Course Profile Dance, Grade 10, Open, Catholic

Unit 1: Anatomy Through Movement: Modern Dance

Developer: Marliese Kimmerle, Department of Kinesiology, University of Windsor

Time: 23 hours

Activity 6 | Activity 7 | Activity 8 | Activity 9

Unit Description

Students are introduced to the technique of modern dance. The focus on anatomically correct technique helps the students to work effectively within their own unique body structure and also to ensure injury prevention. Through the dance classes students learn to identify and describe the skeletal and muscular system and their role in dance movement. They learn how the acquisition of technical skills assists with self-discipline and functions as a tool to develop the artistic scope of dance. Students learn to use self- and peer evaluation to identify errors in performance and improve their own skill. Students come to understand that the uniqueness of their being is also shared in common with other parts of God’s creation. Students study the pioneers of early modern dance to understand the development of modern dance technique in North America.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2a - listens actively and critically to understand and learn in light of gospel values;

2b - reads, understands, and uses written materials effectively;

2c - presents information and ideas clearly and honestly and with sensitivity to others;

2e - uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life;

3b - recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;

3c - thinks reflectively and creatively to evaluate situations and solve problems;

3d - makes decisions in light of gospel values with an informed moral conscience;

3e - adopts a holistic approach to life by integrating learning form various subject areas and experience;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

4b - demonstrates flexibility and adaptability;

4e - sets appropriate goals and priorities in school, work, and personal life;

4f - applies effective communication, decision-making, problem-solving, time and resource management skills;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5a - works effectively as an interdependent team member;

5b - thinks critically about the meaning and purpose of work;

5c - develops one’s God-given potential and makes a meaningful contribution to society;

5e - respects the rights, responsibilities, and contributions of self and others;

5f - exercises Christian leadership in the achievement of individual and group goals;

5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;

7b - accepts accountability for one’s own actions;

7d - promotes the sacredness of life;

7f - respects and affirms the diversity and interdependence of the world’s peoples and cultures;

7g - respects and understands the history, cultural heritage and pluralism of today’s contemporary society.

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - understand the relationship between human anatomy and dance movements;

THV.02 - identify and explain the historical and cultural significant of one or more world dance forms;

THV.04 - understand how technique assists in the development of self-discipline and contributes to artistic scope

THV.05 - demonstrate the technique of one or more dance forms studied;

CRV.01 - apply the elements of dance and various stimuli to create movement sequences;

CRV.05 - demonstrate a higher level of the skills that lead to effective rehearsals and performances;

ANV.02 - compare and contrast a broad spectrum of dance;

ANV.03 - develop and use criteria for self- and peer evaluation (e.g., elements and principles).

Specific Expectations

TH1.01 - describe good hygiene, healthy eating habits, and the principles of safety in all aspects of dance;

TH1.02 - demonstrate further understanding of the science of movement (e.g., biomechanics, kinesiology, physiology);

TH1.03 - identify and describe the skeletal and muscular system in relation to movement;

TH1.04 - demonstrate an understanding of the connection between dance and a healthy body image;

TH1.05 - describe the beneficial effects of dance on health, self-esteem, and self-image;

TH3.01 - identify more complex movement terminology pertaining to the world dance form(s) studied;

TH3.02 - demonstrate more complex movement skills, patterns, combinations, body positions, locomotor and non-locomotor;

TH3.03 - demonstrate an understanding of how technique functions as a tool in developing artistic scope;

TH3.04 - explain the role of coordination, flexibility, strength, and proper breathing in dance;

CR3.01 - demonstrate appropriate dance class discipline and procedures specific to each world dance form studied;

CR3.02 - create increasingly long and complex dance compositions, exploring themes, ideals, and topics.

Activity Titles (Time + Sequence)

Activity 1	Introduction to the Modern Dance Class	75 minutes
Activity 2	Understanding Body Structure (theory and practice)	180 minutes
Activity 3	Learning to Use the Spine	150 minutes
Activity 4	Finding Centre	150 minutes
Activity 5	Isolating Leg and Arm Actions	150 minutes
Activity 6	Use of the Feet in Weight Bearing	300 minutes
Activity 7	Identifying Alignment Problems	150 minutes
Activity 8	The Pioneers of Modern Dance	75 minutes
Activity 9	Demonstrating Correct Skill Techniques	150 minutes

Unit Planning Notes

· The activities identified in this unit encompass the teaching and learning focus as students take part in a series of modern dance classes. This assumes the teacher is familiar with the basic structure of a modern dance class consisting of a warm-up, centre work, locomotor patterns, and movement combinations. (See Appendix 1.1 for structure of a typical class.) Based on her/his own background, the teacher selects the dance content of skills to be taught from the wide choice of modern dance techniques available. Although there are different approaches to modern dance training, they all include an emphasis on the six activity areas selected. Except for one classroom/visual aid presentation of scientific factual material required as foundation knowledge in the initial part of activity two, the remaining content is expected to be delivered in the context of a modern dance class.

· Teachers should always be cognizant of important themes, such as personal uniqueness, body image, and mutual respect. A holistic approach to this unit integrates learning from an anatomical approach to movement, an understanding of modern dance styles and personal experience in performance, in light of God’s creation.

· Although the teacher will likely introduce each new activity initially on the floor or while standing, the goal is that students can eventually apply the activities while moving in space and across the floor in more complex dance skills.

· The activities are listed in a suggested order of introduction to the class, with the recommendation that individual tasks listed under each activity be progressive across many lessons and not be delivered all at once. For example, the 180 minutes allocated to body structure are not expected to be taught as a block. While presentation of the core concepts and terminology of anatomical structure is a logical early learning activity, this knowledge would be reinforced and applied in all subsequent dance lessons as new skills are taught. Similarly, each of the subsequent activities—using the spine, finding centre, weight bearing, moving the arms and legs, and attending to alignment are part of the practical work in any dance class. However, to help students understand the underlying anatomical principles that support these practical activities, different aspects of the technique would be clarified in different lessons so the students’ knowledge and understanding becomes cumulative. The first few tasks in each activity are introductory and should be included relatively early in the unit, with the progressively more complex tasks being integrated in later lessons.

· It is expected that the teacher will develop warm-up and cool-down routines for each of the dance classes. These will initially involve range of motion exercises for individual joints. To these are added selected review exercises from each of Activities 3 to 7 to build into a cumulative warm-up routine that will save time, and ensure that past learning is reviewed in each class. Similarly, a cool-down sequence involving, breathing, stretching, and centering exercises will incorporate material learned in class.

· The teacher will have to arrive at his/her own decisions about a good balance between demonstration and active participation on the one hand and student observation on the other. It is important for the students to see the movements modelled and to be able to follow the sequences and patterns. However, the teacher must also have an opportunity to identify problems and give feedback and the students must be encouraged to be able to perform the techniques without a model.

· It is our recommendation that the technique unit be taught parallel to the composition unit. This could be done by combining aspects of technique training with composition for each class or by providing separate but parallel classes in each. (Several of the activities offer suggestions for linkage to composition activities). The standard texts on modern dance teaching include improvisation and composition activities along with technique training (See references: Lockhart and Pease, Penrod and Plastino, Sherbon). While an understanding of the muscular and skeletal functioning of the body in movement is critical to skill acquisition in dance, technically correct performance of particular skills is only one outcome. Students must be taken beyond “anatomical exercises” to a stage where they can do more complex sequences of movement and ultimately to the appreciation and enjoyment of the aesthetic experience of “dancing”. Technique classes are generally not taught in isolation, and composition experiences should not be held off until the students are technically proficient. Simple compositional problems can be handled by beginners and taking part in this creative process can be a motivation to improve their technical capabilities.

· Accompaniment of the teacher’s choice needs to be selected for the dance classes.

Prior Knowledge Required

· A repertoire of simple static and locomotor dance skills with appropriate dance terminology acquired in a previous dance experience in any dance form.

Teaching/Learning Strategies

Knowledge, critical thinking skills, the ability to communicate and the ability to apply concepts are developed through a number of different strategies:

I Communication of factual information in oral or written form

· teacher presentation of factual anatomical material

· teacher-led discussion on selected topics

· student written notes on class content

II Observational learning

· teacher observation of level of student performance

· student observation of class material

· participation in self and peer observation

III Kinesthetic Learning

· participation in modern dance skills

· receiving feedback

IV Reflection

· student reflection through discussion and journal writing on their class experience

Assessment and Evaluation

Written work

· written quiz on the muscular and skeletal system and technique analysis

· observational checklists

· notebook record of class material

· journal reflections on the learning process

Practical

· level of competency of technique

· student ability to understand feedback and make corrections of skill in class

· student participation in supportive peer evaluation

Accommodations

· Consult with Special Education staff concerning specific recommendations and accommodations for students identified with special needs according to IEPs.

· Adapt the number of required activities and the level of difficulty to agree with IEPs for students identified as gifted and talented, ESL, ELD and physically challenged.

· Consult with special Education: Staff concerning the safety of students with physical limitations.

Resources

Books

Arnheim, D. Dance Injuries: Their Prevention and Care. Pennington, NJ: Princeton Book Co., 1980.
ISBN 0–8016-0311-0

Barratt, M., F. R. Biles, V.P. Harvey, G.D. Scott, B.L.,Siedel, G.R. Williams, and D. Wilson. Foundations for Movement. Dubuque, IO: Wm. C. Brown.1968. ISBN 0-697-07103-0

Bird, D. and J Greenberg. Bird’s Eye View: Dancing with Martha Graham and On Broadway. Pittsburg, PA: University of Pittsburgh Press. 1997. ISBN 0-8229-3980-0

Clarkson, P.M. and Skrinar, M. (Eds.) Science of Dance Training. Champaign, IL: Human Kinetics. 1988. ISBN 0-87322-42x

Cohan, R. The Dance Workshop. New York: Simon & Schuster. 1986. ISBN 0-671-61280-8

Fitts, S.S. Dance Kinesiology. 2^nd Ed., New York, NY: Schirmer Books. 1996. ISBN 0-02-864507-3

Franklin, E. Dance Imagery for Technique and Performance. Champaign, IL: Human Kinetics. 1996.

Hayes, J.F. Modern Dance: A Biomechanical Approach to Teaching. St. Louis, MS: C.V. Mosby. 1981.
ISBN 0-8016-2179-8

Hanna, J. “Dance Education for At-risk Youth”, in Hanna, J. Partnering Dance and Education. Champaign, IL: Human Kinetics. 1999. pp 109-130. ISBN0-88011-511-4

Kapit, W. and L. M. Elson. The Anatomy Colouring Book, New York: Harper & Row. 1977.
ISBN 0-006-453914-8

Kimmerle, M., and P. Côté-Laurence, Learning Dance Skills: A Motor Learning and Motor Development Perspective. (in press, 2000).

Kraus, R., S.C. Hilsendage, B. Dixon, History of the Dance in Art & Education, (3^rd Ed). Englewood Cliffs, NJ: Prentice Hall. 1991. ISBN 0-13-389362-6

Lockhart, A.S. and E. Pease,. Modern Dance: Building and Teaching Lessons. Dubuque, IO: W.C. Brown Co. 1982. ISBN 0-697-07102-8

Love, Paul. Modern Dance Terminology. Princeton. New York. 1998.

McDonagh, D. Complete Guide to Modern Dance. New York: Praeger, Popular Library. 1977.

Peterson, D., G. Lapenskie, and A. W Taylor. The Medical Aspects of Dance. London, ON: Pear Creative Ltd. 1985. ISBN 096916119-5-6

*Pease, E. E. Modern Dance. Dubuque, IO: Wm.. C. Brown. 1976. ISBN 0-697-07068-9

*Penrod, J., and Plastino, J. D. The Dancer Prepares. Palo Alto, CA: Mayfield Publishing Co. 1980.
ISBN 0-87484-340-5

Ryman, R. Training the Dancer Series, Dance in Canada Magazine, Vol. 13-Vol. 22, 1977-80. (Series of 10 articles over 4 years on the history of dance training, arm placement, turn-out, posture, spine, legs)

*Schrader, C.A. A Sense of Dance: Exploring your Movement Potential. Champaign IL: Human Kinetics, 1996. ISBN 0-87322-476-0

Schlaich, J., and Dupont, B. The Art of Teaching Dance Technique. Reston, VA: AAPHERD, NDA, 1993. ISBN 0-88314-544-8

Shell, C.G. (Ed) The Dancer as Athlete. Champaign, IL: Human Kinetics, 1986.
ISBN0-87322-016-1

Sherbon, E. On the Count of One. Palo Alto, CA.: Mayfield Publishing Co. 1982.
ISBN 0-87484-541-6

Stodelle, E. The Dance Technique of Doris Humphreys. Princeton, NJ.: Princeton Book Co., 1978.
ISBN 0-916622-07-X

Sweigard, L. E. Human Movement Potential: Its Ideokinetic Facilitation. New York: Dodd, Mead. 1978.

Wakins, A., and P. M. Clarkson, Dancing Longer Dancing Stronger. Princeton, NJ: Princeton Book Co., Dance Horizon Books. 1990. ISBN 0-9116622-98-3

Note: These books are specifically written for the beginning modern dance student.

Catalogues

Skeleton, is a catalogue of human anatomy models, wall charts, CD ROM’s available from Denoyer-Geppert Intenational,1031 Helene St., P.O. Box 1051, Fort Erie, Ontario L2A 5N8
Phone: 800-750-3366, email denoyer@aol.com

Video Material

Martha Graham Dance Co. part of the Dance in America Series, WNET Television, New York: Nonesuch Records. 1998.

The Individual and Tradition, Dancing, Series, Program 7; produced by Thirteen/WNET in association with RM Arts and BBC-TV; available in Canada from: International Tele-Film, 5090 Explorer Drive, Suite 301, Mississauga, ON L4W 4T9

Doris Humphrey Legacy: Air for the G String. ASIN:087127217, NTSC

Doris Humphrey Legacy: The Call/Breath of Fire. ASIN:08712721156, NTSC

Doris Humphrey Legacy: The Shakers. ASIN: 08712722164, NTSC

Denishawn: The Birth of Modern Dance. Dance Time Productions. 1988. UPC:03203ll30l35.

Isadora Duncan: Technique & Repertory. Princeton Book Company. 1995. UPC: 797553000537

*Canadian Contemporary dance references can be found in the Dance in Canada: Unit 3.

Appendices

Appendix 1.1 – The Typical Class

Appendix 1.2 – Injury Prevention

Appendix 1.3 – Posture Evaluation

Appendix 1.4 – Class Record of Skills

Appendix 1.5 – Partner Observation

Appendix 1.6 – Evaluation of Modern Dance Skills

Appendix 1.7 – Rubric -Anatomy through Movement - Modern Dance

Activity 1: Introduction to the Modern Dance Class

Time: 75 minutes

Description

This activity introduces the students practically to the content of a typical modern dance class. Within the context of the class, the teacher introduces basic class procedures, attire, safety issues, goals and expectations for the students. For the teacher this activity also functions as a screening lesson to evaluate the starting level of technical competency of the students.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2a - listens actively and critically to understand and learn in light of gospel values;

3c - thinks reflectively and creatively to evaluate situations and solve problems;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

4b - demonstrates flexibility and adaptability;

4e - sets appropriate goals and priorities in school, work, and personal life;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.

Strand(s): Theory, Creation

Overall Expectations

THV.05 - demonstrate the technique of one or more dance forms;

CRV.05 - demonstrate a higher level of the skills that lead to effective rehearsals and performance.

Specific Expectations

TH1.01 - describe good hygiene, healthy eating habits and the principles of safety in all aspects of dance;

TH1.04 - demonstrate an understanding of the connection between dance and a healthy body image;

TH1.05 - describe the beneficial effects of dance on health, self-esteem, and self-image;

CR3.01 - demonstrate appropriate dance class discipline and procedures specific to each world.

Planning Notes

· The teacher needs to be familiar with the basic structure and organization of a modern dance class and have a repertoire of dance skills appropriate to the level of the students. (See Resources).

· Prepare information on class procedure and expected behaviour to go over in first class.

Class Procedure

· clothing

· personal appearance (hair, jewelry)

· purpose of warm-up, cool-down

· how to observe demonstration

· listening to instructions

· body awareness during class

· questions during class

· attendance

· care of the body: nutrition, hygiene,

· Prepare initial general information for injury prevention (Appendix 1.2)

· Ensure there is some additional written reference material available in Library/Resource Centre or prepare a handout for the students.

Prior Knowledge Required

Practical experience of simple static and dynamic dance skills in, or any previous dance experience, in any dance form.

Teaching and Learning Strategies

I. Role of Dance in Self-development

Teacher-directed discussion using question and answer format:

· Why did you choose a dance class as an option?

· What are your goals and expectations in this class? How do you hope to grow?

· How can we, as a class, deal with our self-consciousness about our bodies as we learn new skills?

· How do we separate comments about skill progress from comments about the person.

· How do we take care of our body in and outside of dance class? Make linkage here to nutrition, eating disorders, and exercise information covered in past or concurrent health/physical education classes.

· Reflect on how your movements in general affect persons and things around you.

Student Reflection

· Journal writing to document personal answers to these questions based on class discussion and short reading assigned.

II. What is a modern dance class ?

Student Activity

· Participate in a modern dance class

· Record notes from teacher discussion; guidelines for behaviour in a dance class (optional, this could also be supported by reading;

Teacher discussion as students are taking the class;

· Explain standard class procedure.

· Discuss how to work safely in a dance class.

· Discuss appropriate dress.

· Identify class discipline rules.

· Explain when and how to ask questions.

Assessment/Evaluation Techniques

Written

· Questions in final quiz include items on safety

· Journal entry from day one is part of overall evaluation of reflections.

Practical

· Teacher observation of adherence to class protocol and rules of behaviour established

Accommodations

· Pair students so that one student’s strengths help compensate for another student’s challenges.

· Assist with written assignments e.g., peer scribe, teacher-prepared notes, use of a tape recorder.

Resources

For Students

If the teacher wishes the students to have access to additional material on goals, appropriate class behaviour, class procedures and safety issues of a modern dance class beyond what is presented in class, the following are books specifically written for beginning students. These could be included in the school library. The opening chapters of any of these books cover the relevant material.

Pease, E. E. Modern Dance. Dubuque, IO: Wm. C. Brown. 1976. ISBN 0-697-07068-9

Penrod, J., and J. D. Plastino, The Dancer Prepares. Palo Alto, CA: Mayfield Publishing Co. 1980.
ISBN 0-87484-340-5

Schrader, C.A. A Sense of Dance: Exploring your Movement Potential. Champaign IL: Human Kinetics. 1996. ISBN 0-87322-476-0

For Teachers

Class organization, class procedures, technique content and lesson planning for a typical dance unit are presented in the following references. These references are useful throughout the unit.

Cohan, R. The Dance Workshop. New York, NY: Simon & Schuster. 1986. ISBN 0-671-61280-8

Hayes, J.F. Modern Dance: A Biomechanical Approach to Teaching. St. Louis, MS: C.V. Mosby. 1981.
ISBN 0-8016-2179-8

Lockhart, A.S., and Pease, E. Modern Dance: Building and Teaching Lessons. Dubuque, IO: W.C. Brown Co. 1982. ISBN 0-697-07102-8

Schlaich and Dupont. The Art of Teaching Dance Technique. Reston, VA: AAPHERD, NDA. 1993.
ISBN 0-88314-544-8

Sherbon, E., On the Count of One. Palo Alto, CA: Mayfield Publishing Co. 1982. ISBN 0-87484-541-6

Appendices

Appendix 1.1 – The Typical Class

Appendix 1.2 – Injury Prevention

Activity 2: Understanding Body Structure (theory and practice)

Time: 180 minutes

Description

At the end of this activity students are able to identify the skeletal structures and the major muscle groups that are involved in dance skills. As they take part in subsequent classes they are able to apply this understanding of the function of the muscular-skeletal system to specific dance skills. They will demonstrate this understanding both in written form, and in practice by demonstrating technically correct performance of dance skills.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2b - reads, understands, and uses written materials effectively;

2c - presents information and ideas clearly and honestly and with sensitivity to others;

3c - thinks reflectively and creatively to evaluate situations and solve problems;

3e - adopts a holistic approach to life by integrating learning from various subject areas and experiences;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

4b - demonstrates flexibility and adaptability;

4f - applies effective communication, decision-making, problem-solving, time and resource management skills;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5a - works effectively as an interdependent team member;

5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;

7b - accepts accountability for one’s own actions;

7d - promotes the sacredness of life.

Strand(s): Theory, Analysis

Overall Expectations

THV.01 - understand the relationship between human anatomy and dance movements;

ANV.03 - develop and use criteria for self- and peer evaluation (e.g. elements and principles).

Specific Expectations

TH1.01 - describe good hygiene, healthy eating habits and the principles of safety in all aspects of dance;

TH1.02 - demonstrate further understanding of the science of movement (e.g., biomechanics, kinesiology, physiology);

TH1.03 - identify and describe the skeletal and muscular system in relation to movement;

TH3.04 - explain the role of co-ordination, flexibility, strength, and proper breathing in dance;

AN1.01 - define the criteria for analysing dance.

Planning Notes

· Teaching /Learning Strategies I and III in this activity initially require some formal presentation of information by the teacher and some written work by the student. This should be accompanied and followed by practical movement examples, so students can apply the concepts to their own body as they move in the dance class. The material in learning Strategy IV is progressive and should be an integral part of every subsequent dance class, so students learn by doing.

· Preparation for the class requires collecting visual display material of the skeleton and muscular system, as well as copies of material for the students’ assignments. Several of the references listed have samples of diagrams and charts that could be used.

· If both genders are represented in class, some information should be made available about differences in bone structure and body composition as it relates to questions of range of motion and strength.

Prior Knowledge Required

Activity I has introduced students to the type of movements they are analyzing from a structural and function point of view.

Teaching and Learning Strategies

I. Introduction to Skeleton

Teacher-directed Instruction/Discussion

· Why do you have to understand the skeleton and muscle function in order to acquire dance skills?

· Identify goals of anatomical knowledge as efficient movement and injury prevention.

· Identify individual differences in body structures. How might these affect what a student can do?

· Discuss students’ prior dance experience and which skills students found easy and which difficult.

· Have available model/diagrams of skeletal structure. Identify and have students actively participate in showing motion at each joint. Learn terminology of flex, extend, rotate.

Student Activity

· Choose sample motor skills; work in pairs to decide which joints are moving, which are stable. Share with class.

· Label diagram of skeleton with major bone structures. Record and describe basic terms of joint motion, e.g., flex, extend, rotate, abduct, adduct, with examples

II. Correct Static Postural Alignment

Teacher-directed Instruction/Discussion

· Review anatomical markers and checklist for correct vertical alignment, frontal, anterior/posterior view.

· Identify benefits of good posture in terms of health and self image.

· Guide students through alignment adjustments.

· As a follow-up, incorporate correct alignment exercise into class cool-down.

Student Activity

· Work in pairs; fill out checklist of relaxed posture for each other; have student try to gain correct alignment (use Appendix 1.3)

· Identify one area of focus for each student to monitor during subsequent classes.

· Have students walk across room -one for the other- noting what happens to alignment when moving. Record problems when moving.

III. Introduction to Muscular System.

Question and Answer

· Review what muscular knowledge students already have. Select some sample dance skills and ask students to identify which muscles are involved in the movement.

Teacher-directed Instruction

· Introduce concepts of muscle function such as:

· muscles can contract and relax

· muscular work in pairs, agonists and antagonists

· there should be a balance of strength and flexibility

· Review safety guidelines established for the use of the body in class (warm-up, cool down, working within one’s own limits) from Activity number I. Relate to muscle function.

· Review alignment problems: identify which sets of muscles are involved, which need to be activated.

Student Activity

· Teacher provides anatomy colouring charts; students fill in major muscle groups.

· Review personal postural alignment (static and moving) and focus on muscular correction; work on this in subsequent classes.

· Identify which parts of the body need strengthening, which may need to become more flexible.

· In Notebook: record checklist of postural alignment, and correction needed; checklist reminder for daily class use.

IV. Applying Knowledge in Dance Class

Teacher-directed Instruction

· As part of every subsequent class, when presenting new skills, help students identify joints and muscles involved in the activity as well as goals of the exercise. Discuss results of errors in terms of inability to perform skill, balance problem, injuries and aesthetics.

· Guide students through adjustments of skill to individual body limitations. Help students find correct anatomical position for their specific body, e.g., how much turn-out, how high should the leg go. Emphasize importance of fitting skills to individual student’s body.

· Set guidelines for students regarding technical evaluation by self, partner, teachers. Talk about positive commentary, self-esteem issues, body image. Learn to separate commentary about the action from value judgements about the person.

Student Activity

· Make notebook entries for selected skills: Identify joint and muscle action, what to do, what not to do. Identify individual variations or problems for their body. This is a cumulative list, with new skills added as the class progresses (see Appendix 1.5).

· Practise making evaluation statements that are non-personal.

· Develop self-monitoring capabilities, to be aware of which muscles are active, which relaxed during performance of dance skills in class

V. Suggestions for Linking Activities done in Composition Unit

· If composition activity is done in parallel, focussing on anatomical structure can form the basis of some initial improvisation or composition studies. Examples:

· design a small movement study focussing only on flexion and extension of joints, (e.g., marching, puppet) or rotation of a particular body part (e.g., head, shoulder, hip, wrist, ankle)

· use of different body postures to develop characterization (e.g., old man)

Assessment/Evaluation Techniques

Written

· alignment checklist completed (Appendix 1.3)

· partner checklists of alignment on sample skills

· skill analysis, kept progressively during remaining activities

· feedback cues as reminders

· written quiz at end of course (knowledge is cumulative throughout classes)

· factual information on muscular and skeletal system

· application to selected dance skills, errors in performance

Critical thinking and application recorded in reflections on the learning process

· personal corrections/adaptations needed

· progress made

Accommodations

· Refer to recommendations made by Special Education staff for students identified with physical challenges. These may include props, adapted dance moves, and sensitive pairing of students.

· Together with the student with physical challenges, explore alternative dance moves e.g., using only upper body, allowing the use of the bar to maintain balance, extending and rotating only their fingers may be alternative activities.

· Provide opportunities for extra studying of the skeletal structure and major muscle groups involved in dance skills.

· Set up assistance with written activities, i.e., anatomy charts, labelling major muscle groups, checklists of posture alignment.

Resources

Information on the muscular and skeletal system as it is related to dance, injury preventions, and biomechanical skill analysis can be found in these references as well as anatomical diagrams. They should also serve as background references for the more specific applications in Activities 3 to 6.

Arnheim, D. Dance Injuries: Their Prevention and Care. Pennington, NJ: Princeton Book Co. 1991.
ISBN 0-8016-0311-0

Barratt, M., F. R. Biles, V.P. Harvey, G.D. Scott, B.L. Siedel, G.R. Williams, and D. Wilson. Foundations for Movement. Dubuque IO: Wm. C. Brown. 1968. ISBN 0-697-07103-0

Clarkson, P.M. and M. Skrinar, (Eds.) Science of Dance Training. Champaign, IL: Human Kinetics. 1988. ISBN 0-87322-42x

Fitts, S.S. Dance Kinesiology. 2^nd Ed., New York, NY: Schirmer Books. 1996. ISBN 0-02-864507-3

Hayes, J.F. Modern Dance: A Biomechanical Approach to Teaching. St. Louis, MI: C.V. Mosby. 1981.
ISBN 0-8016-2179-8

Lockhart, A.S. and E. Pease, Modern Dance: Building and Teaching Lessons. Dubuque, IO: W.C. Brown Co. 1982. ISBN 0-697-07102-8

Wakins, A. and Clarkson, P. M. Dancing Longer Dancing Stronger. Princeton, NJ: Princeton Book Co. Dance Horizon Books. 1990. ISBN 0-9116622-98-3

Diagrams for students use, wall charts, CD-ROMs are available in Kapit and Elson, and in catalogues from D.G.I. (Denoyer-Geppert Intenational):

Skeleton, is a catalogue of human anatomy models, wall charts, CD ROM’s available from Denoyer-Geppert Intenational,1031 Helene St., P.O. Box 1051, Fort Erie, Ontario L2A 5N8
Phone: 800-750-3366, email denoyer@aol.com

Kapit, W., and L. M. Elson.. The Anatomy Colouring Book, New York, NY: Harper & Row. 1977.
ISBN 0-006-453914-8

Information at a student level can be found in:

Penrod, J. and J. D. Plastino. The Dancer Prepares. Palo Alto, CA: Mayfield Publishing Co. 1980.
ISBN 0-87484-340-5

Schrader, C.A., A Sense of Dance: Exploring your Movement Potential. Champaign IL: Human Kinetics. 1996. ISBN 0-87322-476-0

Appendices

Appendix 1.3 – Posture Evaluation

Appendix 1.4 – Class Record of Skills

Activity 3: Learning to Use the Spine

Time: 150 minutes

Description

The particular focus now moves to the spine. The objective in this activity is to help students experience the range of motion in various components of the spine. Starting from correct vertical alignment, students experience the movement capabilities forward, backward, and sideways.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2a - listens actively and critically to understand and learn in light of gospel values;

3c - thinks reflectively and creatively to evaluate situations and solve problems;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

4b - demonstrates flexibility and adaptability;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5g - achieves excellence, originality, and supports these qualities in the works of others.

Strand(s): Theory, Analysis

Overall Expectations

THV.01 - understand the relationship between human anatomy and dance movements;

THV.05 - demonstrate the technique of one or more dance forms;

CRV.05 - demonstrate a higher level of the skills that lead to effective rehearsals and performance.

Specific Expectations

TH1.01 - describe good hygiene, healthy eating habits and the principles of safety in all aspects of dance;

TH1.02 - demonstrate further understanding of the science of movement (e.g., biomechanics, kinesiology, physiology);

TH1.03 - identify and describe the skeletal and muscular system in relation to movement;

TH3.04 - explain the role of co-ordination, flexibility, strength, and proper breathing in dance;

CR3.01 - demonstrate appropriate dance class discipline and procedures specific to each world dance form studied.

Planning Notes

· These tasks are again progressive and new skills should be added from day to day to increase the complexity. Initially these exercises are done on the floor, then standing, and eventually while moving through space.

Prior Knowledge Required

Previous activity on body structure

Teaching/Learning Strategies

I. Mobility of the Spine

Teacher-directed Instruction

· Guide students through a series of warm-ups designed to explore the mobility of the spine as well as the role of the spine in correct vertical alignment. These are cumulative with more complex movements added as the course progresses. Initially movements will involve the trunk and head only, then arms are added.

Student Activity

· Static curling and uncurling of the spine; finding the range of motion in their spine; focus on curved shapes and extensions into space; lateral flexion of the spine.

· Identify and isolating specific parts of the spine where mobility is a problem.

II. Exploring Movement Potential of the Spine

Student Activity

· Go off centre and come back to centre, e.g., side tilt, side-bends, lunges.

· Add arm actions to trunk movements.

· Vary the dynamics: contract and release, collapse, swing, fall and recovery

III. The Use of the Spine in more Complex Skills

Student Activity

· Maintain vertical alignment while travelling, turning and jumping.

· The use of the spine in descent to floor, e.g. side and front falls, rolls.

IV. Suggestions for Linking Activities in the composition unit

· Do a movement study based on curved and straight shapes.

· Explore composition studies that make use of a flexible spine, e.g., swings, waves, snakes etc.

Assessment/Evaluation Techniques

Written knowledge

· correctness and completeness of notebook entries on spine exercises.

Practical

· teacher monitors students’ ability to use the spine correctly in class.

Accommodations

· Modify physical requirements and the dynamics for students with physical challenges e.g., where students are unable to curl spine allow them to bend head only or feel another student’s spine while it curls and uncurls.

· Provide assistance with notebook entries on spine exercises as recommended in IEPs.

Resources

Sample pictures available of dancers in different poses showing range of motion of spine in any dance book or magazine.

Appendix

Appendix 1.4 – Class Record of Skills

Activity 4: Finding Centre

Time: 150 minutes

Description

The focus in this section is on helping students find the centre of control for movement. This involves the correct use of the abdominal and hip muscles to stabilize the hip. Correct use of the breath helps students control these muscles effectively. Once the concept of centre has been introduced, students strive to maintain their balance in static position, during turns and jumps.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2a - listens actively and critically to understand and learn in light of gospel values;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others

4b - demonstrates flexibility and adaptability;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.

Strand(s): Theory, Creation

Overall Expectations

THV.01 - understand the relationship between human anatomy and dance movements;

THV.05 - demonstrate the technique of one or more dance forms;

CRV.05 - demonstrate a higher level of the skills that lead to effective rehearsals and performance.

Specific Expectations

TH1.02 - demonstrate further understanding of the science of movement (e.g., biomechanics, kinesiology, physiology);

TH1.03 - identify and describe the skeletal and muscular system in relation to movement;

TH3.04 - explain the role of coordination, flexibility, strength, and proper breathing in dance;

CR3.01 - demonstrate appropriate dance class discipline and procedures specific to each world dance form studied.

Planning Notes

· Exercises start of the floor, progress to standing and then are incorporated in travelling skills.

Prior Knowledge Required

Activities 1 to 3.

Teaching/Learning Strategies

Teacher-directed Instruction

I. Through work on the floor help students to establish control of body centre. Introduce the use of breathing patterns to find the appropriate muscles that control the pelvis. Help students translate this to standing exercises.

II. Introduce the concepts of contract and release.

III. Make use of imagery to help students visualize and control centre. This is sometimes more effective than giving direct instructions to isolate specific muscles (See resources).

Student Activity

IV. Explore how controlling the centre of the body assists in balance: during static alignment, when going to half toe, when balancing on one foot, when moving the leg through space.

V. Focus on controlling centre while travelling, during a jump, during a turn.

VI. Observe partner and identify loss of centre in these activities.

Accommodations

· Omit floor exercises for wheelchair bound students. Modify movements to be done in a sitting position, e.g., using their arms and their tray as the dance floor.

· Arrange for assistance with notebook entries on centering exercises and journal entries identifying particular difficulties for according to IEPs.

Assessment/Evaluation Techniques

Written knowledge

· notebook entries on centering exercises

· journal entries identifying particular difficulties

Practical Application

· teacher observation during class using on centering exercises

Resources

Specific references related to the use of imagery in the dance class are found in:

Franklin, E. Dance Imagery for Technique and Performance. Champaign, IL: Human Kinetics. 1996.

Sweigard, L. E. Human Movement Potential: Its Ideokinetic Facilitation. New York, NY: Dodd, Mead. 1978.

Appendices

Appendix 1.4 – Class Record of Skills

Activity 5: Isolating Leg and Arm Actions

Time: 150 minutes

Description

Movements of the arms and legs are an integral part of any dance class. Students have experienced these skills in prior classes, but will likely still have some difficulty. Once control of centre has been introduced and explored, the student is now ready to understand the concept of stabilizing the hip while the leg moves, and separating arm movement from shoulder movement. This involves increasing body awareness of appropriate muscle action to control the movement, and allows the student to attempt more technically difficult skills.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2a - listens actively and critically to understand and learn in light of gospel values;

3c - thinks reflectively and creatively to evaluate situations and solve problems;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

4b - demonstrates flexibility and adaptability;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.

Strand(s): Theory, Creation

Overall Expectations

THV.01 - understand the relationship between human anatomy and dance movements;

THV.05 - demonstrate the technique of one or more dance forms;

CRV.01 - apply the elements of dance and various stimuli to create movement sequences;

CRV.05 - demonstrate a higher level of the skills that lead to effective rehearsals and performances.

Specific Expectations

TH1.02 - demonstrate further understanding of the science of movement (e.g., biomechanics, kinesiology, physiology);

TH1.03 - identify and describe the skeletal and muscular system in relation to movement;

TH3.01 - identify more complex movement terminology pertaining to the world dance forms;

TH3.02 - demonstrate more complex movement skills, patterns, combinations, body positions, locomotor and non-locomotor movements in one or more world dance forms studied;

CR3.01 - demonstrate appropriate dance class discipline and procedures specific to each world dance form studied.

Planning Notes

· Exercises progress from floor, to standing, to moving skills.

Prior Knowledge Required

Application of knowledge about body structure in Activity 2.

Teaching/Learning Strategies

Teacher-directed Instruction

I. During dance activity, review of skeleton, and the joint and muscle action at the pelvis and shoulder girdle.

Student Activity

II. Leg work on the floor (floor bar): stabilizing the pelvis while the one leg goes through a range of motion.

III. Standing leg work: balancing on one leg with bent and straight leg: moving the other leg:

· Finding correct turn-out.

· Extending legs into space, exploring pathways in space, front, side and back.

· Finding the student’s individual placement in height, and to the side, with partner help.

IV. Controlling arms and shoulder:

· Learning to control the scapula and shoulder muscles to isolate arm movement from shoulder movements.

· Explore different arm pathways in space.

· Find complementary and oppositional arm movements to fit with leg movements.

V. More complex skills:

· Travelling combining locomotor skills with arm and leg actions.

VI. Practise adapting to partner’s anatomical restriction:

· Practise skills matching arm and leg movements.

VII. Suggested linking ideas for compositional activity:

· Use of symmetrical and asymmetrical body shapes with arm and leg gestures.

· Develop a partner study involving matching, mirroring or sequencing arm and leg patterns.

Accommodations

· Sensitively select a partner for students with special needs, e.g., physical challenges to assist with the movements such as leg work, arm and shoulder movements.

· Arrange for assistance with written assignments including notebook entries of skills analysis, problem areas and corrections for students identified as ESL, ELD and physically challenged.

Assessment/Evaluation Techniques

Written Knowledge

· Continue ongoing notebook entries of skills analysis, problem areas, and corrections.

Practical Application

· Teacher observation of students’ awareness of stabilizing body parts.

Appendices

Appendix 1.4 – Class Record of Skills

Activity 6: Use of the Feet in Weight Bearing

Time: 300 minutes

Description

Correct use of the feet in dancing is critical to injury prevention and to maintaining balance and alignment. Students need to learn the correct weight placement on both feet (in 1^st, 2^nd, 4^th, parallel, turn-out) when stationary, but more importantly the use of the feet when shifting to one foot, taking off and landing, turning, and travelling.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2b - reads, understands, and uses written materials effectively;

2c - presents information and ideas clearly and honestly and with sensitivity to others;

3b - creates, adapts, evaluates new ideas in light of the common good;

3c - thinks reflectively and creatively to evaluate situations and solve problems;

3e - adopts a holistic approach to life by integrating learning form various subject areas and experience;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

4e - sets appropriate goals and priorities in school, work, and personal life;

4f - applies effective communication, decision-making, problem-solving, time and resource management skills;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5a - works effectively as an interdependent team member;

5e - respects the rights, responsibilities, and contribution of self and others;

5g - achieves excellence, originality, and supports these qualities in the works of others;

7b - accepts accountability for one’s actions.

Strand(s): Theory, Creation

Overall Expectations

THV.01 - understand the relationship between human anatomy and dance movements;

THV.05 - demonstrate the technique of one or more dance forms;

CRV.01 - apply the elements of dance and various stimuli to create movement sequences;

CRV.05 - demonstrate a higher level of the skills that lead to effective rehearsals and performances.

Specific Expectations

TH1.01 - describe good hygiene, healthy eating habits, and the principles of safety in all aspects of dance;

TH1.02 - demonstrate further understanding of the science of movement (e.g. biomechanics, kinesiology, physiology);

TH1.03 - identify and describe the skeletal and muscular system in relation to movement;

TH3.01 - identify more complex movement terminology pertaining to the world dance forms;

TH3.02 - demonstrate more complex movement skills, patterns, combinations, body positions, locomotor, and non-locomotor movements in one or more world dance forms studied;

TH3.04 - explain the role of coordination, flexibility, strength, and proper breathing in dance;

CR3.01 - demonstrate appropriate dance class discipline and procedures specific to each world dance form studied;

CR3.02 - demonstrate the ability to prepare for rehearsal, polish pieces, practise movement memory, and refine technique.

Planning Notes

· It is important that for all classes, foot exercises be included in the warm-up. It is particularly important, if jumps are emphasized in a particular lesson. that the feet receive specific emphasis in the warm-up.

· Normally, a modern dance class is taught in bare feet. This ensures that students get full range of movement from the foot and have good contact with the floor. However, depending on the floor surface in the teaching space, teachers may wish to make adaptations by including some type of foot-ware. Exercises 1 and 2 should be introduced as early as possible in this unit as weight bearing is an integral part of all dance classes. The weight bearing exercises become progressively more complex during the course.

Prior Knowledge Required

Review structure of the foot from Activity 2.

Teaching/Learning Strategies

Teacher-directed Instruction

I. Review anatomy of the foot, correct use of the foot to avoid injury.

Student Activity

II. Participate in warm-up activities for the feet, e.g., rotation, pedalling, pliés.

III. Correct weight bearing and weight shift in the following skills:

· on two feet in 1^st, 2^nd, 4^th, parallel and turn out

· balancing on demi-pointe

· jumps - correct use of the foot and ankle during take off and landing

· review of five basic jumps (2-2, 1-1, 1 to other, 1-2, 2-1 feet)

· differentiate between vertical and horizontal jumps

· shifting weight on one foot

· exploring the use of the feet in a variety of locomotor skills, e.g., skip, triplet, run

Teacher-directed Instruction

IV. Discuss identification of source and prevention of injuries due to improper use of the feet. Give notes, or give readings.

Accommodations

· Provide remedial opportunities for reviewing correct anatomical terminology for students identified as ESL/ELD.

· Arrange for peer assistance with journal checklist.

· Allow students with extreme physical limitations to instruct a partner, thus enabling the teacher to evaluate the students’ understanding of the anatomy of the foot, weight bearing and weight shifts of activities listed in Student Activity II and III.

Assessment/Evaluation Techniques

Written knowledge

· add weight bearing skills to notebook entries

· include questions on injury prevention on final quiz

Practical application

· teacher observes correct use of the feet in class

Resources

Specific reference on the feet and foot injuries can be found in:

Arnheim, D. Dance Injuries: Their Prevention and Care. Pennington, NJ: Princeton Book Co. 1991.
pp. 51-57. ISBN 0-8916-01311-0

Fitts, S.S. Dance Kinesiology. 2^nd Ed., New York, NY: Schirmer Books. 1996. Chapter 3.
ISBN 0-02-864507-3

Shell, C.G. The Dancer as Athlete. Champaign, IL: Human Kinetics. 1986. Chapters 3 and 4.
ISBN 0-87322-016-1

Appendices

Appendix 1.4 – Class Record of Skills

Activity 7: Identifying Alignment Problems

Time: 150 minutes

Description

The combination of the practical experience in the dance class along with teacher instruction and feedback on correct muscle use helps to develop the students’ body awareness and their observation skills. This should aid the students in detecting and correcting errors in their own and other students’ skills. Developing one’s kinesthetic skills extends beyond the dance class to an awareness of body posture outside of class and efficient and safe movements in activities of daily living and can carry over into the learning of recreational sport skills.

Strand(s) and Expectations

Ontario Catholic School Graduate Expectations

2a - reads, understands, and uses written materials effectively;

2c - presents information and ideas clearly and honestly and with sensitivity to others;

3c - thinks reflectively and creatively to evaluate situations and solve problems;

3e - adopts a holistic approach to life by integrating learning from various subject areas and experience;

4a - demonstrates a confident and positive sense of self and respect for the dignity and welfare of other;.

4b - demonstrates flexibility and adaptability;

4d - responds to, manages, and constructively influences change in a discerning manner;

4e - sets appropriate goals and priorities in school, work, and personal life;

4f - applies effective communication, decision-making, problem-solving, time and resource management skills;

4h - participates in leisure and fitness activities for a balanced and healthy lifestyle;

5a - works effectively as an interdependent team member;

5b - thinks critically about the meaning and purpose of work;

5d - finds meaning, dignity, fulfillment, and vocation in work which contributes to the common good;

5e - respects the rights, responsibilities, and contributions of self and others;

5f - exercises Christian leadership in the achievement of individual and group goals;

5g - achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;

7b - accepts accountability for one’s own actions.

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - understand the relationship between human anatomy and dance movements;

THV.05 - demonstrate the technique of one or more dance forms;

CRV.05 - demonstrate a higher level of the skills that lead to effective rehearsals and performances;

ANV.01 - define and describe the criteria for analysing dance;