Course
Profile Dance (ATC4M),
Grade 12, University/College Preparation, Catholic and Public
Unit 3: Composition
Time: 30 hours
Students
use improvisation, compositional forms, various approaches to choreography, and
complex dance forms to work on themes related to three genres of choreography.
Using a set of aesthetic principles, students create and demonstrate group work
and explain orally and in writing, the artistic intent. They use technology as
an analytical tool for creating dances. Students show increased proficiency in
creating, rehearsing, and performing dance. They demonstrate leadership,
problem solving, and sensitivity to others. They employ elements of composition
in increasingly complex dances forms and principles of technique that are found
in a broad spectrum of dance in
|
Activity |
Time |
Learning Expectations |
Assessment Categories |
Task |
|
1. |
2 hours |
THV.01,
CR2.01, CR3.01, ANV.01 |
Knowledge/
Understanding Thinking/ Inquiry Communication |
Review
of compositional concepts Improvisation Creation of movement studies |
|
2.
Improvisation/ Composition |
6 hours |
CR2.02,
CR2.05, CR3.01, ANV.01 |
Knowledge/
Understanding Thinking/ Inquiry Communication |
Improvisation
Creation of movement studies |
|
3. |
8 hours |
TH1.02,
TH1.03, TH1.04, CRV.01, CR1.02, CR3.01, ANV.01, ANV.02, AN1.02, AN1.04,
AN1.05, AN1.06 |
Thinking/
Inquiry Communication Application |
Improvising
to compose Choreography Composition and presentation of student pieces |
|
4. |
14 hours |
CR1.03,
CR2.03, CR2.06, CR3.01, CRV.02, CRV.03, ANV.01, AN1.04, AN2.01 |
Knowledge/
Understanding Thinking/ Inquiry Communication Application |
Choreography
Presentation Dance
Analysis |
Time: 2 hours
Through
improvisation, the creation of short movement studies, and the use of modern
dance technique, students review various dance forms and compositional
principles using appropriate terminology. Students analyse, interpret, and
evaluate the formal structures of composition, in their own work and the work
of Canadian artists. Throughout this activity, students demonstrate leadership
and good rehearsal and performance practices.
Refer to
the Expectations Chart at the beginning of the unit.
Unit 1 –
Strong Technique Leads to Artistry
·
Plan
a survey to determine student level of understanding of composition principles
and terminology and of skill development.
·
Plan
warm up activity.
·
Find
out if students have the resources for and are able to use technology:
· If they are going to use technology as part of their Unit 4 Culminating Performance Task, students should be aware of format as they begin to record in Unit 3. (e.g., PowerPoint®, iMovie2®, website, video, CD-ROM, DVD, still photography)
· The dance animation program Life Forms® can be used to explore concepts of composition either before or during choreography or as a method of documentation.
·
If
necessary, provide review and instruction.
·
The
teacher leads warm up using one or two of the principles of composition to be
reviewed, i.e., space, time, and dynamics.
·
The
teacher leads an improvisation exploring floor patterns that use curves, lines,
zigzag, and spiral patterns.
·
The
teacher reviews, through improvisation, the exploration of patterns that limbs
and other body parts can make in the air, alternating and encouraging use of
various levels, repetition, and linear and curved movement.
·
The
teacher reviews through improvisation, curved, angular, symmetrical and
asymmetrical body shapes, alternating and encouraging the use of different
levels.
· Students work in duets or trios to create shapes in relation to each other.
· Students share their work with the class.
·
The
teacher provides suggestions and constructive feedback for improvement.
·
Through
the manipulation of motif (studied in Grade 11 Dance Course), students, in
small groups, create a movement study exploring canon.
·
Formative
– The teacher assesses students’ level of understanding and execution of review
tasks and provides feedback through conferencing and class discussions.
·
The
teacher makes anecdotal notes on students’ progress and areas for improvement.
The
teacher provides assistance to students who have physical limitations.
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic Process.
Blom,
Lynne Anne and L. Tarin Chaplin. The Moment of Movement, Dance Improvisation.
Blom,
Lynne Anne and L. Tarin Chaplin. The Intimate Act of Choreography.
Hayes,
R.R. Dance Composition and Production.
Humphrey,
Doris. The Art of Making Dances.
ISBN 0871271583
Smith,
Jacqueline M. A Practical Guide for Teachers.
ISBN 0-7136-27-92-1
Time: 6 hours
This
activity emphasizes improvisation and creation using compositional principles
to explore movement that come from an authentic source, e.g., the breath. When
phrases of movement are built from an authentic source, the dance develops
richness in the genre investigated. Students analyse, interpret, and evaluate
by looking at their own work, how this authentic source is reflected in the
development of original/unique movement. Students demonstrate appropriate
leadership roles and attitudes.
Refer to
the Expectations Chart at the beginning of the unit.
Unit 1 –
Strong Technique Leads to Artistry, Unit 2 (as imbedded in Unit 3), Unit 3 –
Activity 1
·
Plan
exercises that use the breath phrase.
·
Allot
time for feedback in class.
·
Provide
assistance/guidance to students who lack prior knowledge.
I Warm up
The
teacher begins each class with a warm up to prepare the body and mind.
Example: Students start at the
low level using the breath in an even inhalation, they expand to a shape at the
middle level and on their exhalation, they return to the low level. They may
repeat this exercise exploring all three levels, varying the evenness of the
inhalation and the exhalation.
II Initial
Investigation of the Breath Phrase
Through teacher-directed exploration, students:
· look at the various ranges of dynamic changes that result from different breath tempos, e.g., breathe in slowly, out fast; in jaggedly, out suddenly;
· explore breath phrases through locomotion using assorted shapes and levels;
· analyse, in pairs to share with the class, how the breath phrase creates an authentic approach to these three elements of composition: locomotion, dynamic colouration, and body shapes.
III Building the Movement Study
· Students choose three or four phrases of movement originating from the breath stimulus and create a movement study.
· From this movement study, students write emotional reaction phrases that best reflect the dynamics of their solo.
· Students exchange phrases and use another student’s writing as a stimulus to create a new movement study.
· In groups of three or four, students connect these phrases to form a group study, noticing that the movement from the breath and the emotional intent translated through the writing may have similar dynamics and mood.
· Each group presents their breath study.
· Students reflect on one another’s works during class discussion.
·
The
teacher, through observation, assesses students’ level of understanding and
execution of tasks and provides feedback through conferencing, class
discussion, and anecdotal notes.
·
The
teacher assesses reflections.
·
Students
with physical limitations can adapt movement as necessary, e.g., a student may
breathe, expanding and stretching the body on their back and exhale while curling
onto their side.
·
The
teacher provides assistance/guidance to student reflection/writing when
necessary, (audio-taped response, scribed by parent/teacher/peer).
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic Process.
Blom,
Lynne Anne and L. Tarin Chaplin. The Moment of Movement, Dance Improvisation.
Blom,
Lynne Anne and L. Tarin Chaplin. The Intimate Act of Choreography.
Cameron,
Julia and Mark Bryan. The Artist’s Way: A Spiritual Path to Higher
Creativity.
Humphrey,
Doris. The Art of Making Dances.
ISBN 0871271583
Lincater,
K. Freeing the Natural Voice.
ISBN 0-89676-071-5
Tufnell,
Miranda and Chris Crickmay. Body, Space, Image: Notes Towards Improvisation
and Performance.
Turner,
Margery J. New Dance, Approaches to Non-Literal Choreography.
Time: 8 hours
Using a
variety of theoretical approaches to explore the work and contributions of a
wide variety of Canadian artists, students analyse and evaluate how the
cultural aspects of the work of these artists are reflected in three genres of
dance composition (see Appendix 3.1). By exploring these genres in their own
works, they recognize societal and artistic changes affecting current dance
forms in
Refer to
the Expectations Chart at the beginning of the unit.
Unit 1 –
Strong Technique Leads to Artistry, Unit 2 - Research
·
Decide
upon examples from the three genres to be studied ensuring that a variety of
cultures are represented, e.g., Native peoples, African, Israeli Folk, Baroque,
Renaissance dance forms, (Appendix 3.1 – Characteristics of Three Genres). Note:
The teacher may choose to present one or two or all three of the genres
depending upon the ability of the students.
·
Optional
– Have paper and markers available for the grid activity so that students
create labels for the grid, or provide prepared labels.
·
Plan
warm up exercise.
·
Allot
time for feedback in class.
·
Select
videotapes of dance artists’ works for the test.
·
Prepare
test (Appendix 3.2 – Genre Test).
·
Select
a number of Canadian choreographers’ works for the writing assignment.
·
Prepare
criteria for Evaluation of Writing Assignment (Appendix 3.3 – Evaluation of
Writing Assignment).
I Warm up
· The teacher plans warm up.
II Exploration of Elemental Genre
· Students observe video examples of dance and analyse how these styles share compositional principles that reflect the Elemental genre.
· Students discuss the connection between social dance and the Elemental genre. Both often involve simple patterning, are simple to learn, and are repetitious.
· Students choreograph a short sequence of movement that reflects the Elemental genre.
· In groups, each student teaches his/her choreography to the others.
· The group connects these sequences, focusing on floor pattern, relationships between dancers, and dynamics. Students perform their sequence to two contrasting but Elemental pieces of music, e.g., Mickey Hart’s Planet Drum and J. S. Bach’s, Brandenberg Concerto, No. 2.
III Exploration of Abstract/Atmospheric Genre
· Students choose three photos of Abstract/Atmospheric works of art, e.g., Rodin’s The Thinker, Camille Claudel’s Les Mains.
· Students create a solo study using three or four of these images to create their own atmosphere that reflects the mood of the stimuli.
· Students choose one of the photos as a stimulus for an opening position, create a movement phrase to move to a position representing the second photo, and create another movement phrase to move to a position representing the third photo and ending position.
· Students present their solo studies and photos to each other and discuss the mood that the study has set.
· The teacher divides the room into quadrants where each section represents a different dynamic/mood environment represented by a different set of impressionistic pictures.
Note: The teacher may wish to label the quadrants of the grid or have the students create labels for the grid quadrants.
· Students travel through the grid and physically investigate the environment set by the pictures.
· Students discuss how the grid forced them to change mood as they moved through it.
·
Students read prose or poetry,
e.g., Narrow Road To The Deep North by Matsuo Bashô or
Sonnet 24 by William Shakespeare and identify the mood words in order to
capture the mood in a movement study.
· Students exchange written stimuli with a partner and repeat the creative task.
· Students view each other’s work and comment on the similarities and differences of the interpretations.
IV Exploration of Narrative/Character Development
Genre
· Through improvisation students explore an emotional range, e.g., joyous, happy, contented, melancholy, frustrated, angry, discontent, depleted, apathetic.
· Students choose three emotions and create phrases, using abstraction to communicate a personal journey.
· Students colour-code their phrases, list the colours in the order that they are performed in their phrase and exchange the list with another student.
· The second student attaches his/her own interpretation of the emotional content of those colours and creates, using abstraction, their own reaction, e.g., some students may interpret yellow as movement that is light/sudden, while others may interpret yellow to be light/ sustained. Note: Since this is a creative process, all interpretations are acceptable.
· Students share their movement phrases with each other and discuss the similarities and differences in interpretation of the colour-coding of the emotions.
· Students invent a pleasant or unpleasant dream and define the emotional content of their pleasant or unpleasant dream. Caution should be used so that students are not expected to disclose beyond their comfort level.
· Students, in small groups, share the emotional content of their pleasant or unpleasant dream and create a story for a group pleasant or unpleasant dream.
· Through improvisation and collaboration, the small groups create a group pleasant or unpleasant dream in movement using an invented story.
· Students present their movement studies to the class.
· Observing students attempt to identify the content of the pleasant or unpleasant dream.
· Students choose a character in a work of an expressionistic or romantic artist, e.g., The Raft of Medusa by Theodore Gericault or Liberty Leading the People by Eugene Delacroix.
· Students create a movement phrase depicting the character’s emotional moment both before and after the image caught in the painting.
· Students divide into groups based on the work of art chosen and create a phrase of movement that captures the essence of the artist’s work chosen. Students should be supplied with the characteristics of expressionism and romanticism in painting. Students end the movement phrase in a tableau.
· Students share their phrases with the class and discuss how the new tableau captures the essence of the artist’s work.
· In pairs, students choose a social issue, e.g., power, rivalry, alienation, abuse, homelessness, terrorism, and define the emotional content of the issue.
· Students create a short movement study in the Narrative/Character Genre to reflect the emotional content of the issue chosen. Students should focus on movement, not acting or tableau.
· Students present the study and the social issue used as a stimulus.
· The class discusses the effectiveness of the choreography to express the issue and how it relates to the Narrative/Character Genre.
· Students view a videotape and identify the social issue and discuss the effectiveness of the dance, e.g., Ain’t Nobody’s Business by Danny Grossman.
V Writing Assignment
The
teacher distributes the writing assignment.
Example: Write a one-page essay about a dance by a Canadian choreographer
explaining how the theme reflects the predominant genre. How does the use of
the music, set, costumes, etc. enhance the predominant genre reflected in the
work?
Students with physical limitations can adapt movement as necessary, e.g., a student may interpret the genre with their strengths, communicating the issue chosen.
·
Formative
– Teacher assesses the level of understanding and execution of tasks and
provides feedback through conferencing and class discussions.
·
The
teacher evaluates students’ knowledge and understanding of the three genres
utilizing a test (Appendix 3.2 – Genre Test).
·
The
teacher evaluates the writing assignment (Appendix 3.3 – Evaluation of Writing
Assignment).
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic
Process.
Blom,
Lynne Anne and L. Tarin Chaplin. The Moment of Movement, Dance
Improvisation.
Blom,
Lynne Anne and L. Tarin Chaplin. The Intimate Act of Choreography.
Cameron,
Julia and Mark Bryan. The Artist’s Way: A Spiritual Path to Higher
Creativity.
Cooper,
Susan. Staging Dance.
DuPont,
Betty and Joan Schlaich. Dance. The Art of Production.
Grossman,
Danny. Endangered Species.
Catalogue No. 2002.
Hayes,
R.R. Dance Composition and Production.
Hinton,
W. Dance of Court and Theatre: The French Noble Style, 1690–1725.
Hoggett,
C. Stagecraft. A&C Black Publishers. 1975. ISBN 0-713-615575
Horst,
Louis and Carroll Russell. Modern Dance Forms. In Relation to the Other
Modern Arts. Princeton Book Company, Publishers, 1987. ISBN 916622525
Humphrey,
Doris. The Art of Making Dances.
Lincater,
K. Freeing the Natural Voice.
Laurin,
Ginette. Full House, O’Vertigo Danse.
Schlaich,
Joan and Betty DuPont, eds. Dance: The Art of Production.
Sherbon,
Elizabeth. On the Count of One: A Guide to Movement and Progression in
Dance.
Smith,
Jacqueline M. A Practical Guide for Teachers.
ISBN 0-7136-27-92-1
Tufnell,
Miranda and Chris Crickmay. Body, Space, Image: Notes Towards Improvisation
and Performance.
Dance
Collection Danse – www.web.net/dancecol/index.html
Dance
Online New Dance From Around the World (
InfoCulture
(CBC) – www.infoculture.cbc.ca/infoculture.phtml
Dansecape
– www.dancescape.com
Dance Magazine – www.dancemagazine.com
–
www.1000dictionaries.com/music_dictionaries_1.html
–
www.bolji.com/dances/tagore.htm
–
www.dancer.com/dance-links/other.htm#world
–
www.gardendigest.com/poetry/haiku6.htm
Time: 14 hours
Students
collaborate, in groups, to make a dance using a variety of theoretical
approaches and the formal structure and meaning of one of the genres studied.
Students assume appropriate leadership roles as they use and analyse their
personal artistic abilities, which they relate to possible career choices.
During the activity they analyse, interpret, and evaluate the choices made.
Refer to
the Expectations Chart at the beginning of the unit
Unit 1 –
Strong Technique Leads to Artistry, Unit 2 – Research, Unit 3 – Activities 1–3
·
Distribute
Appendix 3.1 – Characteristics of Three Genres, for student reference.
·
Plan
warm up exercise.
·
Allot
time for feedback in class.
·
Distribute
Rubrics – Appendix 3.3 – Evaluation of the Writing Assignment, Appendix 3.4 –
Evaluation of Group Composition (Elemental), Appendix 3.5 – Evaluation of Group
Composition (Abstract/Atmospheric) and Appendix 3.6 – Evaluation of Group
Composition (Narrative/character Development).
·
Determine
resources for students’ use (Appendix 3.7 – Supplementary Resources).
I Warm up
· The teacher leads warm up.
II Getting Ready
· Groups are formed as students pick the name of a genre “out of a hat.” They choreograph in this genre. All three genres will be represented equally in the culminating task.
· To assist cohesiveness and good communication in the collaboration, each student is responsible, at some point in the project, to be the person who makes the final decision on an aspect of the group effort, for example, the final choice of theme, music, artistic intent, etc.
· In their groups, students share their knowledge of the genre researched in Unit 2, to share ideas and make a thematic choice.
· Students choose the choreographic ideas that best reflect their theme and genre.
· Each student finds a piece of music that suits the theme.
· Each member of the group submits his or her choice of music and explains reasons for choice. Through collaboration, the group selects the one that is the most appropriate for the theme they want to explore.
· The teacher distributes the appropriate rubric and answers any questions.
III Choreographic Parameters
· Each student, using the principles in Activities 1 and 2, choreographs three to five phrases of movement that reflect the theme chosen, and shares them with the group. These phrases may be used as vocabulary for starting points or for transitions in connecting relationships between individuals/groups.
· Students continue to collaborate using good compositional principles to choreograph a three- to five-minute piece, highlighting characteristics of their genre.
· During the process, students videotape the work in progress for discussion/critique with the group and/or teacher.
IV Presentation
· Students present their piece to the class. The class critiques the work and discusses the effectiveness and visibility/clarity of the genre and communication of the theme. Notes are taken for the group for use for later refinement.
· The teacher arranges for videotaped documentation of the performance for archival purposes for use in Unit 4, and for evaluation by the teacher (Appendix 3.4 – Evaluation of Group Composition (Elemental), Appendix 3.5 – Evaluation of Group Composition (Abstract/Atmospheric), and Appendix 3.6 – Evaluation of Group Composition (Narrative/character Development)).
·
The
teacher assesses execution of tasks and provides feedback through conferencing
and class discussions.
·
The
teacher evaluates students’ composition using the appropriate rubric (Appendix
3.4 – Evaluation of Group Composition (Elemental), Appendix 3.5 – Evaluation of
Group Composition (Abstract/Atmospheric), Appendix 3.6 – Evaluation of Group
Composition (Narrative/character Development)).
Students
with physical limitations can adapt movement as necessary, e.g., a student may
interpret the genre with their strengths, communicating the genre chosen.
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic Process.
Blom,
Lynne Anne and L. Tarin Chaplin. The Moment of Movement, Dance Improvisation.
Blom,
Lynne Anne and L. Tarin Chaplin. The Intimate Act of Choreography.
Cameron,
Julia and Mark Bryan. The Artist’s Way: A Spiritual Path to Higher
Creativity.
Hayes,
R.R. Dance Composition and Production.
Hinton,
W. Dance of Court and Theatre: The French Noble Style, 1690–1725.
Horst,
Louis and Carroll Russell. Modern Dance Forms. In Relation to the Other
Modern Arts. Princeton Book Company, Publishers, 1987. ISBN 916622525
Humphrey,
Doris. The Art of Making Dances.
Tufnell,
Miranda and Chris Crickmay. Body, Space, Image: Notes Towards Improvisation
and Performance.
Notes: Teachers are encouraged to ask
students (and their parents) to contribute examples of Dance, Music,
Architecture, Visual Arts and Literature from their own culture. Teachers need
to be sensitive to the cultural backgrounds of their students who may choose a
very different, non-western view of genre.
Most
works of art exhibit one genre predominately but all works contain all three
genres to a greater or lesser degree. Examples include:
|
Stylistic Characteristics |
Compositional Principles |
Some Examples in Art Forms Note: An artist’s work may clearly demonstrate more than one genre (e.g.,
Philip Glass, James Kudelka) |
|
Elemental Genre ·
Stresses formal design, rhythm and repetition with geometric shapes/
formations, symmetry, simplicity and starkness of line ·
Is visual rather than emotional; the beauty of the form is appreciated
for what it is, not for what it suggests ·
Is cool, carefully designed, with an emphasis on neat clean
arrangements and good use of rules ·
Plays with space, time, energy, shape |
Elemental Genre ·
Movement themes are predominant and realized through the use of
repetition and patterning ·
Patterns are created in the air and/or on the floor as the body moves
through space ·
Symmetry and asymmetry of body shapes are created alone and in groups |
Elemental
Genre ·
Dance –
Merce Cunningham’s Points in Space, Twyla Tharp’s Catheryn Wheel,
David Earle’s Sacra Psalms, James Kudelka’s In Paradisium,
Christopher House’s Glass Houses ·
In Folk dances Senegalese, Israeli, Native American, Middle Eastern ·
See also the works of Doris Humphrey, Ruth St. Denis, Hanya Holm, and
Alwin Nicholais ·
Music –
Gregorian chants, Amadeus Mozart, J.S. Bach, Antonio Vivaldi, George
Albanoni, Johanne Pachabel, Riuchi Sakamoto, Ladysmith Monbasa, Steven Reich,
Philip Glass, Nellie (rap artist), Musika (Hungarian Folk Music), Inuit
Throat Singing, Divo, Techno-pop Music, e.g., Boy’s Brigade’s Saigon,
Africa, Progressive Rock Music, e.g., RUSH’s 2112 ·
Architecture
– Gothic (buttresses, repetition, balance, symmetry, e.g., The Rose Window),
St. Peter’s Bascilica ·
Painting –
M.C. Escher, Pop Art - Andy Warhol, Piet Mondrian, Jackson Pollock, Lee
Krasner ·
Literature
– Greek Drama, e.g., Oedipus Rex, choral speaking, Shakespeare’s
sonnets (iambic pentameter) |
|
Abstract/Atmospheric
Genre |
Abstract/Atmospheric
Genre |
Abstract/Atmospheric
Genre |
|
·
Creates a mood or atmosphere ·
Presents a general impression of an incident, a view, or an object,
rather than to record it in detail ·
Shows what the eye sees at a glance, not what it knows to be there ·
Requires an objective attitude with no personal comment ·
Requires participation by the viewer ·
Is appreciated of what it suggests rather than what it is |
·
Body shape and movements are used to establish relationships
within/between groups and individuals ·
Dynamics (colouring) are used to express themes to be explored |
·
Dance –
David Earle’s Sacra Conversazions, Alvin Ailey’s Revelations ·
In Native Indian Dance ·
See also the works of Paul Taylor, Murray Louis, Momix, Pilabolus,
Danny Grossman, Ginette Laurin, Sankai Juku, Trish Beatty, Butoh dance ·
Music –
Claude Debussy, Anton Dvorak, Eric Satie, Philip Glass, Jean Michelle Jarre,
Steve Reich, Philip Ross, Ruichi Sakamoto, movie sound scores, e.g., The
Mission, Merry Christmas Mr. Lawrence, The Last Emperor, Enchanted April, The
Little Buddah ·
Architecture
– Kenzo Tange, National Gymnasia in ·
Painting/sculpture – Claude Monet, Wasily Kandinsky’s Painting Winter, Emil
Dolde’s Wildly Dancing Children, Georges Serrat, Henry Moore, Edvard
Munch, Salvador Dali, Edgar Degas, Pierre-Auguste Renoir, Katsushika Hokusai’s
The Great Wave from 36 Views of Mount Fuji ·
Literature –
James Joyce’s Portrait of an Artist as a Young Man, August Strinberg’s
The Ghost Sonata, William Faulkner, Matsuo Bashô’s Narrow Road To
The Deep North |
|
Narrative/Character
Development Genre |
Narrative/Character
Development Genre |
Narrative/Character
Development Genre |
|
·
Stresses a strong personal statement, an active and colourful
interpretation of the theme ·
Requires participation of the viewer ·
Accents the development of character and vividness of expression ·
Demonstrates strength of emotion and communicates mental state |
·
Character development establishes vivid relationships within and
between groups ·
Dynamics are used to the point of distortion to create an active and
colourful interpretation ·
Linear narrative (beginning, rising action, climax, denouement, and
resolution) reflects internal emotions |
·
Dance - James Kudelka’s In Paradisium, Danny Grossman’s Endangered
Species, Kenneth MacMillan’s Romeo and Juliet, Menaka Thakkar’s Ganesh
Nartanum, Homage To Tagore, Zab Maboungou’s Reverdance ·
In East Indian and Chinese Dance ·
See also the works of Mary Wigman, Martha Graham, Margie Gillis,
Vivine Scarlett, Rina Singha ·
Music –
Igor Stravinsky, Guiseppe Verdi, Giacamo Puccini, Vaughan Williams, Pyotr
Illych Tchaikovsky’s Romeo and Juliet, Hector Berlioz, Indian Ragas,
United Kulture ·
Architecture
– Frank Lloyd Wright, Guggenheim in ·
Painting/sculpture – Eugene Delacroix, Theodore Gericault, Australian Aboriginal’s E-ray
figure of a Kangaroo, Vincent Van Gogh’s The Potato Eaters, Edvard
Munch’s The Cry, Salvador Dali’s Sacrament of the Last Supper,
Ontario Petroglyphys ·
Literature –
Literature – Melodrama – Tennessee Williams’ The Glass Menagerie, Murder
In The Cathedra, Garcia Lorca’s Blood Wedding |
Name: _____________________
Watch
the videos.
1. In the space provided, identify the
predominant genre of each video and explain in paragraph form.
(3)
Video #1 Genre: __________
Using the knowledge explored in class, support your reasons, giving 2 specific examples for identifying video #1 as the genre chosen.
(3)
Video #2 Genre: __________
Using the knowledge explored in class, support your reasons, giving 2 specific examples for identifying video #2 as the genre chosen.
(3)
Video #3 Genre: __________
Using the knowledge explored in class, support your reasons, giving 2 specific examples for identifying video #3 as the genre chosen.
2. Keeping in mind that all three genres may be
represented in a work of art, choose one of the videos and discuss how all
three genres are embodied in the dance shown.
(6)
Total
Marks (15)
The
rubric will provide a framework for a teacher-developed rubric.
Example
of Writing Assignment: Write a one-page essay about a dance by a Canadian
choreographer explaining how the theme reflects the predominant genre. How does
the use of the music, set, costumes, etc. enhance the predominant genre
reflected in the work?
|
Achievement Categories and
Criteria |
Achievement Levels |
|
|||
|
Level 1 |
Level 2 |
Level 3 |
Level 4 |
||
|
Knowledge/Understanding |
|
|
|
|
|
|
Recognizes suitable connections between various art
forms used |
|
|
|
|
|
|
Thinking/Inquiry Interprets themes/ideas clearly
from the work seen |
|
|
|
|
|
|
Reflects aptly on a dance based on the principles of the
genre |
|
|
|
|
|
|
Communication Correct spelling Correct grammar Correct punctuation ANV.01 |
|
|
|
|
|
|
Expresses idea clearly (organized, logical) |
|
|
|
|
|
Title of
Dance: _________________________________________________
Group
Members: _______________________________________________
|
Achievement Categories |
Composition Criteria |
Achievement Level |
|||
|
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Application |
A) The genre of
the piece is thoughtfully explored as shown by predominant themes,
ritualistic patterns, and repetition. Theme/idea is enhanced by: |
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Music |
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Movement
vocabulary |
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Form/Style
of dance |
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B) Students
effectively apply good compositional principles: |
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Form |
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Repetition |
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Theme
and variation |
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Air
pathways |
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Floor
Patterns |
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Symmetry
and Asymmetry |
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Body
shape – curved/linear |
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Appropriate
movement vocabulary |
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Positive
and negative space |
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Dynamics |
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Communication |
Theme
is communicated |
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The
genre is communicated |
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The
genre is represented symbolically in movement. |
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|
Performance
energy/technique enhance the mood |
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Title of
Dance: _________________________________________________
Group
Members: _______________________________________________
|
Achievement Categories |
Composition Criteria |
Achievement Level |
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|
Level 1 |
Level 2 |
Level 3 |
Level 4 |
||
|
Application |
A) The genre of the piece is explored as shown
by the relationship of dancer to another dancer and the dynamics used to set
the mood. Theme/idea enhanced by: |
||||
|
Music |
|
|
|
|
|
|
Movement
vocabulary |
|
|
|
|
|
|
Form/Style
of dance |
|
|
|
|
|
|
B) Students effectively apply good compositional
principles. |
|||||
|
Relationships |
|
|
|
|
|
|
Dynamics |
|
|
|
|
|
|
Form ( |
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|
|
|
Air
pathways |
|
|
|
|
|
|
Floor
Patterns |
|
|
|
|
|
|
Focus |
|
|
|
|
|
|
Body
shape – curved/linear |
|
|
|
|
|
|
Positive
and negative space |
|
|
|
|
|
|
Appropriate
movement vocabulary |
|
|
|
|
|
|
Communication |
The
mood is communicated |
|
|
|
|
|
The
genre is communicated |
|
|
|
|
|
|
The
genre is represented symbolically in movement. |
|
|
|
|
|
|
Performance
energy/technique enhance the mood. |
|
|
|
|
|
Title of
Dance: _________________________________________________
Group Members: _______________________________________________
|
Achievement
Categories |
Composition
Criteria |
Level 1
Limited Success |
Level 2
Moderate Success |
Level 3
Considerable Success |
Level 4
Exceptional Success |
|
Application |
A. The genre of
the piece is thoughtfully explored as shown by the use of colouration and
narrative form as a reflection of internal emotion. Theme/idea enhanced by: |
||||
|
Music |
|
|
|
|
|
|
Movement vocabulary |
|
|
|
|
|
|
Form/Style of dance |
|
|
|
|
|
|
B. Students
effectively apply good compositional principles. |
|||||
|
Relationships |
|
|
|
|
|
|
Dynamics |
|
|
|
|
|
|
Form ( |
|
|
|
|
|
|
Air pathways |
|
|
|
|
|
|
Floor Patterns |
|
|
|
|
|
|
Focus |
|
|
|
|
|
|
Body shape – curved/linear |
|
|
|
|
|
|
Positive and negative space |
|
|
|
|
|
|
Appropriate movement vocabulary |
|
|
|
|
|
|
Relationships |
|
|
|
|
|
|
Communication |
The narrative/ character is communicated |
|
|
|
|
|
The genre is communicated |
|
|
|
|
|
|
The genre is represented symbolically in movement. |
|
|
|
|
|
|
Performance energy/technique enhance the story/ characterization. |
|
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|
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|
Note: Teachers are encouraged to ask
students (and their parents) to contribute examples of Dance, Music,
Architecture, Visual Arts and Literature from their own cultures.
Visual Arts Books
Clay,
J. Modern Art 1890–1918.
Duval,
P. Canadian Impressions.
ISBN 0-7710-2964-0
Hartt,
F. ART: A History of Painting, Sculpture, Architecture. Volume 1.
Kellor,
H. The Great Book of French Impressionism.
Kendal
R. Monet by Himself.
ISBN 0-356-17595-2
Laurent,
Monique Rodin.
Murray,
J. The Best Contemporary Canadian Art.
ISBN 0-88830-318-1
Raeburn,
M. An Outline of World Architecture.
ISBN 0-7064-02561
Roberts,
N. Impressionism and European Modernism, The Sirak Collection,
Henri
Matisse: Paintings and Sculptures in Soviet Museums.
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