Course Profile Dance, Grade 11, Open, Catholic and Public
Unit 4: Dancing Across Borders
Time: 40 hours
Activity 1 | Activity 2
| Activity 3 |
This unit involves
a cross-curricular integration. Teachers may choose to work only with their own
students, organizing the project using curriculum material from another subject
area and at the same grade level, e.g., novel/poetry studies in English.
Teachers may choose to work with another teacher in the school or in the
community and have their respective classes work collaboratively on an
agreed-upon theme/idea or source. Teachers may choose to collaborate
electronically with students in their town, city, or province via the Internet.
This collaboration could result in a final performance whereby the students
travel, meet, and share their work with each other, perhaps working together to
blend their pieces as part of a larger collective work.
This unit is
intended as a template for any cross-curricular combination. For this course
profile, a dance and a visual arts class from the same grade and the same
school have been selected to demonstrate one possible way of working on a
collaborative project. Teachers may want to phase in their use of the model
presented due to the complexity of the project. A teacher may start combining
efforts with another teacher with smaller tasks before taking on the entire
performance project as laid out in this unit. The amount of collaboration
should be adapted according to the comfort level of the teachers and according
to the level of student skill and commitment. This allows teachers to work out
the various roles and specializations they bring to the collaboration. Various
elements of the template need to be specifically adapted to the subject area(s)
combined in this unit. This project is teacher-directed in its early stages.
Once the groups have been established and students are meeting consistently to
work on this project, it becomes more student-directed. The teachers continue
side coaching and advising along the way.
This project
encourages teachers to partner with other teachers and rely on each others
expertise, and allows students to practise and develop their skills in composition,
collaboration and performance.
|
Activity |
Time |
Assessment |
Evaluation Tasks |
|
1. Building
Bridges |
5 hours |
Communication Thinking/Inquiry |
Reflective Writing |
|
2. Bridging the
Gap |
28.75 hours |
Knowledge/Understanding Thinking/Inquiry Communication Application |
As part of 70%: Proposal Production book Creative process (Self/ peer/
teacher) The Forum |
|
3. The Final
Collective |
6.25 hours |
Knowledge/Understanding Thinking/Inquiry Communication Application |
As part of 30%: Dress rehearsal Production book Composition Programme Performance Reflective writing |
|
Unit 4: Expectations Chart |
Activities |
|||
|
Code |
Expectations |
1 |
2 |
3 |
|
THV.01 |
Describe various aspects of a broad spectrum of dance forms |
|
3 |
|
|
THV.02 |
Demonstrate an
understanding of the hazards of injury in dance and the principles of a
healthy lifestyle for dancers |
3 |
3 |
3 |
|
TH1.01 |
Identify a variety
of dance forms and describe their structural and stylistic characteristics |
|
3 |
|
|
TH2.03 |
Demonstrate an
understanding of the benefits of a healthy body to both dance and lifestyle |
3 |
3 |
3 |
|
CRV.01 |
Demonstrate technical
proficiency in one or more forms of dance |
3 |
3 |
3 |
|
CRV.02 |
Choreograph dance
works that combine a broad spectrum of complex movement skills and techniques |
3 |
3 |
|
|
CRV.03 |
Rehearse and
perform dances in various settings |
3 |
3 |
3 |
|
CRV.04 |
Demonstrate an
understanding of dance presentation and production |
3 |
3 |
3 |
|
CR1.01 |
Demonstrate skill
in executing complex movements (locomotor and non-locomotor movements, combinations
of movements) and body positions in one or more world dance forms |
3 |
3 |
3 |
|
CR1.02 |
Demonstrate
increased technical proficiency in dance, showing coordination, endurance, flexibility,
musicality, rhythmic sense, and strength in their performance |
3 |
3 |
3 |
|
CR2.01 |
Use improvisation
appropriately as a compositional tool |
3 |
3 |
|
|
CR2.02 |
Use visuals, and
sound stimuli when improvising dance composition |
3 |
3 |
|
|
CR2.03 |
Solve
compositional problems through guided exploration |
3 |
3 |
|
|
CR2.04 |
Create dance
compositions that is trios, duets, and solos, and works for small groups |
3 |
3 |
|
|
CR2.05 |
Create simple notation
systems that help them develop and record compositions |
|
3 |
|
|
CR3.01 |
Demonstrate the
essential skills and appropriate attitude of performers/participants, and
audience members |
3 |
3 |
3 |
|
CR3.02 |
Demonstrate an ability
to prepare for rehearsals and performances (e.g., polish pieces, showing
technical accuracy and interpretative skills) |
3 |
3 |
3 |
|
CR3.03 |
Present dance
works that demonstrate appropriate use of skills in technique and composition |
3 |
3 |
3 |
|
CR4.01 |
Use the technical
skills of stagecraft appropriately in dance productions (e.g., skills in the
use of light, sound, special effects) |
|
3 |
3 |
|
CR4.02 |
Use technology
effectively in their productions of dance works |
|
3 |
3 |
|
CR4.03 |
Demonstrate the
essential skills and appropriate attitudes and behaviour of members of a
production crew (e.g., the stage manager, artistic director, sound designer,
publicist) |
|
3 |
3 |
|
ANV.01 |
Analyse and evaluate
the formal structure and meaning of a broad spectrum of dance forms |
3 |
3 |
3 |
|
ANV.03 |
Explain how dance
can serve as preparation for various careers |
3 |
3 |
3 |
|
AN1.01 |
Analyse the use of the elements, principles, and techniques of dance
with respect to formal structure and meaning in a broad spectrum of dance
forms |
3 |
3 |
3 |
|
AN1.02 |
Analyse the
significance and function of a variety of dance forms studied |
|
3 |
3 |
|
AN1.04 |
Use technology (e.g.,
videotape, CD-ROM stop action) appropriately as an analytical tool in the
field of dance |
|
3 |
3 |
|
AN1.05 |
Create a set of
aesthetic criteria by which to evaluate their own work and that of others |
3 |
3 |
3 |
|
AN2.01 |
Analyse the role of
dance in the community |
3 |
3 |
3 |
|
AN2.02 |
Explain how
knowledge and skills acquired through the study of dance can be applied in
other settings |
3 |
3 |
3 |
|
AN2.03 |
Explain how knowledge
and skills acquired through the study of dance can be applied in a wide range
of careers |
3 |
3 |
3 |
·
The teacher
contacts another teacher in his/her own school from another discipline such as
Media Arts, Visual Arts, Drama, English, or Social Science). For this sample
unit the collaboration takes place between Visual Arts and Dance.
·
The teacher may
request classes being timetabled together to accommodate this project or may
find an appropriate class that is already scheduled during the same period.
·
Teachers choose a
common theme or idea as the starting point for the collaboration.
·
Teachers
determine the number of times the students meet each week during the project.
It is suggested that the project takes place as a concentrated unit (meeting
3-5 times a week).
·
The teacher
informs administration and staff of the project and that there will be
site-specific work going on in and around the school. The teacher should
continue to update staff at monthly meetings or as needed on the progress of
the project.
·
Teachers may wish
to team-teach throughout the unit.
·
The Visual Arts
teacher develops/adapts planning, activities, assessment, and/or evaluation for
the Visual Arts component of the unit and his/her expectations at this level.
Time: 5 hours
Students are
introduced to each other by participating in an integrated compositional study.
Students engage in interpreting a given theme using dance and other art
forms/curriculum materials. They are exposed to different artistic
interpretations within the group. The teachers observe group dynamics and the
level of skill each student brings for future group placement. Students are
introduced to concepts of performance art and connecting across curriculum
boundaries. Students are introduced to the multimedia/cross-curricular project.
Strand(s):
Theory,
Creation, Analysis
·
Refer to the
Expectations Chart at the beginning of the unit.
·
Grade 9 and/or 10
Dance course
·
Units 1-3
·
The Visual Arts
teacher and students bring their prior knowledge and skills.
·
Contact another
teacher in his/her school from another discipline.
·
Choose a common
theme, concept or idea to set up the initial student interaction
(for example patterns).
·
Prepare simple
icebreakers to introduce groups to each other.
·
Choose simple
non-threatening exercises that encourage group focus and cohesiveness within a
creative forum (Visual Arts students may have little movement background; dance
students may have little Visual Arts background).
·
Choose music for
the various activities, if desired.
·
Prepare initial
materials for activities paint, chalk, pencils, paper, rolls of brown paper,
text/poetry/words, movement cards, markers, chart paper, glue, material, and
odd objects.
·
Prepare a room or
space where two or more classes can meet (large studio, gym, auditorium,
cafeteria) since there may be a large number of students involved in the
project.
·
Copy evaluation
for reflective writing (The rubric found in Appendix 4.1 Evaluation Tool for
Reflective Writing, will provide a framework for a teacher-developed rubric).
·
Prepare Student
Package for handoutit is recommended to put these packages in duo-tangs. It
assists students with the management of the paper (The rubric found in Appendix
4.2 Student Package - Multimedia Project, will provide a framework for a
teacher-developed rubric).
·
Organize the
groups with two visual arts students and four dancers. This is ideal, however,
variations occur depending on class sizes.
·
Assign student
groups for multimedia project.
·
Direct groups to
purchase one three-ring binder for their production book.
·
Negotiate which groups
they will advise.
· Each teacher-advisor assists two or three groups throughout the project depending on the number of students participating.
· Teacher-advisors help extend students creative thinking and creative process, help mediate group challenges, book equipment and space for students rehearsal times and assist in the purchasing or gathering of materials for students where appropriate.
· Teacher-advisors prepare group folders to help keep track of student achievement.
· Teacher-advisors assess and evaluate the groups process and initial products such as reflective writing pieces, initial production book, and the forum/preview of work in progress.
· Both teachers evaluate all the final collective performances.
· Teacher-advisors evaluate their own groups final production book.
I The Group Meets
·
Both classes meet
in a large space (large studio, cafeteria, auditorium, or gym).
·
Students remove
shoes and socks and form a large circle.
·
Teachers are
introduced to the students and the students to each other.
·
Teachers
facilitate the following activities.
Purpose: To warm up,
integrate two new groups, work in a physically focused manner and introduce
each art form.
·
Teachers have set
up art materials along the periphery of the class/space creating a large area
for movement activities within the border of the artists tools (large rolls of
brown paper lying flat with coloured chalk, pastels, paint and brushes,
pencils, coloured pencils, and markers).
·
The teacher
instructs students to stand and begin walking in silence. The teacher alerts
students to be aware of the space they are walking in and directs them to avoid
physical contact with others.
·
The teacher
instructs students to turn to their left as they approach each other in order
to avoid physical contact.
·
The teacher
directs students to walk faster, slower, forwards, backwards, sideways, using
direct and indirect pathways.
·
Students are
directed to continue avoiding physical contact with others by stopping and then
turning to the left before continuing to travel.
·
Students are
asked to approach the art stations around the room.
·
Once students are
ready to pick up and use the materials before them, they are asked to return to
the movement space (some students will be frustrated at this because they want
to draw, paint sketch, etc.).
·
Students are
asked to walk again on the space and slowly increase the pace to a jog.
·
The teacher
instructs the students in the group to freeze and start up again every so
often.
·
The teacher
instructs students to continue to jog and travel, to jog on the spot, or to
stop. Students have the choice to decide the duration and order of each of the
actions.
·
The teacher
continues to guide choices on direction, speed, focus, facings, energy, and
pathway.
·
Students are
asked to approach the art stations around the room once again.
·
Students are
ready to pick up and use the materials before them but they are then asked to
return to the movement space once again. (Students may be frustrated once
again. The teacher explains that art is not created in a vacuum but often as a
result of experience and emotional reaction to lifes various experiences.)
·
Students are
asked to return to the space and continue jogging and stopping. The teacher introduces
rolling as an additional action.
·
Students are
reminded of their use of space and to create their own pattern of jogging,
stopping and rolling.
·
The teacher
continues to encourage students to manipulate their movement pattern of
jogging, stopping and rolling.
·
Students are
directed to the art stations a few at a time.
·
Students are
asked to independently draw, paint, and sketch their movement experience.
·
Students are
asked to consider within their artistic interpretations the elements and
principles common to their experience: line, space, shape, texture, intensity,
energy, design, pattern, colour, rhythm, balance, variety, etc.
·
The teacher
directs students to walk around the room and observe the impressions of their
peers.
·
The teacher
initiates a discussion on art, its relationship to people, their experiences
and the relationships between the art forms.
Purpose of exercise:
to collaboratively create a simple phrase of movement
·
The teacher forms
groups of seven or eight (mixed with visual arts and dance students).
·
The teacher
instructs students to stand in a circle facing each other and designates one
member from each group to begin with a simple gesture. The teacher directs each
student in the group to repeat the gesture.
·
The teacher
directs students to the right of the leader to initiate the second gesture.
Each member of the circle repeats the previous gestures and adds another simple
movement until all have contributed to create a short phrase of movement.
·
The group rehearses
their short phrase and chooses how they will repeat the phrase a number of
times in order to create a pattern using movement (e.g., in a circle, facing
the front, in canon, with change of facings and/or levels and with manipulating
the timing, travelling in a floor pattern, etc.).
·
Students share
their phrases with the rest of the class (two or three groups at a time).
·
The teacher may
add music to each presentation (jazz, classical, alternative, atmospheric,
etc.).
II Exploring Different Media
·
Teachers
discuss/review the elements and principles of design (line, shape, colour,
texture, intensity, rhythm, variety, unity) and the elements of dance (shape,
space, energy, time, relationships) and initiate a discussion on the
relationships between Visual Arts and Dance.
·
Teachers
introduce the simple theme of Pattern as repetition.
·
Teachers may have
to give examples of patterns (some students may be familiar with some of the
terms explored in previous units of study) such as:
· Musical structures (ABA, round, theme and variations, rondo), rhythm (123, 123 or &1&a2&3&a4),
· Shape (arranging and repetition of curves, lines, circles, squares, triangles, use of symmetry, asymmetry, etc.),
· Text (recurring words, themes in poetry/song),
· Dance (a series of movements which are repeated, a repeated theme, design, and floor/air pathway).
·
As in Jigsaw
number the students 1 4
·
Students are
directed to the corresponding number station.
·
Students
individually explore and develop the theme patterns with the media
(materials) provided at their station.
·
Students
individually explore creating patterns for approximate 10-15 minutes.
|
Media Station 1 |
Find pencils,
paper, markers, chart paper to draw, sketch, or write, visual patterns |
|
Media Station 2 |
Find text/poetry/words,
to read, sing, shout, whisper, chant, rap into rhythmical patterns |
|
Media Station 3: |
Find movement
cards (twist, spin, fall, reach, suspend, stomp, swing, etc.) Students choose
a few of these actions to create compositional movement patterns |
|
Media Station 4: |
Find materials and
odd objects to build, collage, and construct three dimensional patterns |
·
Students share
their explorations within the group.
III Introductory Media Study
·
Using Jigsaw form
new groups with one student from each of the media stations.
·
Have students
share their exploration/creation from their media station.
·
Assign a short
one- to two-minute study on patterns within the mixed media group: all
materials and all group members must be integrated. Students are encouraged to
work and experiment outside their area of specialty (dancer works with text or
draws, artist uses movement or poetry).
·
Students are
given time to brainstorm, create, rehearse, edit, and rehearse their study.
·
Students share
their study of patterns with the rest of the class.
·
Students reflect
on experience through a one-page writing assignment, due the next day.
Students are
encouraged to describe the differences of the studies they have observed. The
following questions may be used: How did you feel in working through a new
medium? Comment on the similarities between the art forms. What challenged you
artistically working this way? What skills and knowledge can you bring to
working on a collaborative project? What challenges did you encounter when
collaborating? What triumphs did you have when working this way?
(See Appendix 4.1
Evaluation Tool for Reflective Writing).
IV Introducing the Multimedia Project
·
Both classes meet
for the introduction of the multimedia project.
·
Teachers may wish
to introduce examples of mixed media through slides, pictures, video,
presentations, etc.
·
Students use
cooperative education format of think/pair/share:
·
Turn to the person closest to you and share with
each other your opinion on this statement
·
The teacher says,
·
Putting together 4 media can be a complicated
balancing act
you are trying to communicate through the various media without
having one overpower or cancel the other
how can this kind of integration of
media create a meaningful performance piece where the sum is greater than its
parts?
·
Teachers have
students report to the entire class what they heard.
·
Teachers
distribute the Student Multimedia Package (See Appendix 4.2 Student Package -
Multimedia Project).
·
Teachers and
students read through the package together.
·
Teachers clarify
and respond to questions.
·
Teachers assign
the mixed media groups and the teacher advisor for the duration of the project.
·
Groups are
informed that they will need to purchase a production book, i.e., a
3-ring-binder.
·
The teacher
assesses the group process and individual strengths through observation.
·
The teacher
provides verbal cues and feedback throughout the creative process and on the
final introductory media study.
·
The teacher
evaluates reflective writing (The rubric found in Appendix 4.1 will provide a
framework for a teacher-developed rubric).
·
Teachers provide
assistance/guidance to student reflection/writing when necessary (audio taped
response, scribed by parent, teacher, peer, use interview format).
·
Students with
physical limitations may have movement adapted for them.
Blom, Lynne
Anne and L. Tarin Chaplin. The Moment of Movement: Dance Improvisation.
Pittsburgh: University of Pittsburgh Press, 1988. ISBN 0822934639
Morganroth,
Joyce. Dance Improvisations. Pittsburgh: University of Pittsburgh Press,
1987.
ISBN 0822935503
Rooyackers, Paul.
101 Dance Games for Children. Alameda CA: Hunter House, 1996.
ISBN 0897931718
Smith,
Jacqueline M. Dance Composition & Practical Guide for Teachers.
Princeton, New Jersey: Princeton Book Company, 1987. ISBN 0713635835
Tufnell, Miranda and Chris Crickmay. Body,
Space, Image. Toronto: Virago Press Limited, 1990.
ISBN 1853811319
Zaporah, Ruth. Action
Theatre The Improvisation of Presence. Berkeley, CA: North Atlantic Books,
1995. ISBN 1556431864
Time: 28.75
hours
Students begin
working on their multimedia project in their assigned groups. They start by
brainstorming and synthesizing their ideas into a written proposal, which is
assessed by the teacher for its thoroughness and feasibility. The project is
mostly student-directed; however, both teachers confer with their groups on an
on going basis to facilitate their creative process. Students are expected to
use their areas of strength, previous knowledge and skills learned to
contribute to the creative process. Throughout the project teachers support the
students process with material or teaching that is appropriate to the
students exploration of their theme/ideas.
Strand(s): Theory, Creation, Analysis
·
Refer to the
Expectations Chart at the beginning of the unit.
·
Grade 9 and/or 10
Dance course
·
Unit 1-3
·
Activity 1
·
The Visual Arts
teacher and students bring their prior knowledge and skills
·
Prepare group
folders. Each folder contains the following:
· names of students and their negotiated roles/jobs for the project and measurement of the degree of success in which they accomplish their roles/jobs;
· on-going anecdotal notes and feedback given to students;
· copies of assessment and evaluation tools;
· master calendar of deadlines.
·
Plot out a master
calendar for all external deadlines for each group, i.e., forum dates,
production book deadlines, and final performances.
·
Make a copy of
master calendar for each groups production book.
·
Prepare evaluation
sheets for forum and production book.
·
Arrange for
equipment (TV, VCR, CD/Tape players, etc.) required for each groups preview
presentation, i.e., the forum.
I Initial
Brainstorming and Synthesizing Ideas
·
Students meet in
their project groups.
·
Using the Web
Model sheet (Appendix 4.2 Student Package - Multimedia Project) students
begin brainstorming their ideas around the theme.
·
Teacher advisors
spend time with each of their groups during this process to help clarify and
extend thinking.
·
Students begin a
first draft of their proposal synthesizing ideas from the brainstorm
session(s).
·
Students submit a
final word-processed copy of their proposal demonstrating that the artistic
scope for their performance piece is clear, thorough, and feasible. (Appendix
4.2 - Student Package - Multimedia Project)
·
The proposal is
assessed and feedback is given the next meeting day.
II Administrating the Project
·
Teachers direct
students to the Multimedia Project Package Where do we go from here?
·
Teachers and
students re-read the jobs and the descriptions.
·
Teachers respond
to questions to help clarify any details.
·
Students
negotiate and select which roles/jobs they will be accountable for.
·
Students record
the roles/jobs on the sheet provided and include one copy in their Production
Book.
·
Students submit a
second copy to their teacher-advisor.
·
Student producers
are directed to make several copies of the production book log sheets to
include in the production book at the onset of the project.
III Building the Work
·
Each day both
classes meet in one space for general announcements and feedback and
attendance.
·
Groups divide and
meet with their teacher-advisor.
·
Each day the
teacher-advisors meet with their groups and give notes or feedback, respond to
concerns or determine group needs and direct students to their work
areas/sites.
·
Teachers assign a
preview date to each group.
·
Teachers spend
time in the work areas observing, taking notes, facilitating the creative
process, helping students problem solve and giving specific feedback.
·
Teachers assess
the creative process (The rubric found in Appendix 4.2 - Student Package -
Multimedia Project, will provide a framework for a teacher-developed rubric).
·
Teachers encourage
effective time management of the project.
·
Teachers ensure
that production logs are being maintained and kept up to date.
IV The Forum
·
Each group
presents its work in progress.
·
Each group is
given a full period in which it can present and confer with the teacher
advisors.
·
The other groups
continue to work in their areas until their presentation time.
·
The presentation
and production book are evaluated at this time (The rubric found in Appendix
4.2 Student Package - Multimedia Project, will provide a framework for a
teacher-developed rubric).
·
When all pieces
have been previewed, dress rehearsal, and final performance deadlines are
assigned to each group.
·
Teachers evaluate
the proposal (The rubric found in Appendix 4.2 Student Package - Multimedia
Project, will provide a framework for a teacher-developed rubric)
·
Teachers evaluate
the forum/preview of the work in progress (Appendix 4.2 Student Package -
Multimedia Project)
·
Teachers assess
the production book (Appendix 4.2 Student Package - Multimedia Project)
·
Consult with
Special Education Resource Personnel for support and assistance concerning
students with special needs.
·
For specific
tasks/responsibilities ESL and ELD students may be paired up with students in
leadership roles.
Beatty,
Patricia. Form Without Formula: A Concise Guide to the Choreographic Process.
Toronto: Underwhich, 1985. ISBN 0929003179
Buerki, F.A.
Stagecraft for Non-Professionals. University of Wisconsin, 1983. ISBN 0299-093549
(pbk), ISPN 0299093506 (hard)
Cerny
Minton, Sandra. Choreography: A Basic Approach Using Improvisation.
Champaign, IL: Human Kinetics, 1986. ISBN 0880115297
Cooper,
Susan. Staging Dance. New York: Theatre Arts Books/Routledge, 1998. ISBN
0878300813
Griffiths,
Trevor R. Stagecraft: The Complete Guide to Theatrical Practice. New
York: Quarto, 1982.
ISBN 1-57715-078-3
Hoggett,
Chris. Stage Craft. A & C Black Publishers, 1975. ISBN 0713-615575
Schlaich, Joan and
Dupont, Betty, ed. Dance: The Art of Production. Dance Horizons, 1998.
ISBN 0871272075
Time: 6.25
hours
This activity is the
culminating task of the course. Students present their performance art work for
a variety of audiences, e.g., teacher advisors and peers within class time,
other students in the school or for the general public in an evening
performance. The performance sites include a variety of non-traditional
performance art spaces created by the students in and around the school. The
power of performance in non-traditional settings enlightens students sense of
possibilities for dance in the community and advocates strong ties between
dance and other disciplines. In post production, students reflect on various
interpretations of the chosen theme that they observed in other student works.
Students reflect on the connection between work experiences or careers where
collaboration is necessary.
Strand(s): Theory, Creation, Analysis
Refer to the
Expectations Chart at the beginning of the unit.
·
Grades 9 and/or
10 Dance
·
Grade 11 Dance
Units 1-3 and Unit 4 Activities 1 and 2
·
Teachers ensure
that time is allotted for students to prepare performance sites, to warm-up and
to get into costume and make up prior to dress rehearsal and final performance.
·
Teachers allot
time for feedback after dress rehearsal and for feedback and final evaluation
of final performance.
·
Teachers arrange
for technical support such as: video recorders, videotapes, TV, VCR, sound
systems, extension cords, lights, computers, etc.
·
Teacher-advisors
collect programme information from groups.
·
The teacher
assesses programme information (The rubric found in Appendix 4.2 Student
Package: Multimedia Project, will provide a framework for a teacher-developed
rubric)
·
Optional:
Teachers collectively put a final programme together for the class and/or for a
public performance.
·
Teachers ensure
that copies of all evaluation tools are in the group folders and prepare post
performance reflective assignment.
·
Teachers meet to
discuss and compare evaluations and negotiate individual and final group marks.
I Pre-Performance
·
Students submit
information sheets to their teacher-advisor.
·
Students prepare
themselves and their performance site for dress rehearsals ensuring they have
all components on hand (set up their site and audience space (chairs),
physically warm-up bodies for performance, put on costumes, do makeup, cue
tapes/CDs, set up technical support equipment e.g., slides, video, etc.)
·
Teachers ensure
safe practices are applied in all sites, e.g., tape down cords, etc.
·
Teachers
reinforce audience etiquette and expected behaviour and performance behaviour
and etiquette (e.g., quietly entering and exiting site, staying focused, not
disturbing the magic).
·
Teachers oversee
that students are doing their jobs for a smooth run of their performance.
·
Teachers arrange
for the videotaping of the dress rehearsals and performances, if appropriate.
II Dress Rehearsal
·
Each group
performs its piece on the prearranged date.
·
Pieces are
videotaped, if appropriate.
·
Teachers
facilitate audience feedback after each piece.
·
Teachers encourage
using the language of the art forms.
·
Both teachers
evaluate each piece using evaluation tools available (The rubric found in
Appendix 4.2 Student Package - Multimedia Project, will provide a framework
for a teacher-developed rubric).
III Final Performances
·
The final
performance may take on several formats, e.g., invite another class to view the
pieces or schedule a formal evening performance. Audience would travel from
site to site to see the performances.
·
If a final public
performance is pursued, the audience would need to be divided up into group
sizes to match the sites and audience would rotate from site to site.
·
Each piece is
videotaped, if appropriate.
·
Both teachers
evaluate all the final performances (The rubric found in Appendix 4.2 Student
Package - Multimedia Project, will provide a framework for a teacher-developed
rubric).
IV Post Performance Reflection
·
Students meet for
the final time.
·
Teachers
facilitate a postproduction discussion on the collaborative, artistic, and
performance experience and possible connections to the work force.
·
Teacher assigns
final reflective writing assignment
· Students write a reflective piece sharing opinions, feelings, and interpretations of the work seen.
· Students evaluate the value of this project and include future considerations.
·
Students may
arrange to view their pieces, if videotaped.
The final evaluation
of the culminating task accounts for 30% of the final mark:
|
Culminating Evaluation Tasks |
Knowledge/ Understanding |
Thinking/ Inquiry |
Communication |
Application |
Complete |
|
Teachers assess
programme information sheet |
|
|
|
|
3 |
|
Teachers, students
evaluate process |
3 |
|
|
|
|
|
Teachers evaluate
dress rehearsal |
|
3 |
3 |
3 |
|
|
Teachers evaluate
performance and composition of final piece |
|
3 |
3 |
3 |
|
|
Teachers evaluate
final production book |
|
3 |
3 |
|
|
|
Teacher evaluates
final reflective writing |
3 |
3 |
3 |
|
|
Teachers provide assistance/guidance
to student reflection/writing when necessary (taped response, scribed by
another, interview)
This rubric will
provide a framework for a teacher-developed rubric
One draft copy and
one polished copy required.
Describe the
differences in the studies you have observed. How did you feel working through
a new medium? Comment on the similarities between the art forms used. What
challenged you artistically working this way? Which skills and knowledge can
you bring to working on a collaborative project? What challenges did you
encounter when collaborating? What triumphs did you have when working this way?
Comment further on the process of collaborating.
|
Categories and Criteria |
Achievement Levels |
|||
|
Circle the
appropriate level |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Communication |
||||
|
Spelling/grammar/punctuation |
1 |
2 |
3 |
4 |
|
Expresses ideas
clearly (organized, logical) |
1 |
2 |
3 |
4 |
|
Thinking/Inquiry |
||||
|
Personal voice is
heard |
1 |
2 |
3 |
4 |
|
Reflects on
artistic merit of product based on elements/principles of the art form |
1 |
2 |
3 |
4 |
|
Reflects on the
collaborative process |
1 |
2 |
3 |
4 |
|
Interprets themes/ideas
from the works seen |
1 |
2 |
3 |
4 |
|
Self-evaluates
knowledge and skills |
1 |
2 |
3 |
4 |
|
Knowledge/Understanding |
||||
|
Supports
ideas/opinions with examples |
1 |
2 |
3 |
4 |
|
Recognizes
connections between various art forms used |
1 |
2 |
3 |
4 |
Comments:
Multimedia Project
The purpose of
this project is to encourage the participants to sample the many areas of
performing and visual arts.
Using a theme concept
you will explore ideas, images, symbols, etc., to create a mixed
media/site-based performance piece.
Project Outline
1. Using Dance and Visual Arts and 2 of
the following media, music/sound, text/poetry, film, slides, video, computer
images, negotiate and select at least two additional media that
will be used to express your theme/concept.
2. Storyboard and script your piece or
create a series of 10 different images depicting varying viewpoints of your
site-based installation. Include written descriptions to clarify the drawings.
Decide where the audience will be placed (consider audience perspective), e.g.,
audience is placed in the middle of the performance site; audience travels
through a performance site, etc.
3. Negotiate the roles of the project and
how group members will contribute to the artistic process and performance of
the piece such as designing, choreographing, performing, and technical
operations during performance, etc.
4. Document the process of creating your
piece using a Production Book, (optional produce an edited video
documentation of the process and performances).
5. Build a site-based performance art
piece that is between 5-10 minutes long, exploring the theme.
6. Design a poster and promote the piece
two weeks prior to the final performance.
7. Perform in a dress rehearsal and final
performance of the piece.
Nervous?
For some of you this
may be the first time working with more than one discipline, and this may cause
some uneasiness. Feel assured that you are probably not alone. The group
process in this project is critical to the success and enjoyment of the work.
It is important to establish clear roles in the group, so that everyone feels
valuable, and has a special responsibility. Once the roles have been
established, participants are accountable to their teachers and their group.
How to be an excellent
participant:
1. Demonstrate the ability to listen
attentively.
2. Value and respect the input of others.
3. Negotiate and compromise.
4. Demonstrate the willingness to try new
things, and risky stuff.
5. Use time wisely and productively
6. Demonstrate initiative and leadership.
Due Date:
_______________
Brainstorm your initial
ideas for your multimedia piece using the web. This is a useful way to visually
represent your ideas.
Due Date:
_____________
Participants Names
|
1. |
4. |
|
2 |
5. |
|
3. |
6. |
Using the Web
Model with all of the initial brainstorming ideas, synthesize your ideas
and briefly describe the vision for your performance piece. It is expected that
your project proposal will be word processed, clearly written, and organized. This
proposal will be submitted with your production book (see Multimedia calendar).
Evaluation of
Proposal
This rubric will
provide a framework for a teacher-developed rubric.
|
Achievement Categories |
Expectations |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Thinking/Inquiry |
o
Proposal clearly synthesizes brainstorming ideas o
Theme/Ideas are strong and convincing o
Theme/Ideas are well constructed o
Artistic scope for the performance piece is clear o
Project is feasible |
|
|
|
|
|
Communication |
o
Proposal is organized o
Writing is clear o
Proposal is word processed |
|
|
|
|
Choose 1 or 2 of the
following jobs/roles:
1. Choreographer(s): will conceptualize the use
of movement in the performance piece, make choreographic decisions regarding
the use of space, movement quality, phrasing, dynamics, level, be responsible
for warming-up performers before rehearsals and performances, notate the
choreographic process and submit it to the producer for the production book.
2. Dancers/Performers: will assist the
choreographer in making choreographic decisions regarding the piece, take
responsibility for warming themselves up before a rehearsal, be punctual for
rehearsals, review choreography learned each day, participate fully and with
energy in rehearsal, and finally perform the final work.
3. Set/Prop/Object Designer: will submit
drawings/sketches of plans in the production book, [drawings must include
dimensions], collect appropriate materials for construction purposes, and
construct his/her designs.
4. Producer(s): will manage time & space,
[create rehearsal/production schedule, book studios or classrooms], use network
for materials, production book management, budget management, [edited] still
image documentation of experience [photos/slides or video], collect production
book submissions from other group members.
5. Lighting/Special Effects Designer and
Operator: must submit a lighting and special effects plan, work closely with
storyboard manager and choreographers, operate lighting and special effects
during performance, submit plans and cues for lighting to the producer for the
production book.
6. Sound/Music Designer and Technician/Operator:
will help conceptualize appropriate sound/text/music choices, create a polished
sound score, get copyright permission for any music used, cite all music, sound
and text for program purposes, submit information for the program information sheet
to the producer for the production book.
7. Story Board Designer and Manager: will work
closely with all designers to get a sense of the sequence of the performance
piece, include all technical cues in each frame (so that technical crew will be
able to follow it), submit thumbnail sketches, and final storyboard to the
producer for the production book.
8. Costume/Make up Designer and Manager: in
partnership with other designers will conceptualize and design the costuming
and makeup for performers, submit drawings and sketches to the producer for the
production book.
9. Film/Video/Slides Designer and Operator: will
conceptualize the use of this technology in partnership with the other
designers, create the film/video/slides, communicate cues with the storyboard
manager, operate any projection device. Plans, storyboard, notes, etc. must be
submitted to producer for the production book.
10. Poster Designer/Marketing Manager: will design
and plan layout for a poster to promote the piece, be responsible for printing
and distributing the poster. The poster will include: title of piece, imagery
that reflects the meaning of the piece, dates, time and site location of piece,
and the names of the group.
11. Rehearsal/Production Director: will video tape
or photograph the rehearsals, keep the rehearsal/work session focused, take
notes and provide feedback to the choreographers and design team regarding the
artistic intent of the work, submit developed photographs, unedited video
footage, and rehearsal notes to the producer.
This process will
ensure accountability to the group and to the teachers. How well you do your jobs will be reflected
in the process mark of this project.
Assigned
date: _________
For Works In
Progress
Groups will present
their work in progress. Dates will be assigned to your group. On your
assigned presentation day you are expected to share your plans or intentions to
date in the following manner:
1. You will present or perform a preliminary
(rough) run-through of your piece in progress and give an oral explanation. Be
prepared to talk about choreographic structure and form, use drawings or
storyboards, to fill in details that may not be present in your rough
run-through. During this conference it is expected that you will refer to and
use the contents of your production book. It is expected that students will set
up and strike their performance site and arrange with teacher technical support
equipment for that day.
2. You will submit your production book in progress,
which will include the following items:
A Checklist:
Production Book In Progress
|
Check if Complete 4 |
Expectations |
|
|
Production book
log entries to date |
|
|
Group list of
names and negotiated project roles |
|
|
Preliminary drawings
of installation, site, props/objects and costumes |
|
|
Schedule of
rehearsals is included on calendar |
|
|
Calendar of
deadlines (using your multimedia calendar handout) |
|
|
Still shots (5 black
and white photos or 10/12 slides or video documentation |
|
|
Proposal/sketch
demonstrating concept and layout of promotional poster |
|
|
Storyboard
(thumbnail sketches) |
Feedback
This rubric will
provide a framework for a teacher-developed rubric.
How well does the group present the concept
or theme through the various media?
Level 1 Limited Success
Level 2 Moderately Successful
Level 3 Considerably Successful
Level 4 Exceptionally Successful
|
Achievement Categories |
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Thinking/
Inquiry |
o Music/sound score complements ideas. o Movement vocabulary/dance style selected is
appropriate for ideas. o Site/performance space considerations and
logistics have been fully explored o Staging/choreographic form/structure is
appropriate to theme. o Audience placement or perspective has been
considered. |
|
|
|
|
|
Communication |
o Presentation is effectively organized. o Each person in the group contributes to the
presentation equally. o Students refer to their storyboard, drawings,
sketches, photographic materials, floor plans, etc. in the production book to
help clarify the direction or scope of their piece. o Students respond to questions with
confidence. o Overall impression of presentation
Is the
sum greater than its parts? |
|
|
|
|
Due Date:
___________
|
Title of Piece: |
||
|
Music Credits (artist and title of piece): |
||
|
Design Team (full name): |
||
|
Credits (for use of any non-original text or
imagery): |
||
|
Special Thanks: |
||
|
Statement/quotation/synopsis
of piece: |
||
|
·
Programme
information complete ·
Submitted by
deadline |
Yes |
No |
This rubric will
provide a framework for a teacher-developed rubric.
Due Date:
____________
Level 1 Limited Success
Level 2 Moderately Successful
Level 3 Considerably Successful
Level 4 Exceptionally Successful
Group Evaluation
|
Achievement Categories |
Criteria |
Level 1 (50-59%) |
Level 2 60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Communication |
o Logs are thorough and easy to read. o Logs effectively documents the process. o Production book is effectively organized,
i.e., -
Uses labelled
tabs -
Includes a
table of contents -
Separates the
book into manageable categories o Calendars include rehearsal schedule,
internal and external deadlines. o All stages of writing, and drawings are
strong and effective. |
|
|
|
|
|
Thinking/
Inquiry |
o The student evaluates the quality of his/her
own work as he/she document the process. o The student reflects on feedback from
teachers. o The student analyses and evaluates his/her artistic
choices to ensure that artistic intent is maintained. |
|
|
|
|
|
Communication |
o The
student contributes drawings, notes, plans, sketches, cue sheets, ensuring that
anything pertaining to his/her specific role and responsibilities is complete
and included in the group production book. o The
students individual contribution is organized and easy to follow. |
|
|
|
|
This rubric will
provide a framework for a teacher-developed rubric.
Evaluators Name
____________________ Group
No. ____________
Due Date:
_______________
Complete the
following evaluation of your self and peers by entering their individual
names at the top of each participant column. Refer to the scale provided:
|
1 Never |
2 |
3 Sometimes |
4 |
5 Always |
Knowledge/Understanding
|
Criteria |
Self |
|
|
|
|
|
|
Demonstrates effective
communication skills(listens attentively and responds appropriately) |
|
|
|
|
|
|
|
Values and
respects the input of others |
|
|
|
|
|
|
|
Demonstrates
creative problem-solving skills |
|
|
|
|
|
|
|
Demonstrates cooperative
skills (a team player) |
|
|
|
|
|
|
|
Meets internal
deadlines |
|
|
|
|
|
|
|
Completes assigned
jobs. |
|
|
|
|
|
|
|
Uses
class/rehearsal time productively |
|
|
|
|
|
|
|
Comes to class or
rehearsal prepared to work |
|
|
|
|
|
|
|
Contributes
consistently throughout project. |
|
|
|
|
|
|
|
Total Marks |
|
|
|
|
|
|
Note: teachers may wish to use selected information
from this evaluation tool for the learning skills portion of the report card.
This rubric will
provide a framework for a teacher-developed rubric.
Is the sum greater
than its parts?
Level 1 Limited Success
Level 2 Moderately Successful
Level 3 Considerably Successful
Level 4 Exceptionally Successful
|
Group Evaluation |
Criteria |
Achieved Level |
|||
|
Achievement
Categories |
Composition |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Thinking/ |
The sum is greater
than its parts. Content of piece
is thoughtfully constructed. Theme/idea/source
is effectively explored. Chosen sound
score, music, or spoken text enhances the theme/ideas. |
|
|
|
|
|
Application |
Students
effectively explored various compositional manipulations to communicate their
theme/ideas. Students
effectively apply compositional forms and structures. Students develop
movement vocabulary that is appropriate to their theme/ideas. Students utilize prior
knowledge of the dance elements (time, space, shape, energy) in their piece. Students blend the
four artistic media effectively. Students smoothly
integrate and implement the use of technologies/other media (lighting, video
projection, overhead projection, music, sound, spoken text - live or
recorded), objects, sets, etc. |
|
|
|
|
|
Communication |
Artistic intent is
clear. Theme/concept is
communicated effectively through the art forms. |
|
|
|
|
Feedback to
Students:
This rubric will
provide a framework for a teacher-developed rubric.
Is the sum greater than its parts?
Level 1 Limited Success
Level 2 Moderately Successful
Level 3 Considerably Successful
Level 4 Exceptionally Successful
|
Group
Evaluation |
Criteria |
Achieved Level |
|||
|
Achievement
Categories |
Composition |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Thinking/
Inquiry |
·
The sum is greater
than its parts. ·
Content of
piece is thoughtfully constructed. ·
Theme/idea/source
is effectively explored. ·
Chosen sound
score, music, or spoken text enhances the theme/ideas. |
|
|
|
|
|
Group
Evaluation |
Criteria |
Achieved Level |
|||
|
Achievement
Categories |
Composition |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Application |
·
Students
effectively explored various compositional manipulations to communicate their
theme/ideas. ·
Students
effectively apply compositional forms and structures. ·
Students
develop movement vocabulary that is appropriate to their theme/ideas. ·
Students
utilize prior knowledge of the dance elements (time, space, shape, energy) in
their piece. ·
Students blend
the four artistic media effectively. ·
Students
smoothly integrate and implement the use of technologies/other media
(lighting, video projection, overhead projection, music, sound, spoken text -
live or recorded), objects, sets, etc. |
|
|
|
|
|
Communication |
·
Artistic intent
is clear. ·
Theme/concept
is communicated effectively through the art forms. |
|
|
|
|
This rubric will
provide a framework for a teacher-developed rubric
Is The Sum Greater Than Its Parts?
Level 1 = Limited
Success Level 2 = Moderately Successful Level 3 = Considerably Successful
Level 4 = Exceptionally Successful
|
Group Evaluation Achievement Categories |
Criteria |
Achieved Level |
|||
|
Composition |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
|
Thinking/
Inquiry |
The sum is greater
than its parts. Content of piece
is thoughtfully constructed Theme/idea/source
is effectively explored. Chosen sound score,
music, or spoken text enhances the theme/ideas. |
|
|
|
|
|
Application |
Students
effectively explored various compositional manipulations to communicate their
theme/ideas. Students
effectively apply compositional forms and structures. Students develop
movement vocabulary that is appropriate to their theme/ideas. Students utilize
prior knowledge of the dance elements (time, space, shape, energy) in their
piece. Students blend the
4 artistic media effectively. |
|
|
|
|
|
Communication |
Artistic intent is
clear. Theme/concept is
communicated effectively through the art forms. |
|
|
|
|
This rubric will
provide a framework for a teacher-developed rubric.
Level 1 = Limited
Success Level 2 = Moderately
Successful Level 3 = Considerably
Successful Level 4 = Exceptionally
Successful
|
Individual Evaluation of Dance Students Achievement Categories |
Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Application |
Dance
Performance |
|
|
|
|
|
|
Student
demonstrates increased technical proficiency in dance, showing coordination,
endurance, flexibility, musicality, rhythmic sense, quality of movement and
strength in their performance. Student
demonstrates an understanding of projecting oneself during performance. |
|
|
|
|
Course
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