Course
Profile Dance, Grade 9
open, Public
Course
Overview
Course
Profiles are professional development materials designed to help teachers
implement the new Grade 9 secondary school curriculum. These materials were created by writing
partnerships of school boards and subject associations. The development of these resources was
funded by the Ontario Ministry of Education.
This document reflects the views of the developers and not necessarily
those of the Ministry. Permission is
given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend,
revise, edit, cut, paste, and otherwise adapt this material for educational
purposes.
Any
references in this document to particular commercial resources, learning materials,
equipment, or technology reflect only the opinions of the writers of this
sample Course Profile, and do not reflect any official endorsement by the
Ministry of Education or by the Partnership of School Boards that supported the
production of the document.
©
Queens Printer for Ontario
Acknowledgments
Public
District School Board Writing Team Dance
Lead
Board
Upper Canada District School Board
Management Team: Eleanor Newman
Brenda
King
Dorothy
Stewart
Dona
Cruickshank
Course
Profile Writing Team Co-ordinating
Partners
Jane Deluzio, Toronto DSB Andy Ringlet,
Renfrew County DSB
Laurel Brown, Waterloo Region DSB Marg Stewart, Limestone DSB
Carolle Mageau, Rainbow DSB Helen Beck, Hastings
& Prince Edward DSB
Kelly Child, District School Board
of Niagara Kit Rankin, Halton DSB
Ursula Nahatchewitz, Dufferin-Peel
RCSSB Anne Clifton, Halton DSB
Colleen Friedman, Dance Educator and
Choreographer
Carmelina Martin, Dufferin-Peel DSB
Contributors
Karen
Hypes, Debra Kapp, Janice Stone, Betty Telford, Earl Haig Secondary School,
Etobicoke School for the Arts, Rosedale Heights, Unionville School for the Arts
Susan
McNaughton, Toronto DSB
Course Overview
DANCE, OPEN,
GRADE 9
Identifying
Information:
School: Course
Developers:
Laurel
Brown, Waterloo DSB
Kelly
Child, DSB of Niagara
Jane
Deluzio, Toronto DSB, Project Leader
Carolle
Mageau, Rainbow DSB
Ursula
Nahatchewitz, Dufferin-Peel CDSB
Department:
District:
Course Title: Dance
Grade: Nine Development
Date: April 1999
Course Type: Open Course
Revisor(s):
Ministry Course Code: ATC 10
Credit Value: One Revision
Date:
Description/Rationale
In
dance, the medium of expression is movement and the instrument is the human
body. Dance education goes beyond studying
a repertoire of movements to offering an understanding of the principles and
concepts that govern and define the art.
Expectations are organized into three strands: Theory, Creation and Analysis.
Unit
Titles (Time and Sequence)
|
Unit
1 |
Elements
of Dance |
20
hours |
|
Unit
2 |
Introduction
to the Form: JAZZ |
25
hours |
|
Unit
3 |
Focus
on Composition |
30
hours |
|
Unit
4 |
Focus
on Self and Community |
11
hours |
|
Unit
5 |
Focus
on Performance |
24
hours |
Unit Organization
Unit 1: Elements of Dance
Time: 20 hours
Description:
Students
will explore and demonstrate their understanding of the basic elements of dance
space, shape, time and energy and will combine them into sequences. Students will improvise, experiment with and
develop these elements. They will demonstrate knowledge of appropriate
conventions as they relate to the classroom, and to being performers and
audience members. Throughout the unit, students must apply safety principles in
the dance environment and in the execution of these movement skills. They will observe and identify a broad
spectrum of dance as well as begin to reflect on their own work and the work of
others.
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TCV.01X, 02X, 03X, 04X, 05X, TAV.01X,
02X, 03X.
Specific Expectations: TT1.02X, 03X, 04X, TT2.01X, 05X, TT3.01X,
TC1.01X, 02X, 03X, 04X, TC2.01X, 03X, TC3.01X, 02X, TA1.01X, TA3.02X.
Unit 2: Introduction to the Form(s) being Studied
JAZZ
Time: 25 hours
Description:
In
this unit, students will be introduced to the basic movement skills in the
dance form(s) being studied. They will
identify the terminology associated with each.
They will explain the historical and cultural significance of the dance
form(s) being studied. Throughout the
unit, students will apply safety principles learned in Unit 1 as well as learn
to use the new technique in a safe manner.
They will observe and identify a spectrum of dance within the selected
form(s). Students will continue to use
appropriate classroom conventions as both performers and audience members as
well as to reflect on their own work and the work of others.
Strands: Theory, Creation, Analysis
Overall Expectations: TTV.01X, 04X,
05X, TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 03X, 04X.
Specific Expectations: TT1.02X, 03X,
04X, TT2.01X, 02X, 03X, 04X, 05X, TT3.01X, 02X, 03X, TC1.01X, 02X, 03X, 04X,
TC2. 01X, 02X, 03X, TC3.01X, 02X, 04X, TA1.01X, 02X, TA2.01X, 02X, TA3.01X,
02X, 03X.
Unit 3: Focus on Composition
Time: 24 hours
Description:
In
this unit, students will improvise to vary established patterns and to develop
an idea or theme. They will combine the
basic elements of the dance form(s) into sequences. They will describe dance works, using the language of dance
criticism and will reflect on their own work and that of others. Through their compositions, they will
demonstrate the basic movement skills of the dance form(s) studied. Throughout the unit, they will continue to
observe and identify a broad spectrum of dance and to apply safety principles.
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, 05X,
TCV.01X, 02X, 03X, 04X,)5X, TAV.01X, 02X, 03X.
Specific Expectations: TT1.04X, TT2.01X, 04X,TT3.03X,
TC1.01X,02X, 03X,04X, TC2.01X, 02X, 03X, 04X, TC3.01X, 02X, 04X, TA2.02X,
TA3.01X, 2X, 03X, 04X.
Unit 4: Focus on Self and Community
Time: 11 hours
Description:
In
this unit, students will demonstrate basic library research skills, using available
information technologies. They will describe how dance contributes to their
physical, and social well-being, define good hygiene and healthy eating
habits. They will explain the
historical and cultural significance of the dance form(s) being studied. They will explain how skills developed in
dance can be applied in a variety of careers.
Strands: Theory, Analysis
Overall Expectations: TTV.0X, 03X, 04X, TAV.04X, 05X.
Specific Expectations: TT1.01X, TT2.04X, 06X, TA1.04X, TA2.01X, 02X,
TA3.01X, 04X.
Unit 5: Focus on Performance
Time: 30 hours
Description:
In
this unit, students will demonstrate an understanding of fundamental
presentation and performance skills.
They will perform in settings which are appropriate for the students and
for the pieces being performed. In
their pieces, they will demonstrate the basic movement skills of the dance
form(s) being studied. They will apply
safety principles in their performances.
They will observe and identify a broad spectrum of dance in performance
and they will describe dance works, using the language of dance criticism. They
will reflect on their own work and the work of others in performance.
Strands: Theory, Creation, 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, 02X, 03X, 04X,
TC3.01X, 02X, 03X, 04X, TA1.01X, 02X, 03X, 04X, TA3.02X, 03X.
Course Notes
1. Overview
This
course has been designed for schools where there is only one dance course
offered in grade nine. Teachers in performing arts schools whose students take
more than one dance course will adapt this structure to a more intensive
approach.
It
is recommended that the first two units be taught concurrently to avoid a
three-week intensive focus on the elements of movement which may frustrate
those students who have selected the grade nine course in order to immerse
themselves in a particular dance style. It is essential, regardless of the form
being taught, that students become familiar with the basic elements of any
dance form and with the compositional approach to dance in the first unit of
study.
Units
2, 3, and 5 should be adapted to the form(s) being studied in the course. For
example, in a jazz course, the students will learn jazz technique and compose
and perform jazz; in an African dance course, the students will compose and
perform African dance pieces using African dance technique learned in Unit 2
and throughout the course.
Teachers
should consider weaving the first few classes of unit 4 throughout the earlier
units in order to introduce information and concepts which the students will
need to prepare the work expected from
them in Unit 4.
Teachers
should note that it is an expectation for grade nine students that they perform
in appropriate settings. 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 teachers professional judgment must be exercised with
a sensitive understanding of the needs of the students.
2. Safety
Teachers
must introduce students to the principles of safety in dance from the first
class and must insist that safe practices be observed within their dance
classrooms at all times. It is assumed within these units that each and every
class 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 due to the
space restrictions of this document. Teachers must take their students
physical development into consideration in order to set realistic technical
goals. Teachers should also continually
monitor the students technical practices in the classroom to ensure the
students safety. Safe practices include the development of healthy attitudes
toward body image, eating, nutrition, gender, appearance, and personal hygiene.
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 levels of
others.
3. 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.
4.
Accompaniment
Teachers
will use a wide variety of accompaniment according to what is available to
them. 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.
5. Equity
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 resources and classroom materials which 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.
6.
Accommodations for Special Needs Students
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 (IEP) must be devised to meet the needs of exceptional
students. For example, technique for
students who use a wheel chair 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 students degree of exceptionality. Teachers
will adjust safety procedures to accommodate the needs and activities of
exceptional students. E.S.L. students may require modification of instruction
and assessment. E.S.L. specialists should be consulted for assistance. For
gifted students, 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. Students
should be encouraged to use their imaginative and intellectual abilities and to
develop fluency of movement and control of the body to a high degree.
7. World Dance
and a Canadian Context
Grade
nine teachers may select from 20 possible dance courses. A course may consist of one or more world
dance forms. All dance is world dance, all dance forms being cultural in
nature. Students should understand the form(s) being studied within the context
of their community, Canada, and elsewhere in the world. For example, students
of jazz should look at Canadian jazz and its African roots within the American
context. Students should examine jazz
styles in their community whether they are a fusion of African/Carribean/breakdancing
as in hip hop, a fusion jazz which combines jazz with Irish step dancing
as in Lord of the Dance or a fusion
of jazz with contemporary Tamil social dance. Teachers must emphasize a global
perspective of dance.
8. 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 bring resources into the community. Teachers and
school administrators, working in cooperation 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.
9. 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 that
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 nine can
be made aware of future opportunities in cooperative education available in
later years.
Teachers
will bring their own background and expertise to the development of specific
content for the course and they will apply their own teaching and learning
strategies. Because the study of dance is a very personal experience, teachers
should try to involve students in the planning process wherever possible. In
all dance courses, teachers should impress upon their students the necessity
for being punctual and for following accepted class procedures in dance.
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, instructional strategies
should ensure that theory and analysis are taught primarily through creation.
The students should experience dance as much as possible in the course.
The
Ministry of Education requires that 30% of the evaluation for establishing a
students level of achievement be acquired through a cumulative performance
task near the end of the course. Unit 5 is written to contain this evaluation.
The dance performance task challenges the students to compose a dance piece and
perform it for an appropriate audience (which may be for their peers inside the
classroom), using the knowledge and skills developed throughout the course.
Although
the expectations for all dance courses are now organized into three strands,
Theory, Creation and Analysis, dance teachers are accustomed to thinking of
dance expectations within the framework of:
theory, technique, composition and performance. Technique expectations are now contained
within Theory, and Composition and Performance expectations are now contained within Creation. When designing activities, teachers must ensure that all
expectations are taught, assessed and evaluated by the end of the course.
At
the same time, assessment and evaluation of dance expectations are expected by
the Ministry to be communicated to the students within the framework of the
four categories being used by all subjects:
Theory (Knowledge and Understanding)
Thinking/Inquiry
Communication
Creation (Application)
This
means rationalizing the assessment/evaluation information gathered through
the strand framework into the category framework.
Suggested
weighting for Summative Evaluation in Grade 9 Dance:
Theory:
35-45 % Creation:
40-50% Analysis:
15-25%
Weighting
Devised for this Course Profile
Theory:
40% Creation: 40% Analysis: 20%
Throughout the course: 70%
Theory
(includes Technique) 30%
Creation
(includes Composition and Performance) 20%
Analysis 20%
Final Performance Task 30%
Theory
(includes Technique) 10%
Creation
(includes Composition and Performance) 20%
(10% for crative process and 10% for product)
Assessment/Evaluation
Tool Summary
|
|
Area |
Method |
Tools |
Units |
|
Throughout
course - 70% |
|
|
|
|
|
Theory
- 30% |
technique |
teacher
observation |
checklists,
rubrics, anecdotal reports |
1,2,3,5
|
|
|
knowledge,
understanding of concepts, terminology, etc. |
reflective
journal quizzes short
writing assignments projects |
checklists,
rubrics marking
schemes |
1,2,3,5 1,2,4,5 1,2,3 4 |
|
Creation
- 20% |
creative
process |
compositional
work, guided explorations, improvisations, compositional scrapbook |
video-taped
evidence, checklists, rubrics, anecdotal reports |
1,2,3 1,2,3,5 |
|
|
composition |
teacher
observation, compositional scrapbook |
video-taped
evidence, checklists, rubrics, anecdotal reports visual
arts collage |
1,2,3,5 3 |
|
|
rehearsal
process |
teacher
observation |
checklists,
rubrics, anecdotal reports |
1,2,3,5 |
|
|
performance |
teacher
observation |
video-taped
evidence, checklists,
rubrics, anecdotal reports |
1,2,3,5 |
|
Analysis
- 20% |
knowledge,
understanding of concepts, terminology, theory, etc. |
research written
work group
seminar presentations projects |
checklists,
rubrics marking
schemes |
2,3,4,5 |
|
|
creative
process |
compositional
scrapbooks, reflective journals |
checklists,
marking schemes |
3 |
|
|
|
|
|
|
|
Final
Performance Task - 30% |
|
|
|
|
|
Theory
- 10% |
technique |
teacher
observation |
checklists,
rubrics |
5 |
|
Creation
- 20% |
creative
process - 10% |
teacher
observation compositional
scrapbook |
video-taped
evidence, checklists, rubrics |
5 |
|
|
product
- 10% |
teacher
observation |
video-taped
evidence, checklists, rubrics |
5 |
Teachers
should create an overview of their
assessment/evaluation strategies in order to assist them with this challenge
and to ensure that:
both process and product are being
assessed/evaluated;
assessment/evaluation is balanced among doing
dance, talking about dance and writing about dance;
assessment/evaluation is balanced among the
three strands and not weighted heavily within only one or two strands;
various assessment/evaluation strategies
accommodating a variety of learning styles are used;
what is being assessed/evaluated is what is
actually taught through the activities of the course;
all expectations are actually
assessed/evaluated.
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,
where practical with input from the students, and shared with the students
before assessment/evaluation takes place. In this way, students will understand
the criteria being used by the teacher making assessments/evaluation through
teacher observation.
Resource Summary
In
Ontario, teachers of dance have many resources available to them. Many universities and colleges offer
courses, consultation and workshops for teachers of dance 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, newsletters, theatres,
studios and business partnerships can be found to enhance the dance teachers
resource list.
Specific
resources are listed at the beginning of each unit and are referenced within
each activity.
OSS Policy Application
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:
1. Ontario
Secondary Schools, Grade 9 to 12: Program and Diploma Requirements, 1999
(OSS), Sections 4, 5, 6, 7
2. Choices
Into Action: Guidance and Career Education Program Policy for Ontario
Elementary and Secondary Schools, 1999
3. The
Ontario Curriculum, Grades 9 and 10: The Arts, 1999
4. The
Ontario Curriculum, Grades 9 and 10: Program Planning and Assessment, 1999
Assessment and Evaluation of Program
In
dance, there is an ongoing process of reflection and refinement, often through
informal discussion with the students.
A more formal review of content and delivery will be conducted at the
end of the course by providing the students with a rubric for evaluation of the
following criteria: content of each
unit, choice of teaching/learning/assessment/evaluation strategies, ability of
the teacher to motivate and interest the students, and overall value of the
course to the students. Discussion with
other staff and administration will provide further assessment. Refer to: The Ontario Curriculum, Grades 9 and 10: Program Planning and
Assessment, 1999.
Coded Expectations: Dance, Open Grade 9
Theory
Overall
Expectations
TTV.01X
apply safety principles in the dance environment and in the execution of
movement skills;
TTV.02X
describe how dance contributes to physical well-being;
TTV.03X
define good hygiene and healthy eating habits;
TTV.04X
explain the historical and cultural significance of one or more world dance
forms;
TTV.05X
demonstrate basic movement skills in one or more world dance forms studied, and
identify the terminology associated with each.
Specific
Expectations
Health and Safety
TT1.01X
explain the implications of eating disorders and define a healthy awareness of
body image;
TT1.02X
demonstrate an elementary understanding of the science of movement (e.g.,
biomechanics, kinesiology, physiology);
TT1.03X
demonstrate an understanding of dance as a means to physical well-being (e.g.,
cardiovascular endurance, flexibility, strength);
TT1.04X
demonstrate an
understanding of safe practices in regard to self and others in the classroom
and in performance settings.
History and
Culture
TT2.01X
describe, using their own observations, a broad spectrum of dance (e.g.,
ballet, jazz dance);
TT2.02X
demonstrate an understanding of the historical development of one or more world
dance forms;
TT2.03X
outline the cultural significance of one or more world dance forms (e.g.,
modern, jazz, Afro-Caribbean, South Asian);
TT2.04X
demonstrate an understanding of the relationship between dance and social
issues as expressed in the lives and works of particular artists;
TT2.05X
identify commonalities among various dance forms (e.g., steps, patterns,
choreography);
TT2.06X
describe aspects of dance in their own surroundings and of the artistic
heritage of Canadian peoples (e.g., Native sacred circle dancing).
Technique
TT3.01X
identify basic movement terminology pertaining to the world dance form(s)
studied (e.g., turnout, step-hop, port de bras, salutation, arabesque);
TT3.02X
identify and describe the main characteristics of one or more world dance forms
studied;
TT3.03X
demonstrate basic body positions, movement skills, simple movement patterns,
and combinations in at least one world dance form studied (e.g., modern).
Creation
Overall
Expectations
TCV.01X
identify and explore in basic ways the elements of movement (e.g., flow, space,
time), and combine them into sequences;
TCV.02X
improvise to vary established patterns and develop an idea or theme;
TCV.03X
demonstrate an understanding of fundamental presentation and performance
skills;
TCV.04X
perform in appropriate settings;
TCV.05X
demonstrate knowledge of appropriate conventions relating to classroom
presentations, and conventions affecting performers and audience members.
Specific
Expectations
Elements of
Dance Movement
TC1.01X
demonstrate elements of dance (e.g., shape, time, energy, space) alone and in
combination;
TC1.02X
apply movements as stimuli to develop movement vocabulary (e.g., everyday
movements in work and play, major choreographers' ideas);
TC1.03X
explore movement through structured improvisation (e.g., lead and follow,
mirroring);
TC1.04X
explore improvised movement based on a variety of other stimuli (e.g., objects,
pictures).
Composition
TC2.01X
create dance sequences using explored elements;
TC2.02X
create dance compositions using various forms and structures (e.g., canon,
rondo, themes);
TC2.03X
compose original dance pieces using various other stimuli (e.g., body
percussion, literature, objects, voice);
TC2.04X
use computer technology as a compositional tool (e.g., videocam hooked up to
computer, animation software).
Presentation
and Performance
TC3.01X
describe and demonstrate appropriate dress (e.g., proper footwear) and
behaviour (e.g., punctuality) in dance class, rehearsal, presentation, and
performance;
TC3.02X
demonstrate an understanding of the importance of focus, concentration, and
repetition in reproducing movement accurately;
TC3.03X
identify and describe parts of the stage and basic stagecraft (e.g., current
lighting, sound, and recording technologies);
TC3.04X
present and perform dance in different group forms (e.g., trios, small and
large groups).
Analysis
Overall
Expectations
TAV.01X
observe and identify a broad spectrum of dance;
TAV.02X
describe dance works, using the language of dance criticism;
TAV.03X
reflect on their own work and that of others;
TAV.04X
exhibit basic library research skills, using current information technologies;
TAV.05X
explain how skills developed in dance can be applied in a variety of careers.
Specific
Expectations
Appreciation
and Criticism
TA1.01X
develop criteria for discussing a broad spectrum of observed dance (e.g.,
ballet, jazz, tap, swing);
TA1.02X
demonstrate the difference between learning steps and creating a dance work;
TA1.03X
demonstrate an understanding of concentration, effective projection, and
clarity in communication;
TA1.04X
identify types and/or styles of dance, describing them orally and in written
form (e.g., butoh; modern dance styles of Graham or Cunningham).
Exploration
and Research
TA2.01X
use library facilities and information technology to complete assignments;
TA2.02X
use CD-ROMs, the Internet, and other sources, to collect and review information
on various topics and themes (e.g., eating disorders, dance and gender,
movement in ritual).
Self and
Community
TA3.01X
identify ways dance is used in the community (e.g., liturgical, performance
settings, recreation, therapy);
TA3.02X
understand and demonstrate appropriate behaviour at dance performances;
TA3.03X
describe the distinctive characteristics of presenting dance in small and large
groups;
TA3.04X
explain how physical, intellectual, and artistic skills and knowledge developed
in dance can be applied in a variety of careers (e.g., self-discipline,
confidence with movement).