Course
Profile Dance (ATC4M),
Grade 12, University/College Preparation, Catholic and Public
Unit 4: Performance
Time: 30 hours
This unit
constitutes a culminating performance task whereby students rehearse, produce,
and perform dance works as part of their own titled performance. Students use
their own group pieces created in
Unit 3 and rehearse and refine them to be presented on stage. Students learn,
rehearse, and perform a class piece. Students are responsible for the promotion
and production of the final performance. Finally, the performance is
videotaped. Following the performance, the videotape serves to initiate
discussion, reflection, and analysis as well as appropriate portfolio material
for college/university entrance.
|
Activity |
Time |
Learning Expectations |
Assessment Categories |
Tasks |
|
1. |
3 hours |
THV.02,
TH2.04, CRV.01, CRV.02, CRV.03, CR1.02, CR1.03, CR4.03, ANI.03 |
Knowledge/
Understanding Thinking/ Inquiry Application |
Rehearsing/
Refining Preparation for Performance |
|
2. |
16 hours |
THV.02,
TH2.04, CRV.01, CRV.02, CRV.03, CR1.01, CR1.02, CR1.03, CR2.01, CR2.05,
CR2.06, CR3.01, CR4.03, ANI.03 |
Knowledge/
Understanding Thinking/ Inquiry Communication Application |
Choreographing
or Setting class piece based on a Bible passage Rehearsing/ Refining |
|
3. |
7 hours |
THV.02,
TH2.04, CRV.01, CRV.03, CRV.04, CR1.01, CR1.02, CR1.03, CR2.06, CR3.01,
CR3.02, CR3.03, CR4.01, CR4.02, CR4.03, CR4.04, ANI.03 |
Knowledge/
Understanding Thinking/ Inquiry Communication Application |
Promotion/
Production Roles Prepare Cue Sheets Performance |
|
4. |
4 hours |
THV.01,
THV.02, TH1.01, CRV.04, CR2.06, CR4.02, ANV.01, AN1.01, ANI.02, ANI.03,
AN1.04, AN2.04 |
Knowledge/
Understanding Thinking/ Inquiry Communication Application |
Reflection
and Analysis Career
Correlations Video editing Portfolio |
Time: 3 hours
This unit
constitutes a culminating performance task whereby students rehearse, produce,
and perform dance works as part of their own titled performance. Students use
their own group pieces created in
Unit 3 and rehearse and refine them to be presented on stage. Students learn,
rehearse and perform a class piece. Students are responsible for the promotion
and production of the final performance. Finally, the performance is
videotaped. Following the performance, the videotape serves to initiate
discussion, reflection, and analysis as well as to provide appropriate
portfolio material for college/university entrance.
Refer to
the Expectations Chart at the beginning of the unit.
·
Units
1, 2, and 3
·
In
Unit 3, students created original dance compositions based on three genres of
dance. It is assumed that these composition pieces are fully choreographed and
complete to the point where they can be rehearsed and refined for
presentation/performance “onstage” for an audience.
·
Prepare
Appendix 4.1 – Evaluation of the Rehearsal Process.
·
Prepare
Appendix 4.2 – Safe and Effective Rehearsal Practices.
·
Prepare
Appendix 4.3 – Self-Assessment of the Rehearsal Process.
·
Arrange
for rehearsal space.
·
Arrange
for CD/cassette players.
· Arrange for a video camera(s) and blank video cassettes (1 video cassette per group).
· Provide a handout on the production roles in dance (see Public Dance Course Profile for Grade 10, Open, Appendix 4.6, p. 18 and/or Catholic Dance Course Profile for Grade 11, University/College Preparation, Appendix 3.3, p. 12).
·
The
teacher informs the students that their genre composition pieces created in
Unit 3 are to be rehearsed and refined for performance “onstage” and preferably
outside the classroom for an audience that encompasses more than the Grade 12
dance classes.
Note: If the classroom is the only performance space available consider transforming this space into a performance space. (Interesting lighting effects can be created with an overhead projector by covering the lens with plastic wrap and dropping or smearing food colouring on top. Lamps and lights brought from home can also be used effectively. (Check them for safety.) Sets and backdrops can be created using old sheets or material, paper, etc. Be creative. Teachers must be sensitive to safety precautions when using a variety of materials.
·
The
teacher presents the requirements of this culminating performance unit valued
at 30% of the course, and reviews the methods of assessment and evaluation with
the students.
·
The
teacher hands out copies of Appendix 4.2 – Safe and Effective Rehearsal
Practices to the students and conducts an oral review of these
practices/procedures.
·
The
teacher organizes/structures the rehearsal sessions for the students with the
following considerations in mind:
· the unique aspects of the various groups involved;
· the number of groups involved;
· the number of adequate rehearsal spaces.
·
The
teacher explains to the students that they as dancers are required to rehearse
their own dance piece.
·
The
teacher emphasizes that rehearsal sessions must be well organized with a
specific focus/intent in mind.
·
The
teacher outlines the following areas of focus during the rehearsal sessions:
· accurate representation of choreography (style, characterization);
· musicality (timing, phrasing);
· technique;
· performance quality/expression.
·
The
teacher informs the students that they have three one-hour sessions to rehearse
and refine their dance pieces.
·
The
teacher chooses dancers from each group to conduct the rehearsal, i.e., act as
rehearsal captains. Every dancer in the group should at some point have the
opportunity to act as rehearsal captain, depending upon the size of the groups.
·
The
teacher leads the students in a 10-minute warm up at the beginning of each
rehearsal (refer to Appendix 4.2 – Safe
and Effective Rehearsal Practices regarding warm up).
·
Rehearsal
captains lead the rehearsal focusing on the outlined areas of focus (four in
total) as well as dance and rehearse the dance piece several times during the
rehearsal session. During every rehearsal, the dance piece needs to be
rehearsed with all of the dancers involved.
·
The
teacher provides students with the opportunity to act as servant leaders using
Jesus as a role model, assisting, helping, and coaching each other in pursuit
of a common goal, e.g., the rehearsal and refinement of their genre dance
pieces.
·
The
teacher instructs the rehearsal captains that at various points during each
rehearsal (at least once per one-hour session) they are to ask the teacher or a
dancer from another group to videotape a rehearsal performance of their dance
piece. (Dancers will probably have to share the use of a video camera. However,
it would be helpful if each group had their own videocassette.)
·
Rehearsal
captains and their dancers take at least five minutes of each rehearsal session
to view, analyse, and critique their dance piece with the four focus areas in
mind.
·
Rehearsal
captains and dancers function as a cohesive group to address and discuss the
strengths and weaknesses of their group piece. They discuss ways to effectively
deal with any areas of concern and work towards further refining their dance
piece.
·
The
teacher observes, and whenever necessary, assists in the rehearsal refinement
processes, conferencing with the various groups and offering suggestions.
·
The
teacher and students collaboratively make decisions regarding the technical
aspects of their upcoming performance, e.g., costumes, sets, and lighting.
·
The
teacher makes anecdotal comments throughout this activity to assist in the
evaluation process.
·
The
teacher leads all dancers in a short cool down. (Appendix 4.2 – Safe and
Effective Rehearsal Practices)
·
The
teacher instructs students to evaluate their own involvement in the rehearsal
and refinement process i.e., the genre dance piece(s), and hands out copies of
Appendix 4.3 – Self Assessment of the Rehearsal Process.
·
The
teacher assesses the rehearsal refinement process throughout the activity and
provides the students with ongoing feedback, Appendix 4.1 – Evaluation of the
Rehearsal Process.
·
The
teacher assesses the students’ ability to demonstrate leadership and work
collaboratively.
·
The
teacher collects students’ self-assessment of their involvement in the
rehearsal refinement process of the genre dance piece(s), Appendix 4.3 – Self
Assessment of the Rehearsal Process.
Students
with physical limitations can adapt movement as necessary.
Anderson,
Jack. Ballet and Modern Dance.
ISBN 0-87127-172-9
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic Process.
Hawkins,
ISBN 0-916622-66-5
Howse,
Justin and Shirley Handcock. Dance Technique and Injury Prevention.
Lawson,
Joan. Teaching Young Dancers.
ISBN 0-7136-2414-0
Martins,
Peter.
Watkins,
Andrea and Priscilla M. Clarkson. Dancing Longer Dancing Stronger.
Baryshnikov
– The Dancer and
The Dance, Kultur International, 121 Hwy. 36 W.
Lestor
Horton: Warm Up.
Paul
Taylor: Dancemaker,
a film by Mathew Diamond (Available through Teacher's Video
Dance
Collection Danse – http://www.web.net/dancecol
Dance
Dancer
Transition Resource Centre – http://www.interlog.com/-dtrc/
Dance
Teacher – http://www.dance-teacher.com
Dance
Magazine – http://www.dancemagazine.com
Footnotes
– http://www.bravo.ca/footnotes/
Time: 16 hours
Students learn, rehearse, and refine
a dance piece for presentation onstage. This dance piece is choreographed to
include the entire dance class, using Bible passages as a stimulus or theme.
Through the process of learning and rehearsing increasingly complex dance
movements found in this class piece, students gain increased technical
proficiency, and further develop expressive skills which can be directly
applied to the performance setting. Students focus on developing skills that
allow them to work as interdependent group members and self-reliant performing
artists. Students strive for the achievement of excellence and integrity in
their own work as dancers/performers and learn to support these qualities in
the work of others.
Refer to
the Expectations Chart at the beginning of the unit.
Units 1,
2, and 3
The
class piece should be choreographed to suit and include all members of the
class. It should be appropriate for the class in terms of their maturity,
technical proficiency, and compositional experience. Accommodations should be
made for students with physical or learning limitations. This class piece
should be both interesting and challenging, and allow for the further
development of technical and performance skills.
Several
options or approaches can be taken in terms of creating this class piece:
Option
1 – The teacher
choreographs the class piece.
Option
2 – A guest artist choreographs
the class piece.
Option
3 – The teacher, in
collaboration with the students, choreographs the class piece.
(In
all three options it is advisable to include the students as much as possible
in the choreographic process. This activity uses Option 3.)
·
Research
the Bible for appropriate passages to act as a stimuli/theme for the class
piece.
Compile a list of appropriate Bible passages (6-10) to choose from and make photocopies for the students. Examples include:
The Birth of Jesus – Luke 2:
8-20, Matthew 1:1
The Parable of the Prodigal Son
– Luke 15:25
The Parable of the Good
Samaritan – Luke 10: 25-37
The Sermon on the Mount (The
Beatitudes) – Matthew 5: 1-7. 29
The Crucifixion – Luke 24:8 Mark 15: 16-20, Matthew 27: 33-56
The Passion and Resurrection –
Matthew 26:25
The Ascension – Luke 24: 36-51
·
Research
and compile music to accompany the list of Bible passages. Examples include:
Bach Mass in B Minor, Bach Christmas
Oratorio, Barber Adagio for Strings, Best of Koto The Music of
·
Prepare
a sufficient number of copies of Appendix 4.4 – Evaluation of the Choreographic
and Rehearsal Process Rubric.
·
Arrange
for rehearsal space, preferably a large open space with a sprung floor.
·
Make
arrangements for CD/cassette tape players, video camera, television/VCR, blank
video and audiotape cassettes, extension cords, plus any other equipment
required
·
Research
and compile any other materials to assist in the choreographic process, e.g.,
pictures, newspaper, and magazine articles, etc.
I Preparations Before Choreographing (2
hours)
· The teacher explains to the students that they will be learning, rehearsing, and refining a class piece in preparation for performance on stage, and that they will have 16 hours to do this.
· The teacher explains that he/she will assume the role of choreographer in collaboration with the students, and that everyone involved is expected to take an active role in the creative choreographic process.
· The teacher explains that compositional structures and forms studied in the past, e.g., Motif, Theme and Variation, etc. are to be considered and incorporated where appropriate in the creation of this class piece.
· The teacher explains the concept of interdependence and discusses the importance and consequences of working as “interdependent team members.”
Example: Coming together is a beginning,
Keeping together is progress,
Staying together is success.
· The teacher explains that a Bible passage will be used as the stimulus for this class piece and that teacher and students must collaboratively arrive at a decision as to which passage would best suit the class.
· The teacher provides the students with a compiled list of appropriate Bible passages from which to choose and instructs the students to review the list of Bible passages.
·
The teacher and students
collaboratively choose a passage to act as the theme for their class piece.
Students and the teacher should take ample time to arrive at a decision as to
which passage would work best. The next task is to identify some ideas as to
how to best express this theme. Examples: Narrative approach or
Impressionistic approach.
· The teacher and students brainstorm, analyse, discuss, and eventually decide collaboratively upon a method of approach in the creation of their class piece. It is important that all students be allowed to express their ideas and opinions.
· Once a passage/theme and choreographic approach have been decided upon, the teacher provides students with various musical recordings that might best express/reflect the chosen theme. Students should be encouraged to bring in music of their choice for consideration as well.
· Students and the teacher collaboratively choose music for the class piece.
· The teacher provides students with a copy of Appendix 4.4 – Evaluation of the Choreographic and Rehearsal Process Rubric and explains the evaluation criteria.
· The teacher discusses the importance of students’ having a specific focus/intent in mind during the choreographic and rehearsal sessions.
II The
Choreographic Process (11 hours)
· The teacher leads the students in a 10-minute warm up at the beginning of each choreographic session (Appendix 4.2 – Safe and Effective Rehearsal Practices).
· The teacher and students begin the process of choreographing their class piece, making any necessary adjustments along the way.
· The teacher and students collaboratively create movement phrases that express/reflect the theme and coincide with the chosen music. Students may work individually or in small groups to create these movement phrases. Movement phrases should be created with the premise/intent that they are technically challenging for the dancers involved.
· Compositional forms and structures previously studied are discussed, reviewed, and incorporated where appropriate.
· Students and the teacher use improvisation as a means of generating movement phrases/ choreography.
· Movement phrases are shared with the entire class.
· The teacher provides students with the opportunity to act as servant leaders, using Jesus as a role model, assisting and coaching each other in pursuit of a common goal, such as learning, rehearsing, and refining their class piece.
· The teacher, in discussion and collaboration with the class, chooses movement phrases to be incorporated into the piece.
· The teacher acts as the visionary/guiding force in bringing this class piece to fruition.
· At the end of each choreographic session, the teacher videotapes students rehearsing the sections they have learned. This video can be viewed by the teacher to monitor the group’s progress, and can be viewed by the students and the teacher at the beginning of the next choreographic session for analytical purposes.
· The teacher leads the dancers in a cool down at the end of each choreographic session.
· The teacher makes anecdotal comments throughout the choreographic process in order to assess the students’ progress.
· The teacher and students collaboratively choreograph a three- to seven-minute class piece.
III Refining the Completed Work (3 hours)
· Once the class piece is complete, the teacher spends the last three hours rehearsing, refining, and polishing the class piece and working on problem areas with a particular focus on:
· spacing, e.g., patterns, interrelationship of small groups, etc.;
· cleaning the choreography, e.g., accuracy of movement, attention to style and characterization, musical accuracy, timing, etc.;
· refining the performance quality of individual students, e.g., dynamics, accents, characterization, etc.
Note: Videotaping rehearsal performances should be more frequent at this
point and students and the teacher should continue to use these videotapes for
analytical purposes.
Much of
the work created in this activity could be adapted for use in liturgies and masses,
e.g., liturgical dance.
·
The
teacher assesses student progress; making anecdotal notes, using video
documentation, and providing ongoing verbal feedback and conferencing.
·
The
teacher assesses the students’ ability to work co-operatively and
interdependently.
·
The
teacher evaluates students’ achievement at the end of Activity 2 on the basis
of criteria found on Appendix 4.4 – The Evaluation of the Choreographic and
Rehearsal Process Rubric.
Students
with physical limitations adapt movement as necessary.
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic Process.
Cameron,
Julia and Mark Bryan. The Artist’s Way: A Spiritual Path to Higher
Creativity.
Catholic
Book of Worship 3.
ISBN 0-8889997-301-6
Cooper,
Susan. Staging Dance.
DuPont,
Betty and Joan Schlaich. Dance. The Art of Production.
Gather: Volumes 1-3.
The
Holy Bible, The New Revised Standard Version
Humphrey,
Doris. The Art of Making Dances.
ISBN 0871271583
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.
Cyberdance
– http://www.cyberdance.org/
Dance
Links – http://www.dancer.com/dance-links/
Voice
of Dance – http://www.voiceofdance.org
–
http://www.yahoo.com/arts/Performing_Arts/Dance
**
Guest Artists may be available from a variety of sources, often at a minimal
cost to the school. Suggested Sources include:
·
Artists
in Residence Program, an Ontario Arts Council funded program
·
Professional
Dance Companies–at times professional dancers who have an interest or desire to
choreograph enjoy working with students.
·
University
and College Dance Programs – often students have composition pieces, which they
have created and would be willing to provide students for a minimal fee.
·
Schools
for the Arts – senior students with extensive choreographic experience may have
a piece suitable for Grade 12 students.
·
Private
Dance Studios – often teachers and choreographers from private studios are
willing to choreograph for school programs.
Time: 7 hours
Students
learn from promoting and producing a performance of their “genre” piece(s) and
a repertory piece. Through performing, students demonstrate increased technical
proficiency in dance. Challenges to solve problems effectively as a class
allows students to draw on Christian leadership and collaboration skills. As in
Activity 1, students are required to take initiative and demonstrate Christian
leadership based on Jesus as the model of servant leadership. Students are
required to work as interdependent group members who demonstrate sensitivity,
caring, and respect for others. Students learn effective organizational and
cooperative skills. Resourcefulness and self-direction skills are highlighted
to assist students to put on a successful performance. Students demonstrate an
understanding of the increasingly complex technical skills of stagecraft and
production management as well as the technical aspects of rehearsals and
performances. Students use technology effectively in their performance.
Students synthesize their understanding in order to arrive at their collective
artistic voice.
Refer to
the Expectations Chart at the beginning of the unit.
Units 2,
3 and Unit 4 – Activities 1 and 2
·
Survey
students to determine prior learning levels. Provide a handout on the
production roles in dance (Public Dance Course Profile for Grade 10, Open,
Appendix 4.6, and/or Catholic Dance Course Profile for Grade 11,
University/College, Appendix 3.3).
·
Provide
students with a large, safe, open space, preferably with a sprung floor.
·
Identify
the best performance area of the school and implement modifications, if
applicable, to create a suitable and safe performance environment. Note:
If it is the gym, the teacher needs to ensure that there is a sound system and
a stage lighting system available. It may be necessary to liaise with the
audiovisual and/or multi-media departments or for the school to rent equipment.
·
Arrange
for CD/cassette tape players, video camera, extension cords, blank audio and
videocassette tapes and any other technical support needed. If these items are
not available in the school, the school may need to rent them.
·
Copy
the Promotion/Production Checklist (Appendix 4.5 – Promotion/Production
Checklist). Note that for a performance of this size it may be unrealistic for
students to fulfill all of the promotion/production roles. Some of the roles
may be done in a hypothetical fashion.
·
Copy
Appendix 4.6 – Technical Information Form.
·
Appendix
4.7 – Assessment of Promotion/Production Roles
·
Appendix
4.8 – Evaluation of Performance for the class.
I Production Roles
· The teacher leads a review discussion on the promotion and production aspects of dance focusing on the duties and responsibilities of each role.
·
The teacher provides students
with a copy of the Promotion/Production Checklist
(see Appendix 4.5 – Promotion/Production Checklist).
· Students decide who will fulfill each production role based on the students’ strengths and interests. If students experience difficulty in reaching a consensus, there could be a blind voting process. The collaborative process in this project is critical to the success and enjoyment of the work. Once the roles have been clearly established, students are accountable to their teacher and their group.
·
Note that for a performance of
this size it may be unrealistic for students to fulfill all of the
promotion/production roles, some of the roles may be done in a hypothetical
fashion. Example: What would you do if you had an unlimited budget and
resources for the performance?
· Students begin to complete their promotion and production tasks. Many of these responsibilities are self-directed and completed outside of class time. The teacher, therefore, checks that these tasks are completed via the Teacher Tracking Sheet (see Appendix 4.7 – Teacher Tracking Sheet). The teacher monitors and provides oral and anecdotal feedback. Students refine their progress and continue the process.
II Technical Rehearsal
· The teacher provides students with Appendix 4.6 – Technical Information Form.
· Students complete the form and prepare for aspects of the technical rehearsal.
· Students submit the form to the teacher for evaluation.
· The teacher evaluates progress and provides feedback and/or conferencing (see Appendix 4.7 – Teacher Tracking Sheet).
· The teacher discusses the importance of key lighting principles, e.g., colour, direction, mixing, fading.
· Students set the sound and lighting cues for the “genre” piece(s) using the example template below.
Example:
|
Choreographer
_________________________ Title of Dance Piece ______________________ |
Order
in Program ____________________ Music
_____________________________ |
|||||
|
Cue |
Description/Movement/Notes |
Sound Cue |
Time |
Time Out |
Transition Description |
|
|
1 |
Lighting
begins with music 2
dancers begin on stage downstage centre |
0:01 |
0:01 |
0:32 |
10 sec. fade in |
|
|
2 |
4
dancers in a diagonal line |
0:32 |
0:32 |
|
5 sec. |
|
|
þ |
þ |
þ |
þ |
þ |
þ |
|
· Students submit the form to the teacher for evaluation.
· Students work out spacing, exits, and entrances in the performance space.
· The teacher sets the sound and lighting cues for the repertory piece. (Note: Some students may be adept with sound and lighting cues and wish to collaborate with the teacher on this aspect of the performance.)
· The teacher monitors and provides oral and anecdotal feedback.
· Students refine their progress and continue the process.
III Dress Rehearsal
· The teacher ensures safe practices are applied in all sites, e.g., tighten loose fixtures, wash performance surface, tape down cords, etc.
· Students warm up their bodies for performance, put on costumes, apply make-up, cue tapes/CDs, and set up technical support equipment.
· The teacher reinforces appropriate audience etiquette and behaviour as well as performance behaviour and etiquette, e.g., quietly entering and exiting site, staying focused.
· The teacher oversees that students are doing their jobs for a smooth run of the performance.
· The teacher advises students of the importance of planning the technical rehearsal two days prior to the actual performance.
· The teacher collects Appendix 4.6 – Technical Information Sheet and distributes them to the appropriate technical crew member. A technical crew may be organized through a drama class. If this is not possible, members of the dance class can make up the technical crew.
· Students run the performance in the correct program order on the prearranged date with sound and lighting cues in place.
· Students collaboratively solve problems that arise.
· The teacher monitors and provides oral and anecdotal feedback.
· Students refine the performance and continue the process.
IV The Performance
· The teacher provides students with a copy of Appendix 4.8 – Evaluation of Performance and reviews the Learning Expectations.
· The teacher leads students in a discussion of the importance of documenting and archiving their dance performances for the future, e.g., for audition purposes, for remounting their choreography, for university/college entrance, etc.
· The teacher reviews appropriate and applicable copyright law and discusses issues concerning artistic responsibilities.
· The teacher provides an example of a talent release form and discusses the legalities and responsibilities of its use.
· The teacher arranges to have the performance recorded. (Note: It may be useful to solicit the help of a multi-media student/teacher/reliable senior student.)
·
Students work in teams to
create an editing log for the rough video footage. Extension: The students
create a storyboard prior to editing their footage.
· Students select from the rough video footage (collected in the performance) to create their Personal Performance Portfolio in Activity 4.
· Students may wish to connect with the Yearbook/Website Committee to document and promote their work.
· Throughout this activity, the teacher provides students with opportunities to act as servant leaders using Jesus as a role model.
· The teacher facilitates the students in an advisory capacity, i.e., helpful hints/suggestions from the teacher will assist/guide students.
· Students run the performance for an audience.
· The teacher monitors and provides oral and anecdotal feedback.
·
The
teacher monitors the students’ progress and provides oral and anecdotal
feedback, conferencing during the learning process.
·
The
teacher assesses students on completion of tasks and provides feedback for
refinement using Appendix 4.6 – Technical Information Form.
·
The
teacher evaluates the promotion/production skills using Appendix 4.7 – Teacher
Tracking Sheet.
·
The
teacher evaluates the final performance using Appendix 4.8 – Evaluation of
Performance.
Students
with physical limitations can adapt movement as necessary.
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic Process.
Cameron,
Julia. The Artist’s Way: A Spiritual Path to Higher Creativity.
Catholic
Book of Worship 3. ISBN 0-8889997-301-6
Cooper,
Susan. Staging Dance.
Hayes,
R.R. Dance Composition and Production.
The
Holy Bible, The New Revised Standard Version
Hoggett,
C. Stagecraft. A&C Black Publishers. 1975. ISBN 0-713-615575
Humphrey,
Doris. The Art of Making Dances.
Schlaich,
Joan and Betty DuPont, eds. Dance: The Art of Production.
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.
–
http://www.dancer.com/dance-links/
–
http://www.danceronline.com/htm/linksnew/links6.html
–
http://www.voiceofdance.org
–
http://www.yahoo.com/arts/Performing_Arts/Dance
Time: 4 hours
Students
use video technology to analyse, interpret, and evaluate the genre piece(s) and
the class piece. Students develop oral and written evaluation skills to discuss
the formal structure and the meaning of the choreographic works. Students
explain and support their artistic decisions in relation to their own
compositions and what they observe and interpret in the other student pieces.
Students develop an increased sensitivity to, and understanding of, the
ideas/feelings of the other dancers/choreographers in the class. Students
develop an understanding of the relationship between aspects of performance and
production and evaluate the process and results from the performance. Students compile
a personal performance video portfolio in dance and appropriate audition
materials for college/university and other career-related options.
Refer to
the Expectations Chart at the beginning of the unit.
Unit 1,
2, 3, and Unit 4 – Activities 1, 2, and 3
·
Survey
students to determine their knowledge/understanding of concepts in terms of how
to review/critique dance works.
·
Provide
a review handout of dance review/critique criteria (see Catholic Dance Course
Profile for Grade 10, Open, Unit 5, Activity 4, p. 11-13).
·
Survey
students’ IEP’s in preparation for discussion on work/career-related
correlations.
·
Review
criteria for evaluation of the video portfolio (Appendix 4.9 – Checklist of the
Contents of the Performance Video Portfolio).
·
Ascertain
and organize scheduling for use of video-editing equipment and where necessary
review how to edit rough footage to create the final product.
I Viewing
and Analysing their own Performance
· The teacher leads a discussion on the dance review process and discusses each of the criteria, namely:
a) first
impressions;
b) description/analysis;
c) interpretation;
d) judgement
(their opinion).
· Students watch the first piece two to three times making notes based on the criteria.
· The teacher leads the class in a discussion to share their reviews of the first composition piece.
· Students systematically view each choreographic work using the same process noted above.
· Students submit their written reviews to the teacher for evaluation.
II Post-production Discussion
· The teacher facilitates discussion, and students take notes focusing on post-production aspects, e.g., collaboration, artistic elements of the choreography, and personal performance experience.
· The teacher writes these points on the board and students discuss their experience and feelings about:
a) the
rehearsal process;
b) publicity;
c) the
technical aspects of the performance, e.g., sound, lighting, etc.;
d) the
costumes, props, and backdrops/sets;
e) the
program;
f) the
performance and audience response.
· Students discuss their experience, their feelings, and the value of the project.
· Students make suggestions for improvements to be included in future considerations.
· The teacher reads and responds to students’ observations and comments.
III Creating a Personal Performance Video
Portfolio
· The teacher discusses the purpose and importance of a video portfolio/archive, e.g., auditions, grant proposals and submissions, entrance to university/college, etc.
· The video portfolio will consist of two components.
· Component 1: Rough video footage to make the student’s individual video portfolio. Note: Students will not all have the same video portfolio because they are in different pieces.
· Component 2: A final edited video documentation of the performance.
Note:
Students may wish to transfer their work
into digital format, e.g., CD-ROM. If this performance will be included on a
website, the teacher will need to review issues surrounding copyright and the
use of permission and talent release forms.
· The teacher provides a calendar of video editing time.
· Each student arranges for editing time and begins to construct their video portfolio.
· Students title and date the portfolio and catalogue each piece presented on the videotape.
· Students title and date the outside of the videotape/CD/DVD.
Note: Students may need to edit using two TV/VCRs if an editing suite or computer equipment/software is not available.
· Students submit the video portfolio to the teacher for evaluation.
The teacher assesses the students’ video
portfolio using Appendix 4.9 – Checklist of the Contents of the Performance
Video Portfolio.
Beatty,
Patricia. Form Without Formula. A Concise Guide to the Choreographic Process.
Cameron,
Julia. The Artist’s Way: A Spiritual Path to Higher Creativity.
Catholic
Book of Worship 3.
ISBN 0-8889997-301-6
Cooper,
Susan. Staging Dance.
DuPont,
Betty and Joan Schlaich. Dance. The Art of Production.
Hayes,
R. R. Dance Composition and Production.
Hoggett,
C. Stagecraft. A&C Black Publishers, 1975. ISBN 0-713-615575
The
Holy Bible, The New Revised Standard Version
Horst,
L. and C. Russell. Modern Dance Forms in Relation to Other Modern Arts.
Horst,
Louis and Carroll Russell. Modern Dance Forms. In Relation to the Other
Modern Arts. Princeton Book Company, Publishers, 1987. ISBN 916622525
Humphrey,
D. The Art of Making Dances.
Schlaich,
Joan and Betty DuPont, (eds.). Dance: The Art of Production.
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.
–
http://www.dancer.com/dance-links/
– http://www.dancehorizons.com
–
http://www.danceronline.com/htm/linksnew/links6.html
–
http://www.voiceofdance.org
–
http://www.yahoo.com/arts/Performing_Arts/Dance
Name: ______________________________
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Knowledge/Understanding Rehearsal/Refinement Process
Expectations: (wears proper attire, is punctual, warms up safely) CRV.03 |
|
|
|
|
|
Thinking/Inquiry Concentration/Focus:
(ability to recall dance sequences, applies corrections, stays on task, and
displays self discipline) CRV.02 |
|
|
|
|
|
Communication Group
Work: (collaborates, co-operates, works as an interdependent team member, is
sensitive towards others) CR4.04 |
|
|
|
|
|
Application Leadership:
(takes initiative/ demonstrates Christian leadership) |
|
|
|
|
|
Technical
Skills: (demonstrates increasingly difficult movement skills to the dance
form, co-ordination, strength, flexibility, control, etc.) CR4.03 |
|
|
|
|
|
Rehearsal
Skills (works safely, accurately depicts choreography with attention to style
and detail) |
|
|
|
|
|
Performance
Skills (uses facial expression, dynamics, proper musical phrasing and timing)
CRV.04 |
|
|
|
|
|
Artistic
Scope (focuses on the development of artistry and artistic integrity, and
recognizes these qualities in various dance works) |
|
|
|
|
Come Prepared
·
Students
should be punctual and come prepared for active participation. They should
arrive mentally and physically prepared (proper rest, nutrition, etc.).
·
Proper
dance attire is essential (dance clothing, footwear, hair up and out of the
way, no jewellery or excessively loose fitting clothing).
·
Bring
a water bottle, juice, or healthy snack (especially for long rehearsals).
Warm up (10-15 minutes)
Every
rehearsal session should begin with a proper warm up that includes the
following three components:
·
Whole
Body Movement to increase heart rates. This should be low-impact aerobic
activity.
·
Once
the heart rate is up and the body temperature has been raised, stretching
should take place. Begin with gradual, static stretching where you allow the
body to relax into a stretch position for
10–20 seconds. Never bounce stretch. Partner/facilitative stretching should not
be undertaken at this point. It is a safe and effective method of stretching
but only when the dancer is very warm, i.e., after a full class.
·
Specific
movements found in the type or style of dance to be performed should now be
incorporated into the warm up. For example, a dancer warming up to perform a
modern dance would incorporate some modern dance movements into the warm up;
whereas a dancer warming up to perform a ballet pointe dance would focus on
movements suited to the pointe piece.
Rehearsing: Portion 1 (20 minutes)
During
the first portion of the rehearsal dancers begin by marking movements, working
out problem areas, cleaning and spacing, etc. This allows more time for the
dancer to get fully warmed up, and physically prepared. Dancers should not be
asked to dance full out: no big jumps, lifts, or
Portion 2 (20 minutes)
During
this portion of the rehearsal session dancers should dance the piece full out.
Allow for breaks during these run throughs to analyse, clean, and refine the
choreography. It is counter productive to keep rehearsing a piece when there is
no time for reflection, or individual and small group refinement.
Cool down (10 minutes)
At the
end of rehearsal portion two dancers should cool down with some slow movements,
as well as some stretching. Stretching should take the form of either
gradual/static stretching or partner/facilitative stretching.
Student’s
Name: _________________________ Group
Name: ____________________
Instructions: Assess your involvement,
achievement, and effectiveness in the rehearsal process by checking the level
which best applies to you.
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Demonstrates
proper rehearsal practices (is punctual, wears proper attire, warms up and
cools down) |
|
|
|
|
|
Concentration/Focus
(is able to recall dance sequences and stay on task) |
|
|
|
|
|
Group
work (collaborates, co-operates, works well as group member) |
|
|
|
|
|
Sensitivity
to the feelings and ideas of others |
|
|
|
|
|
Technical
skills (demonstrates increasingly difficult movement skills) |
|
|
|
|
|
Initiative
taken to review and refine work on their own. |
|
|
|
|
|
Rehearsal
skills (works safely and effectively, accurately depicts choreography with
attention to style and detail) |
|
|
|
|
|
Performance
skills (uses facial expression, dynamics, proper musical phrasing and timing) |
|
|
|
|
|
Demonstration
of leadership qualities |
|
|
|
|
|
Contribution
to the rehearsal/refinement process |
|
|
|
|
Student’s Name: ______________________
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Knowledge/Understanding Choreographic/Rehearsal
Process Expectations: wears proper attire, warms up safely |
|
|
|
|
|
Thinking/Inquiry Concentration/Focus:
is able to recall dance sequences, applies corrections, stays on task, and
displays self discipline |
|
|
|
|
|
Communication Group
Work: collaborates, co-operates, works as an interdependent team member, is
sensitive towards others |
|
|
|
|
|
Application Composition/Choreographic
Skills: demonstrates good composition structures and principles, and is able
to create movements and sequences effectively |
|
|
|
|
|
Technical
Skills: demonstrates increasingly difficult movement skills in the dance
form, shows evidence of co-ordination, strength, flexibility, control, etc. |
|
|
|
|
|
Rehearsal
Skills: works safely and effectively, accurately depicts choreography with
attention to style and detail, takes initiative to review and refine work on
own |
|
|
|
|
|
Performance
Skills: use of facial expression, use of dynamics, proper musical phrasing
and timing, ability to express the theme or intent of the choreography |
|
|
|
|
|
Artistic
Scope: focuses on the development of artistry and artistic integrity, and is
able to recognise these qualities in various dance works |
|
|
|
|
|
Job Title |
Description |
Student Assuming Role |
Due Date |
Completion Date |
|
A. Budget |
Current
operating budget |
|
|
|
|
Possible
donations to the performance |
|
|
|
|
|
Allocation
of funds (publicity, costumes, technical) |
|
|
|
|
|
B. Publicity |
Poster
- design |
|
|
|
|
Posters
- printing |
|
|
|
|
|
Banners |
|
|
|
|
|
P.A.
announcements |
|
|
|
|
|
Newspaper
advertisements |
|
|
|
|
|
Tickets
- printing |
|
|
|
|
|
Tickets
- selling |
|
|
|
|
|
C. Program |
Program
order |
|
|
|
|
Gathering
information from choreographers |
|
|
|
|
|
Design
and Layout |
|
|
|
|
|
Photocopying
and Folding |
|
|
|
|
|
Programs
to box office |
|
|
|
|
|
D. Reception Coordinator |
Co-ordination
of all details of reception |
|
|
|
|
E. Master of Ceremony |
Speech |
|
|
|
|
Special
needs - microphone, podium |
|
|
|
|
|
F. Theatre Bookings |
Technical
rehearsal Q-Q (cue-to-cue) |
|
|
|
|
Dress
rehearsal |
|
|
|
|
|
G. Lighting |
Completion
and Collection of the Technical Information Form |
|
|
|
|
Lighting
Design submitted (from Technical Information Form) |
|
|
|
|
|
H. Sound |
Recordings
of audio cassettes/CDs made; labelled appropriately |
|
|
|
|
Collection
of recordings (ensure consistency) |
|
|
|
|
|
I. Backstage Manager |
Assistant
Stage Manager (someone to call dancers for each piece) |
|
|
|
|
J. Costumes |
Purchase
or creation |
|
|
|
|
K. Props/ Backdrops/ Sets |
Arranging
for the cleaning of dance floor |
|
|
|
|
Spiking
(marking) of stage floor; prop positions |
|
|
|
|
|
Hanging
of backdrops |
|
|
|
|
|
Strike
of set, clear and clean stage at end of performance |
|
|
|
|
Choreographer
__________________________ Title
of Dance Piece _______________________ |
Order
in Program _____________________ Music
______________________________ |
1. Dancer’s Starting Position
|
|
|
Audience |
____ On stage
____ Off stage
____ Some on stage, some off stage
2. Sound Cue
____ Before lights come up
____ At the same time as lights
____ After lights come up
____ Other
3. Blackout ___ Before piece ___ At end of piece
4. Props/Backdrops/Sets
|
Item |
|
Location on Stage |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Audience |
5. Main Lighting Colour
(Assuming
that stage lights are available to complete the following.)
|
___ Red |
___ Green |
___ Blue |
___ Yellow |
|
___ Purple |
___ Magenta/Pink |
___ |
|
6. Additional Lighting Requirements
|
____ Gobo |
___ Black Light |
___ Spot |
___ Strobe |
|
____ Cyclorama, etc. |
___ Other: ____________ |
||
7. Special Effects
____ Dried Ice ____ Smoke ___ Other: ____________
Student:
____________________________ Role:
____________________________
Completion
Date: ____________________________
|
|
Checklist for Completed Roles |
Completion Date |
YES 3 |
NO 3 |
|
A |
Budget
submitted |
|
|
|
|
B |
Publicity
work completed |
|
|
|
|
C |
Program
completed |
|
|
|
|
D |
Reception
co-ordinated |
|
|
|
|
E |
Master
of Ceremony |
|
|
|
|
F |
Theatre
bookings made |
|
|
|
|
G |
Lighting
completed |
|
|
|
|
H |
Sound
completed |
|
|
|
|
I |
Backstage
Manager secured |
|
|
|
|
J |
Costumes
completed |
|
|
|
|
K |
Props/Backdrops/Sets
completed |
|
|
|
|
Achievement Categories |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Application Technique (Demonstrates strength and
technical precision, flexibility, coordination, full range of movement) Musicality (Demonstrates accuracy of counts
and timing, rhythmic sense) |
|
|
|
|
|
Communication Performance
Skills (Exhibits
focus, stage presence, is able to communicate the message of the choreography
to the audience, demonstrates accurate quality of movement to express the
theme) Group
Work (Is
able to perform as a group effectively, co-operatively) |
|
|
|
|
|
Contents of Performance Video
Portfolio |
YES 3 |
NO 3 |
Comments |
|
Content ·
Quantity/quality of rough video footage |
|
|
|
|
Technical
Aspects ·
Consistent and smooth transitions ·
Consistent audio quality ·
Clarity and timing of titles and credits |
|
|
|
|
Overall
Presentation ·
Best representation of students’ work ·
Effective/organized order, e.g., chronological, thematic, etc. ·
Accurate labels |
|
|
|
Course Overview
| Unit 3 | Back to
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