Accommodations

  • All lessons included could be easily adapted for a variety of learners, i.e. if a student is required to use an extremity to create a movement, students may adapt by using a variety of different limbs to modify the movement
  • Verbal description may be necessary for students with visual impairment
  • Contact students with varying mobility to ask for his/her suggestions for modifications prior to the class.  This gives them a chance to take responsibility for their learning and come to class prepared.  The important thing is that each student is moving comfortably within his/her own body and space 
  • Some examples they may provide are:  using a peer helper with whom they are comfortable
  • Allow the student who has a desire for increased movement to i.e.:
    • switch places with a partner or someone opposite him/her in a circle, while he/she is doing the required movement/movement sequence;
    • leave the group, run around the outside of the circle (if there is one), changing locomotion, i.e. skipping, sliding, leaping.
    • run around the outside of the circle, give his/her partner a high five, then return to his/her spot.

Movement Knowledge

  • Direction vs. Pathway:  Direction refers to body movement in space, i.e. forward movement which is led by the front of the body, backward movement which is led by the back of the body, lateral movement which is led by the side of the body.  Pathway refers to the imaginary line which is being drawn through space as the dancer moves around the room, i.e. straight line, curved line, etc.
  • Symmetry vs. Asymmetry:  Symmetry refers to a type of balance in which parts or elements are equal in size or shape or in some other attribute.  Asymmetry refers to the absence of this described balance.
  • Sudden vs. Sustained Movement:  This refers to the time is takes to perform the movement.  Sudden describes movement that is sharp, quick, and crisp, while sustained is extremely slow and controlled.
  • Tableau:  A silent group of people frozen in time to represent a scene, abstract idea (i.e. peace, joy), or theme. 

Connaissance du mouvement

  • Direction et trajectoire :  La direction fait référence au mouvement du corps dans l'espace, c'est-à-dire le mouvement vers l'avant qui est dirigé par l'avant du corps, le mouvement vers l'arrière qui est dirigé par l'arrière du corps, le mouvement latéral qui est dirigé par le côté du corps.  La trajectoire fait référence à la ligne imaginaire qui est tracée dans l'espace au fur et à mesure que le danseur se déplace dans la pièce, c'est-à-dire la ligne droite, la ligne courbe, etc.
  • Symétrie et asymétrie :  La symétrie fait référence à un type d'équilibre dans lequel les parties ou les éléments sont égaux en taille ou en forme ou dans un autre attribut.  L'asymétrie désigne l'absence de cet équilibre.
  • Mouvement soudain ou mouvement soutenu :  Il s'agit du temps nécessaire à l'exécution du mouvement.  Le mouvement soudain est vif, rapide et net, tandis que le mouvement soutenu est extrêmement lent et contrôlé.
  • Tableau :  Un groupe silencieux de personnes figées dans le temps pour représenter une scène, une idée abstraite (par exemple, la paix, la joie) ou un thème.

Space Requirements

  • All lessons in this package require a large open space.  If your school does not have a dance studio, move the desks to the periphery of your classroom to create an open space.  Utilize the gymnasium, the schoolyard, the library, or even the hallway.  Do not be discouraged if your school does not possess the ideal space.  Be creative and make use of whatever is available.

"Hash Bash" (Revising and refining work) 

  • A suggested performance practice, called "Hash Bash", is useful for students to try out their dances on the audience before they are being marked.
  • One may call it a “dry run”.  Each group presents with music, the audience claps, and you give constructive criticism.  Then they go off and practise some more, taking into account your suggestions.  A lot of editing and negotiating goes on during this time. 
  • Always give the students another opportunity to perform, after the hash bash, allowing them to apply their knowledge again, and display a more refined, finished product.  This should be the performance that is assessed.

"Hash Bash" (Réviser et affiner le travail)

  • Une pratique suggérée, appelée "Hash Bash", permet aux élèves d'essayer leurs danses devant le public avant qu'elles ne soient notées.
  • On peut appeler cela un "essai".  Chaque groupe se présente en musique, le public applaudit et vous donnez des critiques constructives.  Ensuite, ils s'entraînent à nouveau, en tenant compte de vos suggestions.  Il y a beaucoup de travail d'édition et de négociation pendant cette période.
  • Donnez toujours aux élèves une autre occasion de se produire, après le "hash bash", pour leur permettre d'appliquer à nouveau leurs connaissances et de présenter un produit plus raffiné et fini.  C'est cette prestation qui doit être évaluée.

Performance Etiquette

  • Performers:  When students perform in front of an audience, no matter the size, it is important that they are respectful of the audience members.
  • Audience:  Students need to be respectful of the performers by listening, observing, and paying full attention without creating distractions.  It will soon be their turn on the “stage”, so it is necessary for them to remember that a lot of effort has gone into creating and rehearsing the performance piece.  The audience should always clap at the end of the performance.  
  • The goal is to create a positive, safe learning environment.

Etiquette du spectacle

  • Artistes : Lorsque les élèves se produisent devant un public, quelle que soit sa taille, il est important qu'ils respectent les membres de l'auditoire.
  • Le public : Les élèves doivent respecter les artistes en les écoutant, en les observant et en leur accordant toute leur attention sans créer de distractions.  Bientôt, ce sera leur tour de monter sur la "scène", et il est donc nécessaire qu'ils se souviennent que beaucoup d'efforts ont été consacrés à la création et à la répétition de la pièce.  Le public doit toujours applaudir à la fin de la représentation.  
  • L'objectif est de créer un environnement d'apprentissage positif et sûr.

Encouraging Movement/Physical Development

  • Throughout the lessons in this package, the teacher should be encouraging the students to vary their use of levels, body direction, pathways, tempo/speed, and body parts.
  • Ensure that movements have interesting links, so that there is no “down time” -- where the student fidgets with hands/hair/clothing, etc. -- between movements/movement sequences.

Encouraging Cognitive Development

  • Observational Learning is an important component of a student’s education.  In every lesson, it is suggested that the students observe each other, and give feedback, whether they be in pairs, small group, or large group situations.
  • It is great for students to see what their friends think of their participation and performance, as long as it is justified.  Use a rubric to give students direction.
  • Request a comment from other group members for each student, i.e. “What was her/his strong point?  How was she/he to work with in a group?  What did you like about the choreography?  Do you have any suggestions?” 
  • Utilize the strategy, “Three Stars and a Wish”.  When asked their opinions, students must provide three positive comments and then one suggested improvement.  This ensures that the comments are justified and thoughtful.

Making Groups

  • Much of what is done in dance class is in groups.
  • Most of the time, the teacher should control the student groupings.  Find a variety of ways to create the groups.
  • One interesting way is to have Popsicle sticks with the students’ names on them -- one per stick.  This saves time.  Before class, have the groups already worked out.  Group the popsicle sticks with an elastic band, and bring them to class.  Then call out the students’ names when the groups are required for a specific activity.
  • Another idea is to use the students’ middle names.  This name is something that is rarely talked about.  They need not divulge their middle name, as some do not wish to.  Have them think of the first letter or last letter of their middle name.  Then begin by calling out the letters of the alphabet, creating the groups as you go.  “A” over here, “B” over here, “C” over here, etc.  You can also do this with street names where they live, last names, etc.
  • If you want your groups to be gender-equal, count off the boys first, and the girls second.  For example, if you want 4 groups, count only the boys, “1, 2, 3, 4, 1, 2, 3, 4, 1, 2, .….”  Then count the girls.  Wherever you left off with the boys, you continue counting.  If you stopped at “2” with the boys, then continue from “3” with the girls.  It always works out and you always have very fair groupings.