Course Profile Dance, Grade 9 open, Public

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 within the selected form(s). 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.

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.

Activity 1: Collect and prepare visual and audio aids to create a jazz environment e.g. pictures, shoes, videos.

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 and 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 unit so that the teacher can adapt the teaching/learning strategies to the 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. 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 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.

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. Grant, Janet Millar. 101 Movement Games for Children.

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

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.

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV.04X, 05X, TCV. 05X, TAV.01X

Specific Expectations: TT2.02X*, 03X*, TT1.02X, 03X, TC3.01X, 02.X, TA1.01X

Planning Notes

• Teacher collects visual and audio aids including pictures, dance shoes, music, videos, musical theatre programs 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 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 (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.

2. The teacher may teach students traditional African dances (e.g., Juba, Bele Kawe, Tant’ Hessie) with authentic music. The teacher will inform students how African dance has influenced jazz dance in North America.

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, 23, 25

Activity #2: Introduction to Jazz Technique and Movement

Time: 30 minutes per class (450 minutes)

Description

Students will be introduced to basic jazz technique. Technique will be taught continuously throughout this unit (at least 30 minutes per 75 minute class). Students’ execution of movement will be assessed daily and evaluated at the end of this unit.

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 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, cardiovascular-vascular endurance, etc. within the framework of Appendix D.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 practise, 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.)

Resources

#1, 13, 14, 17, 20, 23, 26

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.

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 and its African roots within the American context. They will examine the development of jazz dance and its music through an investigation of its pioneers, choreographers, celebrated dancers, professional companies. Students will distinguish the stylistic characteristics within the dance form.

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

• Teacher will provide visual aids including prepared cue cards and a visual time line (see Teaching and Learning Strategies).

• 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, 23, 25, 27

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.

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

• Teacher will choreograph a short jazz routine in one of the jazz styles.

• 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) 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, 23, 24, 25

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.

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 must be prepared to construct resource kits to enable students to participate in these activities (Appendix C).

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 B). 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

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.

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 should book media equipment if they choose to videotape the final composition at the end of this activity.

• Teacher (or students) chooses appropriate accompaniment for the choreography.

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 (e.g. 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 practice 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.

Resources

#12,14, 17, 23

Appendices

Appendix E: Jazz Technique Rubric

Appendix F: Rubric for Evaluating Creative Process Within a Group

Activity # 7: Jazz in Media

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.

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 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 (e.g. sexism, misogyny, violence, racism.) Since jazz can be a very overtly sexual dance form, this topic needs to be addressed openly and with sensitivity. 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 brief (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. 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 and social issues 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 and society. It is recommended that students not be assessed in this activity.

Resources

#8, 3, 12, 14, 17, 23

Appendix A: Movement Activities and Exercises

Name/Movement Group Building

• students in scatter formation around the room

• have students develop a movement done twice to accompany their names said twice – for example: “Kelly, Kelly” accompanied by right arm pushed forward twice

• students stand in a circle and independently create a movement that is unique to themselves

• students take turns sharing their name and their movement aloud

• in groups of four: teach each other names and movements; put them into an interesting sequence

• rehearse the sequence so that the group can perform it in a line

• combine two groups, have students teach one another and rehearse the 8 movement sequence in a line

• have the students perform their sequences simultaneously while chanting the names

• share in individual groups of 8 only if it is evident the students are comfortable doing so

Susie Picks Harry Name Game

• students stand in a circle with one person in the middle

• volunteer says his/her own name followed by “picks” and the name of another student (e.g. “Susie picks Harry”)

• Harry would then say: “Harry picks Indira.” Indira would then say, “Indira picks Mario,” etc.

• The job of the student in the middle is to tag the student who is picked before that student can name another student. For example, the student in the middle tries to tag Harry before Harry can say that he picked Indira or tries to tag Mario before Indira can say that she picked Mario.

• When the student in the middle successfully tags someone being “picked”, s/he switches places with that person

• The person who just left the middle starts off again by picking someone; the starting person cannot be tagged.

This name game works best once the students know some of the names.

Partnered Stretches

• in partners

• face each other and hold one wrist tightly

• while continuing to hold tightly, pull away from each other, finding a place of mutual balance; this balance can be on both feet, symmetrical or asymmetrical, being sure to relax necks and shoulders

• once balance is achieved, allow gravity to stretch each body fully by holding this relaxed balance position as long as is comfortable

• explore different balances so that a variety of stretches is achieved

Human Sculptures

• in partners: one becomes the clay and the other the sculptor. The clay has closed eyes. The sculptor shapes the clay into an interesting shape by firm but gentle “strokes” along the body of the clay, indicating direction i.e. along the arms, legs, back, shoulders, head of the clay....... There is no talking allowed. Music is played. The students must evolve a way of communicating through the touches.

• once the students have each experienced being both clay and sculptor, challenge them to be “intelligent” clay. Intelligent clay never stops moving. It has an intelligence of its own that inspires it to keep moving until it receives an “instruction” to change that movement through the touches of the sculptor. The clay still has closed eyes. Ensure that the students move in silence to music and that they are a safe distance apart. What happens is that although the sculptor is attempting to shape the clay, they begin to become responsive to each other, beginning to dance a duet of sorts as they work to communicate and to understand each other.

Secret Partner

• students in scatter formation

• instruct them to select a secret partner without giving away whom they have selected

• instruct them to mill about the space, filling the space, always keeping their silent partner within their sight, never giving away whom it is they are partnering

• instruct them to move as far away as possible from their secret partner

• instruct them to move as closely as possible to their secret partner without looking at them and, if possible, without giving away whom it is they are moving closely too

• students move back to scatter formation

• they choose a second secret partner and you talk them through the exercise again

• instruct the students to arrange themselves without talking so that they form an equilateral-lateral triangle with their two secret partners.......the triangle can be any size but they must be the same distance from each other in a triangle shape

The task is accomplished when everyone is standing still. This may take a considerable amount of time if people keep moving. Point out how the movement of one person affects the movement of many others, depending on the pattern in which they are connected. Discuss how this spatial relationship and connectivity can be used in composition.

Face to Face Mirroring

• students are partnered, facing each other, arm’s length apart

• one is leader, one is follower

• the leader moves on the spot slowly, using a variety of body parts to lead with

• the task of the follower is to stay exactly in synchronization with the leader

• Variations: switch who is leading and who is following, change partners often, challenge the students to stay together without a designated leader or follower: both people initiating movements.

Space Invader Exercise

• teacher organizes students into pairs

• one student stands still and maintains eye contact with partner throughout exercise

• one partner slowly walks in a circle around the student, gradually getting closer

• once eye contact is broken, or the standing student says “stop”, the distance from the closest moving student is marked and measured

• students switch roles and repeat

• teacher organizes students in groups of five or more

• one student stands still and maintains eye contact with any member of the group throughout exercise

• remaining (4 or more) students slowly walk in a circle around the student, gradually getting closer, using arms and legs to get closer without touching the standing student

• once eye contact is broken, or standing student says “stop”, the distance from the closest moving student is marked and measured

• exercise is repeated until all members of the group have had their turn at being the center person

• students discuss the similarities and differences between their feeling of personal space with one person and with the group

Appendix B: Rubric – Evaluation of Composition

Element

Level 1

Level 2

Level 3

Level 4

SHAPE

(combination and

variety of body

shapes–3)

uses shape in familiar contexts with limited effectiveness

uses shape in familiar contexts with moderate effectiveness

uses shape in familiar contexts with considerable effectiveness

uses shape in familiar contexts with a high degree of effectiveness

SPACE

(6 straight/ curved lines, variations of level and focus)

uses space in familiar contexts with limited effectiveness

uses space in familiar

contexts with moderate effectiveness

uses space in familiar contexts with considerable effectiveness

uses space in familiar contexts with a high degree of effectiveness

TIME

(4 different uses)

uses time in familiar contexts with limited effectiveness

uses time in familiar

contexts with moderate effectiveness

uses time in familiar contexts with considerable effectiveness

uses time in familiar contexts with a high degree of effectiveness

ENERGY

(3 energy actions, variations of intensity and quality of movement)

uses energy in familiar contexts with limited effectiveness

uses energy in familiar

contexts with moderate effectiveness

uses energy in familiar contexts with considerable effectiveness

uses energy in familiar contexts with a high degree of effectiveness

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 enchainements, 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 5 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 5 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.)

4. Colours of the shapes would be compared to a chart that indicates quality of movement (e.g. red represents percussive, yellow is sustaining) or colour could represent a type of movement (e.g. red is a locomotor movement, yellow is an isolation, blue is a turning movement.)

#3 – Create a Rap

1. Choose three partners and create a rap.

2. Create movement to go with the rap, focussing on the attitude, the movement and style of 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 travelling 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

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

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