Course Overview

Dance, Grade 10, Open

Identifying Information

Course Developers

Jane Deluzio, Toronto DSB, Project Leader

Carolle Mageau, Rainbow DSB

Carmelina Martin, Peel DSB

Ursula Nahatchewitz, Toronto DSB

Janis Stone, Waterloo Region DSB

Course Title: Dance

Grade: Ten

Development Date: October 1999

Course Type: Open

Ministry Course Code: ATC2O

Credit Value: One

Description/Rationale

This course requires students to develop their dance skills and learn the theoretical basis for communicating through movement. Student learning includes creating dance; scientific and safety principles, the historical development of dance; the development of an aesthetic appreciation of dance by participating in dance class, rehearsals, and performances; and the specialized vocabulary of dance criticism.

Unit Titles (Time + Sequence)

Unit 1	An Introduction to the Art and Science of Dance	31 hours
Unit 2	Moving from a Source	27 hours
Unit 3	Movement: Reflection of Society	27 hours
Unit 4	The “Business” of Dance	10 hours
Unit 5	The Finale	15 hours

Unit Descriptions

Unit 1: An Introduction to the Art and Science of Dance

Time: 31 hours

Description

Students are introduced to technique in the dance form(s) being studied. Throughout the unit, students experience the protocol and structure of a dance class while applying safe dance practices within the form being studied. Students integrate their understanding of the relationship between human anatomy and the artistic scope of dance movement. They learn how technique assists with self-discipline and contributes to artistry. Students develop and use criteria for peer and self-assessment. Students begin work on their dance portfolios, which are developed throughout the course.

Unit 2: Moving From a Source

Time: 27 hours

Description

In this unit students continue to develop technique. Students are guided through the process of creating dance from a source. Students compose dance in small groups utilizing a source and a variety of stimuli, explore musical choices, and participate in the stagecraft of presenting a completed work. Students observe, identify, and discuss the works of Canadian dance artists, specifically focussing on Ontario artists, and develop skills in using the language of dance criticism. Students participate in peer and self-assessment.

Unit 3: Movement: Reflection of Society

Time: 27 hours

Description

Students explore how dance has both impacted on and is a reflection of society throughout history in order to understand the rich cultural diversity of the art form. They explore adolescent issues in society today (e.g. peer pressure, independence, invincibility/vulnerability etc.) through the creation of dance sequences. Elements of dance, various stimuli, technique and improvisation are used to develop a more personal approach to compositional form. Through observation and research, students also explore a wide spectrum of movement within society as well as establish criteria for peer and self-evaluation of compositional tasks.

Unit 4: The “Business” of Dance

Time: 10 hours (spread throughout the course)

Description

Students explore various dance careers and other related career opportunities. Stagecraft and production activities help students develop an awareness of what is needed to achieve effective rehearsals and performances. Students continue to build their dance portfolios.

Unit 5: The Finale

Time: 15 hours

Description

This unit consists of the final performance/assessment task of the course worth 30% of the students’ final evaluation. Students work in small groups to select a source that is meaningful to them and to compose a dance piece of at least three minutes based on that source. Students present their pieces to one another and to the teacher for assessment and evaluation. Dance portfolios are completed during this unit.

Appendices

1.1 – Student Handout for Portfolio

1.2 – Evaluation of Portfolio

2.1 – Rubric to Assess Technique

2.2 – Rubric to Assess Creative Process

2.3 – Rubric to Assess/Evaluate Composition and Performance Skills

2.4 – Scale to Self-Assess Co-operative Skills

2.5 – Chart for Peer Assessment

3.1 – Questionnaire: Adolescents in Society

3.2 – Research Project Outline and Scale to Assess Individual Research

3.3 – Personal Data Sheet Exercise

Course Notes

Overview of the Course

This course has been designed to accommodate a variety of dance forms. There are 21 possible focussed courses in dance that use the expectations covered in this course profile. Wherever it was necessary to use a particular form in order to provide specific technique or activities, the writers have selected the forms with which they were most comfortable. Teachers may choose to adapt the technique and activities to the forms in which they have expertise and which interest their students.

Unit 1 is designed to provide the students with the groundwork in technique they use throughout the course. As well, classroom protocol is established.

Teachers may prefer to do Unit 3 before Unit 2. The intent of the writers was to provide the students with a more active experience first, primarily consisting of expectations from the Creation strand. While Unit 3 also actively involves the students in composing and presenting dance pieces, there is a stronger analytical component to the unit.

Unit 4 is threaded through the first three units. At the end of Unit 4, all of the expectations for the course will have been taught. As well, the assessment weighted for 70% of the course evaluation will be completed.

Unit 5 consists of the culminating performance task that is to be weighted for 30% of the final evaluation.

Teachers should note that it is an expectation for Grade 10 students to perform dance. For some students the only setting in which it is appropriate for them to perform is inside their classroom for their peers. For other students, performances may take place at feeder schools, school functions, or community events. The teacher’s professional judgment must be exercised with a sensitive understanding of the needs of the students.

Safety

Teachers must introduce students to the principles of safety in dance from the first class and must insist that safe physical practices be observed within their dance classrooms at all times. Each and every class in dance begins with a warm-up and ends with a cool-down. Specific warm-up and cool-down activities have been provided occasionally but not always because activities have not been broken down into a class by class structure. Safe practices include the development of healthy attitudes toward body image, eating, nutrition, gender, appearance, and personal hygiene.

Teachers must take their students’ level of technique into consideration in order to set realistic technical goals. Teachers should also continually monitor the students’ technical practices to ensure the students’ safety.

Because touch is essential to the art of dance, teachers must establish a safe classroom environment in which the students are aware of their responsibility to respect the comfort level of others. The emotional safety of the students must be protected throughout all activities.

Classroom Space

Teachers are required to teach dance in a variety of spaces, some of them less than ideal. It is essential that students have sufficient room to perform exercises and patterns without jeopardizing their own safety or the safety of others and that they dance on a floor which will not cause injury, either short or long-term. For example, students should not dance on cement, splintered wood or uneven surfaces. There should be sufficient ventilation and appropriate temperatures for safe movement, i.e., not too cold. Students should have access to showers and a change room facility. Music should not be played consistently at a high volume. Equipment in the classroom must be inspected regularly, i.e., barres, mirrors, lighting equipment.

Accompaniment

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

Anti-discrimination

Respect must be paid to the cultural, economic, gender, and social makeup of the class. Teachers must ensure that the curriculum is inclusive by choosing, where possible, resources and classroom materials that are multicultural in nature, and reflect the diversity of Canadian society.

Since dance reflects the history of social and cultural attitudes, the study of dance provides an opportunity to examine the changing roles of men and women in culture and in society. Teachers must ensure that course content and delivery are appropriate for both males and females.

At the present time in Ontario, the expertise of dance teachers exists primarily within the western dance forms of jazz, modern, and ballet. Therefore, many of the examples in this course profile are related to these forms. However, most of the activities can accommodate any form of world dance. In Unit 1, students are introduced to the technique of the form. This technique is used throughout the course. In Units 2 and 3, the technique used within the improvisational explorations can be from any form. In Unit 3 where there is a focus on social dance in Canada, students have the opportunity to explore social dance from any country in the world and are encouraged to discover the kinds of social dance experienced in their local community and by family members.

School and the Community

The dance program provides ideal opportunities for developing relationships between the school and the community. Teachers may invite dance artists to give lectures, demonstrations, choreographic input, etc. Field trips enable the students to view professional dance, performances in other schools and attend workshops, master classes, and lectures. Involving parents and other members of the community strengthens and enriches the program.

It is particularly important in communities in which such opportunities are not available that the school brings resources into the community. Teachers and school administrators, working in co-operation with provincial organizations (e.g., Ontario Arts Council) and cultural groups can organize classes, video presentations, etc. and can invite dance artists to live and teach in the community for a limited time.

Career Planning and Life Skills

Dance programs can provide opportunities for students to develop life skills that are of value in many types of employment or careers. It should be clear to students that the secondary school dance program is not pre-professional training which leads directly to a career in dance. Some students may wish to take further training that prepares them for a professional career; others may wish to pursue a career in related fields, such as administration, production, and stage, costume or set design. Teachers should provide these students with information on realistic career planning, including the kinds of preparation necessary for entrance into particular fields in dance and in related occupations. Students in Grade 10 may be made aware of future opportunities in co-operative education available in later years.

Teaching/Learning Strategies

Teachers may wish to use different strategies throughout this course to suit students’ needs. Some strategies include: brainstorming, discussion, reporting, listing, teacher-demonstration, constructive criticism and correction, written and oral assignments, scrapbooks, journals, logs, lectures, questioning, researching, reading, quizzes, seminars, guided exploration improvisation, exercises, games, mirroring, videotaping, pairing/sharing, co-operative group learning and activity centres.

Although the expectations for the three strands are listed separately in the policy document, instructional strategies encompass all of the strands in a holistic way. The students should dance as much as possible in the course.

Assessment and Evaluation

The assessment/evaluation in this course is weighted through the four Achievement Chart Categories as outlined below. Technique is assessed within the Theory category. Presentation is assessed within the Communication category. Composition is assessed within the Creation category. Oral and written communication skills are assessed within Communication. There is an opportunity for students to be assessed through other art forms such as Visual Arts and Drama. The creative process is assessed through Creation. Teachers must assess those learning skills for which there is a specific expectation. For example, the student’s punctuality and co-operation with others (CR3.01) may be assessed in the Creation category. Those learning skills for which there are no specific expectations are still taught and assessed but this assessment is communicated separately on the report and is not included in the weighting of this course.

Possible Weighting Range for a Grade 10 Dance Course
Theory	30-40%
Thinking/Inquiry	10-20%
Communication	20-30%
Creation	30-40%
Weighting in this Course Profile:
Throughout the Course: 70%
Theory (includes technique)	35%
Thinking/Inquiry	10%
Communication	20%
Creation	35%
Culminating Performance Task: 30%
Theory	35%
Thinking/Inquiry	15%
Communication	25%
Creation	25%
Another way of looking at the evaluation of the culminating task:
Creating and Performing a Dance	20%
Portfolio	10% (portfolio is developed throughout the course)

This course profile provides precise weightings because it was written as an actual course of study with all of the assessment/evaluation tools created before the teaching/learning strategies were developed. The principles upon which the weighting is based are:

· Theory and Creation should be approximately equal in weight and should be weighted more heavily than the other two categories. (It must be remembered that technique is included within theory because it is a kinesthetic knowledge demonstrated physically.)

· Communication should be weighted to accommodate the fact that it includes presentational skills as well as oral and written communication skills.

· The weighting for Thinking/Inquiry should increase in Grades 11 and 12.

Assessment/Evaluation Tool Summary

	Theory	Thinking/Inquiry	Creation	Communication
Unit 1	Technique: Diagnostic Checklist Technique: Progress Checklist Technique: Rubric Technique: Self-assessment Anatomy: Test/Warm-up Project: Rubric	Writing	Dance Class Etiquette: Rubric	Writing Project: Rubric
Unit 2	Technique: Checklist Technique: Rubric	Reflective Writing	Creative Process (x2): Rubric 2 Compositional Pieces: Rubric and Self/Peer Assessment	Reflective Writing Presentational Skills (x2): Rubric
Unit 3	Writing 2 Compositional Studies: Rubric Technique: Practical Test	Writing 2 Compositional Studies: Rubric	2 Compositional Studies: Rubric and Self/Peer Assessment	Writing 2 Compositional Studies: Rubric Technique: Practical Test
Unit 4	Production Calendar Role-playing Writing	Production Calendar Interview		Production Calendar Interview
Unit 5	Dance Book Technique: Rubric Portfolio	Dance Book Portfolio	Dance Book Composition: Rubric and Self/Peer Assessment Portfolio	Dance Book Presentational Skills: Rubric and Self/Peer Assessment Portfolio

General Assessment/Evaluation Notes

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

· Both process and product are being assessed/evaluated

· Assessment/evaluation should be balanced among “doing” dance, “talking about” dance and “writing about” dance with an emphasis on doing.

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

· The expectations being assessed/evaluated are actually taught through the activities of the course.

Teacher observation is the primary method of collecting assessment/evaluation information in a dance course. To assist the teacher in assessing/evaluating through observation, whether or not videotaping is used for documentation purposes, checklists and rubrics are invaluable. These should be devised well in advance, and, where practical, with input from the students. These should be communicated to the students and, where practical, with parents before assessment/evaluation takes place. In this way, students will understand the criteria being used by the teacher making assessments/evaluations through teacher observation.

Accommodations

The dance program must allow the integration of exceptional students. Exceptionalities are defined in the Education Act as behavioural, communicational, physical, intellectual, and multiple.

Individualized Educational Plans (IEPs) must be devised to meet the needs of exceptional students. For example, technique for students who use a wheelchair may focus on ways of using the upper body and moving the chair through space. It is suggested that teachers elicit the assistance of the personnel in the Special Education and Student Services Departments at the school and board level.

Assessment must be modified to accommodate a student’s degree of exceptionality. Teachers will adjust safety procedures to accommodate the needs and activities of exceptional students. ESL students may require modification of instruction and assessment. ESL specialists could be consulted for assistance. Enriched programs in dance should stress the acquisition of advanced knowledge and the development of critical and problem-solving skills in the creation and presentation of dances.

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

General

· clear expectations of quality

· placement within the classroom to maximize student focus

· close monitoring by the teacher

· oral and written instructions

· review and repetition

· concepts presented in a variety of formats

· regular positive feedback

· “chunking” of tasks into smaller sub-tasks

· checklists

· graphic organizers

· homework/notebook/journal monitoring

· clear time frames

· examples of what is expected

Listening and Speaking

· additional time

· encouragement to participate orally

· listening cues or prompts

· teacher modelling of appropriate response

Reading

· oral reading to student

· vocabulary pre-teaching and checking for comprehension

· peer tutor/helper to help identify and highlight essential information

· underlined or highlighted key points

· reading guide taped textbooks

· large type face

Writing

· computer (when appropriate)

· tape-recorded classes

· peer tutor/helper

· handouts

· additional time

· note-taker

· alternatives to written assignments (e.g. video, graphs, mind maps, oral presentations)

· essay writing outlines

Behavioural

· highly structured environment

· appropriate behaviour modelled

· clear, reasonable expectations

· appropriate consequences

· time-outs

· conflict resolution strategies

· appropriate alternate behaviours

Resources

In Ontario, teachers of dance have many resources available to them. Many universities and colleges offer courses, consultation, and workshops for dance teachers as well as liaison opportunities for secondary dance students. The provincial subject association, the Council of Drama & Dance in Education (CODE), Dance Ontario and Dance Collection Danse are invaluable sources of information, contacts and resources. Dance resources and books developed by Canadians are available. Dance artists in the community are also a rich resource for teachers. The Ontario Arts Council will assist teachers to bring artists into schools, and provides funding to make this possible. As well, teachers can connect with the various Dance associations, local dance studios, community and cultural centres. Internet access has opened up the dance world for educators. CD-ROMS and software are available. Periodicals, books, newspapers, magazines, videotapes, and newsletters can be found to enhance the dance teacher’s resource list. Business, theatres and studios can offer partnerships.

Specific resources are listed at the beginning of each unit and are referred to within each activity. A complete bibliography of all resources for the course is contained in the appendices at the end of the profile.

OSS Policy Applications

This course profile has been developed to assist in the implementation of The Ontario Curriculum, Grades 9 and 10, 1999. In using this material, teachers, and administrators must take careful note of the applicable sections:

Ontario Secondary Schools, Grade 9 to 12, Program and Diploma Requirements, 1999 (OSS), Sections 4, 5, 6,7

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

The Ontario Curriculum, Grades 9 and 10, The Arts, 1999

The Ontario Curriculum, Grades 9 and 10, Program Planning and Assessment, 1999

Course Evaluation

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

· fairness and thoroughness of assessment and evaluation strategies;

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

· congruence with student expectations

· difficulty of teaching/learning strategies

· nature of the class

· time given to each unit or activity

· informal student feedback

· student enthusiasm.

Coded Expectations, Dance Expectations, ATC2O

Theory

Overall Expectations

THV.01

– understand the relationship between human anatomy and dance movements;

THV.02

– identify and explain the historical and cultural significance of one or more world dance forms;

THV.03

– observe, identify, and describe a broad spectrum of dance;

THV.04

– understand how technique assists in the development of self-discipline and contributes to artistic scope;

THV.05

– demonstrate the technique of one or more dance forms studied.

Specific Expectations

Health and Safety

TH1.01

– describe good hygiene, healthy eating habits, and the principles of safety in all aspects of dance;

TH1.02

– demonstrate further understanding of the science of movement (e.g., biomechanics, kinesiology, physiology);

TH1.03

– identify and describe the skeletal and muscular system in relation to movement;

TH1.04

– demonstrate an understanding of the connection between dance and a healthy body image;

TH1.05

– describe the beneficial effects of dance on health, self-esteem, and self-image.

History and Culture

TH2.01

– observe and describe a broad spectrum of dance (e.g., musical theatre, ballroom, Mediterranean);

TH2.02

– compare and contrast the historical development and cultural significance of various dance forms from around the world;

TH2.03

– describe ways in which dance is part of the culture within their local community, in Ontario, in Canada, and worldwide, with particular emphasis on dance in Ontario (e.g., history of National Ballet Company).

Technique

TH3.01

– identify more complex movement terminology pertaining to the world dance form(s) studied (e.g., ball change, chassé, syncopation, relevé turn);

TH3.02

– demonstrate more complex movement skills, patterns, combinations, body positions, locomotor and non-locomotor movements in one or more world dance forms studied;

TH3.03

– demonstrate an understanding of how technique functions as a tool in developing artistic scope;

TH3.04

– explain the role of coordination, flexibility, strength, and proper breathing in dance.

Creation

Overall Expectations

CRV.01

– apply the elements of dance and various stimuli to create movement sequences;

CRV.02

– use improvisation to vary established movement patterns;

CRV.03

– devise different approaches to compositional forms;

CRV.04

– demonstrate the ability to practise and polish dance pieces for effective performance;

CRV.05

– demonstrate a higher level of the skills that lead to effective rehearsals and performances.

Specific Expectations

Elements of Dance Movement

CR1.01

– apply the elements of dance (e.g., flow, space, time) to create movement sequences;

CR1.02

– use movement as a stimulus (e.g., body actions, energy, space, time, structural relationships and resulting actions);

CR1.03

– observe and demonstrate improvised movement patterns, combinations, studies, and group dances.

Composition

CR2.01

– develop compositional forms and structures (e.g., binary, canon, narrative);

CR2.02

– create increasingly long and complex dance compositions, exploring themes, ideas, and topics;

CR2.03

– create increasingly long and complex dance compositions, using computer technology;

CR2.04

– compose original dance pieces, using other sources of stimuli (e.g., body percussion, images, sounds, voice).

Presentation and Performance

CR3.01

– demonstrate appropriate dance class discipline and procedures specific to each world dance form studied;

CR3.02

– demonstrate an ability to prepare for rehearsal, polish pieces, practise movement memory, and refine technique;

CR3.03

– demonstrate cooperation and leadership in performing the compositions of others (e.g., students, teachers, guests);

CR3.04

– demonstrate an understanding of the need for and methods of projecting oneself during presentation and performance (e.g., use of appropriate movements to communicate clearly in a classroom or a large hall).

Analysis

Overall Expectations

ANV.01

– define and describe the criteria for analysing dance;

ANV.02

– compare and contrast a broad spectrum of dance;

ANV.03

– develop and use criteria for self- and peer evaluation (e.g., elements and principles);

ANV.04

– describe and demonstrate how technology can be used as a tool in the field of dance;

ANV.05

– investigate and report on various dance careers and other related career opportunities.

Specific Expectations

Appreciation and Criticism

AN1.01

– define the criteria for analysing dance;

AN1.02

– analyse improvisations, movement phrases, and more formal compositions created in class;

AN1.03

– reflect and report – in oral and written form – on their own compositions and those of others (their peers, dancers in other cultures).

Exploration and Research

AN2.01

– solve a variety of creative problems through movement (e.g., combining phrases, matching compositional pattern to musical patterns);

AN2.02

– use computer technology and software to explore aspects of dance (e.g., digitizing movement-related effects);

AN2.03

– use CD-ROMs, the Internet, and/or other telecommunications technologies to compare and contrast topics and themes in dance (e.g., “Dance and Gender”, “Dance in Films”, “Social Dance in Latin America and Canada”).

Self and Community

AN3.01

– identify how dance is integrated into other presentation media (e.g., ceremonies, multimedia productions, musicals);

AN3.02

– explore and describe ways in which problem- solving skills in dance are transferable to other settings, disciplines, and work-related environments (e.g., perseverance and capacity to accept constructive criticism);

AN3.03

– analyse their own dance works presented in small groups (e.g., duets, trios, quartets).

Acknowledgments

Identifying Information

Description/Rationale

Unit Titles (Time + Sequence)

Unit Descriptions

Unit 1: An Introduction to the Art and Science of Dance

Unit 2: Moving From a Source

Unit 3: Movement: Reflection of Society

Unit 4: The “Business” of Dance

Unit 5: The Finale

Appendices

Course Notes

Overview of the Course

Safety

Classroom Space

Accompaniment

Anti-discrimination

School and the Community

Career Planning and Life Skills

Teaching/Learning Strategies

Assessment and Evaluation

Assessment/Evaluation Tool Summary

General Assessment/Evaluation Notes

Accommodations

General

Listening and Speaking

Reading

Writing

Behavioural

Resources

OSS Policy Applications

Course Evaluation

Theory

Specific Expectations

Creation

Specific Expectations

Analysis

Specific Expectations