Course Profile Dance, Grade 9 open, Public

Unit 1

Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education and Training. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.

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Acknowledgments

Public District School Board Writing Team – Dance

Lead Board

Upper Canada District School Board

Management Team: Eleanor Newman

Brenda King

Dorothy Stewart

Dona Cruickshank

Course Profile Writing Team Co-ordinating Partners

Jane Deluzio, Toronto DSB Andy Ringlet, Renfrew County DSB

Laurel Brown, Waterloo Region DSB Marg Stewart, Limestone DSB

Carolle Mageau, Rainbow DSB Helen Beck, Hastings & Prince Edward DSB

Kelly Child, District School Board of Niagara Kit Rankin, Halton DSB

Ursula Nahatchewitz, Dufferin-Peel RCSSB Anne Clifton, Halton DSB

Contributors

Karen Hypes, Debra Kapp, Janice Stone, Betty Telford, Earl Haig Secondary School, Etobicoke School for the Arts, Rosedale Heights, Unionville School for the Arts

Identifying Information:

School: Course Developers:

Laurel Brown, Waterloo DSB

Kelly Child, DSB of Niagara

Jane Deluzio, Toronto DSB, Project Leader

Carolle Mageau, Rainbow DSB

Ursula Nahatchewitz, Dufferin-Peel CDSB

Department:

District:

Course Title: Dance

Grade: Nine Development Date: April 1999

Unit #1: Elements of Dance

Time: 20 hours

Unit Developers:

Carolle Mageau, Rainbow District School Board

Ursula Nahatchewitz, Dufferin-Peel Roman Catholic Separate School Board

Development Date: April 1999

Unit Description

Students will explore and demonstrate their understanding of the basic elements of dance – space, shape, time and energy – and will combine them into sequences. Students will improvise, experiment with and develop these elements. They will demonstrate knowledge of appropriate conventions as they relate to the classroom and to being performers and audience members. Throughout the unit, students must apply safety principles in the dance environment and in the execution of these movement skills. They will observe and identify a broad spectrum of dance as well as begin to reflect on their own work and the work of others.

Strand(s) & Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations: TTV.01X, TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 02X, 03X

Specific Expectations: TT1.02X, 03X, 04X, TT2.01X, 05X, TT3.01X, TC1.01X, 02X, 03X, 04X, TC2.01X, 03X, TC3.01X, 02X, TA1.01X, TA3.02X

Activity Titles (Time + Sequence)

Activity 1	Defining Dance	75 minutes
Activity 2	Foundation Element – Shape	150 minutes
Activity 3	Foundation Element – Space	150 minutes
Activity 4	Foundation Element – Time	150 minutes
Activity 5	Foundation Element – Energy or Dynamics	150 minutes
Activity 6	Stimuli for Improvisation	150 minutes
Activity 7	Composition with the Fundamental Elements	300 minutes
Activity 8	Reflection, Self-Evaluation and Teacher Evaluation of Compositional Work	75 minutes

Unit Planning Notes

General: Teachers may wish to illustrate the fundamental elements with appropriate video clips from a variety of sources and to collect book resources for all activities.

Activity 1: Obtain visual examples of dance, order videos and book video player.

Activity 2: Collect and prepare a variety of stimuli, lists of action words, moving image cues and concrete objects.

Activity 3: Prepare cards of action words/directions and obtain exploration tools, e.g., hula hoops, scarves, elastics, fabric.

Activity 4: Obtain a variety of sound-making instruments and prepare visual reference material of dance/music terminology.

Activity 5: Prepare energy scale, cards of energy action words (Laban) and obtain set of coloured markers.

Activity 6: Collect and prepare two single visual stimuli; three groupings of visual stimuli – four to five pictures, posters, books – four to five examples of tactile stimuli;, four to five examples of auditory stimuli; and four to five examples of olfactory stimuli.

Activity 7: Prepare assignment, obtain blank videos, and book video player.

Activity 8: Order videos and book video player, prepare a class set and the self-evaluation rubric.

Prior Knowledge Required

Successful completion of the grade eight program.

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. 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 suggested in this unit:

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 – 6.

3. Rubrics are provided for evaluation through teacher observation of the compositions at the end of the unit and of the process for creating the compositions. Students should self-evaluate their creative process and their compositions using these same rubrics.

4. Understanding of concepts is assessed through a written assignment in Activity 4.

5. Understanding of concepts is assessed through entries made in a reflective journal in Activities 1, 5 and 6.

6. A quiz is suggested in Activity 5 in order to assess understanding of knowledge and terminology.

Resources

1. Blom, Lynne Anne and Chaplin, L. Tarin. The Moment of Movement – Dance Improvisation. Pittsburgh: University of Pittsburgh Press, 1988.

2. Cheney, Gay. Basic Concepts in Modern Dance – A Creative Approach. Princeton, New Jersey: Princeton Book Company, Publishers, 1989.

3. Dance, Film and Video Guide. New Jersey: Princeton Book Co., 1991.

4. Dance Ontario Directory–1999. Toronto: Dance Ontario, 1999.

5. Edwards, Harvey. The Art of Dance. Boston, Toronto: Little, Brown/A Bulfinch Press Book, 1989.

6. Eisner, Elliot W. The Art of Educational Evaluation – A Personal View. London and Philadelphia: The Palmer Press, 1985.

7. Eisner, Elliott W. The Enlightened Eye–Qualitative Inquiry and the Enhancement of Educational Practice. New York: Macmillan Publishing Company, 1991.

8. Ewing, William A. Breaking Bounds: The Dance Photography of Lois Greenfield. San Francisco: Chronicle Books, 1992.

9. Franklin, Eric. Dance Imagery for Technique and Performance. Windsor: Human Kinetics, 1996.

10. Gardner, Howard. Frames of Mind–The Theory of Multiple Intelligence. U.S.A.: Basic Books, 1983.

11. Harris, Lesley E. “Copyright and Dance Editorial”. Dance in Canada, Spring, 1989.

12. Humphrey, Doris. The Art of Making Dances. New York: Grove Press Inc., 1959.

13. Kurath, Gertrude Prokosch. Dance and Song Rituals of Six Nations Reserve, Ontario: National Museum of Canada Bulletin 220, Ottawa, 1968.

14. Morgan, Barbara.. Martha Graham: Sixteen Dances in Photographs. New York: Morgan & Morgan Inc., 1980.

15. Penrod, James and Plastino, Janice Gudde.. The Dancer Prepares: Modern Dance For Beginners. Toronto: Mayfield Publishing Company, 1998.

16. Schrader, Constance A. A Sense of Dance: Exploring Your Movement Potential. Windsor: Human Kinetics, 1996.

17. Smith, Jacqueline M. Dance Composition & Practical Guide for Teachers. Princeton: Princeton Book Company, 1987.

18. The Ethnocultural Directory of Canada. Montreal: Monchanin Cross–Cultural Centre, 1990.

19. The Metropolitan Toronto School Board. DanceMetro: A Curriculum Handbook Grade 7 – OAC. Toronto: The Metropolitan Toronto School Board, 1994.

20. Videos: Dancing, 1993. Programs 1 – 8: ISBN 0-7800-13409.

21. Von Tiedemann, Cylla. The Dance Photography of Cylla Von Tiedemann. Ottawa: National Arts Centre, Toronto: McClelland & Stewart, 1991.

Appendices

Appendix A: Movement Activities and Exercises

Appendix B: Rubric – Evaluation of Composition

Appendix F: Rubric – Evaluation of Creative Process Within a Group

Activity # 1: Defining Dance

Time: 75 minutes

Description

In this introductory lesson, students explore, define and expand their understanding of dance. By observing a variety of examples, students will begin to perceive the role dance plays in their lives and in the world around them. Students will write and develop personal expectations and goals for themselves within the dance course.

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

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

Specific Expectations: TT2.01X*, 05X, TC3.01X, TA1.01X

Planning Notes

• Teacher can expect that students will need to learn what is appropriate as dance attire for class.

• Teacher makes accommodations for exceptional students.

• Teacher prepares visual examples of dance (e.g., pictures, magazines, books, videos, etc.), orders and cues videos, obtains course textbooks, materials, TV, VCR, computer with Internet access and appropriate cords, plugs, etc. Teacher must ensure that choices are inclusive in nature without bias.

Prior Knowledge Required

This unit is designed for students from a variety of differing dance backgrounds.

Teaching/Learning Strategies

I Introduction & Discussion

Teacher creates an atmosphere utilizing dance visuals, i.e., video clips, pictures, books, etc.

Students write a short definition of what they think dance is. Time is limited to one minute.

Students share aloud. Teacher facilitates discussion and shows the wide range of possible definitions. Students discuss the following points: What is your first memory of dancing? Why do you dance? Where and when do you dance? Why do people dance? What are some of the issues, concerns, etc. concerning dance? How do you and others feel about the issues, concerns, etc.?

Teacher introduces visual examples highlighting the diversity of dance: historical, cultural, media, forms and styles, and discusses as necessary.

Students reflect and write their expectations of the course and for themselves. Teachers may wish to have the students develop a reflective journal which will be used at appropriate times throughout the course.

II Getting Acquainted

Name/Movement Group Building Activity (Appendix A).

III Teacher Talk

Teacher explains traditional practices surrounding dance class attire, personal hygiene, safety factors and daily preparation and warm-up. Teacher explains structure of course and assessment/evaluation criteria.

Assessment/Evaluation

1. Reflective writing is assessed for completion and information provided.

2. Teacher assesses students’ background knowledge through observation to assist in developing appropriate level for the technique contained in the activities.

Resources

#5, 8, 13, 14, 15, 19, 20, 21

Accommodations

1. Teachers will obtain information concerning students registered in the dance course in order to make appropriate student accommodations. Teachers should elicit the assistance of the support and resource personnel in the Special Education and Student Resources Departments.

2. In the case of experienced, talented, or highly motivated students, the teacher may need to adjust teaching strategies. For example, students’ assignments may be modified to become more challenging or students may play a leadership role in class.

Appendices

Appendix A: Movement Activities and Exercises

Activity #2: Foundation Element – Shape

Time: 150 minutes

Description

A variety of visual and auditory stimuli will be presented to explore and expand students’ creative thinking skills and physical movement vocabulary. Students will apply problem-solving and cooperative learning skills to create a short dance study based on the element of shape.

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV01X, TCV.01X, 02X, TAV.02X, 03X

Specific Expectations: TT1.02X, 03X, 04X*, TT2.01X, 05X, TC1.01X*, 03X*, 04X*, TC2.01X*, TC3.01X, TA1.01X

Planning Notes

• Teacher collects and prepares a variety of visual stimuli (e.g., pictures, statues, objects.)

• Teacher prepares an extensive list of: objects with a variety of different shapes (e.g., square, octagon, stapler, chair;) action words (e.g., twist, shake, ooze;) moving image cues (e.g., caught in a wind storm;) concrete objects that move, (e.g., eggbeater, dragon, train.)

• Teacher may prepare assessment logs, journals, anecdotal forms, checklists.

• Teacher may begin videotaping students’ creative process and progress and will need to make arrangements and preparations for a TV/VCR, blank video cassette and extension cords.

Prior Knowledge Required

Activity 1.

Teaching/Learning Strategies

I Name Review

Suzie Picks Harry Name Game (Appendix A).

II The Shape and Size of Things

Students observe a number of visual stimuli (pictures, objects) that depict the human body in a wide range of shapes.

Teacher directs the focus to the body parts involved in creating the shapes, the shapes themselves and the sizes of the shapes.

Students verbalize their observations and reconstruct the shape.

Teacher introduces dance vocabulary to identify aspects of shapes observed, i.e., flexed and/or pointed feet, arms in second position, turn-out and parallel positions.

Teacher leads students through a guided movement exploration using verbal cues of a variety of shapes (i.e., square, circle, rectangle, mountain, cloud, teacup, pencil.)

Students move through the explorations independently, with a partner, in a group and with the whole class.

Teacher repeats the guided exploration adding directions to change the size of each shape.

Students move through the explorations independently, with a partner, in a group and as a whole class.

Teacher assigns a creative movement exploration in small groups:

• students to create three group pictures using three different shapes and three different sizes within each picture

• students create a movement phrase linking the three different shapes.

Students share their work with the class.

Teacher leads sharing and observational session.

III Moving Shapes

Partnered Stretches Exercise (Appendix A).

Teacher introduces the concept of moving shapes.

Teacher leads students through a guided movement exploration using verbal cues of a variety of action words, i.e., twist, shake, swing, explode, melt, ooze, collapse, freeze, sway, suspend, etc.

Students move through the explorations independently, with a partner, in a group and as a whole class.

Teacher repeats the guided exploration adding two or more actions to be explored simultaneously. Teacher guides students to explore moving shapes following verbal image cues (e.g., your moving shape is caught in a windstorm; your moving shape is out in the freezing cold and the temperature is dropping; your moving shape is being dropped into a large vat of caramel.)

Students move through the explorations independently.

Teacher calls out a number by which students quickly group.

Teacher verbally cues a concrete moving shape for the group to form, i.e., two students form an eggbeater, four students form a dragon.

Students create and memorize the shape, location in space and group members.

Teacher calls out a different number to cue students to rapidly change to a different group.

Students quickly move into a new grouping.

Teacher verbally cues a different moving shape for the new group to form.

Students quickly create and memorize the shape, location in space and group members.

Teacher randomly calls out three additional numbers and moving shapes.

Students quickly create and memorize each new shape with its new location and new group members.

Teacher randomly calls out the numbers previously cued without naming the moving shape giving sufficient time to recreate.

Students must quickly recall the number, the location in space, the group members and the moving shape allocated to the number called.

IV Dance Study #1 – Shape

Teacher assigns a creative movement exploration of appropriate length for small groups with a set time (e.g. develop a dance study by creating three different moving shapes; shapes must be organized into a sequence. Transitions between each moving shape must be seamless.)

Students create the dance study.

Students share their work with the class.

Teacher introduces fundamental roles of students as presenters and audience members.

Teacher leads sharing and observational session.

Assessment/Evaluation

1. Teacher assesses students’ progress through observation with a checklist itemizing the completion of the problem set (e.g. three different moving shapes, elements of improvisation, improvisation with stimuli, seamless and safe transitions).

2. Teacher may wish to have the students self-assess using the same checklist.

Resources

#1, 2, 5, 8, 9, 10, 14, 15, 16, 17, 19, 21

Appendices

Appendix A: Movement Activities and Exercises

Activity #3: Foundation Element – Space

Time: 150 minutes

Description

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV.01X, TCV.01X, 02X, 05X, TAV.01X, 03X

Specific Expectations: TT1.02X, 03X, 04X*, TT2.01X, 05X, TC1.01X*, 02X*, 03X*, 04X, TC2.01X*, TC3.01X, TA1.01X

Planning Notes

• Teacher prepares two sets of individual cards: one set listing various action words and one set listing various directions.

• Teacher gathers and provides a variety of exploration tools, e.g. hula hoops, scarves, wide elastics, fabric.

Prior Knowledge Required

Activities 1 and 2.

Teaching/Learning Strategies

I Review of previous elements

Sculpture/Intelligent Clay Exercise (Appendix A).

II Introduction to Concept of Space

Space Invader Exercise (Appendix A)

III Level

Teacher leads students through a guided movement exploration using verbal cues of actions linked to movement directions i.e. over, under, through, across, open out, toward, away, rise, sink, side, diagonal, around, forward, backward. Students do actions and follow directions.

Teacher suggests a variety of speeds of action and directions.

Teacher repeats actions with directions changing speed to fast forward.

Teacher varies speed randomly, ending at a moderate pace.

Teacher verbally continues actions linked to directions and asks students to change their level to low.

Teacher asks students to change their level to middle and then to high.

Teacher sets a movement study. (Example: Individually create a short movement phrase. Include all three levels in the phrase and randomly choose two actions and two directions.)

Students create the movement study and share their work with the class.

Teacher leads part of class sharing at a time and conducts observational session.

IV Floor Patterns

Teacher introduces the concept of floor patterns by guiding a brainstorming session on straight and curved line shapes.

Students brainstorm and draw straight-line shapes, letters and numbers on paper (e.g. straight line, square, triangle, rectangle, octagon, pentagon, zig zag, numbers 1, 4, 7, etc., letters A, E, I, H, K, L, M, N, T, V, W, X, Y Z).

Students brainstorm and draw curved-line shapes, letters and numbers on paper, (e.g. curved line, circle, figure eight, spiral in and out, heart, etc., numbers 0, 2, 3, 6, 8, letters C, O, S).

Students brainstorm and draw shapes with combinations of straight and curved lines, (e.g. heart, half-moon, cylinder, cone, ice cream cone, numbers 2,5,9, letters B, D, G, J, P, Q, R, U, etc.)

Teacher hands out a blank sheet of paper and instructs student to visualize and design a floor pattern. Each design is to have a beginning and ending point and to include one straight-line shape, one curved-line shape and one combination shape. Each shape is to be connected to the other.

Students independently design a floor pattern and physically move through their design.

Students link their design with a partner’s design and move through the combined patterns.

Teacher collects designs for assessment, display and/or visual arts activity.

V Introduction to Concept of Focus

Face-to-Face Mirroring Exercise ( Appendix A).

VI Focus

Teacher leads guided movement exploration developing the concept of focus, i.e. towards, away from, direct and indirect.

Teacher gives and repeats each of the following oral cues 3–4 times and students move accordingly:

– focus on an object in the classroom and move directly towards the object;

– focus on an object in the classroom and move directly away from the object;

– focus on an object in the classroom and move indirectly towards the object;

– focus on an object in the classroom and move indirectly away from the object.

VII Focus/Pattern Exercise

Teacher explains the “Silent Partner” Exercise (Appendix A).

VIII Dance Study #2 – Space

Teacher assigns a creative problem-solving assignment, e.g. create a time/movement phrase. This dance study must incorporate a minimum of three different spatial elements, i.e. levels, direction, patterns (floor) and focus.

Teacher divides class into groups and assigns each group a different exploration tool, e.g. multi-coloured scarves, wide elastics, fabric or rubber bands, hula hoops.

Students explore movement within their groups and create the dance study.

Teacher videotapes students’ movement phrase while students share their work with the class.

Teacher leads part of class sharing at a time and conducts a guided observational session.

Assessment/Evaluation

1. Teacher assesses students’ progress (technique, composition and class protocol) through teacher observation. Checklists for each of these areas which can be used on an on-going basis would be useful. Videotaping for documentation may be helpful where appropriate (e.g. Dance Study #2) if the students are comfortable with it.

Resources

#1, 2, 5, 8, 9, 10, 14, 15, 16, 17, 19, 21

Appendices

Appendix A: Movement Activities and Exercises

Activity #4: Foundation Element – Time

Time: 150 minutes

Description

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV.01X, TCV.01X, 02X, 05X, TAV.01X, 03X

Specific Expectations: TT1.02X, 03X, 04X*, TT2.01X, 05X, TC1.01X*, 02X*, 03X*, 04X, TC2.01X*, TC3.01X, TA1.01X

Planning Notes

• Teacher collects an array of different sound-making tools (e.g. whistle, tambourine, drum, voice.)

• Teacher may prepare visual reference material (e.g. handouts, overheads, wall-mounts) of dance/music terminology.

• Teacher obtains music of different tempos (e.g. 3/4, 4/4 etc.).

Prior Knowledge Required

Activities 1, 2 and 3.

Teaching/Learning Strategies

I Rhythmic Explorations

Teacher directs students to lie on floor with eyes closed, find their pulse (e.g. neck, heart) and use the other hand to tap out the rhythm of their pulse.

Teacher asks students to sit across from a partner on the floor and verbally cues students to do the following exercises. Note: Students should not stop between the exercises.

Students physically do the following and count aloud:

• slap thighs, clap hands, clap hands with partner, counting 1,2,3;

• slap thighs, hold, clap hands with partner, counting 1,2,3;

• slap thighs, clap hands, hold, counting 1,2,3.

Students repeats exercise without counting:

• clapping each other’s body on count 2, (without counting) and;

• clapping each other’s body on count 1, (without counting).

Teacher asks students to stand and scatter throughout the room.

Students clap out a 3/4 metre or pulse in unison e.g. 1, 2, 3, 1, 2, 3.

Teacher walks throughout the space and in between students, clapping counter rhythms or using different sound-making tools (e.g., tambourine, whistle, voice) to try to change the student’s rhythm.

Students discuss their ability to maintain the rhythm assigned in spite of the distractions.

Teacher assigns a 3/4 movement phrase e.g. step-hop-clap; hop-clap-stamp, etc.

Teacher verbally cues students to do the following exercises, not allowing students to stop between each.

• do movement phrase accenting the first beat

• do movement phrase accenting the third beat

• do movement phrase accenting the second beat

Teacher divides the class into two groups, placing each group at opposite ends of the room and verbally cues students to do the following exercises:

• one group to clap out a 3/4 rhythm, the other group to clap out a 4/4 rhythm.

• two groups of students move towards each other while teacher claps counter rhythms.

• two groups of students continue to clap out the rhythms assigned but move to a scatter formation

Teacher places students in groups of three and asks each group to create three silent actions to form a pattern which is repetitive. The groups are as far away from each other as possible.

• group 1 does movement phrase accenting the second movement;

• group 2 does movement phrase accenting the first movement;

• group 3 does movement phrase accenting the third movement;

• groups move towards each other towards the center of the room;

• all groups scatter and intermingle, maintaining their assigned accented movement.

II Tempo Exploration

Teacher introduces dance and music terminology i.e. adagio, allegro, andante, presto, tempo

Teacher assigns a 3/4 movement phrase i.e. counts 1–2 slide, count 3 hop; count 1–2 step, count 3 hop

Teacher establishes a beat and varies the tempo of the beat.

Students adjust movement phrase to various tempos.

Students discuss and answer the following question: How does tempo affect a movement?

Teacher verbally cues students to do the following exercises:

• 16 counts of (e.g., small jumps) with the accent down, i.e. into floor;

• 16 counts of... with the accent up, i.e. lift up;

• 8 counts of... with variations of the accents;

• 8 counts of a leg and or arm movement with the accent in, i.e. closing;

• 8 counts of leg and or arm movement with the accent out, i.e. exploding out;

• 8 counts of leg and or arm movement with variations of the accents.

Teacher assigns increasingly complex and challenging body shapes and action–word variations, changing accent and timing of movement phrase (e.g. suspending movement, upper body only.)

III Let’s Talk And Write About It.

Students discuss and answer the following question: What do you need to physically do to accommodate the change of accents?

Students are asked to write the answers to the following question: What dance/music terms are used to describe time, speed, very fast, very slow, soft, loud, quick and sharp?

Assessment/Evaluation

1. Teacher collects and assesses students’ written work.

2. Teacher may wish to use checklists already developed for classroom protocol, composition and technique for the previous activity.

Resources

#1, 2, 5, 8, 9, 10, 14, 15, 16, 17, 19, 21

Activity #5: Foundations Element – Energy or Dynamics

Time: 150 minutes

Description

A variety of visual and auditory stimuli will be presented to explore and expand students’ creative thinking and physical movement vocabulary. Students will apply problem-solving and cooperative learning skills to create a dance study based on the element of energy or dynamics

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV.01X, TCV.01X, 02X, .05X, TAV.01X, 03X,

Specific Expectations: TT1.04X*, TT2.01X, 05X*, TC1.01X*, .03X*, TC2.01X, 03X, TAI.01X.

Planning Notes

• Teacher prepares a Laban energy chart on large bristol board with a set of coloured markers.

Prior Knowledge Required

Activities 1 through 4.

Teaching/Learning Strategies

I Exploring Dynamics Through a Physical Journey

This is an exercise in which the teacher does a voice over of an arduous physical journey. The students physically interpret the journey. Example: rope bridge over a crevice, crawling through the jungle, shooting the rapids, fording a stream etc.

II Dance Dynamics

Teacher provides a light to strong scale to chart Laban energy action words (e.g. punch, press, dab, glide, flick, float, slash, wring).

Students organize and categorize energy action words providing rationale for decisions.

Students then assign a colour to the scale of energy action words, selecting strong intensity colours for the strong action words, lighter intensity colours for the soft action words.

Teacher asks students which energy actions have been altered by time and space.

Teacher leads students through a guided movement exploration of energy action words.

Teacher divides class into groups.

Each group selects and combines six energy action words.

Students create the movement phrase which becomes each group’s template.

Teacher leads groups through a guided movement exploration verbally cuing and changing the dynamic quality: Repeat the movement phrase changing the painting of the phrase with a percussive quality, i.e. percussive, sustained, vibratory, suspension, swing, collapse, punch, press, dab.

Teacher asks students to draw a floor pattern on paper including using two straight lines and a curved line. The lines must be connected and indicate a beginning and an ending point.

Students must then choose three energy action words i.e. punch, press, dab, glide, flick, float, slash, wring and designate a different energy action word to each section of the pattern drawn.

Students practise the movement phrases.

Teacher leads discussion on the qualities of movement and the changes of the intensity of the movement as the colour intensity changes.

Students colour each of the three lines of the pattern with a different colour for each line.

Students rehearse their movement phrase with the energy intensity associated with the colour they chose.

Students then choose the opposite colour for each of the three lines of the pattern and rehearse the same movement phrase changing the intensity associated with the colour.

III Let’s Talk and Write About It.

Students discuss and make notes on the following questions:

What happened to the action when you gave it a colour?

What happened to the action when you did it with its opposite colour? Why?

How did the action change with the different colours and how did it feel? Why?

Which level of energy (colour) were you the most comfortable with? Why?

How did you feel when you did the same action to two different colours?

Extensions: Students create a collage of patterns of colour.

Students to brainstorm energy action words and write a poem with them.

Assessment/Evaluation

1. Teacher assesses students’ progress (technique, composition and class protocol) through teacher observation using the checklists already developed. Videotaping for documentation may be helpful where appropriate (e.g. experiments with colour) if the students are comfortable with it.

2. Teacher may chose to assess the students’ understanding of the elements of dance utilizing both a written quiz and a reflective journal entry to accommodate different learning styles.

Resources

#1, 2, 5, 8, 9, 10, 14, 15, 16, 17, 19, 21

Appendices

Appendix A: Movement Activities & Exercises

Activity # 6: Stimuli for Improvisation

Time: 150 minutes

Description

Students will be exposed to a variety of visual, tactile, auditory and olfactory stimuli as a source for the creative process. Through guided exploration and improvisation, students will move spontaneously and create a link between the concrete and the abstract.

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV.01X, TCV.02X, 05X, TAV.01X, 03X,

Specific Expectations: TT2.01X, 05X, TCI.03X*, .04X*, TAI.01X

Planning Notes

• Teacher prepares the following: 2 single visual stimuli; 3 grouping visual stimuli; 4–5 pictures, posters, books; 4–5 tactile; 4–5 auditory; 4–5 olfactory

• Lesson requires an appropriate sound system.

Prior Knowledge Required

Activities 1–5.

Teaching/Learning Strategies

I Objects to Stimulate Creativity

Teacher introduces one visual stimulus (e.g., statue, intricate pitcher, driftwood, rag doll) and directs student to silently walk around and without touching the stimulus, observe its features, i.e. lines, energy, dimension, colour.

Teacher asks students to independently interpret with their bodies, the features of three different objects observed, one at a time. Each interpretation must move through a phrase of counts, e.g., 7, 8,11) so that the body is not static.

Students discuss the following questions:

How easy and/or difficult was it to create a movement phrase based on an inanimate object?

What made it easy and/or difficult for you?

II Groupings

Teacher divides class into groupings that correspond with the number of grouped stimuli.

e.g. Stimuli Group A: consists of three different toys = Group of three students

Stimuli Group B: consists of four different hats = Group of four students

Stimuli Group C: consists of five different sizes of bottles = Group of five students

Teacher asks each group to silently walk around and without touching the stimuli, to observe its features and each objects’ relationship to the other objects.

Teacher asks students to silently and physically interpret the features of the stimuli grouping observed followed by the relationship of each stimuli grouping. Students must keep their interpretation moving.

Teacher repeats above guided exploration process introducing:

A: pictures (e.g. peoples’ faces, children playing, a city scape, bouquet of flowers;)

B: tactile stimuli (e.g. cheese grater, piece of fun fur, rubber ball, shaving brush, bag of cold spaghetti, bread dough;)

C: olfactory stimuli (e.g. spices, empty bleach bottle, fresh branch of pine needles, perfume, crushed garlic, vinegar;)

D. auditory stimuli (e.g. single sound effects – gunshot, scream, glass breaking; nature sounds, – waves, birds, wind; music – single instrument, horn, maraca, drum, Baroque chamber music, instrumental music from different cultures, Rhapsody in Blue, Beethoven’s Fifth.)

III Reflective Thoughts

Students present, share and observe one another’s movement studies.

Students discuss questions and record reflections on the following questions:

Is music necessary to compose dance? What is your rationale?

What restrictions and/or freedoms does each stimuli present?

Teacher discusses texture, rhythm, dynamics in music.

Assessment/Evaluation

1. Teacher assesses students’ progress (technique, composition and class protocol) through teacher observation using checklists already developed. Videotaping for documentation may be helpful where appropriate (e.g. the movement studies) if the students are comfortable with it.

2. Teacher may chose to use the reflective journal entry to assess the students’ understanding of the theory.

Resources

#1, 2, 7, 9, 12, 15, 16, 17, 19, 21

Activity #7: Composition with the Fundamental Elements

Time: 300 minutes

Description

Students will have the opportunity to integrate and demonstrate their understanding of the fundamental elements explored by creating a longer dance study. Students will be introduced to the concept of disciplined rehearsal practices, work attitudes and habits and the refinement of polishing of their movement for presentation. Emphasis will be on the integration of movement, composition and presentation skills.

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV.01X, TTV.05X, TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 03X

Specific Expectations: TT1.04X, TC1.01X*, 02X, 03X*, 04X*, TC2.03X*, TC3.01X*, 02X, TA3.02X

Planning Notes

• Teacher may prepare assignment sheets as a student handout.

• Teacher prepares TV, VCR, blank video-cassette, charged batteries, cords, lighting levels, etc.

• Teacher may prepare assessment journals, logs, checklists.

Prior Knowledge Required

A kinesthetic, intellectual and creative understanding of the skills and concepts developed in previous activities 1–6.

Teaching/Learning Strategies

I Setting The Parameters.

Teacher divides class into three or more groups, discusses the assignment, e.g. create a short dance work of 1–2 minutes in length, and the evaluation rubric (Appendix B). Students may bring in their own stimuli to create dance. The following elements of dance must be included and clearly visible:

• Space – a combination of 6 straight and/or curved lines; include level and focus variations;

• Shape – combination and variety of body shapes;

• Time – a minimum of 4 different uses of time;

• Energy – minimum of 3 different energy actions varying intensity and quality of the movements.

Teacher allows students to rehearse and explore, taking teacher, peer and self-assessment feedback into account.

II The Dance Artist At Work

Students create a dance work within the framework of the designated criteria.

Students complete the dance work.

III Ready, And ...

Students rehearse and polish dance work.

Teacher provides verbal and/or written feedback.

Students rework, redo and polish work.

IV ...Go!

Teacher will videotape each group’s presentation of the assignment.

Students present, share and observe each group’s dance work.

Assessment/Evaluation

1. Students are provided with the rubrics for evaluating their compositions and their creative process at the beginning of this activity. Discussion should take place to ensure that the students are aware of and understand the criteria contained in the rubrics.

2. Teacher provides feedback throughout the creative process to assist students in achieving criteria set out in rubrics.

Resources

#6, 7, 9, 10, 11, 15, 16, 19

Appendices

Appendix B: Rubric – Evaluation for Compositions.

Appendix G: Rubric – Evaluation of Creative Process Within a Group

Activity #8: Reflection, Self–Evaluation and Teacher Evaluation

of Compositional Work

Time: 75 minutes

Description

Students will have the opportunity to discuss and self-evaluate the dance works they have created.

Students will have the opportunity to discuss the teacher’s evaluation of the dance works they have created. Observation and analytical skills will be used to summarize the elements of dance activities.

Strand(s) and Expectations

Strands: Theory, Creation, Analysis

Overall Expectations: TTV.01X, TTV.05X, TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 03X

Specific Expectations: TT1.04X, TC1.01X*, 02X, 03X*, 04X*, TC2.03X*, TC3.01X*, 02X, TA3.02X

Planning Notes

• Teacher prepares, with student in-put, a student self-evaluation sheet.

• Teacher obtains TV, VCR, recorded videotape of students’ dance works.

Prior Knowledge Required

Activities 1 through 7 with an emphasis on 7.

Teaching/Learning Strategies

I Self-Evaluation

Teacher distributes and discusses the self-evaluation sheet.

Teacher presents the videotaping of students’ dance works twice.

Students evaluate themselves and record on sheet provided.

II Teacher Talk

Teacher leads students in discussion/reflection of their dance work, the process and their accomplishments.

Assessment/Evaluation

1. Teacher evaluates each group’s dance according to rubric (Appendix B). Individual process work is evaluated according to rubric (Appendix F.)

2. Students self-evaluate using the same rubrics.

Resources

#6, 7, 9, 10, 11, 15, 16, 19

Appendices

Appendix B: Rubric – Evaluation of Composition

Appendix F: Rubric – Evaluation of Creative Process Within a Group

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