Course Overview

Dance, ATC4M, Grade 12, University/College Preparation

Prerequisite: Dance, Grade 11, University/College Preparation or Open

Course Description

This course emphasizes the development of technical proficiency and the creation and presentation of complex compositions. Students will acquire increasingly difficult technical skills; assume leadership as dancers, choreographers, and production personnel; analyse and evaluate dance performances; and study historical and cultural aspects of dance, especially of dance in Canada.

How This Course Supports the Ontario Catholic School Graduate Expectations

Dance leads students to an integration of the whole self: mind, body, heart, and soul. Participation in dance helps Catholic learners to develop a confident, positive sense of self as they explore and represent the ideas, values, and relationships depicted in the Gospel. Dance provides students with a unique, physical way of participating in the liturgy. Because dance can be a communal art form, students develop a respect for the dignity and welfare of others as well as opportunities to exercise Christian leadership in the achievement of individual and group goals. Ontario Catholic School Graduation Expectations have been listed for each unit of this course within the Course Overview. Unit 4 of this Course Profile has been written with a Catholic perspective.

Course Notes

This course has been designed to accommodate any dance form or combination of forms that may be offered. Unit 1 is intended to build upon the technique that students have previously developed in
Grade 11. The technique presented in this unit will be used throughout the course. It is highly recommended that students experience three forms of dance, e.g., ballet, modern, jazz, etc. in order to prepare them for entrance to either college or university. (Note: Teachers may wish to focus on three styles, e.g., Graham, Limon, and Cunningham within the modern form.)

Unit 2 focuses on the roots, function, and characteristics of three different genres. Students examine the evolution of one or more of the genres as well as the social and political events that have impacted on it through connections with other art disciplines looking at a variety of music, drama, visual arts, and literature and how choreographers have used the stylistic characteristics of these genres in their work. Students research the genres and present their findings. (Note: It is suggested that in Unit 2, teachers allow students to explore genre examples in a jigsaw method with an opportunity to create their own labels and categorize the examples accordingly.) The exploration of genres is the precursor to related activities in Unit 3.

Unit 3 allows students to work intensively with one another to create and to present dance. The unit has been designed to provide the students with key skills they will need to be successful in the culminating task of the course. In order to make Unit 3 meaningful and authentic to the work explored, Units 2 and 3 are to be delivered as interlocking threads, where the results of the research from Unit 2 become the stimuli for the practical work in Unit 3.

Unit 4 contains the culminating activity worth 30% of the students’ final grade. This is a practical/ performance unit in which the students share dances they have created in Unit 3. Students create a new piece of dance and/or learn and perform a repertory piece and produce the final performance.

Safety

Teachers must reinforce principles of safety in dance at all times. Proper warm up and cool-down protocol must be observed. The technical level of the students must be considered in order to set realistic technical goals in the classroom. Because touch is essential to this art form, teachers must establish a safe classroom environment in which the students are aware of their responsibility to respect the comfort level of others. The emotional safety of students must be protected throughout all activities.

Classroom/Performance Space

It is essential that students have sufficient room to perform exercises and patterns without jeopardizing their own safety or the safety of others and that they dance on a sprung floor that will not cause injury, either short- or long-term. For example, students should not dance on cement, splintered wood, or uneven surfaces. There should be sufficient ventilation and appropriate temperatures for safe movement, e.g., not too cold. Students should have access to a performance space, showers, and a change room facility. Music should not be played consistently at a high volume. Equipment in the classroom must be inspected regularly, e.g., barres, mirrors, lights.

Accompaniment

Teachers use a wide variety of accompaniment according to what is available to them, being sensitive to the religious significance of some music. Teachers may work with musicians on a daily or an occasional basis. Suggestions are listed in Resources. Teachers should be aware of copyright regulations (SOCAN - Society of Composers, Authors and Music Publishers of Canada) for the use of recorded and/or live music in performance. Teachers should also consider having students develop dance pieces without music. Senior music students may be able to develop appropriate music to accompany pieces for performance. At times, it may be appropriate to have students accompany pieces with sounds, text, or a combination of sounds and text.

School and the Community

The dance program provides ideal opportunities for developing relationships between the school and the community. Teachers may invite dance artists to give lectures, demonstrations, choreographic input, etc. Field trips enable the students to view professional dance and performances in other schools, and attend workshops, master classes, and lectures. Involving parents and other members of the community strengthens and enriches the program. It is particularly important in communities in which such opportunities are not available that the school brings resources into the community. Teachers and school administrators, working in co-operation with provincial organizations, e.g., Ontario Arts Council, and cultural groups, can organize classes, video presentations, etc. and can invite dance artists to live and teach in the community for a limited time.

Career Planning and Life Skills

Dance programs can provide opportunities for students to develop life skills that are of value in many types of employment or careers. It should be clear to students that the secondary school dance program is not pre-professional training that leads directly to a career in dance. Some students may wish to take further training that prepares them for a professional career; others may wish to pursue a career in related fields, such as administration, production, stage, costume, and set design. Teachers should provide these students with information on realistic career planning, including the kinds of preparation necessary for entrance into particular fields in dance and in related occupations.

Students who intend to take dance at university or college should be aware that an audition is required for entrance to most dance programs. Most students require additional training beyond the school classroom to gain admission to a technique-based program. Students should also be made aware of university/ college programs, which focus on dance theory, history, and/or criticism and do not require strong technical expertise for admission.

Suggested Basic Equipment

Television, video cassette recorder, video camera(s), still camera(s), digital camera(s), video editing equipment (analog and/or digital), scanner(s), computers with Internet access

Units: Titles and Time

Unit 1	Strong Technique Leads to Artistry	40 hours
Unit 2	Research	10 hours
* Unit 3	Composition	30 hours
* Unit 4	Performance	30 hours

* These units are fully developed in this Course Profile.

Unit Overviews

Unit 1: Strong Technique Leads to Artistry

Time: 40 hours

Unit Description

Students develop increased technical proficiency in and understanding of the dance form(s) they are studying in the course. Within any form, technique focuses on body awareness, alignment, development of strength and flexibility, co-ordination, musicality plus the development of specific movement skills. Students use technique in various ways to extend their artistic scope. In their focus on technique, students develop an understanding (through direct application) of the muscular and skeletal systems, plus the importance of safety, hygiene, and nutrition as they relate to dance. Through the use of videotape, students analyse personal technique and artistic abilities and are able to discuss how they may relate or compare to those of various professional dance artists. The focus of all of the activities is to develop a strong technical base which can then be applied to other areas of dance technique, such as composition and performance.

Unit Synopsis Chart

Activity	Time	Learning Expectations	Assessment Categories	Focus
Activities vary according to the dance form(s) being taught in the course.	40 hours	THV.01, THV.02, TH1.01, TH2.01, TH2.02, TH2.03, CRV.01, CRV.02, CR1.01, CR1.02, CR1.03, CR2.04, CR3.01, ANV.02, AN1.03, AN2.01 CGE2b, CGE2d, CGE3e, CGE4f, CGE4g, CGE5c, CGE5g, CGE7f	Knowledge/ Understanding, Application (emphasized), Thinking/Inquiry, Communication (to a lesser degree).	Acquisition of the dance technique appropriate to the form(s) being studied in the course.

Unit 2: Research

Time: 10 hours

Unit Description

Students create appropriate audition materials for college, university, and career-related options. Through this process they explore career opportunities in dance and relevant postsecondary programs and explain how characteristics and forms of dance are used in the media, the community, and cultural events. By comparing their personal artistic abilities and those required in the professional dance world, they link their knowledge about dance education and career options. Students research three genres in dance paying particular attention to changes in society and art. By looking at the connections with other art disciplines, students gain an understanding of the similarity of compositional elements and stylistic approaches inherent in each of the genres studied. Students examine and analyse the compositional structure of the works of various Canadian dance artists as it relates to these genres.

Unit Synopsis Chart

Activity	Time	Learning Expectations	Assessment Categories	Focus
Activities may vary. Suggestions: audition portfolio, historical and social analysis, and personal analysis	10 hours	THV.01, THV.02, TH1.01, TH1.02, TH1.03, TH1.04, CR2.06, CR3.01, CR3.02, ANV.01, ANV.02, ANV.03, AN1.01, AN1.02, AN1.03, AN1.04, AN1.05, AN1.06, AN1.07, AN2.01, AN2.02, AN2.03, AN2.04 CGE2b, CGE2d, CGE2e, CGE3e, CGE4e, CGE4f, CGE4g, CGE5c, CGE5g, CGE7f, CGE7g	Knowledge/ Understanding Thinking/ Inquiry Communication Application	Planning, Research, Organizing, Documentation, Presentation, Evaluation

Unit 3: Composition

Time: 30 hours

Unit Description

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 Canada and in the rest of the world effectively. Through analysing the significance and function of Canadian dance artists, students explore the formal structure and meaning of a broad spectrum of dance forms.

Unit Synopsis Chart

Activity	Time	Learning Expectations	Assessment Categories	Tasks
1. Review of Composition Skills	2 hours	THV.01, CR2.01, CR3.01, ANV.01 CGE2c, CGE2d, CGE4f, CGE5a	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 CGE2c, CGE2d, CGE4f, CGE5a	Knowledge/ Understanding Thinking/ Inquiry Communication	Improvisation Creation of movement studies Written reaction assignment
3. Exploration of Three Genres of Dance	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 CGE2c, CGE2d, CGE4f, CGE4g, CGE5a	Thinking/ Inquiry Communication Application	Improvising to compose Choreography Composition and presentation of student pieces
4. Choreography	14 hours	CR1.03, CR2.03, CR2.06, CR3.01, CRV.02, CRV.03, ANV.01, AN1.04, AN2.01 CGE2b, CGE2c, CGE2d, CGE2e, CGE3b, CGE3c, CGE3d, CGE3e, CGE4a, CGE4b, CGE4c, CGE4d, CGE4e, CGE4f, CGE4g, CGE5a, CGE5b, CGE5c, CGE5d, CGE5e, CGE5f, CGE5g, CGE7b, CGE7f, CGE7g, CGE7j	Knowledge/ Understanding Thinking/ Inquiry Communication Application	Choreography Presentation Dance Analysis

Unit 4: Performance

Time: 30 hours

Unit Description

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.

Unit Synopsis Chart

Activity	Time	Learning Expectations	Assessment Categories	Tasks
1. Rehearsal and Refinement of Genre Composition Pieces	3 hours	THV.02, TH2.04, CRV.01, CRV.02, CRV.03, CR1.02, CR1.03, CR4.03, AN1.03 CGE1c, CGE1d, CGE2a, CGE2b, CGE2c, CGE4a, CGE4b, CGE4c, CGE4d, CGE4e, CGE4f, CGE4g, CGE4h, CGE7b	Knowledge/ Understanding Thinking/ Inquiry Application	Rehearsing/ Refining Preparation for Performance
2. Choreograph or Set Class Piece and Rehearse/ Refine for Performance	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, AN1.03 CGE3b, CGE3c, CGE3d, CGE3e, CGE4a, CGE4b, CGE4c, CGE4d, CGE4e, CGE4f, CGE4g, CGE4h, CGE5a, CGE5c, CGE5e, CGE5f, CGE5g, CGE7b, CGE7j	Knowledge/ Understanding Thinking/ Inquiry Communication Application	Choreographing or Setting class piece based on a Bible passage or other text Rehearsing/ Refining
3. Production and Performance	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, AN1.03 CGE4a, CGE4b, CGE4c, CGE4d, CGE4e, CGE4f, CGE4g, CGE4h, CGE7b	Knowledge/ Understanding Thinking/ Inquiry Communication Application	Promotion/ Production Roles Prepare Cue Sheets Performance
4. Reflection and Analysis	4 hours	THV.01, THV.02, TH1.01, CRV.04, CR2.06, CR4.02, ANV.01, AN1.01, AN1.02, AN1.03, AN1.04, AN2.04 CGE2a, CGE2c, CGE2b, CGE2d, CGE2e, CGE7b	Knowledge/ Understanding Thinking/ Inquiry Communication Application	Reflection and Analysis Career Correlations Video editing Portfolio

Teaching/Learning Strategies

Teachers may wish to use different strategies throughout this course to suit students’ needs. Although the expectations for the three strands are listed separately in the policy document, instructional strategies encompass all of the strands in a holistic way. The students should dance as much as possible in the course.

	Teaching/Learning Strategies Used
Unit 3: Exploring Genres of Dance	Group activity, independent work, group work, teacher-directed discussion, brainstorming, self-discovery, whole group collaboration, shared reflection, exploratory exercises, self-assessment, discussion, leadership activities, role playing, problem solving, teacher facilitation, guided improvisation, peer feedback, logs
Unit 4: Performance	Hand-outs, logs, group discussion, brainstorming, student research, projects, teacher as facilitator, demonstration, lecture, guided improvisation, experimentation, information sharing, analytical writing, rehearsing, editing, revising, performing, problem solving, proposal writing, rationale writing, conferencing, collective collaboration, leadership activities, questioning, review, role playing, video-taping and self-observation, peer feedback

Assessment & Evaluation of Student Achievement

The assessment/evaluation in this course is divided into the four categories of the Achievement Chart and aligned with the principles found in The Ontario Curriculum, Grades 9 to 12, Program Planning and Assessment, 2000. The Knowledge/Understanding category embraces what students know both in their minds and their bodies. Therefore, some of their technical assessments may be included in the Knowledge category. The Application category includes assessments of the students’ application of their knowledge, particularly as demonstrated through their technique, and the creation, and presentation of dance. Therefore, students’ ability to apply the technique they know is assessed in the Application category. The Thinking/Inquiry category is used to gather assessments that demonstrate the students’ abilities to think and analyse what it is they have learned, again both in their minds and with their bodies. Finally, the Communication category comprises assessments of how well the students communicate orally, in writing, and through dance.

Teachers must ensure that the creative process is assessed.

Teachers must assess Learning Skills separately on the report card. However, some student behaviour, such as audience protocol at a performance, is assessed through the expectations and contributes to the student’s final evaluation in the course.

Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the course. Thirty per cent of the grade will be based on a final evaluation in the form of a performance examination and a promotion/production handbook.

Teachers create an overview of their assessment/evaluation tools in order to assist them with the challenge of devising authentic, valid, and varied assessment/evaluation. Teachers ensure that:

· both process and product are being assessed/evaluated;

· assessment/evaluation is balanced amongst “doing” dance, “talking about” dance and “writing about” dance with an emphasis on “doing;”

· a variety of assessment/evaluation strategies accommodating a variety of learning styles are used.

Teacher observation is the primary method of collecting assessment/evaluation information in a dance course. To assist the teacher in assessing/evaluating through observation, checklists and rubrics are useful. Videotaping is also invaluable for archival and process documentation purposes. These evaluations should be devised well in advance, with input from the students. Observations should be communicated to the students and, where practical, to parents before assessment/evaluation takes place. In this way, students understand the criteria being used by the teacher.

Accommodations

The dance program must allow the integration of exceptional students. Exceptionalities are defined in the Education Act as behavioural, communicational, physical, intellectual, and multiple. Individualized Educational Plans (IEPs) have been devised to meet the needs of exceptional students. Teachers should consult individual student IEPs for specific direction on accommodation for individuals. For example, technique for students who use a wheelchair may focus on ways of using the upper body and moving the chair through space. Assessment must be adapted to accommodate a student’s degree of exceptionality. Teachers must adjust safety procedures to accommodate the needs and activities of exceptional students. ESL students may require modification of instruction and assessment. Enriched programs in dance should stress the acquisition of advanced knowledge and the development of critical and problem-solving skills in the creation and presentation of dances.

This list of accommodations may be used as a guide for teachers as they plan their program.

General Accommodations	Listening and Speaking	Reading	Writing	Behavioural
Clear expectations of quality	Additional time	Oral reading to student	Computer (when appropriate) or a scribe; oral testing or a combination	Highly structured environment
Placement within the classroom to maximize student focus	Encouragement to participate orally	Vocabulary pre-teaching and checking for comprehension	Tape-recorded classes	Appropriate behaviour modelled
Close monitoring by the teacher	Listening cues or prompts	Peer tutor/helper to help identify and highlight essential information	Peer tutor/helper	Clear, reasonable expectations
Oral and written instructions	Teacher modelling of appropriate response	Underlined or highlighted key points	Handouts	Appropriate consequences
Review and repetition	Material provided on tape	Reading guide taped textbooks	Additional Time	Time-outs
Concepts presented in a variety of formats		Large type face	Note-taker	Conflict resolution strategies
Regular positive feedback			Alternative to written assignments (e.g., video, graphs, mind maps, oral assignments)	Appropriate alternative behaviours
“Chunking” of tasks into smaller sub-tasks
Checklists
Graphic organizers
Homework/notebook/journal monitoring
Clear time frames
Examples of what is expected

Resources

In Ontario, teachers of dance have many resources available to them. Many universities and colleges offer courses, consultation, and workshops for dance teachers as well as liaison opportunities for secondary dance students. The provincial subject association, the Council of Drama and Dance in Education (CODE) www.code.on.ca, Dance Ontario www.danceontario.ca, and Dance Collection Danse www.web.net/dancecol/index.html are sources of information, contacts, and resources. CODE allows teachers to collaborate electronically because they receive CODEnet, an e-mail listserv that electronically connects all members who have e-mail. Dance resources and books developed by Canadians are available. Teachers must ensure that the curriculum is inclusive by choosing, where possible, resources and classroom materials that are multicultural in nature and reflect the diversity of Canadian society. Dance artists in the community are also a rich resource for teachers. The Ontario Arts Council assists teachers to bring artists into schools, and provides funding to make this possible. As well, teachers can connect with the various dance associations, local dance studios, and community and cultural centres. Internet access has opened up the dance world for educators. CD-ROMs and software are available. Periodicals, books, newspapers, magazines, videotapes, and newsletters can be found to enhance the dance teacher’s resource list. Business, theatres, and studios can offer partnerships. Specific resources are listed within each activity.

Units in this Course Profile make reference to the use of specific texts, magazines, films, videos, and websites. Teachers need to consult their board policies regarding use of any copyrighted materials. Before reproducing materials for student use from printed publications, teachers need to ensure that their board has a Cancopy licence and that this licence covers the resources they wish to use. Before screening videos/films with their students, teachers need to ensure that their board/school has obtained the appropriate public performance videocassette licence from an authorized distributor, e.g., Dance Canada Danse. Teachers are reminded that much of the material on the Internet is protected by copyright. The copyright is usually owned by the person or organization that created the work. Reproduction of any work or a substantial part of any work on the Internet is not allowed without the permission of the owner.

Print

Beatty, Patricia. Form Without Formula. A Concise Guide to the Choreographic Process. Toronto: Press of Terpsichore Limited, 1985. ISBN 0-929003-17-9

Blom, Lynne Anne and L. Tarin Chaplin. The Moment of Movement, Dance Improvisation. Pittsburgh, PA: University of Pittsburgh Press, 1988. ISBN 0-8229-5405-2

Blom, Lynne Anne and L. Tarin Chaplin. The Intimate Act of Choreography. Pittsburgh, PA: University of Pittsburgh Press, 1982. ISBN 0-8229-5342-0

Cameron, Julia and Mark Bryan. The Artist’s Way: A Spiritual Path to Higher Creativity. New York: G.P. Putnam’s Sons, 1992. ISBN 0874776945

Cooper, Susan. Staging Dance. New York: Theatre Arts Books, 1998. ISBN 0878300813

Cotton, Bob and Richard Oliver. The Cyberspace Lexicon: An Illustrated Dictionary of Terms. London: Phaidon Press Ltd., 1994. ISBN 0714832677

Douglas, John and Glenn Harnden. The Art of Technique: An Aesthetic Approach to Film & Video Production. Allyn and Bacon Publishers, 1995. ISBN 0205142486

DuPont, Betty and Joan Schlaich. Dance. The Art of Production. Princeton: Princeton Book Company, Publishers, 1988. ISBN 0871272075

Grossman, Danny. Endangered Species. Toronto, Canada: Mossanen Productions, 1987.
Catalogue No. 2002.

Hayes, R.R. Dance Composition and Production. New York: Ronald Press, 1955.

Hinton, W. Dance of Court and Theatre: The French Noble Style, 1690–1725. Princeton, NJ: Princeton Books, 1981.

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. New York: Grove Press Inc., 1991. ISBN 0871271583

Lincater, K. Freeing the Natural Voice. New York: Drama Book Publishers, 1976. ISBN 0-89676-071-5

Laurin, Ginette. Full House, O’Vertigo Danse. Toronto, Canada: Mossanen Productions, 1987. Catalogue No. 2005

Reinke, Steve and Tom Taylor, (eds.). Lux: A Decade of Artists’ Film and Video. YYZ Books and Pleasure Dome. ISBN 0920397263

Schlaich, Joan and Betty DuPont, (eds.). Dance: The Art of Production. Princeton, NJ: Dance Horizons/Princeton Book Company, 1988. ISBN 09166226681

Sherbon, Elizabeth. On the Count of One: A Guide to Movement and Progression in Dance. California: National Press Books, 1990. ISBN 1556520905

Smith, Jacqueline M. A Practical Guide for Teachers. London: A&C Black, 1985.
ISBN 0-7136-27-92-1

Tufnell, Miranda and Chris Crickmay. Body, Space, Image: Notes Towards Improvisation and Performance. Toronto: Virago Press Ltd., 1992. ISBN1853811319

Zeigler, Kathleen and Nick Greco. Virtual Media: A Step-by-Step Techniques Guide. Southampton: Hearst Books, International, 1999. ISBN 0823069834

Websites

The URLs for the websites were verified by the writers prior to publication. Given the frequency with which these designations change, teachers should always verify the websites prior to assigning them for student use.

Canadian Filmmakers Distribution Centre (catalogue) – www.cfmdc.org

Centre for Contemporary Canadian Art – www.ccca.ca

Council of Drama and Dance In Education (CODE) – www.code.on.ca

Cyberdance – www.cyberdance.org/

Dance Collection Danse – www.web.net/dancecol/index.html

Dance Online New Dance From Around the World (USA) – www.danceonline.com

InfoCulture (CBC-Canada) – www.infoculture.cbc.ca/infoculture.phtml

Dansecape – www.dancescape.com

Dance Magazine – www.dancemagazine.com

Dance Teacher – www.dance-teacher.com

Dancer Transition Resource Centre – www.interlog.com/-dtrc/

Footnotes – www.bravo.ca/footnotes/

National Ballet of Canada – www.nationalballet.ca

National Film Board of Canada – www.nfb.ca/

Ten Building Blocks of Catholic Social Teaching – www.americapress.org/articles/Byron.htm

– www.1000dictionaries.com/music_dictionaries_1.html

– www.bolji.com/dances/tagore.htm

– www.dancer.com/dance-links/

– www.dancer.com/dance-links/other.htm#world

– www.danceronline.com/htm/linksnew/links6.html

– www.gardendigest.com/poetry/haiku6.htm

– www.shape-escape.com

– www.voiceofdance.org

– www.yahoo.com/arts/Performing_Arts/Dance

– www.vatican.va

– www.vtape.org

Video

Baryshnikov – The Dancer and The Dance, Kultur International, 121 Hwy. 36 W. Long Branch New Jersey 07764

Lestor Horton Warm Up.

Paul Taylor: Dancemaker, a film by Mathew Diamond (Available through Teacher’s Video Co. P.O. Box ADAB4455, Scottsdale, Arizona 85261)

Software

Animator® – www.animationstation.com/

Corel®Presentation™10 – www.corel.com/

Director®, Flash® – www.macromedia.com/software/

FrontPage® – www.tophosts.com/

HyperStudio® – www.hyperstudio.com/

3D Studio MAX® – www.3dstudiomax.com/

iMovie2®, Final Cut Pro®, Photoshop®, PowerPoint® – www.apple.com

OSS Considerations

This course profile has been developed to assist in the implementation of The Ontario Curriculum, Grades 11 and 12, The Arts, 2000. In using this material, teachers and administrators must also take note of the applicable sections of:

Ontario Secondary Schools, Grade 9 to 12, Program and Diploma Requirements, 2000;

Choices Into Action: Guidance and Career Education Program Policy for Ontario Elementary and Secondary Schools, 1999; and

The Ontario Curriculum, Grades 11 and 12, Program Planning and Assessment, 2000.

Course Evaluation

At the end of the course, teachers should assess the success of the course in relation to clear criteria. Student responses should be solicited and structured in a reflective context. Review criteria might include:

· fairness and thoroughness of assessment and evaluation strategies;

· ongoing assessment of student learning, cross-referenced with the Overall and Specific Expectations;

· congruence with student expectations;

· difficulty of teaching/learning strategies;

· nature of the class;

· time given to each unit or activity;

· informal student feedback;

· student enthusiasm.

Appendix 0.1

Dance, ATC4M, Grade 12, University/College Preparation Expectations Chart

Code	Learning Expectations	Units
Code	Learning Expectations	1	2	3	4
THV.01	Describe various dance forms found in Canada and around the world, using appropriate terminology	3	3	3	3
THV.02	Describe an in-depth knowledge of the principles of hygiene, nutrition, and safety in relation to dance and to a healthy lifestyle	3	3		3
TH1.01	Identify and describe the elements, principles, and techniques used in a variety of dance forms from around the world	3	3		3
TH1.02	Describe the historical and cultural significance of a broad spectrum of dance forms in Canada and in other parts of the world		3	3
TH1.03	Describe societal and artistic changes affecting current dance forms in Canada and in other parts of the world		3	3
TH1.04	Describe the significant contributions of various Canadian dance artists to dance in Canada		3	3
TH2.01	Explain the importance of maintaining good hygiene and healthy eating habits, as well as of observing safety principles with regard to dance and to a healthy lifestyle	3			3
TH2.02	Research and describe common dance injuries and describe appropriate care and preventive measures for each	3
TH2.03	Demonstrate an understanding of the role of muscles, tendons, and the skeletal system in dance movements	3
TH2.04	Demonstrate an understanding of the benefits of a healthy body to both dance and lifestyle				3
CRV.01	Demonstrate increased technical proficiency in one or more forms of dance	3		3	3
CRV.02	Demonstrate proficiency in technique and composition through the presentation of dance works	3		3	3
CRV.03	Rehearse and perform increasingly complex dances in various settings and for a variety of purposes			3	3
CRV.04	Demonstrate an understanding of stagecraft and management skills required for dance production				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
CR1.02	Demonstrate increased technical proficiency in dance, showing accuracy, coordination, dynamic range, endurance, flexibility, musicality, rhythmic sense, strength and technical precision	3		3	3
CR1.03	Use technique effectively in various ways to extend artistic scope	3		3	3
CR2.01	Use improvisation, compositional forms, and various approaches to choreography appropriately when creating dance works			3	3
CR2.02	Create complex dance compositions through experimentation			3
CR2.03	Create dance compositions incorporating abstract themes and topics – that is – trios, duets, and solos, and works for large groups and small groups			3
CR2.04	Translate the language of dance into a basic notation system for recording and documenting choreography	3
CR2.05	Apply the creative process to choreograph dance works and enhance their performance			3	3
CR2.06	Use technology effectively when creating dance works		3	3	3
CR3.01	Demonstrate appropriate leadership roles and attitudes in class, rehearsal, and performance	3	3	3	3
CR3.02	Demonstrate an understanding of the relationship between aspects of presentation/performance and aspects of production (e.g., the relationship between the selecting of costume colours ad the selecting of lighting colours)		3		3
CR3.03	Present dance works, workshops, and presentations to the community				3
CR4.01	Demonstrate an understanding of increasingly complex technical skills of stagecraft and production management used in dance productions (e.g., skills in the use of light, sound, special effects; skills in stage management)				3
CR4.02	Use technology effectively in their productions of dance works				3
CR4.03	Demonstrate an understanding of the technical aspects of rehearsals and performance (e.g., scheduling, set-up and striking of sets)				3
CR4.04	Demonstrate the essential leadership skills and appropriate attitudes and behaviour of members of a production crew (e.g., the stage manager, artistic director, sound designer, publicist)				3
ANV.01	Analyse, interpret and evaluate – orally and in writing – the formal structure and meaning of a broad spectrum of dance forms, including their own works		3	3	3
ANV.02	Analyse the significance and function of a wide variety of dance forms	3	3	3
ANV.03	Describe career opportunities in dance and relevant postsecondary program requirements		3
AN1.01	Analyse, interpret, and evaluate a broad range of choreographic works, using a set of aesthetic principles		3		3
AN1.02	Explain their artistic decisions in relation to their own compositions		3	3	3
AN1.03	Use technology (e.g., videotape, CD-ROM stop action) appropriately as an analytical tool in the field of dance	3	3		3
AN1.04	Analyse and evaluate dance works, using a variety of theoretical approaches		3	3	3
AN1.05	Describe and analyse cultural aspects of works studied		3	3
AN1.06	Analyse the significance and function of a variety of dance forms in Canada and from around the world		3	3
AN1.07	Explain how dance characteristics and forms are used in the media, the community and cultural events (e.g., in advertising and in dramatic performances)		3
AN2.01	Compare their personal artistic abilities with those required in the professional dance world	3	3	3
AN2.02	Describe the links between dance education and career options (e.g., in small business, medicine, law, the entertainment industry)		3
AN2.03	Research and describe postsecondary educational and career possibilities related to dance		3
AN2.04	Create a personal performance portfolio in dance and appropriate audition materials for college, university, and career-related options		3		3

Appendix 0.2

Ontario Catholic School Graduate Expectations

Code	Learning Expectations	Units
Code	Learning Expectations	1	2	3	4
*The graduate is expected to be a discerning believer formed in the Catholic Faith Community who:*
CGE1a	Illustrates a basic understanding of the saving story of our Christian faith
CGE1b	Participates in the sacramental life of the church and demonstrates an understanding of the centrality of the Eucharist to our Catholic story
CGE1c	Actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures				3
CGE1d	Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good				3
CGE1e	Speaks the language of life… “recognizing that life is an unearned gift and that a person entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith)
CGE1g	Understands that one’s purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey
CGE1h	Respects the faith traditions, world religions, and the life-journeys of all people of good will
CGE1i	Integrates faith with life
CGE1j	Recognizes that “sin, human weakness, conflict, and forgiveness are part of the human journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption. (Witness to Faith)
*The graduate is expected to be an effective communicator who:*
CGE2a	Listens actively and critically to understand and learn in the light of gospel values				3
CGE2b	Reads, understands, and uses written materials effectively	3	3	3	3
CGE2c	Presents information and ideas clearly and honestly and with sensitivity to others			3	3
CGE2d	Writes and speaks fluently one or both of Canada’s official languages	3	3	3	3
CGE2e	Uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life		3	3	3
*The graduate is expected to be a reflective and creative thinker who:*
CGE3a	Recognises there is more grace in our world than sin and that hope is essential in facing all challenges
CGE3b	Creates, adapts, evaluates new ideas in light of the common good			3	3
CGE3c	Thinks reflectively and creatively to evaluate situations and solve problems			3	3
CGE3d	Makes decisions in light of gospel values with an informed moral conscience			3	3
CGE3e	Adopts a holistic approach to life by integrating learning from various subject areas and experience	3	3	3	3
CGE3f	Examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society
*The graduate is expected to be a self-directed, responsible, life long learner who:*
CGE4a	Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others			3	3
CGE4b	Demonstrates flexibility and adaptability			3	3
CGE4c	Takes initiative and demonstrates Christian leadership			3	3
CGE4d	Responds to, manages, and constructively influences change in a discerning manner			3	3
CGE4e	Sets appropriate goals and priorities in school, work and personal life		3	3	3
CGE4f	Applies effective communication, decision-making, problem-solving, time and resource management skills	3	3	3	3
CGE4g	Examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities	3	3	3	3
CGE4h	Participates in leisure and fitness activities for a balanced and healthy lifestyle				3
*The graduate is expected to be a collaborative contributor who:*
CGE5a	Works effectively as an interdependent team member			3	3
CGE5b	Thinks critically about the meaning and purpose of work			3
CGE5c	Develops one’s God-given potential and makes a meaningful contribution to society	3	3	3	3
CGE5d	Finds meaning, dignity, fulfillment, and vocation in work which contributes to the common good			3
CGE5e	Respects the rights, responsibilities, and contributions of self and others			3	3
CGE5f	Exercises Christian leadership in the achievement of individual and group goals			3	3
CGE5g	Achieves excellence, originality, and integrity in one's own work and supports these qualities in the work of others	3	3	3	3
CGE5h	Applies skills for employability, self-employment and entrepreneurship relative to Christian vocation				3
*The graduate is expected to be a caring family member who:*
CGE6a	Relates to family members in a loving, compassionate and respectful manner
CGE6b	Recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended
CGE6c	Values and honours the important role of the family in society
CGE6d	Values and nurtures opportunities for family prayer
CGE6e	Ministers to the family, school, parish, and wider community through service
*The graduate is expected to be a responsible citizen who:*
CGE7a	Acts morally and legally as a person formed in Catholic traditions
CGE7b	Accepts accountability for one’s own actions			3	3
CGE7c	Seeks and grants forgiveness
CGE7d	Promotes the sacredness of life
CGE7e	Witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society
CGE7f	Respects and affirms the diversity and interdependence of the world’s peoples and cultures	3	3	3	3
CGE7g	Respects and understands the history, cultural heritage, and pluralism of today’s contemporary society		3	3	3
CGE7j	Contributes to the common good			3	3

Unit 3 | Unit 4 | Back to Course Profiles Main Menu

Acknowledgments

Prerequisite: Dance, Grade 11, University/College Preparation or Open

Course Description

How This Course Supports the Ontario Catholic School Graduate Expectations

Course Notes

Safety

Classroom/Performance Space

Accompaniment

School and the Community

Career Planning and Life Skills

Suggested Basic Equipment

Units: Titles and Time

Unit Overviews

Unit 1: Strong Technique Leads to Artistry

Unit 2: Research

Unit 3: Composition

Unit 4: Performance

Teaching/Learning Strategies

Assessment & Evaluation of Student Achievement

Accommodations

Resources

Print

Websites

Video

Software

OSS Considerations

Course Evaluation

Appendix 0.1

Dance, ATC4M, Grade 12, University/College Preparation Expectations Chart

Appendix 0.2

Ontario Catholic School Graduate Expectations