Course Profile Dance,
Grade 9 open, Catholic
Unit #2: Introduction to Jazz
Time: 25 hours
Unit
Developers:
Laurel Brown, Waterloo DSB
Kelly Child, DSB of Niagara
Development
Date: April 1, 1999
Unit
Description
In this unit, students will be introduced to the basic movement skills in the dance form(s) being studied. They will identify the terminology associated with each. They will explain the historical and cultural significance of the dance form (s) being studied. Throughout the unit, students will apply safety principles learned in Unit 1 as well as learn to use the new technique in a safe manner. They will observe and identify a spectrum of dance (eg. Footloose, Jesus Christ Superstar, Revelations, A Chorus Line, etc.) within the selected style(s), discuss themes, ideas and images and identify the connection to Gospel values and moral conscience. Students will continue to use appropriate classroom conventions as both performers and audience members as well as to reflect on their own work and the work of others.
Ontario Catholic School Graduate Expectations: CGE1a,c,d,f,g,h,i, 2a,b,c,e, 3a,b,c,d,e,f, 4a,b,c,d,e,f,g,h,
5a,b,c,d,e,f,g, 7b,c,f,g,j.
Strands &
Expectations
Strands: Theory, Creation and
Analysis
Overall Expectations: TTV.01X, 04X, 05X, TCV.01X,
02X, 03X, 04X, 05X, TAV.01X, 03X, 04X
Specific Expectations: TT1.02X, 03X ,04X, TT2.01X,
02X, 03X, 04X, 05X, TT3.01X, 02X, 03X, TC1.01X, 02X, 03X, 04X,
TC2.01X, 02X, 03X, TC3.01X, 02X, 04X, TA1.01X, 02X, TA2. 01X, 02X, TA3.01X,
02X, 03X
Activity
Titles (Time + Sequence)
|
Activity 1 |
Defining Jazz and Its Roots |
75 minutes |
|
Activity 2 |
Introduction to Jazz
Technique and Movement |
450 minutes |
|
Activity 3 |
Evolution of Jazz |
225 minutes |
|
Activity 4 |
Jazz Composition |
150 minutes |
|
Activity 5 |
Experimentation with Jazz
Composition |
200 minutes |
|
Activity 6 |
Jazz Performance |
250 minutes |
|
Activity 7 |
Jazz in Media |
150 minutes |
Unit Planning
Notes
General: Teachers may wish
to collect book resources listed for all activities. Teachers may wish to emphasize a thematic context for choreography,
e.g. the human condition through social justice issues. Suggested sources for this work are: the
Gospels (i.e. parables), current and historical events/people, e.g.
holocaust/Cambodia, Ghandi, Martin
Luther King.. It is within these powerful
contexts that the Catholic Expectations may be introduced, developed and
presented. The teacher may decide on a
theme based on the liturgical calendar, such as Easter, Christmas, etc.
Activity 1: collect
and prepare visual and audio aids to create a jazz environment eg. pictures,
shoes, videos, etc.
Activity 2: organize
jazz technique by classes
Activity 3: collect
and prepare visual aids, e.g. cue cards, visual historical time line; book
library for research
Activity 4: choose
appropriate accompaniment, choreograph short sequence in a jazz style
Activity 5: prepare
resource kits prepared for compositional centres – Appendix B
Activity 6: obtain
blank videos, book video camera and player
Activity 7: book
video camera and player, prepare clips from popular music videos, contemporary
music from these videos [Note: The students are an excellent resource for what
is currently popular.]
Prior
Knowledge Required
This is an introductory unit
and assumes no specific background in jazz.
Assessment/Evaluation
Diagnostic assessment should
occur at the beginning of this first unit so that the teacher can adapt the
teaching/learning strategies to the entry level of the students. Formative
assessment in this unit consists primarily of teacher observation with the aid
of checklists/rubrics for task completion, creative problem-solving,
understanding of dance terminology, technique, composition, classroom protocol,
safe practices etc. As well, the teacher will monitor and assess writing contained in reflective journals and in the hand-out in Activity 3. A quiz may take place in Activity 2. Students will give a short seminar in
Activity 3. Throughout the unit the
students will engage in self-assessment as well as receive feedback from their peers. Evaluation of dance pieces and the creative process will take
place at the end of the unit according to the rubrics provided to the students
in advance. Students will engage in
self-evaluation at the end of the unit using the same rubrics.
Assessment/Evaluation
strategies used:
1. Checklists may be devised for the diagnostic
assessments which should take place at the beginning of the unit.
2. Checklists for assessment through teacher
observation of technique, classroom protocol, composition, safe practices etc.
are suggested in Activities 2–5.
3. Rubrics are provided for assessment through
teacher observation of Ontario Catholic Expectations, jazz technique in
Activity 2 and Activity 7 and of the creative process within a group in
Activity 7.
4. Understanding of concepts is assessed through a written assignment in
Activity 3.
5. Understanding of concepts is assessed through
entries made in a reflective journal in Activities 1 and 4.
6. A quiz is suggested in Activity 2 in order to
assess understanding of concepts and terminology.
7. Knowledge is assessed through a seminar
presentation in Activity 3.
Additional Resources
1. Arnheim, Daniel D. Dance Injuries: Their Prevention and Care, Third
Edition. (Pennington, New Jersey,
Princeton Book Company, 1991).
2. Audy, Robert. Tap Dancing: How To Teach Yourself to Tap. (New York:
Random House, 1976).
3. Austin, Judy. “Women in Jazz,” Dance
Teacher Now, (July/August, 1992).
4. Beatty, Patricia. Form Without Formula: A Concise Guide to the Choreographic
Process. (Toronto: Press of Terpsichore, 1985).
5. Begin, Carmelle and Crepeau, Pierre. Dance! (Hull, Quebec: Canadian
Museum of Civilization, 1989.)
6. Cayou, Dolores Kirton. The Origins of Modern Jazz Dance. (Palo Alto, Califormia: National Press Books, 1970).
7. Cohen, Selma Jeanne, ed. Dance as a Theatre Art: Source Readings
in Dance History From 1581 to the Present, Second Edition. (Princeton, New Jersey: Princeton Book Company, 1992).
8. Dance Film and Video Guide. (New Jersey: Princeton Book Company, 1991).
9. Dance Ontario Directory, 1999. (Toronto:
Dance Ontario, 1999).
10.
Denby, Edwin. Looking at the Dance. (New York:
Curtis Books, 1968).
11.
Ellfeldt, Lois, and Carnes, Edwin. Dance
Production Handbook: or, Later is Too Late. (Palo Alto, California:
National Press Books, 1971).
12.
Franklin, Eric. Dance Imagery for
Technique and Performance.
(Windsor, Ontario: Human
Kinetics, 1996).
13.
Giordano, Gus. Anthology of American
Jazz Dance. Evanston, Il, Orion
Publishing House, 1978.
14.
Giordano, Gus. Jazz Dance Class:
Beginning thru Advanced.
Pennington, N.J., Princeton Book Company, 1992.
15.
Rooyackers, Paul. 101 Dance Games
for Children. (Alameda, California:
Hunter House Inc., 1996.)
16.
Grant, Janet Millar and Kamino, Gabby. Teacher’s
Guide for The Dancemakers: Dance Video Series. Toronto, Dance Collection Danse, 1995).
17.
Kraines, Minda Goodman and Kan, Ester. Jump
Into Jazz, second edition. Mountain
View, California, Mayfield Publishing Company, 1990.
18.
Long, Richard A. The Black Tradition
in American Dance. (New York: Rizzoli International Publications Inc.,
1989).
19.
Luigi, and Wydro, Kenneth. The Luigi
Jazz Dance Technique. Garden City, (New York: Garden City: Doubleday,
1981).
20.
Metropolitan Toronto School Board. DanceMetro. (North York, Ontario: Metropolitan Toronto School Board, 1994).
21.
Oxenham, Andrew and Crabb, Michael. Dance
Today in Canada. (Toronto: Simon and Pierre, 1977).
22.
Sadie, Stanley, ed. The New Grove
Dictionary of Music and Musicians.
(New York: Grove’s
Dictionaries of Music Inc., 1980).
23.
Stearns, Marshall and Jean. Jazz
Dance: The Story of American Vernacular Dance. (New York: DaCapo Press,
1994).
24.
Stirling, June and Stirling, Don. A
Modern System of Tap Notation.
(Newark, New Jersey: Fairyland,
U.S.A. Inc., 1958).
25.
Thorpe, Edward. Black Dance. (Woodstock, New York: The Overlook Press, 1989).
26.
Watkins, Andrea and Clarkson, Priscilla M.
Dancing Longer Dancing Stronger:
A Dancer’s Guide to Improving Technique and Preventing Injury. Pennington, New Jersey: Princeton Book Company, 1990).
Videos:
27. Dance Black America. Distributed by: Dance Horizons Video, 1983.
28. Dancemakers Video
Series, Dance Collection Danse, 1995.
Magazines: Dance in Canada (archival copies)
Dance Connection
Dance Magazine
Dancing Times
Dance Teacher Now
Journals/Newsletters: Contact Quarterly
Dance Collection Danse
Dance Chronicle
DCA News
Dance Scope
The Dance Current
The New Dance Review (New York)
Dance Collection Danse and
Theatrebooks, located in Toronto, are invaluable sources for resources.
Catholic Resources:
1. This Moment of Promise, Ontario Conference of Catholic Bishops,
1989.
2. Catholic Bible, New Revised Standard Version.
3. Groome, Thomas. Educating
for Life: A Spiritual Vision For Every Teacher and Parent. (Thomas More Press, 1998.)
4. Cameron, Julia & Bryan, Mark.
The Artists Way: A Spiritual Guide to Creativity. (New York: G.P. Putnam’s Sons, 1992.)
5. Cameron, Julia & Bryan, Mark.
Heart Steps: Prayers and
Declarations for a Creative Life. (New York: G.P. Putnam’s Sons, 1992.)
6. Curriculum Matters: A Resource for Catholic Educators, Institute
for Catholic Education, 1996.
7. Blueprints, Catholic Curriculum Cooperative, 1998.
8. Trafford, Larry. Educating
The Soul: Writing Curriculum For Catholic Secondary Schools. (Toronto:
Toronto Catholic District School Board, 1998.)
9. Verbel, D. Dance and
Prayer: Meaningful Methods With High School Students and With Adults, 1986.
10. Winton-Henry, H. Dancing God’s People into the Year 2000:
A Critical Look At Dance Performance In The Church, 1997.
11. Tataryn, M. Praying With Icons. Ottawa: Novalis, 1988.
12. USCC (United States
Catholic Conference) Environment and Art in Catholic Worship, 1978.
13. National Bulletin on
Liturgy #87, “Liturgical Movement” by National Gallery Office, Ottawa.
Appendices
Appendix C: Basic Jazz Technique and
Class Structure
Appendix D: Compositional Centres
Appendix E: Jazz Technique Rubric
Appendix F: Evaluation of Creative Process
Within a Group
Activity # 1: Defining Jazz and Its Roots
Time: 75 minutes
Description
The teacher will lead a
discussion to assess students’ knowledge of
jazz. Students will volunteer
their ideas about what they associate with jazz. Teacher will introduce the African roots of jazz dance and a
brief survey of jazz dance in North America, focusing on Canadian
contributions.
Ontario Catholic School Graduate Expectations: CGE 2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory, Creation and Analysis
Overall Expectations: TTV.04X, 05X, TAV.01X
Specific Expectations: TT2.02X*, 03X*, TT1.02X,
03X, TC3.01X, 02.X, TA1.01X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher collects visual and audio aids including
pictures, dance shoes, music, videos, musical theatre programs, etc. relating
to jazz. Ensure that choice are
inclusive in nature without bias.
• Teacher will locate an expert in African
dance to share with students authentic African dance and music (optional).
• Teacher will access resources detailing the
African roots of jazz.
Prior
Knowledge Required
This is an introductory
lesson which assumes no specific background in jazz.
Teaching/Learning
Strategies
I Creating a Jazz Environment
Teacher will use visual and
audio aids to create an atmosphere for the students as they enter the dance
studio/classroom and during administrative duties e.g. (attendance). Pictures, dance shoes, music, videos, musical
theatre programs, etc. relating to jazz could be displayed to begin this unit.
II Class Discussion
Students will share personal
experiences and perceptions of jazz.
III Mini-lecture
Teacher will give a
mini-lecture to introduce the roots of jazz and a brief survey of its
development; correlation between blues and jazz, body percussion and rhythm,
African dance and spiritual dances in other cultures; Negro spirituals in
church; and the use of movement in church (see Resources).
IV African Roots
Students will be introduced
to the African roots of modern jazz. There are various methods available:
1. The teacher could invite an expert in African dance to teach
traditional African dances with authentic music to students. Guest teacher will share how African dance
has influenced jazz dance in North America.
Or 2. The teacher may teach students traditional African
dances (e.g., Juba, Bele Kawe, Tant’ Hessie, etc.) with authentic music. The teacher will inform students how African
dance has influenced jazz dance in North America.
Or 3. If an
expert in African dance is not available and the teacher is not comfortable
with teaching African dance, the teacher may show videos of authentic dances,
leading students in a discussion of what they have seen in the videos and its
influence on jazz dance in North America (see Resources).
Students with knowledge and
experience of African dance and/or African culture should be encouraged to
share their expertise, stories and experiences.
Assessment/Evaluation
1. Teacher will assess students’ general knowledge of jazz through
class discussion or may ask the students to write in their reflective journals.
2. Teacher will use teacher observation to assess the students level
in order to adapt the technique contained in these activities.
Resources
#6, 7, 27, 16, 18, 22–34.
Activity #2: Introduction to Jazz Technique and Movement
Time: 30 minutes per class (450
minutes)
Description
Students will be introduced
to basic jazz movements. Jazz technique
will also be introduced and applied to these movements. Movement and technique will be taught
continuously throughout this unit (at least 30 minutes per 75 minute
class). Students’ knowledge of movement
will be assessed daily and evaluated at the end of this unit.
Ontario Catholic School Graduate Expectations: CGE 2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory, Creation
Overall
Expectations: TTV.01X, 04X, 05X, TCV.01X, 02X, 05X,
Specific
Expectations: TT1.02X*, 03X, 04X*, TT3.01X*,
.02X*, 03X*, TC1.01X, .02X, TC2.01X, TC3.01X, 02X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher will design daily exercises and combinations
which focus on building technical ability, vocabulary and complexity of
patterns. [Note: On-going assessment of
the student’s progress will assist the teacher in planning appropriately for
the students’ needs and abilities.
Movement may be performed in silence or with live or recorded
accompaniment.]
Prior
Knowledge Required
Students are presumed to
have little or no formal jazz background.
Diagnostic assessment must be conducted to determine the technical level
of the students so that technique may be taught in a safe, appropriate manner. (See Accommodations.)
Teaching/Learning
Strategies
Note: It is understood that
every jazz technique class will begin with warm up exercises and end with cool-
down exercises.
I Introduction to Jazz Technique
Teachers will demonstrate
introductory jazz technique. Teachers
will design exercises and classes to gradually build and develop technique with
consideration for flexibility, strength, cardio-vascular endurance, etc. within
the framework of Appendix B.Teachers will use a variety of teaching/learning
strategies such as: demonstration, mirroring, pair-share, cooperative group
learning, guided improvisation, etc.
Students will be provided
with opportunities to practice, apply the feedback given by the teacher and to
redo their explorations.
Assessment/Evaluation
1. Teacher assesses students’
technical progress through teacher observation and provides on-going feedback
to the students. Videotaping for
documentation may be helpful if the students are comfortable with it. The rubric for jazz technique (Appendix E)
may used for formative assessment throughout Activity 2.
2. Teachers may wish to use a
quiz to assess the students’ knowledge of jazz terminology.
3. Teachers may wish to pose questions
related to technique for the reflective journals (e.g. a look at use of arms in
jazz, a reflection about technique which the student finds challenging, etc.).
Resources
#1, 13, 14, 17, 20, 22 – 34.
Accommodations
1. Teachers will obtain information
concerning students registered in the dance course in order to make appropriate
student accommodations. It is suggested
that teachers elicit the assistance of the support and resource personnel in
the Special Education and Students Resources Departments.
2. In the case of experienced,
talented, or highly motivated students, the teacher may need to adjust teaching
strategies. For example, assignments may be modified to become more challenging
or students may play a leadership role in class such as demonstrating, leading
a warm-up, peer teaching, etc.
Appendices
Appendix C: Basic Jazz Technique and
Class Structure
Activity #3: Evolution of Jazz
Time: 225 minutes
Description
The teacher needs to stress
that jazz dance is constantly evolving. Through examination of a time line,
research and a brief presentation, students will gain an understanding of the
evolution of jazz dance. Students will
focus on Canadian jazz, its African roots and the American context within those
roots. They will examine the development of jazz dance and its music through an
investigation of its pioneers, choreographers, celebrated dancers, professional
companies, etc.. Students will
distinguish the stylistic characteristics within the dance form.
Ontario Catholic School
Graduate Expectations: CGE 2a, 3c, 4a,b,c,d,f,h,
5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory, Creation, Analysis
Overall
Expectations: TTV.04X, TCV.03X, 05X,
TAV.01X, 03X, 04X
Specific
Expectations: TT2.02X*, 03X*, 04X*, TC3.01X,
TA1.01X, TA2.01X*, 02X*, TA3.01X
Planning Notes
1. Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity;
2. Teacher will provide visual aids including
prepared cue cards and a visual time line (see Teaching and Learning
Strategies).
3. Teacher should book the library for two
classes and be prepared to assist students in guided research of their assigned
topics by becoming aware of available resources and how to access them.
Prior
Knowledge Required
Introduction to Jazz from
Activity #1.
Students may have been
introduced to school resources at the beginning of the year or semester. If not, the teacher must provide this
introduction.
Teaching/Learning
Strategies
I Cue Cards
Teacher will provide students
with topic-related cue cards focusing on different decades in jazz dance
history. Topics could include dancers,
( e.g. Bojangles, Jeff Hyslop,); choreographers (e.g. Brian Foley, Jerome
Robbins, William Orlowski, Eddie Toussaint,); styles (e.g. Bob Fosse, Luigi,
Hip Hop); and companies (e.g. Alvin Ailey, Les Ballet Jazz de Montreal,
Compagnie de Dance Eddie Toussaint, Canadian Tap Dance Company).
II Guided Research Assignment
Students will be given two
periods to research the historical importance of the topic on their cue
card. In small groups students will
prepare a brief presentation for the following week. Group presentations will not exceed five (5) minutes. A one-page handout outlining the pertinent
information of their topic must be submitted to the teacher by the group.
III Historical Time Line
Students will reveal the
information researched on the topic indicated on their cue card and as a class,
decide its position on the historical time line provided by the teacher.
Jazz Historical Time Line
|
Minstrel Shows |
20's Early Jazz |
30's Swing Era |
40's Bop |
50's Cool Jazz |
60's Free Jazz |
70's New Syntheses |
80's New Wave |
90's Hip Hop |
Assessment/Evaluation
1. Teacher and students will assess
individual contributions to the group work based on observing students’
efforts.
2. Teacher will assess the individual research material and the
research process by collecting rough work.
3. Teacher will assess individual
contributions to the research process with a checklist which the students will
use to assess themselves and their group members.
4. Teacher will assess the final
copy of the handout.
5. Teacher will assess the
seminar presentation.
Resources
#7, 16, 17, 22 – 34.
Accommodations
1. E.S.L. students may be
partnered with an English speaking student for this activity.
2. Extra time may be allocated
for students with learning disabilities.
3. Students with writing
difficulties may submit a cassette tape of the information they have discovered
and/ or be partnered with someone for the creation of the hand-out.
Activity # 4: Jazz Composition
Time: 150 minutes
Description
This activity will span
approximately three days and will give the students an opportunity to apply the
elements being studied in Unit #1 to jazz composition.
Ontario Catholic School
Graduate Expectations: CGE 2a, 3c, 4a,b,c,d,f,h,
5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory, Creation and Analysis
Overall Expectations: TTV.01X, .05X, TCV.01X, 02X, 03X, 05X, TAV.01X, 03X
Specific Expectations: TT2.01X, 03X, 05X*, TT3.01X, 02X, 03X*, TC1.01X, 02X, 03X*, TC2.01X*, 02X*,
TC3.01X*, 02X*, 04X, TA1.02X
Planning Notes
1. Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
2. Teacher will choreograph a short jazz routine
in one of the jazz styles.
3. Teacher will have available appropriate
accompaniment for the choreography.
Prior
Knowledge Required
Activities 1 – 3.
Teaching/Learning
Strategies
I Jazz Choreography
Teacher will instruct a
short jazz routine applying movements taught earlier in this unit. Teacher will
discuss the importance of music to jazz and the reasons for choosing the
accompaniment to the piece. Students
will work in small groups to modify the routine by adding their own arm and
head movements and creating directional and pattern changes. Students must apply the qualities and
elements (space, shape, time and energy) being studied in Unit #1 when altering
the teacher’s choreography. Groups will
share their variations with the class.
II Jazz Composition
In small groups, students
will create a movement study incorporating the elements of jazz from a
particular decade identified in Activity 3 (e.g. blues, tap, swing, hip hop,
etc.) Each group will share its
sequence with the class and then teach it to the other groups.
Assessment/Evaluation
1. Teacher will observe and
provide feedback during the learning
process using on-going checklists.
2. Teacher and students will
observe the variations of the jazz routine presented by the small groups and
provide feedback. The teacher may wish
to have the students devise a checklist or rubric to use.
3. Students will assess their
own work using the same checklist or by writing in their reflective journals.
Resources
#2, 6, 13, 17, 18, 19, 22,
22 – 34.
Activity #5: Experimentation with Jazz Composition
Time: 200 minutes
Description
This activity offers a
number of compositional centres to guide students when creating their own
combinations using the technique
previously studied in this unit.
These centres will allow students to experiment with jazz improvisation. Students will work in small groups for this
activity.
Ontario Catholic School
Gr””a”duate Expectations: CGE 2a, 3c, 4a,b,c,d,f,h,
5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory and Creation
Overall
Expectations: TTV.01X, 05X, TCV.01X, 02X,
05X,
Specific Expectations: TT1.04X,
TT3.03X, TC1.01X*, 02X*, 03X*, 04X*, TC2.01X, 02X*, TC3.01X,
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity;
• Teacher must be prepared to construct
resource kits to enable students to participate in these activities (Appendix
D).
Prior
Knowledge Required
Activities 1 – 4.
Teaching/Learning
Strategies
I Resource Kits/Compositional Centres
Teacher will provide resource
kits/compositional centres for students to explore (Appendix D). Teacher may use one centre at a time,
focusing the class in their small groups on one particular compositional
approach or use more than one centre at a time to increase the variety of
compositional experiments.
Assessment/Evaluation
1. Teacher will observe and provide feedback throughout the activities
using the on-going
checklists.
Resources
#12, 17, 18, 19, 22 – 34.
Appendices
Appendix D: Compositional Centres
Activity # 6: Jazz
Composition/Performance
Time: 250 minutes
Description
Students and teacher will
collaboratively build a jazz dance.
Teacher may choreograph the beginning and/or end of the piece and assist
with transitions. Students will perform
their final pieces for each other.
Ontario Catholic School Graduate Expectations: CGE 2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory, Creation and
Analysis
Overall Expectations: TTV.01X, 05X, TCV.01X, 02X,
03X, 04X, 05X, TAV.03X
Specific Expectations: TT1.04X*, TT3.03X*, TC1.01X,
TC2.02X, 03X*, TC3.01X, 02X, 04X*, TA1.02X, TA3.02X*, 03X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity and where appropriate
reaffirms that the dance class is a community, as is the school, town, as is
the Catholic faith community and explains that the skills developed are to
ensure harmony and productivity in all types of communities. The teacher stresses the individual’s role
in taking responsibility for their own actions as their actions impact others.
• Teacher should choose appropriate
accompaniment (eg. sacred, secular, student produced music, etc.) for
composition.
• Teachers should book media equipment if they
choose to videotape the final composition at the end of this activity.
Prior
Knowledge Required
Technique, combinations and
compositions learned earlier in the Unit.
Teaching/Learning
Strategies
I Composition
Teacher provides an analysis
of the chosen accompaniment (eg. counts and phrasing) and allocates sections to
each group.
Students will be divided
into groups and will compose to a section of the accompaniment.
Students must be given time
to share their ideas and receive feedback from other groups and the teacher
during composition.
Students must collaborate
with other groups to organize the final composition, keeping in mind the safety
of self and others in the performance setting during the transitions.
II Rehearsal
Teacher will direct students
through the rehearsal process focusing on appropriate skill development.
Students will be provided
with opportunities to practise and to incorporate feedback.
III Performance
Teacher will instruct the
students in performance skills.
Students will be provided
with several opportunities to practice and polish their work.
Assessment/Evaluation
1. Teacher continues to provide feedback to students during
compositional process.
2. Students will observe their peers during the creative process and provide feedback.
3. Teacher will videotape and allow students to view and assess their
final compositions. The students and the teacher should develop a rubric
together which the students have from the beginning of the activity.
4. Teacher will evaluate the creative process using the rubric in
Appendix E.
5. Teacher will evaluate jazz technique using the rubric in Appendix
F. Teacher assesses students reflective
journals to monitor growth.
Resources
#12,14, 17, 22 – 34.
Appendices
Appendix E: Jazz Technique Rubric
Appendix F: Rubric for Evaluating
Creative Process Within a Group
Time: 150 minutes
Description
Teacher will lead a class discussion
about the content, attitude and messages in contemporary music videos. Following the discussion, students will work
in small groups to choreograph a one-minute dance presentation.
Ontario Catholic School
Graduate Expectations: CGE 2a,b,c, 3c, 4a,b,c,d,f,h,
5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Creation and Analysis
Overall Expectations: TCV.01X, 03X, 05X, TAV.01X, 03X
Specific Expectations: TC3.04X, TA3.01X
Planning Notes
• Teacher
may prepare appropriate reflection, prayer, Scripture, poetry, etc. examples to
begin activity.
• Teacher
needs to have clips from a variety of popular music videos to show to the
class.
• Teacher
will need to have the music used in the videos available for students to use.
• Teacher
may wish to be familiar with the current trends in music and music videos which
are most popular with the students.
Prior
Knowledge Required
Technique and movement
learned to date in this course.
Teaching/Learning
Strategies
I Class Discussion
Teacher will lead a
discussion based on the use of dance in contemporary music videos. Topics may include
various issues within these
dances (eg. sexism, misogyny, violence, racism, etc.). Students will identify
issues in terms of Catholic
values, identify values embedded in jazz dance and make informed
judgements.
Since jazz can be a very
overtly sexual dance form, this topic needs to be addressed openly and with
sensitivity. The
appropriateness of the jazz style within the context of religious worship and the
liturgy
must be addressed. Students must be taught jazz dance in such a
way that it does not add to the sexual
stereotyping of either
gender. Students often imitate the
choreography within music videos without reflection
about its nature or the messages
inherent in it. Increasing media
literacy is one focus of this activity.
Topics for further discussion could include costuming, set design,
lighting, staging and commercial motivations versus artistic/expressive
motivations.
II Contemporary Videos
Teacher will show five clips
from music videos during class. [Note: Copyright restrictions must be
observed.] Students will look at these video clips to get a sense of what it
takes to choreograph and create a video.
In small groups of three to five,
students will choose video music which interests them and will compose a
very short (e.g. one minute) piece in the same flavour as what they have
viewed.
Students will share their
ideas and interpretations with the members of their group.
Students will present their
compositions to the class at the end of this activity.
III Class Discussion
As a class, students will
discuss the various dance works, recognize that choices have consequences and
to make choices according to Gospel values.
Teacher will lead a discussion
identifying the technique and compositional elements in the students’ dance
works and analyzing for social commentary.
Assessment/Evaluation
This activity takes place
after the evaluation for the unit is completed. Its purpose is to develop media literacy and thoughtful
reflection about social issues in dance.
It is designed to develop the students’ understanding of how the
attitudes, values, political ideals, social issues, religious values, etc. which
exist in society are often reflected in jazz dance. Teachers should connect this activity to school-based programs on
violence intervention, board equity policies and appropriate codes of behavior
within the school community, the church and society. Students are not assessed in this activity.
Resources
#8, 3, 12, 14, 17, 22 – 34.
Appendix C: Basic
Jazz Technique and Class Structure
Warm-up
Exercises:
• are
used to stimulate blood circulation to the muscles
• begin with simple, slow movements that
align and prime the body for what follows
• are performed sitting or lying on the
floor, standing in the centre or at the barre
• must include stretching and strengthening
exercises
• must work the entire body
• allow the students an awareness of their
bodies, their capabilities, their strengths and their weaknesses
• include: foot positions (parallel,
turn-out), rélévés, pliés, grands battements, passes, lunges, kicks,
contractions, forward stretches, side stretches, arm positions one arm moving,
both arms moving, oppositions
Isolations:
• are an integral part of the warm-up
• develop flexibility, control and
coordination, creativity
• include: head (centred, forward, sides,
down, tilts, tip); shoulders (raise, lower, opposition, circles); rib cage
(push forward, side, back side, reverse, change speed, swing from side to
side); pelvis (swing front, side, back, side, reverse, change speed, swing from
side to side); toes, feet
Locomotor
Movements:
• are
movements that travel
• may
include sequences that you wish to teach in a dance
• include: jazz walks, jazz
runs, pivot turns, jazz square, drags, chassé, step ball change, pas de bourrée
jumps, leaps, turns, etc.
Dance
Combinations/Choreography
• adapt all the elements of technical
instruction
• develop technique, co-ordination, and
memory
• include teacher or student choreographed
enchainments, dances
• include opportunities for sharing and
presentation
Cool-Down
Exercises
• help the body in the transition from
intense movement to resting
• are designed to prevent dizziness
• help to prevent soreness of muscles
• include: controlled breathing, gentle
stretches and slow demi-pliés
Appendix D – Compositional Centres
# 1 – Pick
from a Hat
1. Select five jazz movements that are written on individual slips of
paper from a hat.
2. Arrange your movements in
any order.
3. Create a jazz dance sequence based on that order of movements.
#2 – Coloured
Shapes
1. Select five coloured shapes from an envelope.
2. Arrange your shapes in any order.
3. Shapes would be compared to a chart that
indicates specific jazz movements (e.g., circle represents a step ball change,
triangle represents a pivot turn, etc.)
4. Colours of the shapes would be compared to a
chart that indicates quality of movement (e.g. red represents percussive,
yellow is sustaining, etc.) OR colour could represent a type of movement (e.g.
red is a locomotor movement, yellow is an isolation, blue is a turning
movement, etc.)
#3 – Create a
Rap
1. Choose three partners and create a rap.
2. Create movement to go with the rap focusing on the attitude and
the movement and style of the hip hop.
# 4 – Follow
the Leader
1. Starting in group formation (e.g. “V”, circle, line, etc.), create
a travelling sequence maintaining the group formation (compositional form “A”.)
2. Stop traveling and engage in a “follow-the-leader” improvisation
alternating leaders (compositional form “B”.)
3. Stop “follow-the-leader” and engage in solo jazz improvisation
(compositional form “C”.).
4. Return to original group shape and repeat first sequence (return
to compositional form “A”.)
The compositional form of
this exercise is ABCA. Students can
experiment with this form once they have mastered it.
Appendix E: Jazz Technique Rubric
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Jazz steps and combinations |
Executes steps and
combinations with limited effectiveness |
Executes steps and
combinations with moderate
effectiveness |
Executes steps and
combinations with considerable effectiveness |
Executes
steps and combinations with a high degree of effectiveness |
|
Isolation of body parts |
Uses isolations with
limited effectiveness |
Uses isolations with moderate effectiveness |
Uses isolations with considerable effectiveness |
Uses
isolations with a high degree of
effectiveness |
|
Sensitivity to accompaniment |
Uses accompaniment with
limited effectiveness |
Uses accompaniment with moderate
effectiveness |
Uses accompaniment with
considerable effectiveness |
Uses accompaniment with a high degree of effectiveness |
|
Jazz Style |
Applies jazz style to the
technique with limited effectiveness |
Applies jazz style to the technique
with moderate effectiveness |
Applies jazz style to the
technique with considerable effectiveness |
Applies jazz style to
the technique with a high degree of effectiveness |
|
Applies safe practices |
Does not work in a safe
manner |
Applies safe practices
inconsistently and/or with moderate effectiveness |
Applies safe practices
consistently and effectively |
Applies safe practices at
all times with a high degree of effectiveness |
|
Journal Entries |
Exemplifies Catholic values
with limited effectiveness – limited thought
exploration |
Exemplifies Catholic
values with moderate effectiveness – moderate use of journal
entries, some personal reflecting personal journey and faith/ life
experiences |
Exemplifies Catholic
values consistently and effectively – considerable use of
writing examples/samples reflecting personal journey and faith/life
experiences |
Exemplifies Catholic
values at all times and with a high degree of effectiveness – substantial personal
writing examples/samples reflecting personal journey and faith/ life
experiences |
Appendix F: Evaluation of Creative Process Within a Group
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Contribution of Ideas |
Does not contribute |
Contributes ideas with
limited effectiveness |
Contributes ideas
regularly and effectively |
Consistently contributes highly effective ideas |
|
Sensitivity to the feelings and knowledge of others |
Demonstrates an inability to
work or communicate with others of differing knowledge and abilities |
Has difficulty adjusting
to accommodate persons of diverse knowledge and sensitivities |
Communicates with persons
of diverse knowledge and sensitivities |
Demonstrates insight concerning
the feelings and levels of knowledge of others |
|
Concentration |
Does not concentrate |
Concentrates with limited
effectiveness |
Concentrates regularly and
effectively |
Concentrates in a variety
of circumstances on challenging tasks |
|
Sensitivity to Feedback |
Makes no effort to review
and refine work |
Reviews work from a highly subjective perspective
and makes limited refinements |
Reviews and refines work
from a reasonably objective perspective |
Reviews and refines
work thoroughly and from as many
points of view as is useful |
|
Journal Reflections |
Does not exemplify
Catholic values – limited activity as an
agent exercising Christian leadership |
Exemplifies Catholic
values with moderate effectiveness – moderately active agent,
exercising Christian leadership |
Exemplifies Catholic
values consistently and effectively – considerably active
agent, exercising Christian leadership |
Exemplifies Catholic
values at all times and with a high degree effectiveness – highly active agent,
exercising Christian leadership |
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