Unit 4 Sample Lesson - Integrating Dance

Students will learn basic dance steps from the jazz square, grapevine and Charleston step to more complex jazz and tap dance steps such as pirouettes, split leaps, buffalo steps and paradiddles. Students will combine these steps and put them in sequences choreographed by the teacher and then add onto the sequence themselves and with their peers. Students will work on their performance practice by sharing their compositions with the class.

What stage or classroom experience have you had in dance?

What is your favourite dance style? Why?

How has dance in musical theatre evolved since some of the productions such as My Fair Lady as compared to Hairspray?

ADB3M

A3.1 use a variety of techniques to increase interaction with or participation by the audience
B1.1 use the critical analysis process before and during drama projects to assign roles within the group, monitor the group process, and modify the roles and process as needed

ATU3M

A1.3 use the elements of dance to generate and perform increasingly complex dance vocabulary through improvisation and experimentation with a partner or in a group
A2.1 use a variety of choreographic forms, structures, and techniques to create and perform increasingly complex dance works
A4.1 revise, refine, and polish movement execution and choreography with increased attention to detail
C3.1 demonstrate responsible, constructive behaviour in interactions with others during the creation and production processes
C3.3 identify and follow safe and ethical practices in dance activities in both classroom and performance settings

At the end of this lesson, students will be able to:  

• Understand the importance of daily warm-ups to insure safe use of their bodies while dancing
• Identify the various dance styles as reflected in different musicals by various choreographers
• Demonstrate proper etiquette (code of ethical behaviour and respect) required for dance and theatre, in relation to themselves, their peers and their teachers.
• Use the creative process to develop their dance technique
• Use the critical analysis process to assess their personal progress as well as the progress of their peers while developing their dance technique and performance ability.
• Dance independently and as an ensemble for a variety of audiences and purposes

Readiness

Student prior knowledge should include:

• Performing independently
• Performing in small and large group settings
• Movement training within a previous dance or dramatic arts course
• Understanding of musical time signatures

Terminology

Cake walk
Lindy
Canon
Follow up
Down Beat
Elements of Dance
Time Signature
Bob Fosse - 1927–87, U.S. dancer, choreographer, and theater and film director.
Jerome Robbins - 1918–1998, U.S. dancer and choreographer.
Tommy Tune - born 1939, U.S. dancer, choreographer, actor, singer, and director.
Donna Feore – Canadian choreographer, performer

Materials

Warm up materials
CD player, IPOD
CD’s w/ selected pieces
Crazy Little Thing Called Love - We Will Rock You - The music only version
BLM #8 Choreography
Appendix #3 Teacher Tips

Whole Class > Warm Up

Play music from We Will Rock You as the students enter the classroom.  

Encourage students to spread out so that they have enough room to move their arms side to side. Instruct students to walk through the space to the beat of the song. Tell students that they are to respond to teacher directed ways of moving e.g. shake your right hand, jump forwards and backwards, run in a circle, clap to the beat of the music etc. Youtube has several videos on dance warm ups that can help.

Assessment for Learning (AfL)

Observe sent interaction within the warm-up. This will provide a better understanding of the students' abilities.   

Assessment as Learning (AaL)

Side-coach throughout the warm-up process. Peer feedback throughout the creation process will help students refine their pieces.

Circulate to ensure an understanding by all of the groups.  

Ongoing Student Process Journal: Journals could take place in blog form or through a teacher designed web site.  This allows students to communicate with each other as well as with the teacher.

Differentiation (DI)

Students who have strong skills in dance can be placed in one group together.  Have them create an extra 4 counts of 8 of choreography or more. Or place a strong dancer in each group to help those not as strong.

Life forms or Dance forms software could also be used to create the choreography.

Quick Tip

Students who have dance experience may be capable of running warm-ups each day for the class. 

As with the vocal unit, suggest that students with dance experience stand near those students with the less experience so that they can imitate their movements. 

Remember to take time with students who are having difficulty to avoid them getting frustrated.  They may need to be paired up with a peer who can help them along and feel successful without feeling centered out.

Link and Layer

Remind your students that dancing, singing and acting connect.  Let them know that they many struggle with some of the specific steps, but if they perform with lots of energy and physical intent, they can be just as successful or even more so, than a technical dancer. 

Hyperlinks

https://www.youtube.com/watch?v=OpzDVcGMdnE

The Aloof:
https://www.youtube.com/watch?v=LZnFQvlb2OA

Fosse in Rehearsal
1981 Rehearsal Session
https://www.youtube.com/watch?v=-mhsr76YrHM

Doug Graham in rehearsal
https://www.youtube.com/watch?v=iC9-szLrB1Y
SING, SING, SING

Whole Class > Choreography

Play a portion of Crazy Little Thing Called Love from We Will Rock You.  Count with students so that they can recognize the important beat structure of this piece.

Point out the 4/4 time and teach students eight-counts of eight at a time. Start with footwork adding in the arm and head movements.  Continue working as if this is a puzzle piece. Complete a count of 8, repeat, add another count of 8, repeat the 16 counts, add another count of 8, run the 24 counts in sequence etc. (BLM #8  for the choreography). 

Incorporate the music with the movement when students are ready for it. Repetition without music will be necessary then layer in the music as they are ready for full tempo. Repetition is key i.e. do 2 counts of 8 without music, then add music; add 2 more counts of 8 without music and then repeat the first 4 counts of 8 with the music.

Small Groups > Creating Choreography

Once the initial choreography has been taught by the teacher, divide the students into small groups to create their own choreography. Encourage students to use the same style of movement in order to ensure continuity within the piece.  

Strategies to trigger students choreography:

• List (board, chart paper) the steps that the students have learned in previous lessons. 
• Continue to supply support for their creations by suggesting they also use the knowledge they have gained from previous learning. Refer to other choreographers' works (Bob Fosse, Donna Feore etc.).
• Ask each student in the group to create a 4-8 count sequence and then try arranging them together.
• Refer students to the importance and effectiveness of using the elements of dance
• Follow-ups can also be used as an effective visual tool (one dancer beginning one count after the previous dancer in sequence of a step or pose)
• See Appendix #3 Teacher Tips for more approaches to use with the students.
• Students' movement choices can also be informed by genre and time period. Encourage them to review films, YouTube clips or other sources of choreography from the same era or genre
• Song lyrics may also suggest physical vocabulary or gestures that can be integrated into choreographed steps. Encourage students to explore the lyrics as a source of ideas for dance.

Small Groups > Performance

Have students perform their dance routines to one other group in the class. Encourage students to share constructive criticism and feedback with their peers. 

Have the students consider the following questions:

• What process did your group go through to start creating your original choreography?
• What were some of the challenges you faced when working with this piece? 
• Where would you like to see this routine going?  Do you have more choreographic visions for this piece?
• Did you model off of any other choreographers you have already studied to this point in the course?