Course Profile Dance,
Grade 9 open, Catholic
Unit 1
Course
Profiles are professional development materials designed to help teachers implement
the new Grade 9 secondary school curriculum.
These materials were created by writing partnerships of school boards
and subject associations. The
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Acknowledgments
Lead
Board
Dufferin-Peel
Catholic District School Board in collaboration with the Upper Canada District
School Board and their coordinating partners.
Course
Profile Writing Team
Ursula
Nahatchewitz, Dufferin-Peel Catholic District School Board - Lead Writer
Kelly Child, District School Board
of Niagara
Laurel
Brown, Waterloo District School Board
Jane
Deluzio, Toronto District School Board
Colleen
Friedman, Dance Educator and Choreographer
Laura
Libralato, Toronto Catholic District School Board
Carolle
Mageau, Rainbow District School Board
Carmelina
Martin, Dufferin-Peel District School Board
Susan
McNaughton, Toronto District School Board
Brenda
Dillon
Karen Hypes
Debra Kapp
Janice Stone
Betty Telford
Earl Haig Secondary School
Etobicoke School of the Arts
Rosedale Heights
Unionville School for the Arts
Support
and Consultation
Gerry Woodman, Dufferin-Peel
Catholic District School Board
Catholic
Curriculum Cooperative for Central Ontario
Institute
for Catholic Education
Time: 20 hours
Unit
Developers:
Mageau, Carolle, Rainbow District School
Board
Nahatchewitz, Ursula, Dufferin-Peel Roman
Catholic Separate School Board
Development
Date: April 1, 1999
Unit Description
Students
will explore and demonstrate their understanding of the basic elements of dance
– space, shape, time and energy – and will combine them into sequences. Students will be provided with opportunities
to explore, use and integrate our shared Catholic faith traditions in the
creation and critical analysis of their work and that of others. Students will improvise with these elements.
They will demonstrate knowledge of appropriate conventions as they relate to
the classroom, as well as 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 (eg. ritual,
religious, social, work-related, theatrical, etc.) as well as begin to reflect
on their own work and the work of others.
Ontario Catholic School Graduate
Expectations: CGE1a,c,d,f,g,h,i,
2a,b,c,e, 3a,b,c,d,e,f, 4a,b,c,d,e,f,g,h, 5a,b,c,d,e,f,g, 7a,b,c,e,f,g,j.
Strand(s)
& Expectations
Strand(s): Theory, Creation,
Analysis
Overall Expectations: TTV.01X, TCV.01X, 02X, 03X, 04X, 05X,
TAV.01X, 02X, 03X
Specific Expectations:
TT1.02X, 03X, 04X, TT2.01X, 05X, TT3.01X,
TC1.01X, 02X, 03X, 04X, TC2.01X, 03X, TC3.01X, 02X, TA1.01X, TA3.02X
Activity
Titles (Time + Sequence)
|
Activity
1 |
Defining
Dance |
75 minutes |
|
Activity
2 |
Foundation
Element – Shape |
150
minutes |
|
Activity
3 |
Foundation
Element – Space |
150
minutes |
|
Activity
4 |
Foundation
Element – Time |
150
minutes |
|
Activity
5 |
Foundation
Element – Energy |
150
minutes |
|
Activity
6 |
Stimuli
for Improvisation |
150
minutes |
|
Activity
7 |
Composition
with the Fundamental Elements |
300
minutes |
|
Activity
8 |
Reflection
& Self-Evaluation of Compositional Work |
75 minutes |
Unit Planning
Notes
General:
Teachers may wish to illustrate the fundamental elements with appropriate video
clips from a variety of sources and to collect book resources for all
activities. Teachers may wish to
emphasize a thematic context for choreography, e.g. the human condition through
social justice issues. Suggested
sources for this work are: the Gospels (i.e. parables), current and historical
events/people, e.g. holocaust/Cambodia, Ghandi, Martin Luther King. It is
within these powerful contexts that the Catholic Expectations may be
introduced, developed and presented.
The teacher may decide on a theme based on the liturgical calendar, such
as Easter, Christmas, etc.
Activity
1: Obtain visual examples of dance,
order videos and book video player.
Activity
2: Collect and prepare a variety of stimuli,
lists of action words, moving image cues and concrete objects.
Activity
3: Prepare cards of action
words/directions and obtain exploration tools, eg. hula hoops, scarves,
elastics, fabric.
Activity
4: Obtain a variety of sound-making
instruments and prepare visual reference material of dance/music terminology.
Activity
5: Prepare energy scale, cards of energy
action words (Laban) and obtain set of coloured markers.
Activity
6: Collect and prepare two single visual
stimuli; three groupings of visual stimuli, four to five pictures, posters,
books, four to five examples of tactile stimuli, four to five examples of
auditory stimuli and four to five examples of olfactory stimuli.
Activity
7: Prepare assignment, obtain blank
videos, and book video player.
Activity
8: Order videos and book video player,
prepare a class set and the self-evaluation rubric.
Prior
Knowledge Required
Successful
completion of the grade eight program.
Assessment/Evaluation
Diagnostic
assessment should occur at the beginning of this first unit so that the teacher
can adapt the teaching/learning strategies to the entry level of the students.
Formative assessment in this unit consists primarily of teacher observation
with the aid of checklists/rubrics for task completion, creative
problem-solving, understanding of dance terminology, technique, composition,
classroom protocol, safe practices etc. As well, the teacher will assess
writing contained in reflective journals. A quiz may take place in Activity 5. Throughout the unit the students will engage
in self-assessment as well as receive feedback from their peers. Evaluation of dance pieces and the creative
process will take place at the end of the unit according to the rubrics
provided to the students in advance.
Students will engage in self-evaluation at the end of the unit using the
same rubrics.
Assessment/evaluation
strategies suggested in this unit:
1. Checklists may be devised for the diagnostic
assessments which should take place at the beginning of the unit.
2. Checklists for assessment through teacher
observation of technique, classroom protocol, composition, safe practices etc.
are suggested in Activities 2 – 6.
3. Rubrics are provided for evaluation through
teacher observation of the compositions at the end of the unit and of the
process for creating the compositions.
Students should self-evaluate their creative process and their
compositions using these same rubrics.
4. Understanding of concepts is assessed through
a written assignment in Activity 4.
5. Understanding of concepts is assessed through
entries made in a reflective journal in Activities 1, 5 and 6.
6. A quiz is suggested in Activity 5 in order to
assess understanding of knowledge and terminology.
Resources
1. Blom, Lynne Anne and Chaplin, L. Tarin. The Moment of Movement – Dance
Improvisation. (Pittsburgh:
University of Pittsburgh Press, 1988).
2. Cheney, Gay.
Basic Concepts in Modern Dance – A Creative Approach. (Princeton, New Jersey: Princeton Book
Company, Publishers, 1989).
3. Dance, Film and Video Guide. (New Jersey: Princeton Book Co., 1991).
4. Dance Ontario Directory–1999. (Toronto:
Dance Ontario, 1999).
5. Edwards, Harvey. The Art of Dance.
(Boston, Toronto: Little,
Brown/A Bulfinch Press Book, 1989).
6. Eisner, Elliot W. The Art of Educational Evaluation – A Personal View. (London and Philadelphia: The Palmer Press,
1985).
7. Eisner, Elliott W. The Enlightened Eye–Qualitative Inquiry and the Enhancement of
Educational Practice. (New York:
Macmillan Publishing Company, 1991).
8. Ewing, William A. Breaking Bounds: The Dance Photography of Lois Greenfield. (San Francisco: Chronicle Books, 1992).
9. Franklin, Eric. Dance Imagery for Technique and Performance. (Windsor:
Human Kinetics, 1996).
10.
Gardner, Howard. Frames of Mind–The
Theory of Multiple Intelligences.
(U.S.A.: Basic Books, 1983).
11.
Gordon, Suzanne. Off Balance: The Real World of Ballet. New York:
McGraw-Hill Publishing Co., 1984. ISBN 0070237700.
12.
Harris, Lesley E. “Copyright and Dance
Editorial”. Dance in Canada, (Spring,
1989).
13.
Humphreys, Doris. The Art of Making
Dances. (New York: Grove Press Inc., 1959).
14.
Kurath, Gertrude Prokosch. Dance and
Song Rituals of Six Nations Reserve,
(Ontario: National Museum of
Canada Bulletin 220, Ottawa, 1968).
15.
Morgan, Barbara. Martha Graham:
Sixteen Dances in Photographs. (New
York: Morgan & Morgan Inc., 1980).
16.
Penrod, James and Plastino, Janice Gudde.
The Dancer Prepares: Modern
Dance For Beginners. (Toronto:
Mayfield Publishing Company, 1998).
17.
Schrader, Constance A. A Sense of
Dance: Exploring Your Movement Potential.
(Windsor: Human Kinetics, 1996).
18.
Smith, Jacqueline M. Dance
Composition & Practical Guide for Teachers. (Princeton: Princeton
Book Company, 1987).
19.
The Ethnocultural Directory of Canada. Montreal: Monchanin Cross-Cultural Centre, 1990.
20.
The Metropolitan Toronto School Board. DanceMetro:
A Curriculum Handbook Grade 7 – OAC. (Toronto: The Metropolitan Toronto School Board, 1994).
21.
Videos: Dancing, 1993. Programs 1 – 8: ISBN 0-7800-13409.
22.
Von Tiedemann, Cylla. The Dance
Photography of Cylla Von Tiedemann.
(Ottawa: National Arts Centre,
Toronto: McClelland & Stewart,
1991).
Note:
TheatreBooks and Dance Collection Danse,
located in Toronto, are wonderful sources of dance resources and
information. Both have websites.
Catholic Resources:
23.
This Moment of Promise, Ontario Conference of Catholic Bishops, 1989.
24.
Catholic Bible, New Revised Standard Version.
25.
Groome, Thomas. Educating for Life:
A Spiritual Vision For Every Teacher and Parent. (Thomas More Press, 1998.)
26.
Cameron, Julia & Bryan, Mark. The
Artists Way: A Spiritual Guide to Creativity. (New York: G.P. Putnam’s Sons, 1992.)
27.
Cameron, Julia & Bryan, Mark. Prayers
for a Creatively Spiritual Life.
(New York: G.P. Putnam’s Sons, 1992.)
28.
Curriculum Matters: A Resource for Catholic Educators, Institute for
Catholic Education, 1996.
29.
Blueprints, Catholic Curriculum Cooperative, 1998.
30.
Trafford, Larry. Educating The Soul:
Writing Curriculum For Catholic Secondary Schools. (Toronto:
Toronto Catholic District School Board, 1998.)
31.
Verbel, D. Dance and Prayer:
Meaningful Methods With High School Students and With Adults, 1986.
32.
Winton-Henry, H. Dancing God’s
People into the Year 2000: A Critical Look At Dance Performance In The Church,
1997.
33.
Tataryn, M. Praying With Icons. Ottawa: Novalis, 1988.
34.
USCC (United States Catholic Conference) Environment and Art in Catholic Worship,
1978.
35.
National Bulletin on Liturgy #87, “Liturgical Movement” by National Gallery
Office, Ottawa.
Appendices
Appendix A: Movement Activities & Exercises
Appendix B: Rubric – Evaluation of Composition
Appendix F: Rubric – Evaluation of Creative Process
Within a Group
Time: 75 minutes
Description
In
this introductory lesson students explore, define and expand their
understanding of dance. By observing a
variety of examples, students will begin to perceive the role dance plays in
their lives and in the world around them.
Students will write and develop personal expectations and goals for
themselves within the dance course.
Ontario Catholic School Graduate
Expectations: OCE
2c, 3b,c, 4g.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TCV. 05X,
TAV. 01X
Specific Expectations: TT2.01X*, 05X, TC3.01X, TA1.01X
Planning Notes
• Teacher can expect that students will need to
learn what is appropriate as dance attire for class.
• Teacher makes accommodations for
exceptional students.
• Teacher prepares visual examples of dance
(eg. pictures, magazines, books, videos, etc.), orders and cues videos, obtains
course textbooks, materials, TV, VCR, computer with internet access and appropriate cords, plugs, etc. Ensure that choices are inclusive in nature
without bias.
Prior
Knowledge Required
• This unit is designed for students from a
variety of differing dance backgrounds.
Teaching/Learning
Strategies
I Introduction & Discussion
Teacher
creates an atmosphere utilizing dance visuals, ie. video clips, pictures,
books, etc.
Students
write a short definition of what they think dance is. Time is limited to one
minute.
Students
share aloud. Teacher facilitates
discussion and shows the wide range of possible definitions.
Students
discuss the following points: What is your first memory of dancing? Why do you
dance? Where and when do you dance? Why do people dance? What are some of the
issues, concerns, etc. concerning dance? How do you and others feel about the
issues, concerns, etc.? What evidence
in the Bible refer specifically to dance?
What is our calling?
Teacher
introduces visual examples highlighting the diversity of dance: religious, historical, cultural, media,
forms and styles, and discusses as necessary.
Students
reflect and write their expectations of the course and for themselves with a
focus on their own Catholic faith journey.
Teachers may wish to have the students develop a reflective journal
which will be used at appropriate times throughout the course.
II Getting Acquainted
Name/Movement
Group Building Game (Appendix A).
Teacher
presents students with material to explore, (eg. Lord’s Prayer, poetry “Lord of
the Dance”, passage from Scripture, etc.).
Students
interpret and explore passage using gestures and movements.
III Teacher Talk
Teacher
explains traditional practices surrounding dance class attire, personal
hygiene, safety factors and daily preparation and warm-up. Teacher explains
structure of course and evaluation criteria.
Assessment/Evaluation
1. Students’ personal reflective journal writing
is assessed for completion and information provided, i.e. Catholic faith
journey; integration of faith and life; respect for the rights,
responsibilities and contributions of self and others (OCE 2c, 3b,c, 4g).
2. Teacher assesses students’ background
knowledge through observation to assist in developing appropriate level for the
technique contained in the activities.
Resources
#5,
8, 13, 14, 15, 19, 20, 21, 22 – 34.
Accommodations
1. Teachers will obtain information concerning
students registered in the dance course in order to make appropriate student
accommodations. It is suggested that teachers
elicit the assistance of the support and resource personnel in the Special
Education and Students Resources Departments.
2. In the case of experienced, talented, or
highly motivated students, the teacher may need to adjust teaching strategies. For example, students’s
assignments may be modified to become more challenging, students may play a
leadership role in class, etc.
Appendices
Appendix
A: Movement Activities & Exercises
Activity #2: Foundation Element – Shape
Time:
150 minutes
Description
A
variety of visual and auditory stimuli will be presented to explore and expand
students’ creative thinking skills and physical movement vocabulary. Students will apply problem-solving and
cooperative learning skills to create a short dance study based on the element
of shape.
Ontario Catholic School Graduate
Expectations: CGE
2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV01X, TCV.01X, 02X,
TAV.02X, 03X
Specific Expectations: TT1.02X, 03X, 04X*,
TT2.01X, 05X, TC1.01X*, 03X*, 04X*, TC2.01X*, TC3.01X, TA1.01X
Planning Notes
• Teacher collects and prepares a variety of
visual stimuli (e.g. pictures, statues, objects, etc.).
• Teacher prepares an extensive list of:
objects with a variety of different shapes (e.g. square, octagon, stapler,
chair, etc.); action words (eg. twist, shake, ooze, etc.); moving image cues
(e.g. caught in a wind storm, etc.); concrete objects that move, (e.g.
eggbeater, dragon, train, etc.).
• Teacher may prepare assessment logs,
journals, anecdotal forms, checklists.
• Teacher may begin videotaping students’
creative process and progress and will need to make arrangements and
preparations for a TV/VCR, blank video cassette, extension cords, etc.
Prior
Knowledge Required
Activity
1.
Teaching/Learning
Strategies
I Name Review
Suzie
Picks Harry Name Game (Appendix A).
II The Shape and Size of Things
Students
observe a number of visual stimuli (pictures, objects, etc.) that depict the
human body in a wide range of shapes.
Teacher
directs the focus to the body parts involved in creating the shapes, the shapes
and the sizes of the shapes themselves.
Students
verbalize their observations and reconstruct the shape.
Teacher
introduces dance vocabulary to identify aspects of shapes observed, i.e. flexed
and/or pointed feet, arms in second position, turn-out and parallel positions,
etc.
Teacher
leads students through a guided movement exploration using verbal cues of a
variety of shapes (i.e., square, circle, rectangle, mountain, cloud, teacup,
pencil, etc. )
Students move through the explorations independently,
with a partner, in a group and with the whole class.
Teacher
repeats the guided exploration adding directions to change the size of each
shape.
Students move through the explorations independently,
with a partner, in a group and as a whole class.
Teacher
assigns a creative movement exploration in small groups:
• students to create three group pictures
using three different shapes and three different sizes within each picture
• students create a movement phrase linking
the three different shapes.
Students share their work with the class.
Teacher leads sharing and observational session.
III Moving Shapes
Partnered
Stretches Exercise (Appendix A).
Teacher
introduces the concept of moving shapes.
Teacher
leads students through a guided movement exploration using verbal cues of a variety
of action words, i.e. twist, shake, swing, explode, melt, ooze, collapse,
freeze, sway, suspend, etc.
Students move through the explorations independently,
with a partner, in a group and as a class.
Teacher
repeats the guided exploration adding two or more actions to be explored
simultaneously. Teacher guides students
to explore moving shapes following verbal image cues (eg. your moving shape is
caught in a windstorm; your moving shape is out in the freezing cold and the
temperature is dropping; your moving shape is being dropped into a large vat of
caramel, etc.)
Students move through the explorations independently.
Teacher
calls out a number by which students quickly group.
Teacher
verbally cues a concrete moving shape for the group to form, i.e. two students
form an eggbeater, four students form a dragon, etc.
Students
create and memorize the shape, location
in space and group members.
Teacher
calls out a different number to cue students to rapidly change to a different
group.
Students
quickly move into a new grouping.
Teacher
verbally cues a different moving shape for the new group to form.
Students
quickly create and memorize the shape, location in space and group members.
Teacher
randomly calls out three additional numbers and moving shapes.
Students
quickly create and memorize each new shape with its new location and new groups
members.
Teacher
randomly calls out the numbers previously cued without naming the moving shape
giving sufficient time to recreate.
Students
must quickly recall the number, the location in space, the group members and
the moving shape allocated to the number called.
IV Dance Study #1 – Shape
Teacher
assigns a creative movement exploration of appropriate length for small groups
with a set time. (e.g. Develop a dance
study by creating three different moving shapes. Shapes must be organized into a sequence. Transitions between each moving shape must
be seamless.)
Students
create the dance study.
Students
share their work with the class.
Teacher
introduces fundamental roles of students as presenters and audience members.
Teacher
leads sharing and observational session.
Assessment/Evaluation
1. Teacher assesses students’ progress through
observation with a checklist itemizing the completion of the problem set (e.g.
three different moving shapes, elements of improvisation, improvisation with
stimuli, seamless and safe transitions).
2. Teacher may wish to have the students
self-assess using the same checklist.
Resources
#1, 2, 5, 8, 9, 10,
14, 15, 16, 17, 19, 21, 22 – 34.
Appendices
Appendix
A: Movement Activities &
Exercises
Activity #3: Foundation Element
– Space
Time: 150 minutes
Description
A
variety of visual and auditory stimuli will be presented to explore and expand students’
creative thinking skills and physical movement vocabulary. Students will apply problem-solving and
cooperative learning skills to create a dance study based on the element of
space.
Ontario Catholic School Graduate
Expectations: CGE
2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TCV.01X, 02X,
05X, TAV.01X, 03X
Specific Expectations: TT1.02X, 03X, 04X*, TT2.01X,
05X, TC1.01X*, 02X*, 03X*, 04X, TC2.01X*, TC3.01X, TA1.01X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher prepares two sets of individual
cards: one set listing various action words and one set listing various
directions.
• Teacher gathers and provides a variety of
exploration tools, e.g. hula hoops, scarves, wide elastics, fabric, etc.
Prior
Knowledge Required
• Activities 1 and 2.
Teaching/Learning
Strategies
I Review of previous elements
Sculpture/Intelligent
Clay Exercise (Appendix A).
II Introduction to Concept of Space
Space
Invader Exercise (Appendix A)
III Level
Teacher
leads students through a guided movement exploration using verbal cues of actions
linked to movement directions i.e. over, under, through, across, open out,
toward, away, rise, sink, side, diagonal, around, forward, backward. Students do actions and follow directions.
Teacher
suggests a variety of speeds of action and directions.
Teacher
repeats actions with directions changing speed to fast forward.
Teacher
varies speed randomly, ending at a moderate pace.
Teacher
verbally continues actions linked to directions and asks students to change
their level to low.
Teacher
asks students to change their level to middle and then to high.
Teacher
sets a movement study. (Example:
Individually create a short movement phrase.
Include all three levels in the phrase and randomly choose two actions
and two directions.)
Students
create the movement study and share their work with the class.
Teacher
leads part of class sharing at a time and conducts observational session.
IV Floor Patterns
Teacher
introduces the concept of floor patterns by guiding a brainstorming session on
straight and curved line shapes.
Students
brainstorm and draw straight-line shapes, letters and numbers, etc. on paper
(e.g. straight line, square, triangle, rectangle, octagon, pentagon, zig zag,
numbers 1, 4, 7, etc., letters A, E, I, H, K, L, M, N, T, V, W, X, Y Z).
Students
brainstorm and draw curved-line shapes, letters and numbers, etc. on paper,
(e.g. curved line, circle, figure eight, spiral in and out, heart, etc.,
numbers 0, 2, 3, 6, 8, letters C, O, S).
Students
brainstorm and draw shapes with combinations of straight and curved lines,
(e.g. heart, half-moon, cylinder, cone, ice cream cone, numbers 2,5,9, letters
B, D, G, J, P, Q, R, U, etc.)
Teacher
hands out a blank sheet of paper and instructs student to visualize and design
a floor pattern. Each design is to have
a beginning and ending point and to include one straight-line shape, one
curved-line shape and one combination shape.
Each shape is to be connected to the other.
Students
independently design a floor pattern and physically move through their design.
Students
link their design with a partner’s design and move through the combined
patterns.
Teacher
collects designs for assessment, display and/or visual arts activity, etc.
V Introduction to Concept of Focus
Face-to-Face
Mirroring Exercise ( Appendix A).
VI Focus
Teacher
leads guided movement exploration developing the concept of focus, i.e.
towards, away from, direct and indirect.
Teacher
gives and repeats each of the following oral cues 3–4 times and students move
accordingly:
–
focus on an object in the classroom and move directly towards the object;
–
focus on an object in the classroom and move directly away from the object;
–
focus on an object in the classroom and move indirectly towards the object;
–
focus on an object in the classroom and move indirectly away from the object.
VII
Focus/Pattern Exercise
Teacher
explains the “Silent Partner” Exercise (Appendix A).
VIII
Dance Study #2 – Space
Teacher
assigns a creative problem-solving assignment, e.g. create a time/movement
phrase. This dance study must
incorporate a minimum of three different spatial elements, i.e. levels,
direction, patterns (floor) and focus.
Teacher
divides class into groups and assigns each group a different exploration tool,
e.g. multi-coloured scarves, wide elastics, fabric or rubber bands, hula hoops.
Students
explore movement within their groups and create the dance study.
Teacher
videotapes students’ movement phrase while students share their work with the
class.
Teacher
leads part of class sharing at a time and conducts a guided observational
session.
Assessment/Evaluation
1. Teacher assesses students’ progress
(technique, composition and class protocol) through teacher observation. Checklists for each of these areas which can
be used on an on-going basis would be useful.
Videotaping for documentation may be helpful where appropriate (e.g.
Dance Study #2) if the students are comfortable with it.
Resources
#1,
2, 5, 8, 9, 10, 14, 15, 16, 17, 19, 21, 22 – 34.
Appendices
Appendix A: Movement Activities
& Exercises
Activity #4: Foundation
Element – Time
Time: 150
minutes
Description
A
variety of visual and auditory stimuli will be presented to explore and expand students’
creative thinking skills and physical movement vocabulary. Students will apply problem-solving and
cooperative learning skills to create a dance study based on the element of
time.
Ontario Catholic School Graduate
Expectations: CGE
2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TCV.01X, 02X,
05X, TAV.01X, 03X
Specific Expectations: TT1.02X, 03X, 04X*, TT2.01X,
05X, TC1.01X*, 02X*, 03X*, 04X, TC2.01X*, TC3.01X, TA1.01X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher collects an array of different
sound-making tools (e.g. whistle, tambourine, drum, voice, etc.).
• Teacher may prepare visual reference
material (eg. handouts, overheads, wall-mounts, etc.) of dance/music
terminology.
• Teacher obtains music of different tempos
(e.g. 3/4, 4/4 etc.).
Prior
Knowledge Required
• Activities 1, 2 and 3.
Teaching/Learning
Strategies
I Rhythmic Explorations
Teacher
directs students to lie on floor with eyes closed, and to find their pulse
(e.g. wrist, neck, heart) and to use the other hand to tap out the rhythm of
their pulse.
Teacher
asks students to sit across from a partner on the floor and verbally cues
students to do the following exercises.
Note: Students should not stop
between the exercises.
Students
physically do the following and count aloud:
• slap thighs, clap hands, clap hands with
partner, counting 1,2,3;
• slap thighs, hold, clap hands with partner
counting 1,2,3;
• slap thighs, clap hands, hold counting
1,2,3.
Students
repeats exercise without counting:
• clapping each other’s body on count 2,
(without counting) and;
• clapping each other’s body on count 1,
(without counting).
Teacher
asks students to stand and scatter throughout the room.
Students
clap out a 3/4 rhythm in unison e.g. 1, 2, 3, 1, 2, 3.
Teacher
walks throughout the space and in between
students, clapping counter rhythms or using different sound-making tools (eg.
tambourine, whistle, voice, to etc) to try to change the student’s rhythm.
Students
discuss their ability to maintain the rhythm assigned in spite of the
distractions.
Teacher
assigns a 3/4 movement phrase e.g. step-hop-clap; hop-clap-stamp,
etc.
Teacher
verbally cues students to do the following exercises, not allowing students to
stop between each.
• do movement phrase accenting the first beat
• do movement phrase accenting the third beat
• do movement phrase accenting the second
beat
Teacher
divides the class into two groups, placing each group at opposite ends of the
room and verbally cues students to do the following exercises:
• one group to clap out a 3/4 rhythm, the other group to clap out a
4/4 rhythm.
• two groups of students move towards each
other while teacher claps counter rhythms.
• two groups of students continue to clap out
the rhythms assigned but move to a scatter formation
Teacher
places students in groups of three and asks each group to create three silent
actions to form a pattern which is repetitive. The groups are as far away from
each other as possible.
• group 1 does movement phrase accenting the second movement;
• group 2 does movement phrase accenting the first movement;
• group 3 does movement phrase accenting the third movement;
• groups move towards each other towards the
center of the room;
• all groups scatter and intermingle,
maintaining their assigned accented movement.
II Tempo Exploration
Teacher
introduces dance and music terminology i.e. adagio, allegro, andante, presto,
tempo
Teacher
assigns a 3/4 movement phrase i.e.
counts 1–2 slide, count 3 hop; count 1–2 step, count 3 hop
Teacher
establishes a beat and varies the tempo of the beat.
Students
adjust movement phrase to various tempos.
Students
discuss and answer the following question: How does tempo affect a movement?
Teacher
verbally cues students to do the following exercises:
• 16 counts of small jumps with the accent
down, i.e. into floor;
• 16 counts of small jumps with the accent
up, i.e. lift up;
• 8 counts of small jumps with variations of
the accents;
• 8 counts of a leg and or arm movement with
the accent in, i.e. closing;
• 8 counts of leg and or arm movement with
the accent out, i.e. exploding out;
• 8 counts of leg and or arm movement with
variations of the accents.
Teacher
assigns increasingly complex and challenging body shapes and action-word
variations, changing accent and timing of movement phrase (e.g. suspending
movement, upper body only, etc.).
III Let’s Talk And Write About It.
Students
discuss and answer the following question: What do you need to physically do to
accommodate the change of accents?
Students
are asked to write the answers to the following question: What new dance/music
terms are used to describe time, speed, very fast, very slow, soft, loud, quick
and sharp?
Assessment/Evaluation
1. Teacher collects and assesses students’ written
work utilizing a checklist of new dance terminology.
Resources
#1,
2, 5, 8, 9, 10, 14, 15, 16, 17, 19, 21, 22 – 34.
Activity #5: Foundations Element
– Energy or
Dynamics
Time: 150 minutes
Description
A
variety of visual and auditory stimuli will be presented to explore and expand
students’ creative thinking and physical movement vocabulary. Students will apply problem-solving and
cooperative learning skills to create a dance study based on the element of
energy or dynamics
Ontario Catholic School Graduate
Expectations: CGE
2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TCV.01X, 02X,
.05X, TAV.01X, 03X,
Specific Expectations: TT1.04X*, TT2.01X, 05X*,
TC1.01X*, .03X*, TC2.01X, 03X, TAI.01X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher prepares a Laban energy chart on large
bristol board with a set of coloured markers.
Prior
Knowledge Required
Activities
1 through 4.
Teaching/Learning
Strategies
I Exploring Dynamics Through a Physical
Journey
This
is an exercise in which the teacher does a voice over of an arduous physical
journey. The students physically
interpret the journey. Example: rope bridge over a crevice, crawling through
the jungle, shooting the rapids, fording a stream etc.
II Dance Dynamics
Teacher
provides a light to strong scale to chart
Laban energy action words (eg. punch, press, dab, glide, flick, float, slash,
wring).
Students
organize and categorize energy action words providing rationale for decisions.
Students
then assign a colour to the scale of energy action words, selecting strong
intensity colours for the strong action words, lighter intensity colours for
the soft action words.
Teacher
asks students which energy actions have been altered by time and space.
Teacher
leads students through a guided movement exploration of energy action words.
Teacher
divides class into groups.
Each
group selects and combines six energy action words.
Students
create the movement phrase which becomes each group’s template.
Teacher
leads groups through a guided movement exploration verbally cuing and changing
the dynamic quality: Repeat the movement phrase changing the painting of the
phrase with a percussive quality, i.e.
percussive, sustained, vibratory, suspension, swing, collapse, punch, press,
dab.
Teacher
asks students to draw a floor pattern on paper including using two straight
lines and a curved line. The lines must
be connected and indicate a beginning and an ending point.
Students
must then choose three energy action words, i.e. punch, press, dab, glide,
flick, float, slash, wring and designate a different energy action word to each
section of the pattern drawn.
Students
practise the movement phrases.
Teacher
leads discussion on the qualities of movement and the changes of the intensity
of the movement as the colour intensity changes.
Students
colour each of the three lines of the pattern with a different colour for each
line.
Students
rehearse their movement phrase with the energy intensity associated with the
colour they chose.
Students
then choose the opposite colour for each of the three lines of the pattern and
rehearse the same movement phrase changing the intensity associated with the
colour.
III Let’s Talk and Write About It.
Students
discuss and make notes on the following questions:
What
happened to the action when you gave it a colour?
What
happened to the action when you did it with its opposite colour? Why?
How
did the action change with the different colours and how did it feel? Why?
Which
level of energy (colour) were you the most comfortable with? Why?
How
did you feel when you did the same action to two different colours?
Extensions: Students create a collage of patterns of
colour.
Students to brainstorm
energy action words and write a poem with them.
Assessment/Evaluation
1. Teacher assesses students’ progress
(technique, composition and class protocol) through teacher observation using
the checklists already developed.
Videotaping for documentation may be helpful where appropriate (e.g. experiments
with colour) if the students are comfortable with it.
2. Teacher may chose to assess the students’
understanding of the elements of dance utilizing both a written quiz and a
reflective journal entry to accommodate different learning styles.
Resources
#1,
2, 5, 8, 9, 10, 14, 15, 16, 17, 19, 21, 22 – 34.
Appendices
Appendix A: Movement
Activities & Exercises
Activity # 6: Stimuli for Improvisation
Time:
150 minutes
Description
Students
will be exposed to a variety of visual, tactile, auditory and olfactory stimuli
as a source for the creative process.
Through guided exploration and improvisation, students will move
spontaneously and create a link between the concrete and the abstract.
Ontario Catholic School Graduate
Expectations: CGE
2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TCV.02X, 05X, TAV.01X, 03X,
Specific Expectations: TT2.01X, 05X, TCI.03X*,
.04X*, TAI.01X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher prepares the following: 2 single
visual stimuli; 3 grouping visual stimuli; 4–5 pictures, posters, books; 4–5
tactile; 4–5 auditory; 4–5 olfactory.
• Lesson
requires an appropriate sound system.
Prior
Knowledge Required
Activities
1 – 5.
Teaching/Learning
Strategies
I Objects to Stimulate Creativity
Teacher
introduces one visual stimulus (eg. statue, intricate pitcher, driftwood, rag
doll, etc.) and directs student to silently walk around and without touching
the stimulus, observe its features, i.e. lines, energy, dimension, colour.
Teacher
asks students to independently interpret with their bodies, the features of
three different objects observed, one at a time. Each interpretation must move through a phrase of counts, e.g. 7,
8,11) so that the body is not static.
Students
discuss the following questions:
How
easy an/or difficult was it to create a movement phrase based on an inanimate
object?
What
made it easy and/or difficult for you?
II Groupings
Teacher
divides class into groupings that correspond with the number of grouped
stimuli.
e.g. Stimuli Group A: consists of three
different toys = Group of three students
Stimuli Group B: consists of four
different hats = Group of four students
Stimuli Group C: consists of five
different sizes of bottles = Group of five students
Teacher
asks each group to silently walk around and without touching the stimuli, to
observe its features and each objects’ relationship to the other objects.
Teacher
asks students to silently and physically interpret the features of the stimuli
grouping observed followed by the relationship of each stimuli grouping. Students must keep their interpretation
moving.
Teacher
repeats above guided exploration process introducing:
A: pictures (eg. peoples’ faces, children
playing, a cityscape, bouquet of flowers, etc.);
B: tactile stimuli (eg. cheese grater, piece of
fun fur, rubber ball, shaving brush, bag of cold spaghetti, bread dough, etc.);
C: olfactory stimuli (eg. spices, empty bleach
bottle, fresh branch of pine needles, perfume, crushed garlic, vinegar, etc.);
D. auditory stimuli (eg. single sound effects –
scream, glass breaking; nature sounds, – waves, birds, wind; music – single instrument, horn, maraca,
drum, Baroque chamber music, instrumental music from different cultures, Rhapsody in Blue, Beethoven’s Fifth, etc.).
III Reflective Thoughts
Students
present, share and observe one another’s movement studies.
Students
discuss questions and record reflections on the following questions:
Is
music necessary to compose dance? What
is your rationale?
What
restrictions and/or freedoms does each stimuli present?
Teacher
discusses texture, rhythm, dynamics in music.
Assessment/Evaluation
1. Teacher assesses students’ progress
(technique, composition and class protocol) through teacher observation using checklists
already developed. Videotaping for
documentation may be helpful where appropriate (e.g. the movement studies) if
the students are comfortable with it.
2. Teacher may chose to use the reflective
journal entry to assess the students’ understanding of the theory.
Resources
#1,
2, 7, 9, 12, 15, 16, 17, 19, 21, 22 – 34.
Activity #7: Composition with the
Fundamental Elements
Time:
300 minutes
Description
Students
will have the opportunity to integrate and demonstrate their understanding of the
fundamental elements explored by creating a longer dance study. Students will
be introduced to the concept of disciplined rehearsal practices, work attitudes
and habits and the refinement of polishing of their movement for presentation. Emphasis will be on the integration of
movement, composition and presentation skills.
Ontario Catholic School Graduate
Expectations: CGE
2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TTV.05X,
TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 03X
Specific Expectations: TT1.04X, TC1.01X*,
02X, 03X*, 04X*, TC2.03X*, TC3.01X*, 02X, TA3.02X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher must prepare appropriate
accompaniment (eg. sacred, secular, student created music, etc.) for student exploration.
• Teacher may prepare assignment sheets as a
student handout.
• Teacher prepares TV, VCR, blank video-cassette,
charged batteries, cords, lighting levels, etc.
• Teacher may prepare assessment journals,
logs, checklists, etc.
Prior
Knowledge Required
A
kinesthetic, intellectual and creative understanding of the skills and concepts
developed in previous activities 1–6.
Teaching/Learning
Strategies
I Setting The Parameters.
Teacher
introduces the idea that the dance class is a community, as are the school, the
town, and the Catholic faith community and explains that the skills developed
are to ensure harmony and productivity in all types of communities. The teacher stresses the individual’s role
in taking responsibility for their own actions as their actions impact others.
Teacher
divides class into three or more groups and discusses the assignment and the
evaluation rubric (Appendix B), e.g. create a short dance work of 1–2 minutes
in length. Students may bring in their own stimuli to create dance. The following elements of dance must be
included and clearly visible:
• Space – a combination of 6 straight and/or
curved lines; include level and focus variations;
• Shape – combination and variety of body
shapes;
• Time – a minimum of 4 different uses of
time;
• Energy – minimum of 3 different energy
actions varying intensity and quality of the movements.
Teacher
allows option for students to rehearse and explore, taking teacher, peer and
self-evaluation feedback into account.
II The Dance Artist At Work
Students
create a dance work within the framework of the designated criteria.
Students
complete the dance work.
III Ready, And ...
Students
rehearse and polish dance work.
Teacher
provides verbal and/or written feedback.
Students
rework, redo and polish work.
IV ...Go!
Teacher
will videotape each groups’ presentation of the assignment.
Students
present, share and observe each groups’ dance work.
Assessment/Evaluation
1. Students are provided with the rubrics for
evaluating their compositions and their creative process at the beginning of
this activity. Discussion should take
place to ensure that the students are aware of and understand the criteria
contained in the rubrics.
2. Teacher provides feedback throughout the
creative process to assist students in achieving criteria set out in rubrics.
Resources
#6,
7, 9, 10, 11, 15, 16, 19
Appendices
Appendix B:
Rubric – Evaluation for Compositions.
Appendix F:
Rubric – Evaluation of Creative Process Within a Group
Activity #8: Reflection,
Self-Evaluation and Teacher Evaluation
of
Compositional Work
Time:
75 minutes
Description
Students
will have the opportunity to discuss and self-evaluate the dance works they
have created.
Students
will have the opportunity to discuss the teacher’s evaluation of the dance
works they have
Observation
and analytical skills will be used to summarize the elements of dance
activities.
Ontario Catholic School Graduate
Expectations: CGE
2a, 3c, 4a,b,c,d,f,h, 5c,f,g, 7b.
Strand(s) and
Expectations
Strands: Theory,
Creation, Analysis
Overall Expectations: TTV.01X, TTV.05X,
TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 03X
Specific Expectations: TT1.04X, TC1.01X*,
02X, 03X*, 04X*, TC2.03X*, TC3.01X*, 02X, TA3.02X
Planning Notes
• Teacher may prepare appropriate reflection,
prayer, Scripture, poetry, etc. examples to begin activity.
• Teacher prepares, with student in-put, a student self-evaluation sheet.
• Teacher obtains TV, VCR, recorded videotape
of students’ dance works.
Prior
Knowledge Required
Activities
1 through 7 with an emphasis on 7.
Teaching/Learning
Strategies
I Self-Evaluation
Teacher
distributes and discusses the self-evaluation sheet.
Teacher
presents the videotaping of students’ dance works twice.
Students
evaluate themselves and record on sheet provided.
II Teacher Talk
Teacher
leads students in discussion/reflection of their dance work, the process, and
their accomplishments.
Assessment/Evaluation
1. Teacher evaluates each group’s dance according
to rubric (Appendix B). Individual
process work is evaluated according to rubric (Appendix F.) Teacher assesses students reflective
journals to monitor growth.
2. Students self-evaluate using the same rubrics.
Resources
#6,
7, 9, 10, 11, 15, 16, 19, 22 – 34.
Appendices
Appendix B: Rubric – Evaluation of Composition
Appendix F: Rubric – Evaluation of Creative Process
Within a Group
Appendix A: Movement Activities and Exercises
Name/Movement
Group Building
• students in scatter formation around the
room
• have students develop a movement done twice
to accompany their names said twice – for example: “Kelly, Kelly” accompanied
by right arm pushed forward twice
• in groups of four: teach each other names
and movements; put them into an interesting sequence
• rehearse the sequence so that the group can
perform it in a line
• combine two groups, have students teach one
another and rehearse the 8 movement sequence in a line
• have the students perform their sequences
simultaneously while chanting the names
• share in individual groups of 8 only if it
is evident the students are comfortable doing so
Susie Picks
Harry Name Game
• students stand in a circle and
independently create a movement that is unique to themselves
• students take turns sharing their name and
their movement aloud
• students stand in a circle with one person
in the middle
• volunteer says his/her own name followed by
“picks” and the name of another student (eg. “Susie picks Harry”
• Harry would then say: “Harry picks
Indira..” Indira would then say,
“Indira picks Mario,” etc.
• The job of the student in the middle is to
tag the student who is picked before that student can name another
student. For example, the student in
the middle tries to tag Harry before Harry can say that he picked Indira or
tries to tag Mario before Indira can say that she picked Mario.
• When the student in the middle successfully
tags someone being “picked”, s/he switches places with that person
• The person who just left the middle starts
off again by picking someone; the starting person cannot be tagged.
This
name game works best once the students know some of the names.
Partnered
Stretches
• face their partner and hold one wrist
tightly
• while continuing to hold hands, pull away
from each other, finding a place of mutual balance; this balance can be on both
feet, symmetrical or asymmetrical, being sure to relax necks and shoulders
• once balance is achieved, allow gravity to
stretch each body fully by holding this relaxed balance position as long as is
comfortable
Human
Sculptures
• in partners: one becomes the clay and the
other the sculptor. The clay has closed eyes.
The sculptor shapes the clay into an interesting shape by firm but gentle
“strokes” along the body of the clay, indicating direction i.e. along the arms,
legs, back, shoulders, head of the clay.......
There is no talking allowed.
Music is played. The students
must evolve a way of communicating through the touches.
• once the students have each experienced
being both clay and sculptor, challenge them to be “intelligent” clay. Intelligent clay never stops moving. It has an intelligence of its own that
inspires it to keep moving until it receives an “instruction” to change that
movement through the touches of the sculptor.
The clay still has closed eyes.
Ensure that the students move in silence to music and that they are a
safe distance apart. What happens is
that although the sculptor is attempting to shape the clay, they begin to
become responsive to each other, beginning to dance a duet of sorts as they
work to communicate and to understand each other.
Secret Partner
• students in scatter formation
• instruct them to select a secret partner
without giving away whom they have selected
• instruct them to mill about the space,
filling the space, always keeping their silent partner within their sight,
never giving away whom it is they are partnering
• instruct them to move as far away as
possible from their secret partner
• instruct them to move as closely as
possible to their secret partner without looking at them and, if possible,
without giving away whom it is they are moving closely too
• students move back to scatter formation
• they choose a second secret partner and
repeat the exercise
• instruct the students to arrange themselves
without talking so that they form an equi-lateral triangle with their two
secret partners.......the triangle can be any size but they must be the same
distance from each other in a triangle shape
The
task is accomplished when everyone is standing still. This may take a considerable amount of time if people keep
moving. Point out how the movement of
one person affects the movement of many others, depending on the pattern in
which they are connected. Discuss how
this spatial relationship and connectivity can be used in composition.
Face to Face
Mirroring
• students are partnered, facing each other,
arm’s length apart
• one is leader, one is follower
• the leader moves on the spot slowly, using
a variety of body parts to lead with
• the task of the follower is to stay exactly
in synchronization with the leader
• Variations: switch who is leading and who
is following, change partners often, challenge the students to stay together
without a designated leader or follower: both people initiating movements.
Space Invader
Exercise
• one student stands still and maintains eye
contact with a partner throughout exercise
• one partner slowly walks in a circle around
the student, gradually getting closer
• once eye contact is broken, or the standing
student says “stop”, the distance from the closest moving student is marked and
measured
• students switch roles and repeat
• teacher organizes students in groups of
five or more
• one student stands still and maintains eye
contact with any member of the group throughout exercise
• remaining (4 or more) students slowly walk
in a circle around the student, gradually getting closer, using arms and legs
to get closer without touching the standing student
• once eye contact is broken, or standing
student says “stop”, the distance from the closest moving student is marked and
measured
• exercise is repeated until all members of
the group have had their turn at being the center person
• students discuss the similarities and
differences between their feeling of personal space with one person and with
the group
Appendix B: Rubric – Evaluation of Composition
|
Element |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
SHAPE (combination
and variety
of body shapes–3) |
uses
shape in familiar contexts with limited effectiveness |
uses
shape in familiar contexts with moderate effectiveness |
uses
shape in familiar contexts with considerable effectiveness |
uses
shape in familiar contexts with a high degree of effectiveness |
|
SPACE (6
straight/ curved lines, variations of level and focus) |
uses
space in familiar contexts with limited effectiveness |
uses
space in familiar contexts
with moderate effectiveness |
uses
space in familiar contexts with considerable effectiveness |
uses
space in familiar contexts with a high degree of effectiveness |
|
TIME (4
different uses) |
uses
time in familiar contexts with limited effectiveness |
uses
time in familiar contexts
with moderate effectiveness |
uses
time in familiar contexts with considerable effectiveness |
uses
time in familiar contexts with a high degree of effectiveness |
|
ENERGY (3
energy actions, variations of intensity and quality of movement) |
uses
energy in familiar contexts with limited effectiveness |
uses
energy in familiar contexts
with moderate effectiveness |
uses
energy in familiar contexts with
considerable effectiveness |
uses
energy in familiar contexts with a high degree of effectiveness |