

skills improved through prolonged practice.

Famous poets of that time, Bai Juyi and

Yuan Chen, wrote poems about acrobatic

performances. In a painting at Dunhuang

called “Lady Song Going on a Journey,” there

are images of acrobatic performers.

Since these early times, acrobatics

have been incorporated into many forms of

Chinese performance arts, including dance,

opera,

wushu

(martial arts) and sports.

Acrobatics have gone beyond the boundaries

of performance, serving an important role

in the cultural exchange between China and

other Western nations including the United

States. Today, China presents acrobatics in

the international arena as an example of the

rich traditions of Chinese culture and the

hard-working nature of the Chinese people.

Family Acrobatic Troupes

Traditional acrobatic troupes were

family-owned, making their living roaming

the countryside as street performers. Many

famous acrobats continued this lifestyle

through many generations, including the

Dung family and the Chen Family. The Dung

Family was known for their magic acts, while

the Chen Family was famous for their unique

style of juggling, with a signature act that

used as many as eight badminton rackets at

one time. Other acrobatic troupes have tried

to match the skill level of the Chen family’s

juggling feats with little success.

Family acrobatic troupes would teach

only their own children and close relatives

their secrets to keep the techniques and

traditions within the family name. (This was

also the case in Europe, where circus families

continued through many generations).

The mural

An Outing

by the Lady of Song of the Tang Dynasty

(618-907) depicts the grand scene of a Peeress’s outing. Walking

in front of the large procession is an acrobat doing pole balancing

with four young boys doing stunts. These ﬁ gures are vivid, lively

and vigorous, and is considered the most complete extant

Chinese mural containing images of acrobatics.

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Acrobatics in China after 1949

On October 1, 1949, the People’s

Republic of China was formally established by

the Communist party, with its national capital

at Beijing. All companies and businesses

became government property, including the

family acrobatic troupes.

The people’s government made great

efforts to foster and develop national arts.

Generally, the Communist government

approved of acrobatics as “an art of the

people,” not an elitist art form, so acrobatics

gained a new prominence as every province,

municipality and region established its own

acrobatic troupe.

In Communism, everyone is supposed

to be provided for and taken care of equally;

the term “Iron Rice Bowl” means all eat

out of the same rice bowl. (However, there

were inconsistencies between Communist

theory and practice, as people in powerful

government positions received many perks).

Under Communism, the government

paid for acrobatic troupes’ operational costs,

so performers were less concerned with

their ﬁ nancial earnings. They concentrated

on improving their skills and enhancing the

contents of their performances.

Modern acrobatic acts are designed

and directed with the goal of creating

graceful stage images. Harmonious musical

accompaniment and the added effects of

costumes, props and lighting turn these

acrobatic performances into exciting full-

ﬂ edged stage art.

Mao Tse-Tong (1893–1976), founder of the People’s Republic

of China, greets Chinese acrobats.

Recent changes in China’s government

allow artists more freedom to be creative,

which has led to improvements in the

working lives of acrobats. Now, acrobats

are permitted to form their own performing

groups, and to perform for their own ﬁ nancial

gain. Individual acrobats can now perform

later into adulthood.

There are now over 100 acrobatic troupes

operated by the Chinese government and

hundreds more private troupes performing

the ancient art of Chinese acrobatics both in

China and all over the world.

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Facts about China

Reprinted with permission from the Flynn Center for the Performing Arts

Size

The fourth largest country in the world,

China is about the same size as the United

States. Its population of 1.3 billion is the

largest in the world—more than four times

that of the U.S.

Population Control

Married people of the Hun majority (92%

of the population) are allowed to give birth to

only one child except if the parents are both

single children themselves (then they may

have two). Minority families may have as many

children as they wish.

Changes in Government

Imperial rule—dynasties ruled by

emperors—began in 1111 B.C. An Emperor

ruled until he died or passed leadership on to

a son or nephew. Most of Chinese history is

recorded by the family names of the dynasties.

During most of recorded history —through the

15th century— China was the most advanced

country in the world in terms of technological

development and culture.

In 1911, a revolution ended over

2000 years of imperial rule. By 1921, the

Communist Party of China was founded. In a

Communist state, all businesses, property,

foods, goods and services are owned and

operated by the government and distributed

to the people by the government.

Over the last 30 years, the Chinese

government become to a unique political

blend. China maintains a communist

government within a socialist society and a

capitalist economy. The opening up of China

to Western ideas has dramatically affected

its people. A gap is widening between rich

and poor, rural and urban, and eastern

and western China. As more of the world’s

products are being manufactured there,

China’s gross national product has grown

as much 10% over the last few years. After

the United States, China now is the second

largest economy in the world.

Pollution

No country has ever emerged as a

major industrial power without damaging the

environment. Because of its huge growth,

China’s pollution problems have shattered

all precedents. 70% of the water in China is

polluted and only 1% of the 560 million city

dwellers breathe air that it considered safe.

The Chinese are working hard to counter the

affects of this tragic situation.

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Schools in China

China has the largest educational system

in the world — over 1,170,000 government-run

schools enroll over 318,000,000 students.

It has an increasingly literate population,

recorded in 2001 at 90%. Educational progress

has been most rapid in the urban areas such

as Beijing and Shanghai because of their

greater resources. Since 2001, there has been a

curriculum reform effort towards more student-

centered programs and the government has

allowed regions to set some of their own

courses.

Children start school at age six and attend

for nine years. Primary education is free, but

parents pay for everything from paper to electric

bills. Parents pay for secondary education. To

continue into high school, students must do well

on a series of tests. It is steeply competitive to

get into the best schools. Vocational schools

are now available for students who do not go on

to universities.

Average classes have 60 students.

Discipline problems are reportedly rare because

parents insist that children must respect their

teachers. In such large classes, the instruction

is largely lecture-oriented and teacher-

centered with few opportunities for interactive,

student-led learning. Every student in China

does morning exercises before school and at

a given time during the school day. Students

in secondary schools wear unisex school

uniforms. All students learn the craft of painting

and drawing.

Symbols of Old and New China

The Great Wall of China was built and

rebuilt between 5th century B.C. and 16th

century A.D. to protect the northern borders

of the Chinese Empire. It is the world’s largest

man-made structure. Some of its stretches

have been restored enough for people to walk

along today.

The Temple of the Heavens in Beijing was

the site of annual ceremonies of prayer for good

harvest during the Ming and Qing dynasties.

One of the few antiquities saved during the

Cultural Revolution, its extensive grounds are

now used as a public park.

The Chinese were excited to host the 2008

Olympic games in Beijing and surrounding

areas. The government made many

improvements to the city, from thousands of

new trees planted and new hotels built to old

sites renovated for tourists. Based in Bejing,

portions of the Olympic games were played

in other regions of China. The games allowed

many of the world’s people to see inside China

for the ﬁ rst time.

Left to right: Temple of Heavens in Bejing; 2008 Olympic logo; Chinese students

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7 Glossary

acrobat: a skilled performer who does

gymnastic feats like handstands, tumbling,

tightrope walking and trapeze work

agility: being able to move quickly and easily

aerial act: performance acts that take place

high in the air

choreographer: a person who creates the

movements for dances

comic relief: a funny scene in between

dramatic or suspenseful moments in a

performance

conjuring: to perform magic tricks like slight

of hand where something appears out of

nowhere

contortionists: a ﬂ exible performer who can

move their muscles, limbs and joints into

unusual positions.

gymnast: a trained athlete who displays

physical strength, balance, skill and agility

Hundred Entertainments: shows performed

3,000 years ago in China that included

acrobatics, song and dance numbers,

comedy, magic and instrumental music

martial arts: a traditional Asian self-defense

or combat sport that doesn’t use weapons but

depends on physical skill and coordination

(Karate, aikido, judo, and kung fu are

considered martial arts.)

novelty act: a new and interesting

performance piece that appears different

from what is usually seen

signature act: a performance piece

connected with, or made famous by, a speciﬁ c

company or troupe

somersault: a complete body roll either

forward or backward in a complete circle,

with knees bent and feet coming over the

head

trapeze: a short horizontal bar suspended

from two parallel ropes, used for gymnastic

exercises or for acrobatic stunts.

troupe: a company or group of performers

that works, travels and performs together

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8 Learning Activities

Pre-show Activities

An effective way to engage your students in the performance and connect to literacy, social

studies, arts and other classroom curriculum is to guide them through these standards-based

activities before they come to the show.

Performance and Culture

Questions for Students:

1. How long have acrobatics existed in China?

2. At what age do acrobats typically begin training in China?

3. What types of props are used in acrobatic routines?

4. Can you name three major cities in China?

5. Why do acrobats wear colorful costumes?

6. Name the 4 acrobatic skills learned in basic training.

7. Name 5 acrobatic acts created in China.

8. What are the “3 P’s” common to the secrets of learning acrobatics and becoming a

good student?

Younger elementary students:

Practice, Practice, Practice

Older students and adults:

Practice, Perseverance, Patience

9. Think of one word to describe acrobatics.

10. Can you remember a major Chinese holiday celebration that features acrobats?

Performing Arts (Grades K-6)

Object Balancing: Activity and Reﬂ ection (Grades K-6):

Teacher Prep: Make newspaper sticks for each student. To make a stick, take two large

sheets of newspaper, roll them up as tightly as possible and tape them in the middle and at the

ends. Ask students to:

• Place their “newspaper sticks” on the palms of their right or left hand and try to keep it

balanced and upright.

• After doing this for a few minutes, ask them to reﬂ ect on what it was like.

• Discuss the acrobats’ training – the practice and work that goes into developing their skills.

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Human Sculptures: Activity, Discussion and Kinesthetic Reﬂ ection (Grades K-8)

Invite students to imagine their bodies are like clay and they can mold them into different

shapes (like triangles, circles, and objects like tables, ﬂ owers or ladders.)

• On their own, ask them to experiment with using high, medium and low levels when

creating shapes, and encourage them to use their entire body.

• Then, have students work in pairs or in groups to create more shape and object sculptures.

• Afterwards, discuss as a class the difference between making the shapes by themselves

and with others.

• Ask students to look for the shapes the Peking Acrobats make with their bodies during

their performance. After the performance, invite students to remember one shape that stood

out in their memory and imitate this shape. Ask the entire class to imitate this movement after

the student has shown it.

Post-show Activities

Reﬂ ecting on the performance allows students to use their critical thinking skills as they analyze

and evaluate what they’ve observed during the performance. Student reﬂ ection also helps teachers

assess what students are taking in, and what they aren’t noticing.

Visual Arts & English Language Arts (Grades K-6)

Discussion and Activity:

Ask students to think about the National Acrobats of China’s performance.

• Which act was their favorite? Discuss what they liked best about the show and why.

• Invite students to create an advertisement for the Peking Acrobats’ performance. They

should include an illustration and description (or a “quote” from a made-up review) that reﬂ ect

the best part of the show.

16 |

Social Studies (Grades 3-12)

Headlines about China

There are often news stories about China.

• Ask students to search for news about China on television, radio, the internet, newspapers

or magazines. They may make up their own headlines or write a one paragraph version of

stories they’ve seen or heard.

• Have students share their news stories about China with each other and then discuss the

current events and topics.

Extensions:

• As a class, choose articles that are most interesting to the students. In groups of four or

ﬁ ve, have students research the topic in more depth, and share a brief presentation with the

class.

• Ask students to brainstorm together what they know about China, the Chinese people, and

the Chinese government. Invite them to write a few paragraphs about what it might be like to

live in China. In what ways might it be different from the way they live here?

Common sayings in acrobatic training schools:

“Seven minutes on stage is equal to ten years of training.”

“One must be able to enduring suffering to become a good acrobat.”

“Not too fast, not too slow: you need to be patient and to follow the middle road to ﬁ nd success in

your acrobatic skills.”

Additional References

Books:

The Best of Chinese Acrobatics

by Foreign Languages Press, Beijing, China.

Websites:

www.redpanda2000.com

www.Cirque du Soleil.com

www.ringling.com

http://www.youtube.com/watch?v=74xg3VUZhoI&feature=related

http://www.youtube.com/watch?v=Kt3b8xYdA-A&feature=related

http://www.youtube.com/watch?v=-fkNeRYRlXY&feature=related

http://www.youtube.com/watch?v=GfC9p3CU1PQ&feature=related

http://www.youtube.com/watch?v=Qpa3NjYaEWc&feature=related

http://www.youtube.com/watch?v=1qmvDL6qlCI&NR=1

http://www.youtube.com/watch?v=enFBCCjT9Ms&feature=related

http://www.youtube.com/watch?v=74xg3VUZhoI&feature=related

http://www.youtube.com/watch?v=Kt3b8xYdA-A&feature=related

http://www.youtube.com/watch?v=1qmvDL6qlCI&NR=1

http://www.youtube.com/watch?v=enFBCCjT9Ms&feature=related

http://www.youtube.com/watch?v=tpqDgPbsVTE&feature=related

SchoolTime

Peking Acrobats

| 17

Theater:

3.0 Historical and Cultural Context: Students

analyze the role of development of theater,

ﬁ lm/video, and electronic media in the past

and present cultures throughout the world.

Noting diversity as it relates to the theater.

K.3.1 Retell or dramatize stories, myths,

fables, and fairy tales for various cultures and

times.

4.3.1 Identify theatrical or storytelling

traditions in the cultures of ethnic groups

throughout the history of California.

5.0 Connections, Relationships, and

Applications: Students apply what they

learn in theater, ﬁ lm/video, and electronic

media across subject areas. They develop

competencies and creative skills in

problem solving, communication, and time

management that contribute to lifelong

learning and career skills. The also learn

about careers in and related to theater.

Physical Education:

Standard 1: Students demonstrate the motor

skills and movement patterns needed to

perform a variety of physical activities.

K.1.6 Balance on one, two, three, four, and

ﬁ ve body parts.

1.1.6 Balance oneself, demonstrating

momentary stillness, in symmetrical and

asymmetrical shapes using body parts other

than both feet as a base of support.

5.1.1 Perform simple small-group balance

stunts by distributing weight and base of

support.

6.1.11 Design and perform smooth, ﬂ owing

sequences of stunts, tumbling, and rhythmic

patterns that combine traveling, rolling,

balancing, and transferring weight.

Standard 2: Students demonstrate knowledge

of movement concepts, principles, and

strategies that apply to the learning and

performance of physical activities.

4.2.10 Design a routine to music that includes

even and uneven locomotor patterns.

4.3.1 Participate in appropriate warm-up and

cool-down exercises for particular physical

activities.

Standard 3: Students assess and maintain a

level of physical ﬁ tness to improve health and

performance.

3.5.3 List the beneﬁ ts of following and the

risks of not following safety procedures and

rules associated with physical activity.

9 California State Standards

18 |

About Cal Performances

and

SchoolTime

Anonymous (2)

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Lauren and Alan Dachs

Flora Family Foundation

Gap, Inc.

The Robert J. and Helen H. Glaser Family

Foundation

Jane Gottesman and Geoffrey Biddle

Beth Hurwich

Kaiser Permanente

John and Tina Keker

Cal Performances thanks the following donors for their leadership gifts in support of

our Education and Community Programs:

The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation

for the performing arts. Cal Performances, the performing arts presenter of the University

of California, Berkeley, fulﬁ lls this mission by presenting, producing and commissioning

outstanding artists, both renowned and emerging, to serve the University and the broader public

through performances and education and community programs. In 2005/06 Cal Performances

celebrated 100 years on the UC Berkeley Campus.

Our

SchoolTime

program cultivates an early appreciation for and understanding of the

performing arts amongst our youngest audiences, with hour-long, daytime performances by the

same world-class artists who perform as part of the main season.

SchoolTime

has become an

integral part of the academic year for teachers and students throughout the Bay Area.

Son Kim

Jean Bloomquist and Greg Kepferle

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The Shenson Foundation

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Maris and Ivan Meyerson

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The San Francisco Foundation

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This Cal Performances

SchoolTime

Study Guide was written, edited

and designed by Laura Abrams, Rica Anderson, Nicole Anthony,

and Wayne Huey.