Study Guide

The Martial Artists & Acrobats of Tianjin, People’s Republic of China

Monday November 20, 2017

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Contents

ATTENDING A PERFORMANCE AT TILLES CENTER ................. 3-4

YOUR ROLE AS AN AUDIENCE MEMBER ...................................... 5

NYS LEARNING STANDARDS FOR THE ARTS .............................. 6

ABOUT THE PERFORMANCE ....................................................... 7-8

ABOUT THE COMPANY ................................................................... 9

CULTURAL CONTEXT ............................................................... 10-14

VOCABULARY ................................................................................ 15

ACTIVITIES ................................................................................ 16-17

ABOUT TILLES CENTER ................................................................ 18

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ATTENDING A PERFORMANCE The concert hall at Tilles Center seats 2,242 people. Hillwood Recital Hall seats 490 people. When you attend a performance at Tilles Center, there are a few things you should remember:

ARRIVAL

Plan to arrive approximately 30 minutes prior to the show.

Performances cannot be held for late buses.

LIU Post Public Safety will direct buses to parking areas.

Remain seated on the bus until instructed to unload.

Please stagger chaperones throughout the group to help keep students in line and moving quickly to the seating area.

Groups are directed into the theater in the order that they arrive.

BEING SEATED (IMPORTANT!) Upon entering the theater, ushers will direct students and teachers to sit row

by row. Students will be seated in the order which they enter the building. Groups from your school may be seated separately from one another throughout the theatre. We ask that at least one chaperone is assigned to every 15 students for grades Pre-K- 5, and one chaperone to every 30 students for grades 5-12. We recommend that a teacher or chaperone sit at the end of each row of students in the theatre. With adequate adult supervision, students which may be seated in different sections of the theatre will have enough chaperones to ensure safety. We ask for your full cooperation with this procedure in order to start the show on time!

Please allow ushers to seat your group in its entirety before making adjustments within the row. This allows us to continue seating groups that arrive after you. Once the entire group is seated you may rearrange students in new seats and use the restrooms.

Schools are not allowed to change their seats.

All students must be supervised by a teacher at all times including when going to the restroom - high school students are no exception.

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DURING THE SHOW There is no food or drink permitted in the theater or lobby areas.

Photography and audio/video recording are not permitted during the performance.

Please turn off (or leave behind) all electronic devices, including cell phones, portable games, cameras, and recording equipment. Keep them off for the entire performance. The devices may interfere with the theater’s sound system as well as being disruptive to both the audience and the actors. And please – no texting or checking messages during the show!

Please do not disturb the performers and other members of the audience by talking.

If something in the show is meant to be funny, laughter is encouraged!

Please do not leave and re-enter the theater during the performance.

There is no intermission; visit the restroom prior to the start of the show. Performances generally run 50 - 60 minutes.

EMERGENCY CANCELLATIONS If schools throughout the area are closed due to inclement weather, Tilles Center performances will be cancelled. If, on the day prior to a performance, it appears that inclement weather may cause a performance to be cancelled, all schools will be called by our staff to alert them to this possibility. School representatives should periodically check the Tilles Center website (tillescenter.org) when winter weather advisories and warnings are in effect. Updates will be posted regularly on the home page. On the morning of the performance a message will be posted on the website no later than 6:30 AM indicating if the performance has been cancelled. If a performance is cancelled, Tilles Center will attempt to reschedule performances on a date mutually agreeable to the artists and the majority of ticket buyers.

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YOUR ROLE AS AN AUDIENCE MEMBER

TO THE TEACHER: An essential component needed to create a live performance is the audience. Please talk with your students about what it means to be an audience member and how a “live” performance is different from TV and movies. Please share the following information with your students prior to your visit to Tilles Center. Some performances may involve audience participation so students should behave appropriately, given the nature of the performance and the requests of the artists on the stage. By discussing appropriate audience behavior, as a class ahead of time, the students will be better prepared to express their enthusiasm in acceptable ways during the performance.

BEING AN AUDIENCE MEMBER: Audience members play an important role— until an audience shows up, the performers are only rehearsing! When there is a “great house” (an outstanding audience) it makes the show even better, because the artists feel a live connection with everyone who is watching them. When the “house lights” (the lights in the part of the theater where the audience is sitting) go down, everyone feels a thrill of anticipation. Focus all your attention on the stage and watch and listen carefully to the performance. The most important quality of a good audience member is the ability to respond appropriately to what’s happening on stage… sometimes it’s important to be quiet, but other times, it’s acceptable to laugh, clap, or make noise! If the audience watches in a concentrated, quiet way, this supports the performers and they can do their best work. They can feel that you are with them! The theater is a very “live” space. This means that sound carries very well, usually all over the auditorium. Theaters are designed in this way so that the voices of singers and actors can be heard. It also means that any sounds in the audience - whispering, rustling papers, or speaking - can be heard by other audience members and by the performers. This can destroy everyone’s concentration and spoil a performance. Do not make any unnecessary noise that would distract the people sitting around you. Be respectful! Applause is the best way for an audience in a theater to share its enthusiasm and to appreciate the performers, so feel free to applaud at the end of the performance. At the end of the performance, it is customary to continue clapping until the curtain drops or the lights on stage go dark. During the curtain call, the performers bow to show their appreciation to the audience. If you really enjoyed the performance, you might even thank the artists with a standing ovation!

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New York State Learning Standards for the Arts Adopted by the New York State Board of Regents, September 2017 By attending performances at Tilles Center, students participate in and achieve several of the New York State Learning Standards for the Arts. Students participate in the following Artistic Processes: Responding Understanding and evaluating how the arts convey meaning. Connecting Relating artistic ideas and work with personal meaning and external context. Students achieve the following Anchor Standards: Perceive and analyze artistic work.

Interpret meaning in artistic work. Investigate ways that artistic work is influenced by societal, cultural, and

historical context and, in turn, how artistic ideas shape cultures past, present, and future.

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About the Performance

Columbia Artists Management LLC Presents Direct from Tianjin, the P. R. of China

Martial Artists and Acrobats of Tianjin, People’s Republic of China Director: Mrs. GUO Qingli

China Soul Program is subject to change

The talents of the National Acrobats of China are beyond compare as they perform feats of circus art that reach literally breathtaking heights of skill and offer a fascinating glimpse of movement from another culture. Considered the foremost company from all of China, they bring the Chinese art of acrobatics to the world. Their blend of dramatic folk art and variety show originated from the deepest roots of Chinese civilization, the Han Dynasty (306 B.C.— 204 A.D.) A strict eight-year training, on average, is evident in the troupe’s perfect, skillful movements. Experience their daredevil height-defying feats that will leave you breathless and clutching the edge of your seat! These rigorously trained performers use objects of daily life—chairs, tables, poles, ladders, bowls, plates, bottles, and jars—as props in the show which features an eye-popping array of acrobatics, contortionism, martial arts, drumming, and dance. Their precise movements and flexible showmanship combine for unforgettable displays of magic, illusion and wonder, all set to traditional music, from cycling stunts to high-flying acrobatics to extraordinary feats of balance. The program may include some of the following pieces: Contortion Duo Straw Hats Juggling Using straw hats as a prop, the acrobats juggle them in various formations while performing highly skilled stunts. This turns into a fun, humorous game for the audience. Umbrellas' Foot Juggling Foot Juggling with umbrellas requires incredible skills as the performer must balance objects with an unstable center of gravity. The acrobat will turn the umbrellas 270 degrees or flip the umbrella a full 360 degrees, catching it with their feet. The acrobat finishes by juggling five umbrellas with their feet and balances the umbrellas by stacking them, one on top of the other. Hoop Diving Hand Juggling The acrobat juggles up to nine balls at a time while performing incredible tricks. They throw the balls to the ground and catch them at the same time on a stair platform.

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Ballet on Shoulders The artists infuse ballet, acrobatics and skillful gymnastics into a wonderful act. The acrobats work together, using each other’s own weight and momentum to perform the act softly with harmonious continuity of movements. Diabolo Girls Diabolo is a tradition based out of North China and widely celebrated in Tianjin. It is regularly performed by women where they must balance two bowls held together by an axel on a slack string. Performing expert level tricks, the performer gives a warm and joyful portrayal of the Chinese people. Shaolin Kungfu Great Icarian Acrobats A Great Icarian Acrobatic Performance, wearing ancient martial artist’s costumes, the Tianjin acrobats perform the act as ancient soldiers who fought against the enemy at the border. This act includes tumbling on each other’s feet and landing the jumps safely onto the ground. The acrobatics are remarkable and highly difficult. The company’s performance of this act won gold at the 12th Moscow International Youth Circus Festival, the 15th Italian Latina International Circus Festival, the 2nd China International Circus Festival, as well as the Silver Clown award at Monte Carlo International Circus Festival in 2015. *Please note – this program is subject to change.

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About the Company The Martial Artists and Acrobats of Tianjin of the People’s Republic of China (Tianjin Acrobatic Troupe) was established in 1957 as a combination of the former China Circus & Acrobats that was founded in 1948. It is one of the best acrobatic troupes in China with over one hundred acrobatic, magical and martial arts performers. With novelty and superior techniques, the acrobatic troupe is favored by the audiences all over the world. The Troupe has more than 30 representative acts, many of which have won prizes in national and international festivals and competitions. Leather Straps won the Silver Clown Award and Circus Art Development Association Award at the 13th Monte Carlo International Circus Festival. Double Poles won the Silver Award at the 12th Cirque de Demain Festival held in Paris, France and the Silver Lion Award at the 4th China National Acrobatic Competition. Air Acrobatics won the Golden Prize of the 10th Spring of April Friendship Art Festival in North Korea. One-Hand Handstand seized the Golden Lion Award of the 4th China National Acrobatic Competition, the Golden Award - the first prize of the Republic President at the 19th Festival of Cirque de Demain in Paris, the Honorary Gold Lion Award, and the Artistic Innovation Award at the 5th Wuqiao International Circus Festival. Contortion with Cups by Three Girls won the Golden Lion Award at the 4th China National Acrobatic Competition and the Silver Prize with Belgium Royal Circus Special Award at the 8th Belgium Road of Prospect International Young Acrobats Festival. At the First China National Comic Acrobatic Competition, the Comic Swan Lake and Comic Music received the Gold and Silver Award respectively. The Jars’ Head Juggling won the Silver awards at the 5th Hungarian Budapest International Circus Festival (2005) and Russian International Circus Festival (2013). In 2015, the Icarian Tumbling and Jumping by 18 acrobats won the Silver Clown at the 39th Monte Carlo Circus Festival in Monaco and the First Golden Award at the 2nd China International Circus Festival in Zhuhai, China. The company has toured extensively to France, Japan, Australia, Finland, Norway, Denmark, Germany, Sweden, Iceland, Italy, Israel, South Korea, DPRK, Belgium, Russia and Hong Kong, and the United States of America where it has been highly praised and warmly welcomed. With world circuses, the company had acts perform in Ringling and Barnum & Bailey Bros. Circus, Cirque du Soleil, Big Apple Circus, Swiss Knie Bros., National Circus and UniverSoul Circus. From 2010 through 2015, the company frequently traveled to France for four months each tour. In 2017, the company will begin a new tour to North America under the management of Columbia Artists Management Inc. and present to audiences an exciting combination of highlights of performing acts throughout recent years.

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Cultural Context

China lies in eastern Asia and is one of the world’s oldest civilizations. China’s written history goes back 3,500 years. It is the world’s largest nation in population, and the third largest in area. Only Russia and Canada have more territory. The Chinese take great pride in what is known as “the four inventions,” the compass, gunpowder, paper and printing. These inventions transformed sea transport, warfare and literacy—not just in China but all over the world. If you think spaghetti is Italian, think again. Spaghetti originated in China. And the next time you are in a hardware store and pass a wheelbarrow, remind yourself that it was invented in China also. Although we use many of the things the Chinese people have invented, there are some practices in China which are much different from ours. For example, when our calendar came to the year 2000, the Chinese calendar indicated the year 4698! The Chinese calendar is several thousand years older than ours. The Chinese do not use an alphabet to make up words; they use characters. Each character represents a thought, a concept or an idea, which has a meaning of its own. These characters are combined in one, two, three or four groups to form what we think of as words.

The Acrobatic Art Form Acrobatic arts have evolved throughout the history of China. China is credited with producing some of the best acrobats in the world. Chinese acrobats maintain a notable style and standard routines. The art of Chinese acrobatics is an ancient tradition that began in China more than 2,000 years ago. Over its long and rich history, acrobatics has developed as one of the most popular art forms among the Chinese people. While many historical records provide evidence of the development of Chinese acrobatics as far back as the Xia Dynasty (4,000 years ago,) but the art form did not become popular until approximately 2,500 years ago when it began to captured the attention of the country’s powerful emperors. Ancient stone carvings, earthen pottery and early written works trace the ancestry of today’s spectacular acrobatic acts to an era long since vanished. Even Confucius’ father was an acrobat—a strong man of unrivaled strength who, it is claimed, lifted the 1,000-pound city gates to let an army storm through.

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Acrobatics first developed during the Warring States Period (475BC—221BC,) evolving from the working people in Wuqiao county, located in Hebei Province. It was natural that acrobats first used things around them, such as tables, chairs, jars, plates and bowls, as performance props, to experiment with balancing and performing acrobatic tricks. In a time when China was traditionally an agricultural society, and where there were no electronic gadgets or telephones, people used their imaginations to learn new skills. These acts were incorporated into community celebrations, such as, celebrating a bountiful harvest. During the Han dynasty (221BC—220AD) these rudimentary acts of acrobatics developed in content and variety and were also known as the “Hundred Plays.” Music accompaniment and other theatrical elements were added as the art form grew in popularity among the emperors. According to the stone engravings unearthed at Yinan County of Shandong Province in 1954, there were superb acrobatic performances with music accompaniment 2,000 years ago. These engravings display “Pole Climbing,” “Rope-Walking” (the present day “Tight-Wire Feats,”) “Fish Turned into Dragon” (the present day “Conjuring”) and “Five Tables” (like the present “Balancing on Chairs.”) In the Tang Dynasty (618-907 A.D.), known for its extraordinary flourishing of Chinese culture, the number of acrobats greatly increased and their performing skills greatly improved. The famous poets of that time, Bai Juyi and Yuan Chen, wrote poems on acrobatic performances. 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. Acrobatic troupes were traditionally family-owned, and members made their living roaming the countryside as street performers. Many of the famous acrobatic families in China continued this tradition through many generations. Two famous acrobatic families were the Dung family and the Chen family. Throughout China, the Dung family was known for their magic. The Chen family was famous for their unique style of juggling, with a signature program using as many as eight badminton rackets at one time. Other acrobatic troupes have tried to match the juggling skill level of the Chen family with little success. It was common practice that family acrobatic troupes would only teach their own children and close relatives the secrets of their acts in order to keep the techniques within the family tradition. (This was also the case in European circus families, where traditions and techniques were continued through many generations.)

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On October 1, 1949, The People’s Republic of China was formally established, with its national capital at Beijing (known in the West as “Peking”.) All the companies and businesses in the nation became the government’s property, including the acrobatic troupes. The Communist government approved of acrobatics as an art form of the people. The people’s government made great efforts to foster and develop national arts and acrobatics gained a new life

as every province, municipality and autonomous region set up their own acrobatic troupes. In communist practice operational costs for acrobatic troupes were subsidized by the local governments. Building on traditional performances of the past, today’s artists have added new techniques and spectacular stunts which thrill audiences around the world. Highly skilled, rigorously trained, and superbly talented, these performers follow a tradition unbroken since 700 BC. Acrobatic leaders have set up a designing and directing system aimed at creating graceful stage images, harmonious musical accompaniment and good supporting effects of costumes, props and lighting to turn their performances into a full-fledged stage art. The present attitude of Chinese acrobatics is full of optimism, determined to reflect the industry, and the resourcefulness, courage and undaunted spirit of the Chinese people. Additionally, recent changes in government structure in China, including more freedom to create and build, have led to dramatic improvements in the working lives of acrobats. Now, they can form their own performing groups, look for show opportunities and perform later into adulthood. Currently, there are over one-hundred government operated acrobatic troupes and hundreds more family and private troupes performing in China.

Acrobatic Training

In the past, children learned acrobatic skills from their fathers and grandfathers before they were of school age. The tradition of Chinese acrobatics was passed down from generation to generation and like the traveling European gypsies, the great acrobatic families of China would entertain the city rulers and the village people at ceremonial carnivals and public theaters. Today there remain only a few brothers and sisters of the famous old acrobatic families. Professional acrobatic troupes are organized through formal academy training for prospective young acrobats. Acrobatic troupes representing the academies from all over the nation compete once a year for gold, silver and bronze Lions awards.

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Immense athletic ability and a keen sense of timing are vital to becoming an acrobat, but so is an appreciation of oriental philosophy. The skill of “Qi Gong” or “spirits from air,” a semireligious study of the form of breathing and movement is very important to acrobatics. Qi Gong teaches one to use the mind and body together in perfect harmony with each other. While a thorough knowledge of Qi Gong is not a requisite for acrobats performing with modern-day circuses, the tradition of Qi Gong has roots in a 2000-year tradition that began in China. All early acrobats were well founded in the tradition of Qi Gong. The incredible performances are much like the acts first put on for Chinese emperors and royalty for the 2000 years.

The first two years of acrobatic training are the most important for aspiring acrobats. Acrobatic students work daily on basic skills. The four core foundational skills for Chinese acrobats are handstand, tumbling, flexibility, and dance. Every student will usually have greater talent for one of the four core acrobatic skills. Among the four, handstand is the most important, the essence of Chinese

acrobatics. An acrobat goes through progressive steps to learn the basic to advanced handstands. Handstand training directly affects three areas of the body: shoulders, lower back, and wrists. A weakness in any one of these three areas of the body will compromise the development of learning the handstand. In China, the basic handstand is learned by 6-8 year olds. This is first done against the wall. In three to six months of full time training, students start off with increments of one minute and build up to one half hour of wall handstands. During this time, the three areas of body are getting stronger and stronger. Students will develop the ability to hold the free handstand shortly after this time. Holding a still handstand is translated in Chinese as the “Dead Handstand.” A good handstand is one that has good form and versatility. A versatile handstand is a position from which the acrobat is able to execute many variations. The handstand is the most disliked training aspect for the young students. When one is upside down in a basic handstand, all of one’s weight is on the wrist, shoulder and lower back, so there is natural pressure. There is absolutely no way to cheat while in a handstand, because once you are upside-down, only your two hands are on the floor holding you up. After the initial two-year training, only a few acrobats will specialize in the handstand.

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However, handstand training is essential to all acrobatic work, due to the importance it has in strengthening the body, mind and spirit of the acrobat. There are “3 P’s” common to the secrets of learning acrobatics and becoming a good student: practice, practice, practice. Acrobatic acts are performed either solo or in groups. Group acts require team cooperation, trust and constant communication. The disadvantage of a group act is that when one performer becomes incapacitated or decides to leave the group act, it puts the other acrobats at risk in their careers. It often happens that acrobats need to start their careers over again with a new troupe.

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Vocabulary 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 Conjuring: to perform magic tricks hand where something appears out of nowhere Contortionists: a flexible 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, such as karate, aikido, judo, and kung fu. 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 specific company or troupe. Somersault: when someone rolls their body forward or backward in a complete circle with their knees bent and their 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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Activities

1. Stork Stand

• Stand with your feet shoulder width apart

• Balance on one foot with their arms tucked in like a stork’s feathers

• Have students practice balancing in their own self-space several times. Can they hold the balance for a count of 10?

• Have students spin around in circles until they hear the whistle and then try to get into the stork stand. How long can they balance this time?

• Have students spin in circles again and when they hear the whistle they should close their eyes and try to stand in the stork stand position. How long can they balance this time?

2. Beanbag Balance

• Give each student a beanbag and have them put it on their head

• Have the students walk around the room, making sure not to let the beanbag fall off her head.

• Challenge them to keep the beanbag balanced while walking in different styles, such as walking quickly or walking backwards.

• Have the students walk around or dance to music with beanbags balanced. If a beanbag falls off a child's head, the child must freeze. To unfreeze, another child must pick up the fallen beanbag and place it back on the frozen child's head. The helper must keep her beanbag balanced while picking up the fallen beanbag. You should allow time for the children to practice balancing the beanbag individually before beginning the group game. Source: http://www.livestrong.com/article/174735-fine-gross-motor-skills-activities/

3. Human Sculptures

• Invite students to imagine their bodies are like clay and they can mold them into different shapes (like triangles, circles, and objects like tables, flowers 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 shapes that the 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.

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4. Visual Arts: Advertisement

• Create an advertisement for a similar performance in the future.

• Have students incorporate an illustration and description that they think reflect the best part of the show.

• Include a quote from a made-up review.

5. Acrobatics & Science

• Consider the physics in acrobatics.

• Using some of the basic laws of physics, explain how the acts are put together.

6. Music

Discuss the music used in the performance.

• What type of instruments were used?

• Compare and contrast it to the western style music.

• How is the music in the show similar or different from the music that the students typically listen to?

7. Class Mural

Remind the student that most of the acts seen in the show were once part of village festival celebrations in China.

Ask them to imagine the acts they saw as part of a grand outdoor Chinese festival.

Ask the student to create a mural which would depict all of the acts they saw which might be seen at such a festival. (They may wish to do research on Chinese landscapes and classic style architecture.)

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Tilles Center for the Performing Arts,

at LIU Post in Brookville, is Long Island’s premier concert hall. A constituent of LIU, Tilles Center hosts more than 70 performances by world-renowned artists in music, theater and dance each season. Among the artists and ensembles that have been presented by the Center are the Boston Symphony Orchestra conducted by Seiji Ozawa, cellist Yo-Yo Ma, the Big Apple Circus, Alvin Ailey American Dance Theater, James Taylor, the Paper Bag Players, Wynton Marsalis, and the MET Orchestra with James Levine. In addition, Tilles Center is home to important regional arts organizations including the Eglevsky Ballet. Tilles Center’s Concert Hall seats 2,242 and features orchestral performances, fully-staged operas, ballets and modern dance, along with Broadway shows, and all forms of music, dance and theater from around the world. Chamber music, cabaret, solo recitals, and theater productions for children and adults are presented in the more intimate 490-seat Hillwood Recital Hall.

Tilles Center’s Education Programs are made possible, in part, with funds from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

School Partnership Program

An intensive part of Tilles Center’s Arts Education program is the School Partnership program, modeled on the highly acclaimed aesthetic education program that has evolved over a 35-year period at Lincoln Center. The Partnership is a comprehensive approach to teaching and learning about the arts, applicable to all grade levels and academic disciplines. The Partnership inspires students and teachers to approach the arts with an open mind and to gain insights into the creative process. Attendance at professional performances at Tilles Center is combined with experiential in-school workshops. Led by teaching artists and teachers, students explore their own artistic capabilities while strengthening essential skills – abstract thinking, teamwork, critical judgment, problem solving. Guided to a deeper level of understanding, students learn what to look for, and listen to, in a performance or work of art. The School Partnership works with students Pre-K - high school and provides professional development for teachers. For information about the School Partnership Program, and other performances, visit tillescenter.org or call (516)-299-2752.

2017-18 School District Partners

Carle Place East Meadow

Freeport Great Neck

East Williston The Portledge School (Independent)