Lesson Overview

Connections to Inquiry Learning

Big Questions:

  • Fountains are often community spaces in Islamic culture. What are some community spaces in your school?
  • What does water represent in Islamic tradition? What does water represent in secular western society?
  • What is the role of water in Islamic traditions and architecture?
  • Where is water located in your school?
  • How can site-specific choreography cultivate a sense of community in your school?

Curriculum Expectations

ATC30 Overall Expectations

  • A1. The Creative Process: use the creative process, the elements of dance, and a variety of sources to develop movement vocabulary;
  • A2. Choreography and Composition: combine the elements of dance in a variety of ways in composing individual and ensemble dance creations;
  • A4. Performance: apply dance presentation skills in a variety of contexts and performances.
  • B2. Dance and Society: demonstrate an understanding of how societies present and past use or have used dance, and of how creating and viewing dance can benefit individuals, groups, and communities;
ATC30 Specific Expectations
  • A1.1 use the elements of dance to develop and perform a series of connected dance phrases inspired by a source (e.g., demonstrate “stages in the life” of figures from various Rodin sculptures; depict changes in an object from nature or the surrounding environment)
  • A2.1 use a variety of choreographic forms, structures, and techniques to create and perform a series of movement phrases (e.g., use a theme and variation structure in a duet; create a group composition using movement motifs that communicate a response to a natural or built environment beyond the studio)
  • A4.1 revise, refine, and polish movement execution and choreography (e.g., use teacher and peer feedback to clarify their movement choices and intention; rework or change phrases/sections that need revision; polish the technical execution of movement, timing, and spacing)
  • B2.2 explain how dance contributes to their personal growth and self-understanding (e.g., develop a series of “Dance gives me…” statements that reflect how they benefit from dance activities within and outside of school)

ATC4M Overall Expectations

  • A1. The Creative Process: use the creative process, the elements of dance, and a variety of sources to develop movement vocabulary
  • A2. Choreography and Composition: combine the elements of dance in a variety of ways in composing individual and ensemble dance creations
  • A4. Performance: apply dance presentation skills in a variety of contexts and performances.
  • B2. Dance and Society: demonstrate an understanding of how societies present and past use or have used dance, and of how creating and viewing dance can benefit individuals, groups, and communities;
  • C3. Responsible Practices: demonstrate an understanding of safe, ethical, and responsible personal and interpersonal practices in dance activities.
ATC4M Specific Expectations
  • A1.1 use the elements of dance to create and perform abstract dance phrases inspired by a theme of personal significance (e.g., a theme suggested by an environmental or social issue or by a composition of a favourite dance group)
  • A1.3 use the elements of dance to generate and perform complex dance vocabulary through solo or ensemble improvisation and experimentation (e.g., in pairs, use action/reaction during contact improvisation to explore movement possibilities)
  • A2.1 use a variety of choreographic forms, structures, and techniques to create and perform complex dance works (e.g., in pairs, use ABACA [rondo] form as a basis for an original composition)
  • A4.1 revise, refine, and polish movement execution and choreography, with particular attention to how each detail contributes to the whole and to the intended effect (e.g., use their own intuitions and analyses and feedback from peers and the teacher to rework, clarify, and perfect individual movements, phrases, transitions, and sequences)
  • B2.2 identify specific ways in which dance education can enhance community life (e.g., develop a brochure about how dance education could benefit their local community)
  • C3.1 model responsible, constructive behaviour in interactions with others during the creation and production processes (e.g., work cooperatively to solve problems and resolve conflicts peacefully; mentor a younger dance student to help develop his or her understanding of appropriate behaviour in rehearsal and performance)

Learning Goals

  • By the end of the lesson, students will:
  • Gain an understanding of the role of water in Islamic architecture and culture
  • Gain an understanding of  site-specific choreographies and how they might cultivate a sense of community in their school

Instructional Components and Context

Readiness
  • Students will have already worked with the elements of dance and compositional forms
  • Students will have already created choreographies based on other themes/inspirations
  • Students will have already worked in large and small discussion groups
  • Students will have already completed Lesson 1 on Islamic Architecture (this is not necessary for this lesson but would be helpful in the Extensions)
Terminology
Materials

Lesson Plan

Minds On

Small Group > Room as a Score

  • Choose FIVE objects in the dance studio. These objects can be fixed (benches, ballet barres, shelves, doors, clock, lights on the ceiling, a grate on the wall, etc.) or non-fixed (staplers, shoes, pencil cases, broom, books, any object in the room) and demonstrate using these objects as inspiration for movement, from either the shape or the function of the object. For example, make an opening and closing motion with your arms to show the function of the stapler or staccato movements to illustrate the ticking seconds on a clock.

Have students form small groups of 2-3 and look for objects or fixtures in the dance studio from which to inspire movement. Assign them to create short choreographic pieces and share them with the class.

Ask the groups to take their mini-choreographies and find a location outside but near the dance studio. Ask students to add 3-4 more objects or fixtures from their new spot to their existing dances from the studio. Ask students to interact with the space in a way that their dance could ONLY be performed as it is in this new space (e.g., opening and closing doors, opening and closing empty lockers, ascending and descending stairs, using windows as ways to frame choreographic shapes and movements, using their hands/bodies to bang on objects as a way to make music, etc.). Have students share their rough, mini-choreographies.

Key Questions for Discussion:

Why did you choose these specific objects? What was your selection criteria?
Do you see the dance studio space in a new way? Did you see your new site outside of the dance studio in a new way? How or why not?
What were the successes and challenges of interacting with the space as a way to create choreography?

Differentiation

Provide a list of objects instead of students choosing on their own. Alternatively, the Room As A Score choreography could be done as a class instead of in small groups.

Whole Class > Understanding Water in Society

Brainstorm with the class all the places in the school community where water can be found (this can be inside or, weather permitting, just outside the school). Ask students to make hand-drawn or computer-generated maps of the school and indicate with a blue drop all the places water can be found in and around the school. Alternatively, provide a simple blueprint of the school, if needed.

Bring students back to the class and look at the websites listed in the Materials section and discuss the importance of water in Islamic architecture. Discuss the modernity of Islam and notions of what it means to be an advanced society through the structure and architecture of Islamic fountains and other water systems.

Discuss the importance of water for all life. Compare and contrast water in Islamic architecture with water in western architecture - brainstorm all the places in the city, province, and country where water is located (e.g. Fountains in front of important buildings, drinking fountains in various buildings - discuss the accessibility of those fountains, sewer drains, fire hydrants, garden hoses, etc.)  

Put students In pairs or  small groups, and ask them to brainstorm the qualities of water as inspiration to help create new movement. Write or draw your findings on chart paper and post in the classroom as an anchor and visual reminder.

Action!

Whole Class > Examples of Site-Specific Dance

Share the following video clips to show what site-specific choreography means.

Discuss how the dancers are interacting with their spaces in ways their choreography could only be performed in this specific site.

Whole Class > Exploring for Sites

As a whole class, walk around the school and find places where water can be found (INSIDE: water fountains, vending machines, sinks in classrooms. OUTSIDE: garden hose, sewer grates). Provide students with BLM #10 - Dancing Fountains Site-Specific Choreography Location Analysis to help them critically think about and analyze various spaces before choosing a site.

Small Groups > Site-Specific Choreography

Put students in groups of 4-6 and assign them to create new choreographies at a site in or just outside their school where there is a connection to water. Ask students to interact with their spaces keeping in mind the focus of the water source. Just as in the Minds On activity, Room As A Score, students should be encouraged to find inspiration for movement that reflects the shape or the function of objects/architecture in their site. Also, as shown in the various YouTube clips at the beginning of ACTION, remind students to create movements that use the space in such a way that their choreography may only be danced in this specific site (e.g., Using stairs, opening and closing doors, opening and closing lockers, etc.).

The dance creation process should take 3-4 class periods and 1-2 class periods for performance and feedback.  Use BLM #11 - Dancing Fountains Site-Specific Choreography Peer Feedback Form for students to provide feedback to one another.

Extensions

Dance Photography:

  • Ask students to use photography to document artistically and creatively the site-specific choreographies
  • Encourage students to find ways of framing and cropping the photos, and creative use of light and shadow, from their site-specific choreographies to make abstract photos that make mirror architectural shapes found in Islamic art and culture (referencing the Aga Khan Museum website under the architecture section)
  • Use editing apps on smartphones to change the colours to the ones found in Islamic art (blues, turquoise, terra cotta, etc.)
  • Alternatively, give students total freedom in their photographic expression and do not focus on Islamic art and architecture
  • Extend the activity to include what water represents to Indigenous communities on Turtle Island.  Consider connecting these ideas to the fight for safe and clean water through current events such as the Dakota Access Pipeline in Standing Rock, North and South Dakota

Connections

This lesson connects back to Lesson #1 due to the use of architecture. Students use the architecture of their school community, as opposed to Islamic architecture, to inspire movement.

Students are also invited to consider the role of water in communities today, thinking about their own school community, as well as globally.

Differentiation

The photography extension may be used a way to differentiate instruction for a student who may be injured or for whatever reason are not able to dance. A student with a special need may become a documentarian for their group by taking choreographic notes, being a rehearsal director, costume designer, making promotional materials as though the group is a dance company.

Consolidation

Whole Class/Individual > Reflection

Discuss with students their experience with site-specific dance.

Key Questions for Discussion

What did you find easy about this task? What did you find most difficult?
Did this assignment help you view your school community in a new way?
What did you discover about the architecture of your school? What improvements do you think need to be made to help modernize the school?
How did you feel creating and performing dances outside of the studio? Were you embarrassed or shy? Did this change as time went on?
How do you think site-specific choreographies can create a sense of community in your school?

In groups, or individually in writing, discuss how this choreographic process has given students a new understanding of the modernity of Islam and how students have confronted their own biases about Islam due to Islamophobic media.

*Teacher note: Connect the ideas of modernity highlighted just prior to the ACTION piece when viewing the various websites about Islam as a way to challenge contemporary Islamophobic narratives of Muslims not being modern*

Assessment for learning

Teacher will provide ongoing descriptive feedback orally or in writing during the Room As A Score Minds On activity.

Assessment as learning

Ongoing verbal and/or written descriptive feedback will be provided by the teacher at all stages of the process. At the midway point, the teacher may ask groups to do a showing, where students show their work in progress for teacher and peer constructive criticism, both orally and written. A peer feedback form (BLM #11 - Dancing Fountains Site-Specific Choreography Peer Feedback Form) will be used.

Assessment of learning

Students will perform their site-specific choreographies and be assessed using this rubric: BLM #12 - Dancing Fountains Site-Specific Performance Final Rubric

Works Cited

Robab Faghfoori, Hasan Bolkhari Ghehi , Ghazal Soltani. “Theosophical Principles of Light and Colour in the Architecture and Decorations of Soltaniyeh Dome”  International Journal of Arts, 4(1), 2014, pp 8-16.

Ontario. The Ontario Curriculum, Grades 11-12: The Arts, 2010. Web. https://www.edu.gov.on.ca:443/eng/curriculum/secondary/arts1112curr2010.pdf. Accessed 17 Dec 2016.

“Art of the Islamic World” Khan Academy, 2016. Web. https://www.khanacademy.org/humanities/art-islam. Accessed 17 Dec 2016.