Course Profile Dance, Grade 9 open, Catholic
Unit 5: Focus on Performance
Activity 1˝Activity 2˝Activity 3˝Activity 4˝Activity 5˝Activity 6
Unit Developer(s)
Laurel Brown, Waterloo Region District School Board
Susan McNaughton, Toronto District School Board
Development Date: May 1999
In this unit, students demonstrate an understanding of fundamental presentation and performance skills. They perform in settings that are appropriate for the students and for the pieces being performed (e.g., in class, liturgies, church, festivals, assemblies, etc.). Performance of students’ work may take place within celebrations of the liturgical year of the Church and for spiritual growth, both personal and communal, (e.g., Christmas, Easter). Students demonstrate the basic movement skills of the dance form(s) being studied. They apply safety principles in their performances. They observe and identify a broad spectrum of dance in performance and they describe dance works using the language of dance criticism. They reflect on their own work and the work of others in performance. Students develop and exemplify themselves as reflective, creative, and holistic thinkers with respect to their own work and the work of others in performance.
Ontario Catholic Graduate Student Expectations: CGE 1e, f, g, i, 2a, b, c, d, 3b, 4h, 5a, b, c, d, e, f, g, 6e, 7a, b, c, d, e, f, g, h, i, j.
Strand(s): Theory, Creation and Analysis
Overall Expectations: TTV.01X, .02X, .04X, .05X, TCV.01X, .02X, .03X, .04X, .05X, TAV.01X, .02X, .03X, .05X.
Specific Expectations: TT1.02X, .03X, .04X, TT2.01X, .04X, .05X, TT3.03X; TC1.01X, .02X, .03X, .04X, TC2.01X, .02X, .03X, .04X, TC3.01X, .02X, .03X, .04X; TA1.01X, .02X, .03X, .04X, TA3.02X, .03X.
|
Activity 1 |
Performance Skills |
150 minutes |
|
Activity 2 |
Applying Performance Skills to Composition |
225 minutes |
|
Activity 3 |
Stagecraft |
75 minutes |
|
Activity 4 |
Viewing Dance Performance |
150 minutes |
|
Activity 5 |
Culminating Task: Composition and Rehearsal |
525 minutes |
|
Activity 6 |
Culminating Task: The Performance |
300 minutes |
Accommodations for students should also be adopted as outlined in the Course Overview.
Activities 1 - 4:
· Teacher plans for students to have sufficient time to apply performance skills to movement in Activity 2 (Appendix R).
· Teacher arranges for access to the performance space, if it is not the classroom, in Activity 3.
· Teacher prepares handout regarding expectations of performance in a liturgical setting, where necessary.
· Teacher prepares handouts on the layout of the performance/theatre space and information on basic technical support in performance in Activity 3.
· Teacher arranges for students to attend a live performance of dance and view videos of dance performance (see Resources).
· Teacher plans for students to have sufficient time for post-performance discussion.
Activities 5 and 6:
· Teacher plans for students to have sufficient time to improvise and generate ideas for composition, individually and as a group.
· Teacher plans for students to have sufficient time to compose and rehearse.
· Teacher plans for students to have sufficient time to apply and refine technique to the dance form.
· Teacher arranges for access to the performance space.
· Teacher provides a rotation schedule of the performance space for each group (groups work separately during the composition and rehearsal process).
· Teacher arranges for each group to have access to sound equipment for the rehearsal process.
· Teacher arranges for appropriate access to sound and lighting equipment for final performance.
· Teacher books the VCR and other required recording equipment (e.g., camera, blank tapes) to facilitate videotaping the final performance.
· Teacher arranges for technical assistance if required.
· Teacher plans for students to have sufficient time for feedback and post-performance discussion.
The compositional studies completed in Unit 3 are the basis for the first activity of this unit.
Students require the knowledge and skills developed in the first four (4) units.
Teacher creates exercises that focus on developing elements of performance.
Activities 1 - 4 develop performance skills, theory, and technique. Evaluation of these activities is part of the unit evaluation, which is 70% of the overall course evaluation.
Activities 5 - 6 apply the knowledge and skills from Activities 1 - 4
to the creative and rehearsal process for a final performance (the culminating
performance task). Evaluation of these activities comprises 30% of the
evaluation.
1. Checklists may be devised for the assessment of students' knowledge of performance skills in Activities 1 and 2.
Checklists may be devised for assessment through teacher observation of technique, classroom expectations, performance protocol, composition, and safe practices in all activities.
A quiz may be used to assess knowledge of the performance areas in Activity 3.
An assessment tool (rubric, checklist) is used to assess a written critique of the dance performance observed in Activity 4.
A reflective journal is used to observe individual growth, and develop and direct students in his/her spiritual journey.
· 15% Creative/Rehearsal processes including application of theory and technique (5%)
checklists, dance scrapbook, rubric - teacher and self-assessment
· 5%Composition - rubric - teacher evaluation and group/self-assessment
· 10%Performance (technique 5%) - rubric - teacher evaluation
OR
· Theory (technique) 10% and Creation 20%
Resources listed in Units 1 - 4, and additional resources are as follows:
2. Buerki, F.A. Stagecraft for Non-Professionals. University of Wisconsin, 1983. ISBN 0299-093549 (pbk) ISBN 0299093506 (hard).
Dance Films Association, Inc.; compiled by Deirdre Towers. Dance Film and Video Guide. Princeton, NJ: Dance Horizons/Princeton Book Company, Publishers, 1991. ISBN 0871271710
Dancemakers Video Series. Dance Collection Danse, 1995. Teacher's Guide. ISBN 0929003314.
Dell, Cecily. A Primer for Movement Description. New York: Dance Notation Bureau Press, 1977. ISBN 0932582036.
Hoggett, Chris. Stage Craft. A & C Black Publishers, 1975. ISBN 0713-615575
Linnell, Rosemary. Theatre Arts Workbook. Hodder & Stoughton, 1991.
Priddle, R. "Children's Imagined and Actual Dance Themes". Dance in Education, Vol. 1, 1989.
Schlaich, Joan and Betty, DuPont, eds. Dance: The Art of Production. Dance Horizons, 1998. ISBN 0871272075.
Schrader, Constance A. A Sense of Dance: Exploring Your Movement Potential. Windsor: Human Kinetics, 1996. ISBN 0873-224760.
Serbon, Elizabeth. On the Count of One: A Guide to Movement and Progression in Dance. California: National Press Books, 1990 (4th ed.). ISBN 1556-520905.
Teacher provides guidance and assistance to exceptional students during the creative and written process when necessary.
Appendix R - Performance Skills Rubric
Appendix S - Rubric for Creative Process
Appendix T - Rubric for Rehearsal Process
Appendix U - Rubric for the Final Performance
Time: 150 minutes (2 classes of 75 minutes)
The teacher leads a discussion about the importance of performance quality and identifies the components necessary to ensure a high standard of performance. Teacher directs students to apply a full range of performance skills to a variety of exercises including their compositional studies created in Unit 3.
Ontario Catholic Graduate Student Expectations: CGE 1i, 4h, 5c.
Strand(s): Theory, Creation and Analysis
Overall Expectations: TTV.01X, TTV.05X, TCV.01X, TAV.03X.
Specific Expectations: TT1.02X, TT1.04X, TC1.01X, TC1.03X, TC3.02X, TA1.02X, TA1.03X.
· Provide video resources that demonstrate performance skills for students to observe. Instruct students to bring Dance Scrapbooks to all classes.
Note: All activities in this unit are to be adapted to the dance form(s) being studied in the course.
Units 1 - 4. As part of Activity 1, the performance skills are applied to the compositional studies from Unit 3.
I Teacher informs students
through lecture and discussion of the following performance skills:
Focus - the ability to unite mind, body, and soul for the sole purpose of performing the immediate task.
Confidence as a Performer - knowledge and demonstration of technical skills.
Co-operation in a Group - the ability to attain the group goal without drawing undue attention from the audience onto individual performance.
Projection - the ability of the performer to make the audience feel at ease with the performance quality.
Technique - application of movement with safe practice.
Expression - the ability to demonstrate the power of movement with feeling and emotion.
Movement Dynamics - the ability to modulate the force and size of movement.
Endurance - the ability to maintain an appropriate level of energy.
II Teacher provides video clips of a dance performance for students to observe. Class discussion follows on the effectiveness of using proper technique and performance skills to enhance movement.
III Teacher suggests ideas that challenge the students to question the quality of their movement. Students explore the range of performance skills and apply them to the compositional studies created in Unit 3. For example, teachers may have students perform their entire compositional study as follows:
· performing the dance as small as possible;
· performing the dance as large as possible;
· performing the dance as slowly as possible;
· performing the dance as quickly as possible;
· performing the dance by fixing their gaze on one point for the length of the performance;
· performing the dance as heavily as possible;
· performing the dance as buoyantly as possible;
· performing the dance focused on one emotion i.e., sorrow, joy, anger, peace;
· other variations.
IV Teacher places students randomly
in pairs and provide sufficient time
for each person to observe his/her partner perform his/her compositional study
and provide feedback regarding his/her performance. After both dancers have
completed the exercise, they sit down together with a checklist (Appendix R),
and, through discussion, assess the strength and weaknesses of their performance
skills.
V Teacher guides student in
a journal reflection which touches upon the spiritual, reflective, and creative
thinker. The activity allows the student to apply their knowledge as a
Christian leader involved in the moral and ethical decision-making process.
3. Teacher observes movement work and provides feedback.
Students observe each other and provide feedback according to the performance skills checklist (Appendix R).
Students may document their learning experiences, explorations, ideas, brainstorms, designs, and reflections through the dance scrapbook introduced in Unit 3 (Appendix H).
Reflection, feedback, guidance, etc.
Appendix S - Performance Skills Rubric
Appendix H - Assignment and Rubric Dance Scrapbook (Unit 3)
#2, 5, 8, 9, 10
Time: 225 minutes (3 classes of 75 minutes)
In this activity the teacher facilitates improvisation using various themes, developing the dancer's ability to solve compositional problems with imaginative and interesting movement using a full range of performance skills. Individually and in small groups, students explore ways to use space, shape, time and energy for the purpose of performance in a particular dance form.
Ontario Catholic Graduate Student Expectations: CGE 1e, f, g.
Strand(s): Theory, Creation and Analysis
Overall Expectations: TTV.05X, TCV.01X, TCV.02X, TCV.03X, TAV.03X.
Specific Expectations: TT3.03X, TC1.01X, TC1.02X, TC1.03X, TC1.04X, TC2.01X, TC3.02X, TC3.04X, TA1.03X, TA3.03X.
· Place students into groups to allow for student observation and feedback.
· Plan for sufficient time for feedback of this activity.
Students apply performance skills to technique and movement taught in prior units.
Students are instructed that the following exercises will be repeated several times over the next three classes.
I The Grid
· The purpose of this exercise is to develop performance skills that encourage students to focus, be confident as performers, co-operate in a group, project movement quality, apply movement dynamics, technique, and expression, and increase their endurance. Depending on the size of the class and space, teacher may decide to split the group in half, thereby allowing for observation of the exercise.
· Students are instructed to imagine the workspace as delineated only by horizontal and vertical lines.
· Students place themselves randomly on the grid and begin moving at their own discretion.
· Students are encouraged to explore the grid while directing their movements along the horizontal and vertical lines.
· Movement can be varied and the grid pattern can be of any size.
· Students are encouraged to meet and mirror one another's movements at the right angle junctions and decide spontaneously to follow each other until one changes direction.
· Students should be instructed to find periodic moments of stillness.
II Variations of the Grid
The teacher may wish to develop further exploration through the following variations:
· Students find their own entrance and exit to the workspace.
· Students change their level of movement when they make a right angle turn.
· Students challenge themselves to mirror another student as closely as possible without touching.
· Students change their level of movement as they mirror the quality and form of another student.
· Students create a shape during the period of stillness that continues the mood of the previous movement and hold it for 5-10 seconds before continuing.
· Students turn their moment of stillness into a balance.
· Students apply compositional manipulations as learned in Unit 3.
Throughout The Grid exercise and its variations, students who observe provide feedback and discuss how performance skills enhance movement.
III Shapes of Nature
· The purpose of this exercise is to challenge students to continue to develop their performance skills of focus, confidence, co-operation, projection, attention to detail, movement dynamics, and endurance.
· Students are instructed to choose the design of a shape from nature (e.g., leaf, raindrop, star, moon, flower, river, mountain) and render it as a line drawing to be used as a floor pattern in the workspace. The students decide where in the room to begin, the dimensions of their shape, and where the shape ends. Students may choose to begin and/or end their shape in or out of the workspace. Once students have chosen where to begin, they may commence at their discretion and move along the lines of the shape. The students adapt the following movements to the exercise, for example:
· walk;
· run;
· hop;
· skip;
· jump;
· leap;
· roll;
· crawl;
· gallop.
· Each student maintains his/her choice of movement from start to finish. Students perform this exercise alone or in small groups. Exceptional students are encouraged to explore and create interesting combinations within their movement range.
IV Variations on Shapes of Nature
The teacher may wish to develop further exploration through the following variations:
· Students choose two or more movements to perform along the shape pattern.
· Students change the quality of their movement two or more times along the shape pattern.
· Students explore ways to use space, shape, time, and energy for the purpose of performance in a particular dance form.
· Students create a short combination of movements that take the students off the pattern momentarily but bring them back to a still shape that reflects the expression of their movement. This variation may be done in groups of three.
· The students are sensitive to one another's movement so that while one person is maintaining a still shape, another is improvising off the shape pattern and the third person is continuing along his/her pattern shape with his/her chosen movement.
· Students apply the compositional manipulations as learned in Unit 3.
Throughout the Shapes of Nature exercise, the students who observe others provide feedback and discussion on how performance skills can assist in the development of the dancer's ability to solve compositional problems with imaginative and interesting movement using a full range of performance skills.
4. Teacher assesses the progress of the students and their ability to apply performance skills by observation, using checklists, and providing feedback
Teacher directs a class discussion for students to share their observations and experiences in the above activities. Feedback is gathered about individual performance skills and group co-operation. Teacher questions students about their exploration on the Grid and their use of space, shape, time, and energy. Items for discussion are:
· Do they make full use of the floor space?
· Do they avoid contact/closeness? Reasons why?
· Do they use a variety of movements? List them?
· Do they maintain the design?
· Do they use levels? Which ones? Where?
· Do they mirror successfully?
· Do they keep their focus?
· Do they apply a full range of technique?
· Do they demonstrate safe practices?
· Do they take risks?
· Do they make smooth transitions?
· Do they find moments of stillness?
Students record, in their Dance Scrapbook, their impressions of their choreographic experience using a variety of media (e.g., photos, pictures, ticket stubs, programs, flyers, poetry, drawings, sketches, music, newspaper clippings, etc.).
#2, 5, 6, 7, 8
Time: 75 minutes (1 class of 75 minutes)
Teacher instructs students to identify and experiment with dance performance areas and learn about technical support for enhancing performance.
Ontario Catholic Graduate Student Expectations: CGE 2a.
Strand(s): Theory, Creation and Analysis
Overall Expectations: TTV.01X, TCV.05X, TAV.05X.
Specific Expectations: TC2.04X TC3.03X, TA3.02X.
· Prepare a handout identifying performance and non-performance areas and technical theatre terms (e.g., downstage, upstage, centre stage, crossover, wings, legs, scrim, cyclorama, etc.).
· Design exercises that focus on building vocabulary and awareness of stagecraft to enhance performance.
· Provide video clips demonstrating use of stage space, lighting, props, sound, and costumes, for example, Dancemakers Video Series.
Students have a variety of experiences to draw from, both as a performer and as an audience member (e.g., school shows, pop music videos, concerts/performances).
I Introduction to Performance Space
· Teacher provides a handout identifying the performance and non-performance areas of the performing space/theatre.
· Teacher and students identify the performance areas of the school and implement modifications (if applicable) to create a suitable and safe performance environment.
· Teacher defines a formal performance area for the students. Performance area may be taped out in a gymnasium, cafeteria, classroom, or library.
· Teacher instructs students in staging for dance in the area provided for performance.
· Teacher instructs students of their responsibility to ensure the personal safety of self and others in the performance space.
II Introduction to Technical Theatre
· Teacher introduces students to the concept of sound, lighting, costumes, props, sets and recording and/or computer technologies and their use in the enhancement of performance.
· Teacher instructs students of the importance of safe practices with technical equipment in regard to self and others in performance settings.
Teacher assesses students' knowledge of the use and effectiveness of stagecraft with a quiz.
#1, 3, 4, 5, 9, 10
Time: 150 minutes (2 classes of 75 minutes: 1 class for field trip/video)
Teacher instructs the students in the value of their role as an audience member. Teacher provides ideas on how students may become more perceptive and more thoughtful about the role of the performer by gathering information that evaluates the form and presentation of the dance. Teacher instructs students on how to write a dance review (e.g., Alvin Ailey’s Revelations, In Memorium).
Ontario Catholic Graduate Student Expectations: CGE 2a, b, c.
Strand(s): Theory and Analysis
Overall Expectations: TTV.02X, TTV.04X, TTV.05X, TAV.01X, TAV.02X.
Specific Expectations: TT2.01X, TT2.04X, TT2.05X, TA1.01X, TA1.04X, TA3.02X, TA3.03X.
· Arrange for students to attend a live dance performance and/or view performance on video (e.g., Passion plays, Stations of the Cross, Jesus of Montreal, Jesus Christ Superstar, etc.).
· Bring in sample dance reviews to give students an idea of what professional writers look for in dance performance.
All prior activities in the course
I Gathering Information for Written Critique of Dance Performance
Teacher instructs students how to properly observe and appreciate the dance performance:
· Performance Facts
· Who, what, where and when, including the title of the dance and the name of the choreographer.
· Evaluating the Choreography
· What impression does the dance make?
· What story does the movement suggest?
· What is the style of the dance?
· When and how were soloists used?
· When and how were duets or small groups used?
· When and how were large groups used?
· How did the dance performance make you feel?
· Based on your present knowledge of composition, what structures do you recognize in the choreography?
· How did the dancers demonstrate performance skills?
· What spiritual statements were made by the choreographer?
· Stagecraft
· How did sound, lights, costumes, props, and special effects enhance the dance performance?
· Image
· What moment do you remember most about the dance? What stands out?
· Was the overall performance satisfying to watch?
· What words come to mind that describe the images seen in the performance?
· Your Point of View
· What is your opinion of the performance? (Remember, potential audiences could be encouraged by your review.)
· Choose words, images, phrases, shapes, colours, and symbols to match your impression of the dance movement in the performance.
II Viewing the Performance
· Teacher arranges for students to see a dance performance.
· Students come prepared to take notes before, during, and after the performance to write details of set, costumes, lighting, and dance for a written report that critiques the Dance Performance.
· Students respond to the creativity of the composition, the use of elements and the quality of performance with the application of performance skills.
III Class Discussion
After critiques have been handed in, teacher leads a class discussion on the students' experience of attending/observing dance performance. (The class discussion after the critiques have been handed in is to eliminate the potential at this grade level for students to repeat what they have heard rather than search for their true response to the performance).
5. Teacher assesses the critiques written by students based on the Performance Skills Rubric (Appendix R) and the components given in Part I.
Students record their experience attending live performance in their Dance Scrapbook and create a page that reflects their artistic impression of the dance performance (Unit 3, Appendix H).
Appendix H - Dance Scrapbook Assignment and Rubric (Unit 3)
#2, 5, 9, 10
Time: 525 minutes (7 classes of 75 minutes)
This activity consists of the composition and rehearsal for the culminating performance task. In small groups, students compose a two to three minute dance in one of the forms being studied (e.g., Jazz, Modern) and rehearse it for performance for an audience. These dances consist of original movement that has been organized and manipulated by the group.
Ontario Catholic Graduate Student Expectations: CGE 5a, b, c, d, e, f, g.
Strand(s): Theory, Creation and Analysis
Overall Expectations: TTV.01X, TTV.05X, TCV.01X, TCV.02X, TCV.03X, TCV.04X, TCV.05X.
Specific Expectations: TT1.02X, TT1.03X, TT1.04X, TCl.02X, TC1.03X, TC1.04X, TC2.01X, TC2.02X, TC2.03X, TC3.01X, TC3.02X, TC3.04X, TA1.02X, TA1.03X.
· Lead a warm-up each class to direct the attention of the student to the daily practice and technique of the dance form being studied.
· Provide music to accompany the groups' choreography if necessary.
· Plan adequate class time for students to generate individual and group choreography.
· Provide a stimulus or a context for the composition of the final piece (e.g., poetry, short story, artwork, religious artifact, picture or icon, or an integrated topic from a related subject).
· Provide a rehearsal schedule and a rotation schedule for the performance space.
· Provide sound equipment to facilitate the rehearsal process.
This activity is based on knowledge, technique, and experience acquired in previous activities in this and prior units.
I Teacher provides students
with the requirements of the culminating performance task valued at 30% of the
course evaluation and reviews the methods of evaluation (i.e., checklists,
reflective journal, and rubrics) with students.
II Teacher chooses groups and guides students through the compositional
process.
Teacher actively circulates and provides feedback as needed to the groups. Music is selected that is appropriate to accompany the choreography.
III Each student brings a piece of original choreography to the group and teaches it to the other members, focusing on specific performance skills. As part of the rehearsal process, dancers honour each student "choreographer" by endeavouring to replicate the quality and characteristics of the movement in the dance piece (e.g., shape, space, time, energy). These pieces, composed by individual group members, are then manipulated by the group and combined with choreography composed by the group to contribute to the time requirement for the composition of the final performance (suggested time: 2-3 minutes).
IV Students, in their groups,
are directed by the teacher to focus on the specific performance skills and
technique that affect the composition (i.e., a clear beginning, middle and end;
entrances and exits; use of levels and patterns; compositional elements).
Attention should be paid to specific characteristics the students wish to
emphasize relating to the performance of their dance.
V Students learn the choreography, memorize their cues, and rehearse and polish the dance individually and in a group until the final performance for audience.
VI Students maintain their Dance Scrapbook reflecting their ideas, drawings, and feelings about the creative process, the rehearsal process, their effectiveness within their group, their opinion of the success of their group's collaboration, and their technical progress as dancers.
· Teacher observes, assesses and provides feedback during the compositional process as needed.
· Teacher collects the Dance Scrapbook from students after the Final Performance (Activity 6) for evaluation.
#2, 7, 8
In the case of experienced, talented, or highly motivated students, the teacher may need to modify the compositional assignment to make it more challenging. For example, these students could be organized in the same group and choose to perform their choreography in silence or accompany it with instrumental or body percussion and/or props.
Appendix S - Rubric for Creative Process
Appendix T - Rubric for the Rehearsal Process
Time: 300 minutes (4 classes of 75 minutes)
This activity focuses on the Final Performance of the culminating performance task given in Activity 5. In groups of three to five, students perform a final dance piece for evaluation. Students rehearse and polish their choreography applying performance skills taught earlier in the unit. Teacher videotapes students' performances for teacher evaluation, student evaluation, and class discussion. It is suggested that each group have the opportunity to perform their dance twice with class discussion/feedback given between the first and second performances. It is understood that theatre protocol is followed at all times.
Ontario Catholic Graduate Student Expectations: CGE 7a, b, c, d, e, f, g, h, i, j.
Strand(s): Theory, Creation and Analysis
Overall Expectations: TTV.01X, TCV.03X, TCV.04X, TCV.05X, TAV.01X.
Specific Expectations: TT1.04X, TT3.03X, TC1.01X, TC3.02X, TC3.04X, TA1.03X, TA3.02X.
· Book the VCR and supporting technical devices necessary for videotaping group performance in two of the four classes.
· Provide sufficient time for each group's performance to be discussed and the appropriate improvements suggested in Part II: Teaching/Learning Strategies.
· Provide adequate time for groups to implement the suggestions given by the teacher and students through post-performance discussion in Part III: Teaching/Learning Strategies. Teacher prepares rubric to evaluate group performances in Part I and the second performance of each group in Part III.
· Plan sufficient time for a second viewing of the dance performances.
All activities in this course leading up to the culminating performance task
I Performance of Group Choreography for Evaluation
· Students ensure that the performance space is safe.
· Students inform teacher after the fourth class of the necessary supporting technical aspects required for their performance (e.g., sound, lights).
· Teacher ensures that the necessary technical devices required for the group are set up (e.g., videotaping equipment).
· Students perform the choreography of their dance piece for teacher evaluation.
II Post-Performance Discussion and Feedback
· Teacher encourages students to share their opinions, feelings, and suggestions about the group presentations. In addition, teacher leads a discussion that addresses the effectiveness of the performance skills demonstrated in the dance pieces.
· Teacher encourages students to share their opinions, feelings, and suggestions about how improvement could be made in presenting the group choreography.
· Teacher views the videotape with students and leads a discussion comparing the dancers' perception of their performances at the time of performance and the visual impact of the performances.
III Dance Revisions and Performance
· Students ensure a safe working environment.
· Students arrange all necessary supporting technical devices prior to performance, (may require out-of-class time).
· Students perform their group choreography for a second time for teacher/student self-assessment/evaluation.
· Students and teacher observe videotaped performances and discuss the improvements.
The Final Performance of the Culminating Performance Task required by the Ministry of Education will be 30% of the final mark and evaluated as follows:
· 15% - Creative/Rehearsal Processes including application of theory and technique (5%)
checklists, teacher evaluation, and self-assessment
· 5% - Composition - rubric, teacher evaluation, and group/self-assessment
· 10% - Performance of Composition including technique (5%), the elements, performance skills, stagecraft - rubric, teacher evaluation
OR
· 10% - Theory (technique)
· 20% - Creation
#1, 3
Appendix U - Rubric for the Final Performance
Date:
________________________________________________________________________
|
Levels |
Percentages |
Descriptions |
|
Level One |
50-59% |
Beginning to develop |
|
Level Two |
60-69% |
Moderate development |
|
Level Three |
70-79% |
Considerable development |
|
Level Four |
80-100% |
Exceptional development |
|
Names of
Students |
Focus/ On task |
Involvement/
dedication |
Willingness to explore |
A team player |
Creative &
reflective thinker |
Achievement
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You document your learning experiences, explorations, ideas, brainstorms, designs, and reflections, through a scrapbook that you contribute to throughout this unit. The question you are probably asking yourself right now is "What will I put in it?" Well, let me tell you.... Actually, I'll just give you a list of ideas.
Photos/pictures of your in-class experiences, of dancers/choreographers that inspire you, choreographers that you are exposed to throughout this unit, photographs/stills of dance, etc.
Quotations/Scripture/Prayers/Passages that inspire you and your creative process.
Visual arts pieces that inspire your creativity and choreographic studies.
Drawings/sketches of costumes, floor plans, choreographic designs/shapes, etc.
Music/Poetry that inspired you in your dance work in class.
Teacher-guided or
personal reflections
Self-Evaluation of your dance work this semester.
Personal goals in your creative work this semester.
Newspaper clippings,
dance reviews, ticket stubs, programs, flyers
Analyses of composition
seen in class or of professional live performances
In order for your scrapbook to be meaningful and well done, you need to contribute to it on a consistent basis. You are required to bring your scrapbook to class each day, so that you can contribute to it on the spot, through sketching, responding to meaningful explorations, or responding to teacher-guided questions.
Your scrapbook will be collected twice during this unit for evaluation. See attached criteria.
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Criteria |
Level One |
Level Two |
Level Three |
Level Four |
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Demonstrates effort in attention to detail |
- limited attention to detail |
- moderate attention to detail |
- considerable attention to detail |
- high degree of attention to detail |
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Contents demonstrate thoughtfulness and provide insight into student’s creative process |
- content is limited in thoughtfulness and gives little insight into student's creative process |
- content is moderate in thoughtfulness and gives some insight into student's creative process |
- content is considerably thoughtful and gives insight into student's creative process |
- content has a high degree of thoughtfulness and gives insight into student's creative process |
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Scrapbook demonstrates student’s exploration of choreographic concepts |
- scrapbook demonstrates student's exploration of choreographic concepts with limited effectiveness |
- scrapbook demonstrates student's exploration of choreographic concepts with moderate effectiveness |
- scrapbook demonstrates student's exploration of choreographic concepts with considerable effectiveness |
- scrapbook demonstrates student's exploration of choreographic concepts with a high degree of effectiveness |
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Scrapbook includes a variety of materials that have inspired creative and spiritual explorations and/or work |
- scrapbook includes a limited variety of materials |
- scrapbook includes moderate variety of materials |
- scrapbook includes considerable variety of materials |
- scrapbook includes an extensive variety of materials |
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Student’s scrapbook effectively documents the students learning to date |
- student's documentation of learning is sparse |
- student's documentation of learning is inconsistent |
- student's documentation of learning is consistent |
- student's documentation of learning is exceptional |
(Definitions written by profile writers. Basic concepts taken from Choreography: A Basic Approach Using Improvisation by Sandra Cerny Minton and The Intimate Act of Choreography by Lynne Anne Blom and L. Tarin Chaplin)
AB: A simple choreographic form with two sections having two contrasting themes.
ABA: A simple choreographic form with three sections having two contrasting themes, A and B, followed by a repeat of the first theme in the third section.
Suite: The most typical suite has a moderate beginning, a slow second part, and a fast, lively third section.
Rondo: The rondo form includes an initial section A followed by an alternate or contrasting part B. The third section is a return to A, either in its entirety or with some changes. The return to A is followed by a fourth section, C, and another return to A. The remainder of the choreography includes parts D, E, and F interspersed with variations or restatements of A.
Theme and Variations: The theme can be a single phrase of movements or several movement phrases put together in a sequence. The theme or original movement series can be changed in a number of ways as the dance progresses, but the timing and movement sequence of the original theme remains.
Narrative: A narrative composition is sometimes known as a story or dance drama.
Collage: The collage consists of pieces of movement that are often related and have been brought together to create a whole.
Repetition: Repeat exactly the same.
Retrograde: Perform pieces backwards - like a movie running backwards.
Inversion: Perform upside-down.
Size: Condense/expand movement.
Tempo: Perform fast/slow/stop.
Quality: Vary the movement quality.
Instrumentation: Perform the movement with different body parts.
Staging: Perform it at a different place on the stage and/or with different facing to the audience.
Appendix J: Assessing the Creative Process
Student demonstrates willingness to explore given
compositional constructs or materials.
o Demonstrates a high degree of willingness to explore.
o Demonstrates considerable willingness to explore.
o Demonstrates some willingness to explore.
o Demonstrates little willingness to explore.
Student engages with given materials and tasks in
creative ways.
o Engages with materials and tasks with a high degree of creativity.
o Engages with materials and tasks with considerable degree of creativity.
o Engages with materials and tasks with some degree of creativity.
o Engages with materials and tasks with little creativity.
Student demonstrates an understanding of compositional
terms and concepts.
o Demonstrates a high degree of understanding of compositional terms and concepts.
o Demonstrates considerable understanding of compositional terms and concepts.
o Demonstrates some understanding of compositional terms and concepts.
o Demonstrates little understanding of compositional terms and concepts.
Student strives for originality in the creative process
when working with compositional parameters for movement studies.
o Applies the creative process with a high degree of effectiveness.
o Applies the creative process with considerable effectiveness.
o Applies the creative process with some effectiveness.
o Applies the creative process with little effectiveness.
Student uses various forms of communication (talking,
reflecting, drawing, writing, moving) to express compositional ideas.
o Uses various forms of communication to express compositional ideas with exceptional effectiveness.
o Uses various forms of communication to express compositional ideas with considerable effectiveness.
o Uses various forms of communication to express compositional ideas with some effectiveness.
o Uses various forms of communication to express compositional ideas with little effectiveness.
Student's Name: _______________________________________________________________
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Criteria |
Levels 1 2 3 4 Little Moderately Considerably Highly |
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6. To what extent do you take risks (do you go out of your comfort zone)? |
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To what extent do you demonstrate creative problem-solving skills? |
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To what extent do you demonstrate effective communication skills? (Listening & responding appropriately.) |
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To what extent do you demonstrate co-operative skills (Are you a team player? Do you contribute in positive ways? Do you respect the work and the people? Etc.) |
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To what extent do you demonstrate responsibility for your assigned role in the project? |
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To what extent do you stay on task at rehearsals or in class time? |
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To what extent do you come to class/rehearsal prepared and ready to work? |
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Comments:
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What do you need to improve upon? (Be specific in your answer.) |
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Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Student(s) effectively apply compositional forms & structures to their studies/ compositions |
- applies compositional forms & structures to their studies/ compositions with limited effectiveness |
- applies compositional forms & structures to their studies/ compositions with moderate effectiveness |
- applies compositional forms & structures to their studies /compositions with considerable effectiveness |
- applies compositional forms & structures to their studies/ compositions with a high degree of effectiveness |
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Student(s) effectively explore various manipulations in their dance sequence |
- explores various manipulations in their dance sequence with limited effectiveness |
- explores various manipulations in their dance sequence with moderate effectiveness |
- explores various manipulations in their dance sequence with considerable effectiveness |
- explores various manipulations in their dance sequence with a high degree of effectiveness |
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Student(s) strive for originality in their compositions with effectiveness |
- strives for originality in their compositions with limited effectiveness |
- strives for originality in their compositions with moderate effectiveness |
- strives for originality in their compositions with considerable effectiveness |
- strives for originality in their compositions with a high degree of effectiveness |
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Student(s) utilize prior knowledge of the dance elements (time, space, shape, and energy) in their composition with effectiveness |
- utilizes prior knowledge of the dance elements (time, space, shape, and energy) in their composition with limited effectiveness |
- utilizes prior knowledge of the dance elements (time, space, shape, and energy) in their composition with moderate effectiveness |
- utilizes prior knowledge of the dance elements (time, space, shape, and energy) in their composition with considerable effectiveness |
- utilizes prior knowledge of the dance elements (time, space, shape, and energy) in their composition with a high degree of effectiveness |
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Student(s) effectively integrate an appropriate sound score or music piece to create atmosphere and enhance their dance composition |
- integrates an appropriate sound score or music piece to enhance their dance composition with limited effectiveness |
- integrates an appropriate sound score or music piece to enhance their dance composition with moderate effectiveness |
- integrates an appropriate sound score or music piece to enhance their dance composition with considerable effectiveness |
- integrates an appropriate sound score or music piece to enhance their dance composition with a high degree of effectiveness |
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Student(s) develop movement vocabulary that explores the given source/theme/issue/in their dance work |
- develops movement vocabulary that explores the given theme/issue/ source in their dance work with limited effectiveness |
- develops movement vocabulary that explores the given theme/issue/ source in their dance work with moderate effectiveness |
- develops movement vocabulary that explores the given theme/issue/ source in their dance work with considerable effectiveness |
- develops movement vocabulary that explores the given theme/issue/ source in their dance work with a high degree of effectiveness |
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Student(s) demonstrate the difference between stringing together dance steps and creating dance work |
- demonstrates the difference between stringing together dance steps and creating dance work with limited effectiveness |
- demonstrates the difference between stringing together dance steps and creating dance work with moderate effectiveness |
- demonstrates the difference between stringing together dance steps and creating dance work with considerable effectiveness |
- demonstrates the difference between stringing together dance steps and creating dance work with a high degree of effectiveness |
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Student(s) apply and execute technique in their dance work |
- applies and executes good technique in their dance work with limited effectiveness |
- applies and executes good technique in their dance work with moderate effectiveness |
- applies and executes good technique in their dance work with considerable effectiveness |
- applies and executes good technique in their dance work with a high degree of effectiveness |
I am running,
running, running,
I am running
just for fun.
Through the grass
and through the gravel
running faster
see me travel
past the people
staring, staring.
They are thinking
something's wrong.
I'm not looking.
I'm not caring.
I'm just running
hard and long.
Now my feet are
pounding pavement.
Now my heart is pounding too.
I can feel the
sidewalk searing
through the bottom
of my shoe.
How the wind is
whipping past me.
How the trees are
Whizzing by.
Rushing rivers
run forever.
Maybe I can
if I try.
Marci Ridlon
*(in process of locating author)
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Criteria |
Level One |
Level Two |
Level Three |
Level Four |
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Demonstrates effort in attention to detail |
- limited attention to detail |
- moderate attention to detail |
- considerable attention to detail |
- high degree of attention to detail |
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Contents demonstrate thoughtfulness and provide insight into group's creative process |
- content is limited in thoughtfulness and gives little insight into group's creative process |
- content is moderate in thoughtfulness and gives some insight into group's creative process |
- content is considerably thoughtful and gives insight into group's creative process |
- content has a high degree of thoughtfulness and gives insight into group's creative process |
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Collage demonstrates group's exploration of choreographic concepts |
- demonstrates group's exploration of choreographic concepts with limited effectiveness |
- demonstrates group's exploration of choreographic concepts with moderate effectiveness |
- demonstrates group's exploration of choreographic concepts with considerable effectiveness |
- demonstrates group's exploration of choreographic concepts with a high degree of effectiveness |
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Collage includes a variety of materials that have inspired creative work |
- includes a limited variety of materials |
- includes moderate variety of materials |
- includes considerable variety of materials |
- includes extensive variety of materials |
· Anatomy
· Eating Disorders (e.g., anorexia, bulimia, compulsive overeating)
· Nutrition - Nourishing Your Body & Body Weight/ Osteoporosis
· Body Image and Dance
· Dance Injuries, Prevention & Care
· Biomechanics, Physiology, Kinesiology, Fitness
· Administration (e.g., company/tour/theatre/community centre/parks and recreation program management marketing, publicity, fundraising, development, educational programming)
· Dance Photography, Animation
· Technical (e.g., lighting design/operator, sound design/operator, set design, costume design, stage management, technical direction, carpentry, electrician, film and video production, post production, film and videographer/operator)
· Therapy (e.g., kinesiologist, dance therapist, sports medicine practitioner, Pilates, Feldenkrais, Alexandre technique practitioner, yoga, geriatric therapy)
· Teaching (i.e., private studio, catholic, public or private school system, college and university, community centre, day care)
· Choreography (e.g., own company, independent artist, artistic director or assistant, videos, film and television, musical theatre, festivals, spectacles)
· Performance (e.g., concert, commercial)
· Writing/Criticism (e.g., journal, newspaper, magazine, biography, historical, academic, broadcast journalism, industrial, publicity and promotion, development communications, specialist)
· Notation
Example of topic areas for Dance Form of Jazz:
· African
· Ballet Jazz
· Bop
· Caribbean
· Hip Hop
· Minstrel Shows
· Music Theatre
· Social and Contemporary
· Swing
· Tap
· The Role of the Male/Female Dancer
· Dance in Our Local Community
· Social Dance Today
· Major Canadian Dance Centres (e.g., companies, cities, theatres)
· Dance Films and Videos
· Fusions in Dance
· Dance in Religion or Cultural Contexts (e.g., Liturgical Dance and The Catholic Church)
· Sexuality in Dance
· Dance Etiquette and Behavior (i.e., studio, performance, audience)
· Artistic Sports (e.g., figure skating, synchronized swimming, aerobics, gymnastics, ballet skiing, snow boarding, sky diving)
Teachers should choose the most appropriate instructional approach as best suits the student’s learning style and considers the availability of research and technology. Twelve approaches are
· direct instruction (e.g., structured overview, lecture, demonstration, didactic questions);
· indirect instruction (e.g., problem solving, case studies, inquiry, concept mapping);
· independent learning (e.g., research, computer-aided instruction, home work, learning centres);
· experiential learning (e.g., field studies, experiments and exploratory games);
· interactive instruction (e.g., co-operative learning groups, debates, problem solving, interviewing, role play, improvisation);
A) Topic Grouping 1: Healthy Dancing
Example:
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APPROACH |
METHOD |
TOPIC |
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Guest Speaker: Dancer, Public Health Nurse, Physiotherapist |
Eating Disorders, Nutrition, Osteoporosis, Dance Injuries, Prevention and Care |
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2 |
Teacher-created Centres/Resource Kits. |
Body Image |
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3 |
Lecture/Demonstration. |
Biomechanics, Kinesiology, Physiology, Fitness. |
B) Topic Grouping 2: Dance History & Culture
Teacher presents a lesson based on the dance form(s) being studied in the course utilizing a variety of presentation methods and where appropriate addresses religious, spiritual and/or liturgical dance. There are twenty-one possible course codes in Grade 9 Dance. They are:
ATA Dance: Drama
ATB Dance: Ballet
ATC Dance: Open*
ATD Dance: Composition
ATE Dance: Northern European/Northern Asian
ATF Dance: African
ATG Dance: English/Irish/Scottish Dance
ATH Dance: History Development
ATI Dance: Indian/South Central Asian
ATJ Dance: Jazz
ATK Dance: Caribbean
ATL Dance: Central and South American
ATM Dance: Modern
ATN Dance: Native (North American)
ATO Dance: Pacific Rim/Asian
ATP Dance: Performance Practice
ATR Dance: Ballroom
ATS Dance: Social and Contemporary
ATT Dance: Tap
ATU Dance: Music Theatre
ATW Dance: Mediterranean/Mid Eastern
*A wide range of dance study exists and is possible within each dance course listed above. In addition, within each form of dance, there are several different types of dances, some of which include: animal, circle, chain, country, courtship, fertility, hunters’, recreational, ritual, sword, theatrical, war, wedding, work, worship, etc.
Teacher presents the following aspects when providing the background of dances of various cultures and societies and ensures that emphasis is placed on Canadian content where applicable:
· the origins of the dance form;
· the purpose of the dance (e.g., social, ritual, ceremonial, celebratory, occupational);
· the geography and climate of the dance’s country of origin;
· the beliefs and customs of the culture of society;
· any historical factors that might have influenced the dance;
· the symbolism, if any, used in the dance;
· stylistic characteristics of the dance;
· historical/cultural significance of dances, personalities.
Dance history content can be presented in a variety of ways (e.g., chronological, thematic, biographical, monographical, practical, or ethnological approach).
No matter what approach is chosen, the teacher should present lessons and guide students to an understanding of the topic within the dance form(s) in their own surroundings and within the context of Canadian artistic heritage. Below are some sample lesson ideas:
Example for Jazz Dance form:
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APPROACH |
METHOD |
TOPIC |
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4 (Biographical) |
Guest Speaker: Dancer(s), Choreographer(s), Historian/Archivist, Writer, Critic, etc. |
William Orlowski, Jeff Hyslop, Eddie Toussaint |
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5 (Ethnological) |
Lecture/Practical Demonstration |
Jazz Dance in Canada, Evolution of Hip Hop, Social Dances of North America |
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6 (Thematic) |
Field Trip (e.g., Theatre, Dance Studio) |
African Dance, Musical Theatre, Jazz Class at a Local Studio |
C) Topic Grouping 3: Careers & Lifelong Learning in Dance
Example:
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APPROACH |
METHOD |
TOPIC |
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7 |
Guest Speaker: Dancer/Choreographer/Teacher, Stage Manager/ Administrator, Technician, Therapist |
Getting Started in the Business, Dance-Related Careers, Role of the Critic |
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8 |
Guidance Department Personnel |
Computer Career Search |
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9 |
Centres |
Dance Therapies, The Technical World, The Media & Dance, Dance on the WWW |
D) Topic Grouping 4: Contemporary Dance & Culture
Example
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APPROACH |
METHOD |
TOPIC |
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10 |
Guest Lecture/ Demonstration: Peer/Parent, Dance Community Personality and/or Representative |
Artistic Sports, Dance In Our Local Community |
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11 |
Peer Sharing |
Dance In Religion (e.g., Liturgical- Gospel), Dance In Cultural Contexts (e.g., Sengalese, Carribean) |
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12 |
Videotape/Lecture |
The Role of the Male and/or Female Dancer, Social Dance Etiquette |
Student:
_______________________________________________________________________________
I. The Written Project
Key: 1 - Limited command of forms
2 - Moderate command of forms
3 - Considerable command of forms
4 - Extensive command of forms
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Most Predominant Level of Achievement |
Connection to Achievement Chart |
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A. Writing: |
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(i) spelling, grammar, and punctuation |
1--2--3---4 |
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(ii) style/vocabulary |
1--2--3---4 |
5ŕ |
Communication |
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(iii) clarity (logic and organization) |
1--2--3---4 |
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B. Content: |
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(iv) information (detail) |
1--2--3---4 |
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(v) information (accuracy) and variety of bibliographic sources |
1--2--3---4 |
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(vi) breadth of research and organization |
1--2--3---4 |
5ŕ |
Theory |
II. Visual Presentation
Key: 1 - Limited effectiveness
2 - Moderate effectiveness
3 - Considerable effectiveness
4 - Extensive effectiveness
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A. Aesthetic presentation of visuals |
1--2--3---4 |
5ŕ |
Creation OR |
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B. Creativity and originality |
1--2--3---4 |
Communication |
Comments:
_______________________________________________________________________________
_______________________________________________________________________________
Key: Level 1 - The criteria are present.
Level 2 - Demonstrates the criteria with moderate effectiveness.
Level 3 - Demonstrates the criteria with considerable effectiveness.
Level 4 - Demonstrates the criteria with a high degree of effectiveness.
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Group Members’ Names |
Asks relevant questions |
Listens actively to others |
Takes an active role in group discussions |
Contributes to the decision-making process |
Works hard during class |
Does his/her best in preparation for presentation |
Contributes to compilation of group summary handout
for class |
Demonstrates Christian Leadership |
Most Predominant Level of Achievement |
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*may be used by the teacher and/or the students.
*when using rubric for student use, allow students to use words that allow them to describe the work and build vocabulary.
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Group Member |
Date |
Anecdotal
Comments & Observations |
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Place a checkmark in the appropriate box from 1 - 4 (with 4 as the assessment of the best quality of the performance skill)
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PERFORMANCE
SKILLS |
Level 1 Limited
Effectiveness |
Level 2 Moderate
Effectiveness |
Level 3 Considerable
Effectiveness |
Level 4 High Degree of
Effectiveness |
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FOCUS (the ability to unite mind, body, and soul for the sole purpose of performing the immediate task) |
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CONFIDENCE AS A PERFORMER (knowledge and demonstration of technical dance skills) |
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CO-OPERATION IN A GROUP (the ability to attain the group goal without drawing undue attention from the audience onto individual performance, and for the common good of all) |
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PROJECTION (the ability of the performer to make the audience feel at ease with the performance quality) |
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TECHNIQUE (application of movement skill with safe practice) |
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MOVEMENT DYNAMICS (the ability to modulate the force and size of movement) |
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ENDURANCE (the ability to maintain an appropriate level of energy) |
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EXPRESSION (the ability to demonstrate the power of movement with feeling and emotion) |
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Criteria for
the Creative Process |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Elements (space, Shape, time and energy) |
- demonstrates limited ability to apply the elements of dance creatively |
- demonstrates moderate ability to apply the elements of dance creatively |
- demonstrates considerable ability to apply the elements of dance creatively |
- demonstrates superior ability to apply the elements of dance creatively |
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Qualities (sustain, swing, vibratory, suspend, collapse percussive) |
- demonstrates limited ability to apply the qualities of dance creatively |
- demonstrates moderate ability to apply the qualities of dance creatively |
- demonstrates considerable ability to apply the qualities of dance creatively |
- demonstrates superior ability to apply the qualities of dance creatively |
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Technique (placement, precision, balance, strength, control, flexibility, movement, range) |
- demonstrates limited ability to apply technique during the creative process |
- demonstrates moderate ability to apply technique during the creative process |
- demonstrates consider-able ability to apply technique during the creative process |
- demonstrates superior ability to apply technique during the creative process |
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Dynamics (force, level, direction, etc.) |
- demonstrates limited ability to apply dynamics creatively |
- demonstrates moderate ability to apply dynamics creatively |
- demonstrates consider-able ability to apply dynamics creatively |
- demonstrates superior ability to apply dynamics creatively |
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Originality (application of unique and creative ideas, musicality) |
- demonstrates limited ability to manipulate compositional skills creatively |
- demonstrates moderate ability to manipulate compositional skills creatively |
- demonstrates considerable ability to manipulate compositional skills creatively |
- demonstrates superior ability to manipulate compositional skills creatively |
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Time Management (the ability to engage in the creative process effectively) |
- demonstrates limited ability to engage in the creative process |
- demonstrates moderate ability to engage in the creative process |
- demonstrates considerable ability to engage in the creative process |
- demonstrates superior ability to engage in the creative process |
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Group Work (willingness to share ideas and work co-operatively) |
- demonstrates a limited ability to work with others |
- demonstrates moderate ability to work with others |
- demonstrates considerable ability to work with others |
- demonstrates superior ability to work with others |
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Checklist for
Rehearsal Process |
Level 1 Limited
Effectiveness |
Level 2 Moderate
Effectiveness |
Level 3 Considerable
Effectiveness |
Level 4 High Degree of
Effectiveness |
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Classroom Expectations (proper attire, punctuality, preparedness, safe practice, performing protocol) |
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Concentration (ability to recall dance sequences, improve performance ability, duplicate choreographer's style) |
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Effort (self-motivated, applies suggestions and corrections, asks questions, demonstrates a positive attitude, and uses class time effectively) |
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Group Work (organization of materials for group work, willingness to co-operate, demonstrates a positive attitude) |
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Technique (applies skill to the dance form) |
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Criteria for
the Final Performance |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Technique (clear, precise, controlled, well-rehearsed, full range of movement) |
- demonstrates limited ability to apply technique to dance skills |
- demonstrates moderate ability to apply technique to dance skills |
- demonstrates considerable ability to apply technique to dance skills |
- demonstrates superior ability to apply technique to dance skills |
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Choreography (apply elements and qualities to original ideas) |
- demonstrates limited ability to choreograph movement |
- demonstrates moderate ability to choreograph movement |
- demonstrates considerable ability to choreograph movement |
- demonstrates superior ability to choreograph movement |
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Performance Skills (focus, projection, co-operation, confidence, expression, endurance) |
- demonstrates limited ability to apply performance skills to choreography |
- demonstrates moderate ability to apply performance skills to choreography |
- demonstrates considerable ability to apply performance skills to choreography |
- demonstrates superior ability to apply performance skills to choreography |
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Dynamics (force, level, direction) |
- demonstrates limited ability to apply dynamics |
- demonstrates moderate ability to apply dynamics |
- demonstrates considerable ability to apply dynamics |
- demonstrates superior ability to apply dynamics |
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Originality (willingness to apply unique and creative ideas) |
- demonstrates limited willingness and ability to apply originality to movement |
- demonstrates moderate willingness and ability to apply originality to movement |
- demonstrates considerable willingness and ability to apply originality to movement |
- demonstrates superior willingness and ability to apply originality to movement |
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Group Work (the ability to perform as a group effectively) |
- demonstrates limited ability to perform as a group during performance |
- demonstrates moderate ability to perform as a group during performance |
- demonstrates considerable ability to perform as a group during performance |
- demonstrates superior ability to perform as a group during performance |
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