CALIFORNIA STATE UNIVERSITY, NORTHRIDGE a Call for Hip-Hop

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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

A Call for Hip-Hop Based Dance Curriculum in After-school Programs for

High Risk Youth

A graduate project submitted in partial fulfillment of the requirements

For the degree of Master of Science in Kinesiology

Rhasaan Sherrill

December 2016

The graduate project of Rhasaan Sherrill is approved:

______

Shana Habel Date

______

Dr. Paula Thomson Date

______

Dr. Terry Sweeting, Chair Date

California State University, Northridge

Table of Contents

Signature Page ii

Abstract v

Chapter 1: Introduction 1

Chapter 2: Review of Literature 5

At Risk Youth 5

Decline in Physical Activity During School 5

Benefits of After School Programs 8

Social Cognitive Theory 12

Hip-Hop Dance and Cultural Implications 18

State and National Dance Standards 22

Chapter 3: Methods- Lesson Plan Format 29

Standards 29

Focus and Theme 30

Objective 30

Materials 31

Vocabulary 31

Warm-up and Cool Down 31

Exploring the Concept 32

Skill Development 32

Creating and Composing 33

Reflection 33

iii

Chapter 4: Expected Results 35

Chapter 5: Discussion 36

References 39

Appendix A 46

Appendix B 97

Appendix C 98

Appendix D 100

Abstract

A Call for Hip-Hop Based Dance Curriculum in After-school Programs for

High Risk Youth

Rhasaan Sherrill

Master of Science in Kinesiology

An inadequate amount of physical activity has been identified as a

contributing factor in obesity among American at risk youth (Trost, Rosenkranz,

& Dzewaltowsk, 2008). Children who are considered at risk have the highest rates

of obesity within this population. In addition to decreased levels of physical

activity, at risk youth have shown difficulty in adjustment in terms of confidence,

self-esteem, autonomy, and the ability to cope (Etzion & Romi, 2015). The

characteristics described can result in at risk youth experiencing difficulty in

functioning within their age-specific educational and social settings. Numerous

studies have reported the benefits of incorporating physical activity into school

settings however, there are few studies that report the benefits of a school-based

dance program to high-risk youth. Culturally relevant programs that promote self-

efficacy in students have the potential to not only maintain physical activity, but

improve the at risk characteristics previously mentioned (Jago, Edwards, Sebire,

Cooper, Powell, Bird, Simon, Blair, 2013). This curriculum focuses on integrating

the National Core Arts Standards and California Visual and Performing Arts

Content Standards into a hip-hop dance class for middle school, at risk youth. The

20 lessons and accompanying video contained in this curriculum provide students

with an introduction to hip-hop dance so that they will be challenged to be critical

thinkers, team builders, and creative artists. There is also potential for

improvement in physical fitness upon completion of the course. It is

recommended that the curriculum be applied to research by implementing a pilot

after-school dance program. To test the efficacy of the curriculum, areas of

measurement can include: self-efficacy, physical activity levels, academic

performance, and NCAS based assessments.

Keywords: hip-hop, dance, at risk, curriculum, National Core Arts Standards,

California Visual and Performing Arts Content Standard

Chapter 1: Introduction

Children who engage in recommended amounts of physical activity are at

a decreased risk of health-related problems such as obesity, hypertension,

respiratory problems, diabetes, high blood pressure, and insulin resistance (Beets,

Beighle, Erwin, & Huberty, 2009; Trost, Rosenkranz, & Dzewaltowski, 2008).

Despite the benefits of moderate-to-vigorous physical activity in school-aged

children, a large percentage of youth in the United States do not meet

recommended guidelines in physical activity.

Minority students are among the highest population showing a decline in

physical activity and rising health-related problems. This population is also

considered high-risk. High- risk youth can be defined as students who qualify for

free or reduced-cost meals during school or whose annual income falls below the

federal poverty level determined by the Department of Health Care Services. In

particular, African-American and Hispanic youth fall behind the rest of the

country in meeting suggested levels of daily physical activity (Robinson,

Kraemer, Matheson, Obarzanek, Wilson, Haskell, ... & Varady, 2008; Sharma,

2008). High inactivity levels also result in limited opportunities for physical

activity when those of lower socio-economic status are exposed to unsafe and

undesirable environments (Beets et al., 2009; Witt & Baker, 1997).

In addition to neighborhoods not being conducive for physical activity, the

quest for school districts to meet the rising demands of academic achievement

through standardized testing has significantly impacted attention to quality

physical education in many schools (Ahamed, MacDonald, Reed, Naylor, Liu-

Ambrose, & McKay, 2007; Beets et al., 2009). The rise of after-school physical

activity programs provides an opportunity for high-risk students to access school

facilities in a safe environment and achieve recommended levels of physical

activity without compromising academics (Beets et al., 2009).

Physical activity in the form of sports, fitness, and dance are characteristic

of many after-school programs. In creating after-school programs for high-risk

and middle school youth, programs that focus solely on physical activity are not

enough to change physical activity behavior in students (Huang, Gao, Hannon,

Schultz, Newton, & Jenson, 2012). On the contrary programs need to be

developed to address what motivates high-risk children to engage in physical

activity. The implementation of hip-hop in curriculum has shown to captivate

youth due to its predominance of minorities and relevancy in youth culture (Abe,

2009; Robinson et al., 2008; Taylor & Taylor, 2004). In 2009 over 300 courses on

hip-hop alone were taught in United States classrooms (Hall, 2009).

In addition to developing a program geared to the population served, it is

imperative that studies are founded upon theory-based curriculum especially as it

refers to student motivation. The use of a theoretical framework to support the

physical activities provided in after-school programs identifies determinants of

physical activity (Motl, 2007).

The efficacy of a program geared towards the population it serves while

employing a theory-based model can only be determined through some sort of

assessment tool. The National Core Arts Standard (NCAS) in dance, developed

by the National Coalition for Core Arts Standards, has been widely accepted as a

resource in achieving dance literacy across the nation and within states (California

Department of Education, 2015; NDEO, n.d). NCAS are a set of standards

composed of four artistic processes (creating, performing, responding, and

connecting) that enable the student to become literate in dance education.

California Common Core Standards were developed to promote the highest

achievement of students, by defining the knowledge, concepts, and skills that

students should attain at each grade level (California Department of Education,

2016).

After-school programs have proven to be successful in reducing at risk

behavior in disadvantaged youth (Witt & Baker, 1997). Improvements in

physical fitness, academics, and social development have been found (Beets,

Beighle, Erwin, & Huberty, 2009) as well. Though research has shown the

positive effects of integrating National Core Dance Standards and Common Core

Standards into K-12 dance curriculum, very little research has been done on its

implementation in after-school programs, and even less on hip-hop based

curriculum. This project, therefore, will include the design of a hip-hop

curriculum to be implemented by educators in after-school programs for middle

school, disadvantaged youth. By completing the contents of this course children

will be able to demonstrate the artistic processes of creating, performing,

responding, and connecting as outlined in the National Core Arts Dance Standards

and will integrate historical hip-hop content that continues to be prevalent in

youth culture. Students will also have the opportunity to improve physical fitness

through moderate-to-vigorous warm-ups and physical education lectures.

Hip-hop dance is defined as an urban dance form that includes popular

styles such as popping, locking, breaking, house, grooves, and freestyle. National

Core Arts Dance Standards will be defined as a set of standards composed of four

artistic processes (creating, performing, responding, and connecting) that enable

the student to become literate in dance education. (NDEO, n.d). The California

Visual Performing Art Content Standards will be defined as a set of standards for

K-8th including: artistic perception, creative expression, historical and cultural

context, aesthetic valuing, and connections, relationships and application

(California Department of Education, 2015The course will be geared toward

middle school, entry-level dancers, however content can be modified for those

with prior dance experience.

The significance of this curriculum is in its appeal to enhance current

physical activity programs that lack quality curriculum needed for 21st century

youth while equipping students with the skills needed to be high achievers despite

the statistics associated with at-risk youth. The curriculum will be composed of 20

lesson plans designed around national and state content standards. In addition, an

instructional video is included with the curriculum to serve as a teaching tool for

dance instructors and dance leaders. The accessibility of technique-based

curriculum for a non-classical genre of dancing gives credence to the art form.

Chapter 2: Literature Review

At Risk Youth

The term at risk is used to describe youth who are mentally, physically,

and spiritually in jeopardy (Etzion & Romi, 2015). Inner city environments, in

which many at risk youth reside, are often marked with violence, crowded

housing, poor performing schools, teen pregnancy, and drugs. The stress

associated with exposure to such elements can be detrimental to a child’s mental

and physical health (Rhodes & Schecter, 2012). The characteristics of at risk

youth differ from normative youth in various ways including: adjustment, socio-

demographics, well-being, school experience, social and family ties, and leisure

activities (Etzion & Romi, 2015). Children that live in poverty stricken

environments are more likely to have lower self-esteem, suffer from depression

and anxiety, display disruptive behavior, and have lower academic performance.

Health related problems due to poor nutrition continue to rise with youth in

impoverished communities. Research has shown that improving nutrition and

physical activity can reduce the rising rates of childhood obesity in high-risk

populations (Farrell, Reeves, Going, & Houtkooper, 2011).

Physical Activity Due to Limited Physical Education During School

Obesity continues to dramatically rise in American youth (Trost,

Rosenkranz, & Dzewaltowski, 2008) despite all that is known about the health

benefits of physical activity and about the dangers of obesity and good nutrition.

Among the highest rate of childhood obesity are at risk youth. As school districts

focus on improving standardized test scores, many schools are drastically cutting

or completely eliminating physical education altogether. This is happening even

though evidence shows that physical education courses do not have an adverse

effect on academics and that they do promote healthy lifestyles. Children who are

more active tend to perform better academically (Trost et al., 2008). A study done

on fourth and fifth graders in California showed that students who participated in

an intense physical education program had higher test scores than the control

group (Sallis, McKenszie, Kolody, Lewis, Marshall, & Rosengard, 1999). Other

studies on children at risk for obesity have also shown that physical education and

physical activity breaks increase cognitive performance and behavior in the

classroom. This may be due to children expelling excess energy throughout the

day so that once they enter the classroom they can concentrate.

An example is a study conducted among 254,743, elementary, middle

school, and high school youth in 99 Texas school districts. Public student record

information was retrieved that included one fitness score and one Texas

Assessment of Knowledge and Skills (TAKS) to measure academic performance.

The study sought to assess four variables: (1) the direction and amount of

association between academic scores and each individual fitness score, (2) the

differences presented in associations by gender, grade and TAKS subject, (3) the

differences presented in associations for lowest and highest Body Mass Index

(BMI) levels compared to moderate BMI, and (4) the dose-response relationship

of performance on fitness tests and performance on TAKS (Van Dusen, Kelder,

Kohl, Ranjit, & Perry, 2011). The fitness variables included in the study were:

cardiovascular, curl-ups, push-ups, sit and reach, and trunk lift. Positive

associations with academic performance were found amongst all fitness variables

with the exception of BMI, with cardiovascular fitness showing the greatest

difference.

One argument against the positive associations of physical activity on

academic performance is in regards to the use of self-report measurements of

physical activity opposed to objective measures. A negative association was

found between the two variables in a 3-year, longitudinal study among1,778

children and adolescents ages 6-18 (Ahamed et al., 2007; Esteban-Cornejo et al.,

2014). Physical activity was measured using ActiGraph accelerometers for at least

3 days, for 10 hours per day and academic performance was assessed through

school records. Associations between physical activity intensity and academic

performance were analyzed using linear regression. Results showed a weak, yet

negative association of physical activity on academic performance, independent

of other confounders.( Esteban-Cornejo, Tejero- González, Martinez-Gomez,

Cabanas-Sánchez, Fernández-Santos, Conde-Caveda., Sallis, Veiga, 2014).

According to this study children who are more physically active might spend less

time on studying. There has been a lack of agreement on measurement selection

as self-report measures have been considered less reliable and valid compared to

objective measures. Self-report measures also include specific domains of

physical activity, whereas accelerometers measures complete physical activity.

This study showed that more research needs to be done to investigate the

discrepancies in the association of physical activity on academic achievement.

Though further research would need to be done to determine the exact

parameters for the amounts, type and intensity levels of activity in physical

education classes and their relationship to academic performance, the current

research does not show a significant decline of academic performance due to

moderate-to-vigorous physical activity. Policy makers, school districts, and

school administrators should consider these findings as well as those by Sallis et

al and Van Dusen at al before determining whether or not to cut physical

education programs in their schools. They also must take into account the rising

obesity rates in America’s youth.

Benefits of After-School Programs

With the decline of physical activity in school settings due to cuts in

physical education and the emphasis on preparation time for standardized tests,

more attention is being focused on after-school-based physical activity programs.

School settings are ideal to promote physical activity because of access to

children, trained personnel, available facilities, and accessibility to community-

based health provider activities (Trost, Rosenkranz, & Dzewaltowski, 2008). The

use of facilities during after-school hours allows children to get the recommended

60 minutes of physical activity per day without compromising academics (Trost,

Rosenkranz, Dzewaltowski, 2008).

In addition, after-school programs are projected to increase due to the rise

in the numbers of working parents in households, the focus on academic

performance in school and an emphasis on youth development and prevention of

problem behaviors in school (Vandell, Pierce, & Dadisman, 2005). Many at risk

youth live in households where the parent does not have beyond a high school

education and after-school programs provide academic support youth cannot

receive at home. After-school settings are ideal for low-socioeconomic status

(SES) youth who are predisposed to high-risk behavior, and they can provide

youth with an opportunity to receive adequate physical activity levels. According

to the National Recreation and Parks Organization (1993), low-SES youth who

are susceptible to drug and alcohol use, gang involvement, violence, teen

pregnancy, and higher dropout rates due to low socio-economic status,

unsupervised activity during after-school hours, and lack of mentor and/or

community involvement.

An after-school study was conducted in the Mountain West Region of the

United States to examine the effects of a sports-based after-school program on

physical activity levels and physical activity correlates (self-efficacy, outcome

expectancy, and social support). Ninety-eight children ages 12-15 years were

divided into an intervention and comparison group (Huang et al., 2012). The

intervention group chose between various sports such as volleyball, basketball,

soccer, and football and attended sessions five times a week for eight weeks. Each

session lasted fifty minutes. The comparison group did not receive any sports

instruction and usually left the campus.

At the ninth week, post-test data was taken. The measurement scales used

for the study included: Physical Activity Scale, Outcome Expectancy Scale,

Perceived Social Support Scale, and Physical Activity Questionnaire for Children

(Huang et al., 2012). Descriptive statistics revealed the intervention group had

increases in: self-efficacy, outcome expectancy, social support (except parental

support) and physical activity. The comparison group had a decrease in self-

efficacy, outcome expectancy, social support (except parental support and teacher

support) and an increase in physical activity. Self-efficacy and social support were

significant predictors of physical activity pre and post-test. While both groups

had an increase in physical activity, the intervention group had a significant

difference in physical activity correlates. The similarity in the physical activity

levels of both groups could be due to the measures that were used for the study.

The use of a more objective measure, such as an accelerometer could have

detected differences between the two groups.

But, the use of facilities after-school to promote physical activity among

youth opposed to promoting physical activity during school comes with its

challenges. In a study on after-school programs for inner-city, high school youth

from low-socioeconomic areas in the Midwest United States, students and staff

members were asked to participate in a sports-based after-school program. Clubs

met every day for 60-90 minutes immediately following school for two years and

class sizes ranged in size from 8 to 25 students. Researchers conducted non-

participant and participant-observations and interviews as a source of data

collection.

In this study, McKinlay’s population-based health promotion model

(PHPM) was used as a framework for the qualitative study (McKinlay, 1995). The

ecological model focuses on balancing upstream, midstream, and downstream

intervention efforts to promote health. Upstream refers to societal health policy

and community health infrastructure. Midstream refers to population health

intervention and prevention at an institutional and organizational level. Lastly,

downstream refers to individual health intervention and prevention through

individual-level treatment of those with disease or high-risk intervention and

prevention through public health policy and community health infrastructure.

Utilizing this model, themes were identified and developed through an

exhaustive coding system. The themes that were found to inhibit recommended

amounts of physical activity for children included: difficulty finding available

space for clubs, providing snacks for exhausted and hungry youth, finding reliable

transportation home after club, and balancing clubs with other after-school

activities ( McCaughtry, Garn, Fahlman, Whalen, Kulik, Martin, Shen, Whalen &

Maljak (2014). Finding space affected downstream delivery, as children grew

frustrated with feeling they weren’t a priority as other clubs or sports would get

priority in meeting spaces. The lack of a midstream institution to provide

lunch/snack to kids was an incentive for children to leave and get food after-

school. Educational policies requiring adequate standardized test scores and

mandated tutoring served as an upstream delivery challenge. Failure in upstream

and midstream delivery eventually trickled down to downstream delivery. While

the challenges presented make a strong case for the downsides in implementing a

physical activity–based after-school program, the advantages listed previously

make a strong case for the benefits of such programs. With the findings in this

study, health educators need to know how to work with upstream parameters that

initiate midstream school policies prior to physical activity programs to combat

attrition in after-school programs.

Social Cognitive Theory

The success of an after-school dance program is not contingent upon the

quantity of physical activity provided alone. On the contrary, it is imperative that

an evidence-based curriculum is used to enhance the quality of the program

(Huang, 2001; Kelder, Hoelscher, Barroso, Walker, Cribb, & Hu 2005). The use

of a theoretical framework to support the physical activities provided in after-

school programs identifies determinants of physical activity and provides a link

from research findings to real world application (Motl, 2007).

In a study conducted on physical activity levels, elementary-aged children

were gathered to assess physical activity levels while participating in an after-

school program. Physical levels in specific activities were examined and sex and

weight differences in physical activity were examined as well (Trost, Rosenkranz,

& Dzewaltowski, 2008). Results showed students on average exhibited longer

amounts of sedentary activity and boys exhibited higher levels of moderate-to-

vigorous (MVPA) and vigorous physical activity (VPA) compared to girls. Only

light physical activity (LPA), vigorous physical activity, and moderate-to-

vigorous physical activity were found to be significant in gender differences.

MVPA level was the highest during free play regardless of indoors or outdoors.

Organized activities indoors provided more MVPA than outdoors. Boys had

significant levels of MVPA compared to girls during indoor and outdoor free play

and organized indoor activities. And lastly, overweight students were significantly

less active than non-overweight during outdoor activities (Trost, Rosenkranz, &

Dzewaltowski, 2008).

Though the results are helpful in understanding what types of activities

elicit larger amounts of physical activity and levels of engagements according to

sex and weight difference, there is no understanding about why children choose to

engage in particular forms of physical activity. Knowing what motivates children

to attempt, engage, and remain in physical activity can be better understood by

using a theoretical framework, thereby tailoring a program specific to individual

needs.

Social Cognitive Theory has been highly accepted as a framework in

understanding the correlates to physical activity. Social Cognitive Theory focuses

on how behavior, cognitive and personal factors, and environmental events

interact to become determinants in behavior. The theory is based on four

elements: behavior is purposeful and goal directed, individuals are self-reflective,

people can self-regulate, and triadic reciprocal determinism is most central to the

theory. In triadic reciprocal determinism the person, environment, and behavior

all influence each other to affect behavior. The environment factors that influence

behavior are physical and social surroundings while the personal factors are self-

efficacy, outcome expectations, enjoyment, and self-regulation strategies

(Bandura, 2001). Self-efficacy is believed to be the strongest indicator of physical

activity because it is the ability for an individual to believe that he/she can

accomplish a task or behavior successfully and produce a specific outcome. As a

result, programs should include activities that foster self-efficacy considering it is

used as a predictor in physical activity (Motl, 2007).

Many after-school intervention studies promoting physical activity,

particularly in dance, incorporate Social Cognitive Theory in their design

(Robinson et al., 2008). An example of a study that used Social Cognitive Theory

as its framework in an after-school program was one using economically

depressed children in 6th and 7th grade. The purpose of the study was to determine

whether or not social, cognitive, and school environmental constructs predict

physical activity and physical fitness (Martin, McCaughtry, Flory, Murphy, &

Wisdom, 2011). The variables believed to be linked to physical activity were

‘barrier self-efficacy’ and ‘proxy self-efficacy.’ Barrier self-efficacy is defined as

a sense of personal agency, whereas proxy self-efficacy is defined as one’s

confidence to include others to achieve their goals (Bandura, 1997). Researchers

hypothesized that children with strong ‘barrier self-efficacy’ and ‘proxy self-

efficacy,’ positive perceptions of physical activity, social support from

classmates, and believed the environment was desirable for physical activity

would have more physical activity and higher physical performance levels than

kids scoring less favorably on these constructs.

To conduct the study, a total of 506 boys and girls from various middle

schools were recruited to participate in a self-report study. Several questionnaires

based on the constructs were given to students to complete including: Barrier self-

efficacy assessment, a modified Proxy Efficacy for Physical Activity

(Dzewaltowski, Karteroliotis, Johnston, Nyaronga, & Estabrooks, 2007), Friends

subscale for social support (Duncan, Duncan & Strycker, 2005). The

Questionnaire Assessing School Physical Activity Environment was used to

assess the perception of school environment (Robertson-Wilson, Lévesque, &

Holden, 2007). The Godin Leisure-Time Exercise Questionnaire assessed

physical activity. Cardiovascular fitness was determined with the Progressive

Aerobic Cardiovascular Endurance Run (PACER), which is part of

FitnessGram®. Lastly, the 90-degree push-up test (PSU) was used for muscular

strength and endurance fitness (Sherman & Barfield, 2006). All these instruments

have evidence of reliability and validity.

Results revealed all of the correlations were significant, but they were

small-to-moderate making the effect size small. There was a pattern of strong

associations between social-psychological and behavioral self-report scales in

relation to correlations with the fitness variables. For gender differences in fitness

variables, boys completed more PACER circuits and push-ups and expended

more total metabolic equivalent (METS) than girls. For social cognitive and

environment constructs boys reported more classmate support and greater barrier

self-efficacy than girls. Girls, however, reported stronger perceptions of the social

physical activity school environment. There was no gender difference for proxy

self-efficacy and physical school physical activity environment. For multiple

regression analysis, self-efficacy and classmates’ social support for physical

activity were the most significant variables (Martin, McCaughtry, Flory, Murohy,

& Wisdom, 2011). Gender was the biggest predictor both indexes of fitness,

which was also reported in the Trost, Rosenkranz, & Dzewaltowski (2008) study.

Though this study revealed there was a correlation between variables it is

worth noting that the use of self-reports can yield a higher chance of measurement

error and are not as accurate as objective measures such as accelerometers. Also,

because this was a correlation study, cause and effect cannot be established. The

results are beneficial in programing after-school programs incorporating Social

Cognitive Theory; however, because the children did not express strong thoughts

or feelings in any of the psychosocial constructs, further research is warranted.

Unlike the previous study mentioned, the Stanford GEM Phase 2 study

(Robinson et al., 2008) used Social Cognitive Theory to support the design of its

program and also implemented an actual dance intervention in the prevention of

obesity in African American girls ages 8-10. The purpose of the study was to test

the effectiveness of a culturally-tailored after-school program and a family-based

intervention to reduce media use to reduce BMI (Robinson et al., 2008). The

study aimed to provide a design and baseline data for the program. Extensive

research developing the design of the program was conducted in the Phase 1 pilot

study. Girls from low-income families were randomized in either a dance

intervention or community health placebo group in which the dance intervention

group received after-school dance classes five times a week for a year and house

visits up to 24 times over the span of two years to reduce media usage in the

home. The community health placebo and comparison group received 24 monthly

newsletters and quarterly community health lectures for girls and parents based

upon culturally relevant health topics aimed at preventing obesity.

The components of the intervention met the personal, social, and

environmental needs of the girls. The researchers focused on a holistic view of

health that included self-esteem, spirituality, and cultural awareness. Awards

based on the seven principles of Kwanza such as self-determination

(Kujichagulia), purpose (Nia), creativity (Numba), and faith (Imani) also met the

personal needs of the girls. Classes taught at community centers, home visits for

screen-time reduction, and transportation from school to community center met

the environmental needs of the children. The social needs of the children were

met through social support from family, a culturally matched staff that served as

role models for the girls, and assignments where children had to teach each other

dance moves (Robinson et al., 2008). All of the needs addressed are reflected in

Social Cognitive Theory.

The primary outcome measure for the study was BMI while secondary

outcome measures included waist circumference, triceps skinfold thickness,

resting blood pressure and resting heart rate, and fasting serum insulin, glucose

and lipids. The Acticgraph accelerometer was used to objectively measure

physical activity and self-reports were used for additional physical activity related

assessments. The study was able to effectively recruit low socioeconomic status

participants that were at high risk for obesity and obesity related factors. The

strength of this study is in its theory-driven design that was successfully carried

out through implementation; however, it is not known how effective the design is

without post and follow-up results of the study. This data would be needed to

assess the efficacy of this type of design and for the intervention to serve as a

model for future programs.

Hip-Hop Dance and Cultural Connections

In designing an after-school program for at risk children it is also

important to understand the prevalent culture in which the population exists. Hip-

hop is an important aspect in the culture of many youth. The themes and content

within hip-hop music, since its inception and through to today, provide reliability

and familiarity among youth culture - especially marginalized youth. Hip-hop

originated from marginalized youth's inability to gain acceptance from dominant

culture in music, fashion, entertainment, economics, politics, etc. The

fundamental elements of hip-hop include: non-traditional use of musical

instruments (turntablism/beat boxing), utilization of an MC to express pride for

one's community and improvisation of lyrical composition (rapping), urban street

dance performed to the breaks in music created by a DJ (breakdancing), and

artistic markings done on public structures (graffiti) (Taylor & Taylor, 2004).

While hip-hop originated from African-American youth in the Bronx in the late

70’s, the rise of hip-hop dance in the form of breakdancing emerged from both

inner-city (Rajakumar, 2012) African- American and Latin youth. As a result,

marginalized and at risk youth can be affirmed by seeing their own culture

represented in a world where dominant culture has ruled (Hall & Martin, 2013).

Today, hip-hop culture has received global acceptance through various

advances in technology. The worldwide influence of hip-hop culture transcends

race, geographic location, gender, and cultural boundaries. The dominance of the

subject in youth culture has even made its way into the classroom. The

implementation of hip-hop in the classroom provides an opportunity to cater to

different intelligences and engage students. The attractiveness for young people

has allowed hip-hop to be a powerful weapon in the battle to keep youth involved

with their education and social justice (Abe, 2009). Hip-hop can utilize multiple

intelligences (Gardner, 2011) such as linguistic intelligence (rapping and

rhyming), bodily-kinesthetic intelligence (dancing), and spatial intelligence

(graffiti).

The subculture began its integration into curriculum as early as 1990 and

the movie Dangerous Minds (1995) shed light on the effectiveness of integrating

hip-hop and education. In this movie a Caucasian teacher finds a way to teach

inner city youth (predominantly African-American and Latino) by integrating

street culture and language into prescribed work. In 2009 over 300 courses in

English and Literature on hip-hop were taught in the United States (Hall, 2009).

With the number of diverse students in America increasing and the number of

diverse educators decreasing, there is now a need for educators to promote

curricula that affirm and value urban youth (Morrell, 2002). English teachers in

Northern California saw the influence of hip-hop on students and incorporated the

culture to promote academic literacy. As a result, the students were able to relate

to socially and culturally significant material making the experience gratifying.

Students learned to apply critical skills to contemporary social, political, and

economic concerns in their community by using their own experiences as opposed

to trying to apply the tools taught to them by educators in a class (Morrell, 2002).

Despite the success in this case, the use of hip-hop in an academic setting would

have to take into account the parts of the culture that emphasize mistrust,

violence, sexism, and alienation. More research would need to be conducted to

assess the implications of integrating hip-hop and academics.

The implementation of hip-hop based curricula in academic settings can

also be applied to performing arts settings. Some after-school programs catering

to at risk youth include dance as a physical activity component (Jago, Edwards,

Sebire, Cooper, Powell, Bird, Simon, Blair, 2013; Robinson, Kraemer, Matheson,

Obarzanek, Wilson, Haskell, Pruitt, Thompson, Haydel, Fujimoto, Varady,

McCarthy, Wantanabe, Killen 2008). In a qualitative study conducted with girls

ages 11-12 in Bristol, UK, focus groups were created to explore factors that

influenced recruitment into a dance intervention program to promote physical

activity. Dance was chosen because it was a favored form of physical activity

amongst girls in the UK. Focus topics included style of dance and music selected

and what strategies could attract girls that had little experience in dance.

Once the views of participants and their parents were received, a pilot

dance intervention was developed to measure the change in moderate-to-vigorous

physical activity (MVPA) from the program, process evaluation (attendance and

enjoyment survey), conduct post-study qualitative work (interviews), determine

the feasibility of collecting accelerometer data, and determine if this was a

potential sample for future trials (Jago et al., 2013). Three intervention and two

control incentive and workshop groups were created in which children from seven

secondary schools were randomly placed. The intervention group took dance

classes twice a week for 90-minutes over a span of nine weeks. One control group

received monetary incentives for providing data while the other control group

received monetary gifts and a half-day dance workshop at the end of the study.

All participants wore an Actigraph accelerometer so measurements for MVPA

would be taken three times a week at week 0, week 8 and 9, and week 20 (post).

Results revealed the study was able to recruit and retain girls in the

intervention and control arms and collect data from majority of girls.

Accelerometer data was probably higher in both control groups opposed to the

intervention group due to the incentives given to controls. The mean perceived

exercise level lowered over time suggesting the intensity did not increase with

improvements with fitness. There was an 8.7-min difference in MVPA per day in

the intervention group compared to the control with monetary incentive and a 2.4-

min of MVPA per day decrease in the intervention group compared to control

incentives and workshop group (Jago et al., 2013). This could have been due to

difficulty in gaining accurate accelerometer data.

The strength of this study was in its ability to effectively recruit a

population of young inner city youth to a style of dance the children could relate

to; however, the focus in a future study needs to shift to improving the quality of

the dance in an effort to increase MVPA. Instead of the control group receiving

no dance intervention and incentives, another study could compare two

intervention groups- one hip-hop dance group and one alternate dance group- to

measure the effectiveness of the type of intervention. Multiple regression analysis

could be used to evaluate the following relationships: dance genre and MVPA,

dance genre and enjoyment, dance genre and retention, and dance genre and

perceived self-efficacy.

The Stanford Girls Health Enrichment Multisite Study (GEMS) obesity

prevention trial (2008) created the content of its dance program based on African-

American culture that encompassed hip-hop, African dance, and step. Topics of

interest included: historical racism and prejudice, social support, collectivism,

importance of family, cultural awareness, community, racial majority, and class

value systems and norms (Robinson et al., 2008). “GEMS talks” were included in

each dance session to discuss these topics and the importance of dance in black

community and culture. The girls in the program were able to participate in a

culturally relevant dance form they could relate to and that was prevalent in

popular culture. The intervention was successful in recruiting low socioeconomic

and minority youth into a culturally tailored program however; post data was not

included to measure the effectiveness of the program. As previously discussed,

there needs to be a study/intervention conducted to test the effectiveness of an

after-school hip-hop based program in terms of physical activity outcomes and

content outcomes.

National Dance Standards

• In addition to after-school dance programs being developed from a

theoretical framework and being culturally relevant, a comprehensive dance

curriculum is imperative in the 21st century. The education of the 21st century

requires a wide range of subject matter that must be integrated into curricula for

the success of children in this generation. The elements of 21st century include:

Key Subjects and 21st Century Themes, Learning and Innovation Skills,

Information, Media and Technology Skills, and Life and Career Skills. This

curriculum however will focus on Learning and Innovation Skills which; include

Creativity and Innovation, Critical Thinking and Problem Solving, and

Communication and Collaboration. The NCAS standards were written with these

skills in mind. There is now a push for multi-literacies including: arts and

creativity ecoliteracy, cyberliteracy, physical fitness and health literacies,

globalization and multicultural literacy, social/emotional literacy, media literacy,

and financial literacy (21st Century, n.d).

Teachers from the past century relied on their memories of dance

experiences and oral traditions passed on from generation to generation when

teaching because there was very little written resources available. The National

Dance Association is the oldest dance organization and was officially established

in 1932 to provide educators with resources. It was an organization affiliated with

the American Alliance for Health, Physical Education, Recreation and Dance

(AAHPERD). The Association’s goal was for dance to be an integral part of

society as a vital part of education and the community. In its early years, the

association provided educators with programs, literature, and professional

development resources. Following that, the focus shifted to creating materials and

workshops so these standards could be implemented at the state and local levels

(Purcell, 1996).

In 1994, the National Standards for Dance Education was established for

grades K-12 so that teachers could have a framework for implementing

curriculum and goals for teachers to achieve. The standards outlined in the

document continue to be used as a reference by many educators of dance

(Kinderfather & Hearn, 2010). The National Dance Education Organization

(NDEO) was established in 1998 in an effort to align dance with the performing

arts due to changes in physical education and sport science. The non-profit

organization is committed to promoting and advancing high quality education in

the art of dance (NDEO, n.d). The National Core Arts Standards (NCAS) were

established in 2014 under the organization so children in grades K-12 could

achieve dance literacy.

With the progressive demands of 21st century education, students need

specific knowledge and skills to achieve fluency and comprehension in an art

discipline. “In dance, this means discovering the expressive elements of dance;

knowing the terminology that is used to comprehend dance; having a clear sense

of embodying dance; and being able to reflect, critique, and connect personal

experience to dance (NDEO, n.d).” The four artistic processes that shape the

standards are creating, performing, responding, and connecting. Each process

contains anchor standards that describe the knowledge and skills the teacher

expects the student to demonstrate over the course of their education in dance.

Each process also has a process component, an enduring understanding, and

essential question. Dance Teaching Methods and Curriculum (Kassing & Jay,

2003) is one of many written dance resources created to bring together the various

disciplines early dance educators pulled from in one text to be more effective as

educators. The categories include: supportive knowledge, dance science,

technique and choreography, teaching methods and management, education

theories, psychosocial development, and artistic development (Kassing & Jay,

2003). The goal is for students to see the interconnectedness between these

categories so that it can be taken from once dance education setting to the next.

The standards are applicable to any dance style, genre, or culture.

The lack of hip-hop based curriculum carefully designed around the

NCAS functions as a disservice to the needs of 21st century youth participating in

after-school programs. This is especially true because the NCAS were not

designed with any one genre of dance in mind. They were written with the idea of

their being applied to any and all genres of dance. The NCAS could be used as a

bridge to link the various skills needed for 21st Century learners. The use of such

standards provides a unified quality arts education for students that is consistent

during and after school. The standards satisfy the outcome of content knowledge

outlined in the 21st Century framework by advocating literacy in the arts

discipline. In addition, a hip-hop based curriculum presents the opportunity for

interdisciplinary education by highlighting the economic and historical climate in

which the dance style emerged. Learning and innovation skills outlined in the

framework are specifically addressed in the NCAS by focusing on creativity and

innovation, critical thinking and problem solving, and communication and

collaboration. Initiative and self-direction, social and cross-cultural skills, and

leadership and responsibility are life and career skills also represented in the

anchor standards of the NCAS (Partnership for 21st Century Learning, n.d). By

implementing the NCAS into a hip-hop dance curriculum, 21st Century learners

will acquire skills needed to successfully navigate through an increasingly

competitive world.

California Visual Performing Arts Content Standards

Content standards in California were originally designed to promote high

achievement in students by outlining knowledge, concepts, and skills that students

should attain at each grade level. The California State Board of Education adopted

the Visual and Performing Arts Content Standards in 2001 and adopted Common

Core State Standards in 2010. The VPACS organize the four disciplines of dance,

music, theater, and visual arts into five strands for educators to incorporate into

their curricula design. Common Core State Standards (CCSS), as it relates to

English and Math standards, have been adopted by many states across the nation

to help ensure students meet the same standards, regardless of location. . There

are five state standards for K-8th including: artistic perception, creative

expression, historical and cultural context, aesthetic valuing, and connections,

relationships and application (California Department of Education, 2015). Much

of the content found within the five standards is also found in the eleven NCAS

anchor standards, however in greater detail.

Conclusion

The decrease in moderate-to-vigorous physical activity in the youth of the

United States puts them at a higher risk for health-related problems (Beets,

Beighle, Erwin, & Huberty, 2009; Trost, Rosenkranz, & Dzewaltowski, 2008).

This is especially true for high-risk youth in economically depressed areas

(Robinson et al., 2008; Sharma, 2008). In addition to physical related problems,

at-risk youth are more susceptible to mental health issues due to the stressors

within their environment. Low self-esteem, increased aggression, depression,

anxiety, poor social skills, and disruptive behavior are all common characteristics

of high-risk youth. The rise of after-school physical activity programs provides an

opportunity for high-risk students to access school facilities in a safe environment

and achieve recommended levels of physical activity without compromising

academics (Beets et al., 2009). After school programs have the potential to

address the mental health concerns of at-risk you by providing programs with a

holistic approach to students. This is achieved through programs that reinforce

academics by administering curriculum designed around the needs of 21st Century

youth. The elements outlined in 21st Century student outcomes can function as a

catalyst of self-efficacy in students. The elements are centered around, but not

limited to, creativity and innovation, critical thinking, communication, mastering

content, and leadership skills, all of which, when acquired, can motivate an

individual to believe he/she can accomplish a task or behavior successfully and

produce a specific outcome (Motl, 2007; Partnership for 21st Century Learning,

n.d). Dance educators can use the anchor standards of the NCAS as a resource to

achieve 21st Century student outcomes.

The VPACS and the NCAS work collectively to ensure children reach

certain benchmarks on a state and national level. Both standards organize,

develop, interpret, perform, and analyze artistic works. The history and function

of dance in various cultures and societies is also used to enhance learning for both

standards. Social skills are promoted across standards through partner and group

collaboration. Physical fitness, healthful practices, and development of technical

and motor skills are covered across the standards.

The content of this curriculum will use NCAS and VPACS as its

framework for children to achieve artistic processes and will employ a hip-hop

based curriculum to provide reliability and familiarity amongst marginalized

youth. It is recommended that the curriculum be applied to research by its

implementation in after-school dance programs. To test the efficacy of the

curriculum, areas of measurement can include: self-efficacy, physical activity

levels, academic performance, and NCAS based assessments.

Chapter 3: Methods-Lesson Plan Format

The hip-hop dance curriculum was designed to introduce students to

foundational technique covering various styles of hip-hop dance and is divided

into five units: Breakdancing, Popping and Locking, House, Grooves and

Production and Choreography. The curriculum was created using Dance

Teaching and Curriculum Design as its template (Kassing & Jay, 2003). The

lessons plans outlined in the text provide a concrete foundation for dance

pedagogy and incorporate educational theories to meet state and national art

standards. Each unit contains several lesson plans (See Appendix A) that build

upon the previous in complexity of movement and concepts. The eight

components of each lesson plan are ordered according to way they are to be

taught with the exception of lessons that have extensive exploring the concept

sections; in these cases, the warm-up is introduced after the lecture.

Standards

Each lesson plan will include NCAS and California Visual and Performing

Arts Dance Content Standards that will be addressed. The use of these standards

provides dance educators with a framework for a unified dance education for

middle school students. Most lessons will contain at least one standard outlined in

the NCAS and VPACS artistic processes and will progress as students advance in

skill and understanding. The five artistic processes outlined in the VPACS

include: artistic perception, creative expression, historical and cultural context,

and connections, relationships, and application. The four processes outlined in the

NCAS include: connecting, performing, responding, and connecting.

Focus and Theme

Each lesson will have a focus or theme that encompasses the subject

matter of the day. Most lesson plans themes are the style of dance that will be

covered that day. Lesson two, is an exception, including understanding counts,

tempo, and rhythm in music. This content is necessary early in the lesson because

it is imperative students have a basic understanding of the composition of music,

prior to learning movements.

Objective

The objective portion of the lesson plan serves as a guide for student

learning as well as teacher instruction and includes the three major domains of

learning: psychomotor, cognitive, and affective. The psychomotor domain focuses

on how students learn physically and is classified into two categories. Both

categories can be observed throughout the lesson plans. The first category is

centered on skill acquisition in the form of perception, readiness for action,

guided response, mechanisms, complex overt response, adaptation, and

origination (Kassing & Jay, 2003). The second category is centered on gaining

movement skills and concepts that lead to divergent thinking in generic, ordinate,

and creative movement (Kassing & Jay, 2003). The cognitive domain is focused

on the dancer’s intellectual competences. Bloom’s (1956) taxonomy of cognitive

learning was used as a model for this portion of the lesson plan. The learning

model includes: identification, comprehension, application, analysis, synthesis,

and evaluation. Each subsequent level builds on the previous with the higher

levels of thinking beginning at analysis. The majority of the lessons plans

included in this curriculum will use levels 1-3. The last domain, affective, focuses

on the value students place on the subject through behavior. The five levels of the

affective domain include: receiving, responding, valuing, organization, and

characterization of complex values (Kassing & Jay, 2003). Because this is an

introductory course the first 3 levels are expected to be observed through interest,

appreciation, attitudes, and values.

Materials

Materials will include any physical objects needed to conduct the class.

Music, handouts, journals, props, sound and technological equipment are all

examples of materials that will be needed to support each class.

Vocabulary

All terms used to describe principles, concepts, technique, movements,

and style, which are specific to the unit, are included in each lesson. Vocabulary

is to be emphasized throughout the class conceptually and through application. By

doing, students will develop a working vocabulary to affectively communicate

and acquire skills necessary to achieve dance literacy.

Warm-up and Cool Down

The physical portion of each class will begin with a warm-up intended to

gradually increase the heart rate and promote circulation. The warm-ups include

light cardiovascular movements (jogging or jumping jacks) combined with

stretches (lunges or toe stretches) to prevent any injury upon dancing. Movements

specific the style of dance are also included in the warm-up (plié, isolations, and

relevé). The warm-up portion of the class will always precede any vigorous

physical activity even in the event it is not listed in that order in the lesson plan.

The cool down, conversely, is implemented after vigorous activity to decrease

heart rate, regulate breathing, and cool down the body temperature. To prevent the

high levels of lactic acid and severe delayed onset soreness light stretching will be

done (hamstring stretch, grand plié, and bicep and tricep stretches).

Exploring the Concept

The first class of each unit includes an exploring the concept section. The

purpose of this section is to give historical and cultural background to the style of

dance that will be introduced. Vocabulary and its origin pertinent to that style of

dance will also be introduced during this section. The use of video clips, pictures,

handouts, and sound will be used to support concepts reviewed.

Skill Development

Concepts learned in the exploring the concept portion of the lesson plan

will be applied kinesthetically in the skill development portion of class.

Vocabulary will also be reinforced through modeling and imitating. Important

aspects of hip-hop dance such as body alignment, weight transfer, contraction vs.

release, and body isolations will be taught during this portion of class. Moves

specific to the unit studied will be taught in progression as well as variations for

students that exhibit mastery at early stages. Dance educators will use cues

composed of short phrases and/or key words to solicit execution of particular

movements.

Creating and Composing

The artistic processes of creating, responding, artistic expression, and

creative expression will be demonstrated during creating and composing. Students

will be challenged to experiment with variation, sequencing, levels, and spacing

individually and within groups. The goal is to create a repertoire of movement

within each style of hip-hop that will culminate with a student-choreographed

production. Students will receive 4-8 movements per class and will be given the

opportunity to operate as critical thinkers and use nonverbal reasoning and

communication. Students will also develop intra- and interpersonal knowledge of

self and peers (NDEO, 2015).

Reflection (Journal Prompt)

The reflection portion will primarily occur at the conclusion of each class.

Students will be given various prompts to reflect upon and record in journals. The

journal prompts will document how students come to value the art form of dance.

More specifically, students will record feelings and attitudes, values,

appreciations, and social characteristics that lead the student to gain values about

the subject (Kassing & Jay, 2003). Students will also come to value the role of

physical fitness in their daily lives as well as their community. Through critical

thinking and analysis, dancers should be able to make bidirectional connections of

how hip-hop as a subculture has influence on the individual, family, community,

and greater society. Dancers will practice writing skills by documenting these

observations in their journals.

Instructional Video

The instructional video included with the curriculum can be used as an

instructional tool for dance instructors with minimal experience in hip-hop dance

and provide best practices elements for all instructors. The video includes the

various dance moves listed throughout the lesson plans, in a step-by-step fashion.

Movements are taped at multiple angles to capture each move in its totality.

Critical cues, such as remaining grounded, are consistently used throughout the

video for students to identify the critical components of dance moves and are

often repeated. For students with varying skill levels, modifications and variations

are offered in the video as well.

Chapter 4: Expected Results

The intent of this project is to provide dance educators with a credible

dance curriculum to implement in high-risk schools. The efficacy of the

curriculum itself lies in its ability to be successfully translated to students through

implementation. Once this is achieved teacher and students feedback,

assessments, and observations can be used to modify the curriculum for its

intended purposes. It is expected, however, that students who complete the course

will acquire a working vocabulary of basic hip-hop dance moves, understand the

historical and contemporary relevance of hip-hop as a sub-culture, develop a

repertoire of movement, and the ability to apply processes to other forms of

disciplines.

Chapter 5: Discussion

The purpose of this section is to provide dance instructors with

instructions on how to implement the curriculum. In addition to following the

lessons plans, there are helpful tips and suggestions on how to introduce the

curriculum to the school or organization, classroom management, and teaching

style outlined in this section.

Prior to conducting this course it is most beneficial to not only receive

approval from, but to develop a relationship with the school or organization’s

faculty and staff. Acquiring space and equipment conducive to hip-hop dance

instruction can be particularly challenging due to its use by other physical activity

clubs: having a cordial relationship with staff can help avoid some of the

nuisances with holding a dance class on a school campus. Ongoing

communication can build a support system for students especially as it relates to

class visits and attending culminating performances. Many at risk youth do not

have a consistent support system due to a predominance of single-parent

households and extensive work hours so providing a supplemental support system

can build confidence.

When it comes to teaching a course one can never underestimate the

importance of preparation and expertise. It is suggested that there be some

familiarity with the dance style prior to instruction: in the absence of such, dance

educators should research nearby dance facilities to receive instruction. Films

such as Breakin’, Breakin II, The Freshest Kids: The History of the B-Boy, Krush

Groove, and Wild Style serve as good resources in understanding the historical,

cultural, and societal climate in which hip-hop emerged from, as well as the some

of the foundational techniques outlined in the curriculum. For those with minimal

hip-hop experience, utilizing the instructional video accompanied with the

curriculum can serve a s a teaching tool. It is pivotal for dance educators to be

prepared with all materials and functioning equipment needed to carry out the

class so that instruction flows with minimal interruptions. Selecting age

appropriate music and video clips, knowing the layout of the classroom, printing

sufficient amount of handouts are all examples of teacher preparedness.

Classroom management is one of the most critical aspects of instructing

high-risk, middle school aged students, as behavioral issues are common to this

population. Understanding the characteristics of children ages 9-14 can assist with

how classes should be facilitated. It is important to note children at this age need

to have peer activities, interest in the topic, praise and reinforcement, problem

solving situations, emotional outcomes met, action and enthusiasm, and

opportunities to participate (Kassing & Jay, 2003). When instructing classes it is

imperative the dance educators keep these characteristics in mind so that students

remain engaged. At the beginning of the session the instructor should also review

classroom expectations and etiquette so that each dancer knows what is required

of them at all times. The Individual and Peer Evaluation Etiquette (See Appendix

E)is an example of how classroom expectations and norms assist in fostering an

environment that is respectful and professional. In the event a student does not

uphold the expectations disciplinary action should be taken to reinforce ongoing

accountability. Classroom management should also include procedures for

entering and exiting the classroom or studio. The instructor determines how the

class is managed by pacing during the class to make sure the plan moves the class

through each part of the lesson. Rehearsing the lessons prior to teaching,

preparing for unforeseen situations, and remaining consistent are effective

strategies in maintaining control of the classroom.

The command style of teaching, teacher-directed, is traditionally used in

dance instruction in which the teacher creates the lesson plan, demonstrates

movements for students to imitate, and corrects the students’ performance

(Kassing & Jay, 2003). This curriculum, however, is a hybrid of teacher-directed

and student-initiated instruction. The command style will be used primarily in the

beginning unit and during the first portion of each lesson. As the lesson

progresses the practice style, less teacher-directed, students will have the

opportunity to practice combinations taught during Skill Development. The

reciprocal and self-check style of teaching shifts away from teacher-center

instruction in which students work together in pairs/groups or individually to

execute criteria outlined by the instructor in the form of a checklist. In the

reciprocal style of teaching, those in pairs act as an observer or performer to note

criterion being met. The self-check style of teaching calls for the student to

evaluate his or her own execution using an established checklist or rubric

provided by the teacher (Kassing & Jay, 2003). By incorporating all styles of

teaching the goal is provide students with the skills necessary for attaining self-

efficacy and self-confidence.

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Appendix A

Lesson 1 History of Hip Hop Grade 7

National Dance Standards: • DA:Cn10.1.7.b- Reasearch the historical development of a dance genre or style CA Visual and Performing Arts Dance Content Standards: • 3.3 Diversity of Dance- Explain how dance functions among people of different age groups, including their own.

Concept/Focus/Theme- The history of hip-hop

Objectives:

Cognitive: 1. Students will be able to identify the 4 foundational elements of hip hop and the origin of hip-hop dance Affective 2. Students will learn individual etiquette for dance class 3. Students will learn audience etiquette

Materials: Projector, stereo system, journals, paper, pencil, certificates, handouts

Vocabulary Hip-Hop Cross Bronx Expressway Socioeconomic DJ Kool Herc Graffiti Diversity Self-Expression

DJ Breakdancing Creativity Turntable Team building Afrika Bambaataa MC Etiquette Battles Bboy/Bgirl Sub-culture August 11, 1973

Introduction

I. Introduction a. Teacher Welcome- Welcomes student to hip hop course and gives brief professional background b. Student Introduction- Students gather in circle to state their name, experience in dance, and one interesting fact about themselves c. Team Building Assignment- Spider Web Untangle i. Students form a group of no more then 5 people. Every student has to use

their right and left and to hold hands with another student in the cluster. The students work together to untangle and form a circle without unclasping hands.

I. History of Hip Hop a. Definition of Hip Hop i. A term used to describe a sub-culture characterized by music, dance, and speech that began in New York in the 1970’s as a way to show creativity, individuality, skill, and self-expression. b. Definition of Hip Hop Dance (Wikipedia) i. Hip-hop dance refers to street dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop culture. It includes a wide range of styles primarily breaking, locking, and popping which were created in the 1970s and made popular by dance crews in the United States. c. What birthed Hip Hop? i. Cross Bronx Expressway 1948 1. Divided neighborhoods allowing those with more money to move to suburbs while those who could not afford to stay in the city 2. White families and businesses moved to suburbs 3. Destroyed hundreds of homes 4. Rise in racial tensions and violence 5. Event marked socioeconomic decline of the Bronx ii. Diverse population remained in inner city 1970s 1. Latino, African-American, Afro-Caribbean 2. Responded to lack of housing and after school programs through break dancing and graffiti iii. Hip Hop’s Birthday 1. August 11, 1973 2. DJ Kool Herc’s party

d. Four elements of Hip Hop i. Turntable Spinning (DJ)- manipulating and creating sounds through use of a phonograph. Also know as beat mixing/matching, scratching, and beat juggling. ii. Graffiti- Unauthorized writing or drawing on a public surface (Merriam- Webster). Originally used to make gang territory but became a form of self-expression. Also known as tagging. iii. Breakdancing- Began as a form of improvised street dance showing the b-boy’s individual style. Involves athleticism, skill, and flexibility. Individuals would dance to the “break” in the beat created by the DJ. iv. MC/Rapping- A performer that focused on skills, lyrical abilities, subject matter all while improvising.

e. Battles i. Rivalries between crews (groups of dancers) across NY neighborhoods that would compete ii. Each crew would respond to each other’s moves through creative moves iii. Replaced gang violence and gave street credit iv. African Bambaataa known for bringing crews together in battle f. Early hip-hop dance move origins i. Jazz music ii. African drums and movement iii. Brazil’s capoeira iv. Martial arts II. Handouts (Physical Fitness Definitions, Individual Dance Etiquette, and Audience Etiquette), i. Review Dance and Audience Etiquette only

Journal Prompt:

I. Hip-hop history quiz a. Students will work individually and use notes gathered during lecture to take quiz b. Those who pass will get a Hip-Hopolgy Certificate. Those who don’t will get to take it again with the help of a peer. II. Why are you interested in hip-hop class? What do you hope to learn from this class? III. What role do you think hip-hop plays in your community?

Lesson 2 Counts, Tempo, and Rhythm Grade 7

National Dance Standards: • DA:Pr4.1.7.b- Vary durational approach in dance phrasing by using timing accents and variations within a phrase to add kinesthetically, rhythmically, and visually CA Visual and Performing Arts Dance Content Standards: • 1.4- Identify and use a wide range of space, time, and force/energy to manipulate locomotor and axial movements.

Concept/Focus/Theme: Understanding counts, tempo, and rhythm in music

Objectives Psychomotor 1. Students will be able to perform basic body movements in synchronization with varying music tempos Cognitive: 2. Students will be able to recognize measures and notes that are common in hip hop music Affective: 3. Student will be able to demonstrate etiquette outlined in the etiquette guidelines will viewing group pieces

Materials: Stereo system, journal, and pencil, various songs with clear notes

Vocabulary Beat (pulse) Temp 4 beat measure Eighth note (and) (whole note) Set of 8 Rhythm Snare Plie’ Isolation

h. Lunges

i. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left III. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch Exploring the Concept

I. Determining a beat or pulse in music and it’s purpose in dance II. Counting in 4/4 measure, 1/8 note, and 1/16 note III. Counting in sets of 8 for dance IV. Beat and Rhythm a. A beat is a steady pulse throughout music. Rhythm plays over a beat and can vary. Has repeated patterns.

Skills Development:

I. Students will hear and learn usage of 4/4 measure II. through a. Claps b. Stomps c. Arm movements III. Students will hear and learn usage of 1/8 note through a. Claps b. Stomps c. Arm movements IV. Students will hear and learn usage of 1/16 note through a. Claps b. Stomps c. Arm movements V. Across the Floor a. Teacher will demonstrate a progression of arms and stomps b. Students will repeat progression in all 3 notes Cues -Dance most often uses 4/4 measure -Use “and” for 1/8 note and “one-y-and-a-two-y” for 1/16 note

Creating (Improvising, Composing):

I. Teacher will guide improvisation using various parts of body to each note II. Teacher will assign groups of 3 or 4 students III. Students will have to create a series of movements including a. Time (4/4, 1/8, 1/16) b. Levels (High and Low) c. Personal Space (Close and Far) d. Direction (front, , back, side, diagonal)

Journal Prompt

How can understanding beats and various notes help us as dancers?

Lesson 3 Introduction to Breakdancing I Grade 7

National Dance Standards: o DA:Pr4.1.7a. Expand movement vocabulary of floor and air pattern designs. Incorporate and modify body designs from different dance genres and styles for the purpose of expanding movement vocabulary to include differently designed shapes and movements for interest and contrast. • Pr5.1.7a Apply body-use strategies to accommodate physical maturational development to technical skills • Cn10.1.1b Research the historical development of a dance style. Use knowledge gained from the research to create a dance study that evokes the essence of they style. Share the study with the peers as a part of a lecture demonstration.

CA Visual and Performing Arts Dance Content Standards: • 1.1 Demonstrate increased focus, physical control, coordination, skill, and accurate reproduction in performing locomotor and axial movement. • 2.6- Collaborate with others in preparing a dance presentation for an audience • 5.2 – Describe how dancing builds physical and emotional well-being

Concept/Focus/Theme: How breakdancing started and Toprock

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational breakdancing technique Cognitive 2. Students will identify breakdancing terminology and apply the knowledge to application Affective 3. Student will willingly receive information with controlled or selective attention and exhibit satisfaction in responding.

Materials: Stereo system, journal, and pencil, projector, and physical fitness handouts

Vocabulary B-boy/B- Flexibility Footwork Side Step girl Break beat Stamina Kick out Ground work Athleticism Top rock Indian step Improvisation

Frontstep

Introduction and Warm-up I. Brief overview of the class format for the day II. How breakdance began a. Break beat- when the DJ would spin a record and cause a break in the music b. B-boy/B-girl (Break boy/Break girl)-dancers that would improv to the break in the music c. Four categories of breakdancing i. Toprocks (Intro to the stage)- series of foot movements done standing that require coordination, rhythm, flexibility, and STYLE! ii. Footwork (Floorwork)- dancer executes movements supported by hands and feet. Focus on speed and agility iii. Improvisation- dancers ability to interpret music on the spot and move rhythmically while displaying individuality, creativity, and mocking their component iv. Ground rock/Power moves-Ground rock provides transitions between top rock and power moves. Power moves are dynamic and often acrobatic moves that can take years to master. III. Physical Fitness Handout a. Review terms specific to breakdance for safety IV. Why is physical fitness an important part of life? V. Warm-up a. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand b. Toe raises and heel taps c. Grapevine d. High knee raises with leg swings e. Upper Body Twist Combination f. Mountain Climbers g. Crunches/Planks h. Lunges i. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left VI. Cool Down (end of class) a. Heel stretch b. Lunges

c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Weight placement for Toprock a. Low, forward or hunched, and bouncy) II. Frontstep (intro to the battle) a. Arm swings open and close with bounce b. Body turns quarter left, right foot takes large step forward while torso slightly leans back, right foot steps back in and body is centered c. Body turns quarter right, left foot takes large step forward while torso slightly leans back, left foot steps back in and body is centered III. Kick out a. Turn quarter right and kick out right foot from bent knee b. Turn quarter left and kick out left foot from bent knee IV. Side step a. Right foot kicks forward, crosses over left, left steps out to side b. Left foot kicks forward, crosses over right, right steps to side V. Indian step a. Right kicks forward, left kicks forward, left crosses in front of right while torso and shoulders twist , right steps down b. Left kicks forward, right kicks forward, right crosses in front of left, while torso and shoulder twits, left steps down Cues Weight placement/distribution- where is your weight placed at all times?

Creating (Improvising, Composing): I. Students practice steps by creating their own combination of toprock steps individually II. Students are grouped in 3 or 4 to create a. Toprock combination b. Movements to 4/4, 1/8, or 1/16 note using a part of their body

Journal Prompt n/a

Lesson 4 Introduction to Breakdancing II Grade 7

National Dance Standards: • DA:Cr1.7b- Explain and discuss the choices made using genre-specific dance terminology • DA:Pr5.1.7a-Apply body-use strategies to accommodate physical maturational development to technical skills • DA.Cn10.1.7b-Research the historical development of a dance style. Use knowledge gained from the research to create a dance study that evokes the essence of they style. Share the study with the peers as a part of a lecture demonstration. • DA:Cr1.1.7b-Explore various movement vocabularies to express an artistic intent in choreography. Explain and discuss the choice made using genre-specific terminology.

CA Visual and Performing Arts Dance Content Standards: • 1.1 Demonstrate increased focus, physical control, coordination, skill, and accurate reproduction in performing locomotor and axial movement. • 1.4 Identify and use a wider range of space, time, and force/energy to manipulate locomotor and axial movements • 2.2 Demonstrate the ability to use personal discovery and invention through improvisation and choreography • 2.6- Collaborate with others in preparing a dance presentation for an audience

Concept/Focus/Theme: Foundational moves for breakdancing- Groundwork

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational breakdancing technique Cognitive: 2. Students will identify breakdancing terminology and apply the knowledge to application Affective: 3. Student will willingly receive information with controlled or selective attention and exhibit satisfaction in responding.

Materials: Stereo system, journal, and pencil.

Vocabulary B-boy/B- Flexibility Footwork Side Step girl

Break beat Stamina Kick step Coffee grinder Athleticism Top rock Indian step Six step Uprock Burn Freestyle Artistic intent

Introduction and Warm-up I. Brief overview of the class format for the day II. Groundwork a. Origins i. Battles and performance circles ii. Showed individual style and flare iii. Used to stay off the streets iv. Required skill, strength, and hours of practice, b. Use of Levels, Space, and Shapes i. Transitions from Toprock to groundwork ii. Use of ground space for boundaries iii. Many steps include circular or square rotations=dimensions c. Artistic intent- Purpose, main idea, and expressive or communicated goal of dance i. Show creativity in improvisation ii. Competition and bragging rights 1. “Burn”- hand movements intended to imitate a fight against an opposing b-boy 2. “Jerks”- body movements intended to imitate a fight against an opposing b-boy iii. Individuality and self-expression III. Warm-up a. Jumping Jacks b. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand c. Toe raises and heel taps d. Grapevine e. High knee raises with leg swings f. Upper Body Twist Combination g. Mountain Climbers h. Crunches/Planks i. Lunges j. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left IV. Cool Down (end of class) a. Heel stretch b. Lunges

c. Child’s pose d. Toe stretch e. Arm stretch

Exploring the Concept

n/a

Skills Development:

I. Three step a. Start in pushup position b. One- Left leg swings under the right leg to go into seated position Right leg is bent and both arms are behind c. Two-Switch the legs so now the left leg is bent in seated position and right is straight out d. Three-Swing left leg over right to back into pushup position e. Repeat steps in a box shape II. Four step a. Start in pushup position b. One- Swing left foot under right (left hand supports weight of body). Hop once with the right foot c. Two- Hop again with the right foot d. Three- Switch onto the left foot while right swings around to back and hop once e. Four- Hop again while right swings around f. Repeat in a circular pattern Cues Square hips, weight placement, engage core

Creating (Improvising, Composing):

I. Students practice by creating their own combination of Toprock and groundwork individually II. Students discuss the choices made within groups and class

Journal Prompt n/a

Reference: http://www.hiphoparea.com/breakdance/uprock.html

Lesson 5 Introduction to Breakdancing III Grade 7

National Dance Standards: • DA:Cr1.7b- Explain and discuss the choices made using genre-specific dance terminology • DA:Pr5.1.7a-Apply body-use strategies to accommodate physical maturational development to technical skills • DA:Cn10.1.7b-Research the historical development of a dance style. Use knowledge gained from the research to create a dance study that evokes the essence of they style. Share the study with the peers as a part of a lecture demonstration. • Explore various movement vocabularies to express an artistic intent in choreography. Explain and discuss the choice made using genre-specific terminology.

CA Visual and Performing Arts Dance Content Standards: • 1.1 Demonstrate increased focus, physical control, coordination, skill, and accurate reproduction in performing locomotor and axial movement. • 1.3 Demonstrate risk taking in generating bigger and stronger movements through space in rehearsal • 2.2 Demonstrate the ability to use personal discovery and invention through improvisation and choreography • 2.6- Collaborate with others in preparing a dance presentation for an audience

Concept/Focus/Theme: Foundational moves for breakdancing- Groundwork

Materials: Stereo system, journal, and pencil, video recorder, and score sheets

Vocabulary B-boy/B- Flexibility Footwork Side Step girl Burn Stamina Kick step Coffee grinder

Athleticism Top rock Indian step Six step

Introduction and Warm-up I. Brief overview of the class format for the day II. Warm-up a. Light jog b. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand c. Toe raises and heel taps d. Grapevine e. High knee raises with leg swings f. Upper Body Twist Combination g. Mountain Climbers h. Crunches/Planks i. Lunges j. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left III. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Coffee grinder a. Start with bouncing back and forth from hands to feet in crouched down position on all fours to get a feel of the movement b. Start-Extend right leg out to the right side c. Swing the right leg counter clockwise to the left side, shifting left hand on the outside of the right leg d. Once the right leg is in front of the left leg, swing that right leg under the body and right leg, leaning forward on both arms e. Repeat move to achieve circular pattern II. Six step a. Start in pushup position b. One-Bring the right leg forward and extend it in front of the left. Don't move the left leg yet. Take your left hand off the

floor c. Two-Pull the left leg forward until is bent and touching the back of your right leg (right leg should now be wrapped around your left leg). Keep your left hand in the air. d. Three- Go into the crab position. Bring your right leg out from around your left leg. Plant your right foot down next to your left foot (shoulder width apart). Put your left hand on the floor behind you. e. Four- Bring your left leg around and in front of your bent right leg (wrap it around your right leg). Lean on the outside of your left shoe. Lift your right hand up. f. Five- Move your right leg behind you. This is a mirror image of step 1. Keep your right hand up. g. Six- Extend your left leg back and put your right hand down, going into a pushup position again. Cues Square hips, weight placement, engage core

Creating (Improvising, Composing):

I. Students are grouped in 3 or 4 to create a. Toprock combination b. At least two groundwork steps II. Battle circle a. Each group will take turns battling one another

Journal Prompt

I. Students will evaluate each group on a scale of 1-5 based on a. Creativity b. Technique c. Artistic intent d. Overall performance II. Describe your experience as an evaluator a. How can being an evaluator help you as a performer? b. How did it feel critiquing one of your teammates? III. Describe your experience as a performer

Lesson 6 Popping Grade 7

Concept/Focus/Theme: The origins and technique of popping.

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational popping technique Cognitive: 2. Students will identify popping terminology and apply the knowledge to application Affective: 3. Students will demonstrate compliance in responding, willingness to respond, and satisfaction in response

Materials: Stereo system, journal, pencil, and projector

Vocabulary Chest pop Leg pop Arm pop Isolation Contracting Fresno Flexing Funk music Soul Train Hitting Twist-O-Flex Biceps Flexors

Introduction and Warm-up I. Brief overview of the class format for the day II. How popping began a. Los Angeles and Northern California youth Mid 70’s b. Wanted movements to reflect their tough environment

c. Originators- Sam and Pete Solomon from Fresno California d. Grew to fame due to Soul Train e. Originally done to Funk music III. Signature movements a. Quick, abrupt contractions (aka hitting) b. Muscle control c. Rhythmic isolation d. Create illusions for audience e. Often combine: locking, tutting, gliding, waving, Cues Contract and release IV. Warm-up a. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand b. Toe raises and heel taps c. Grapevine d. High knee raises with leg swings e. Upper Body Twist Combination f. Mountain Climbers g. Crunches/Planks h. Lunges i. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left V. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Hitting Exercise a. Contract bicep and forearm flexors to beat of music (keep energy in hands so they do not drop_ b. Hold contraction of each for 8 counts and release (3 reps of each) II. Leg Pop a. Extend the legs in a backwards motion abruptly b. Quickly release the knees from a straight stance to slightly bent

c. Combine the two for bouncing movement III. Arm Pop a. Alternate hitting the left and right arm by raising each arm at chest level b. Hold both arms above the head in a relaxed position so arms are slightly bent and contract c. Hold both arms out in a low V and contract IV. Head Pop a. Isolated the head with abrupt nod V. Chest Pop a. Inhale deeply to see natural rise of chest b. Exhale deeply to see natural fall of chest c. Quick spurts of chest isolations VI. Fresnos i. Feet are shoulder distance apart ii. Knees slightly bent iii. Repeat Step A of Arm pop. iv. Same arm and hip work together. Right hip leads out and goes to a relaxed state then pops. Body rocks to the left with left hip leading out and repeats VII. Combination a. Fresnos, variation of straight and bent arms, step pivot, head pop, directional changes, b. Twist-o-Flex i. Two small steps back while arms rise in gold post position ii. Keeping the 90 degree angle arms drop down and hands are placed in front of hips iii. Lean into left side lunge iv. Torso twists to the right 90 degrees while in lunge (hands are still in place) v. Head turns to left vi. Arms (to the left) and feet (to the right) turn in opposition. Weight is on the ball of left foot and right heel vii. Arms and torso twist to the right 90 degrees so that legs, arms, and head are all same direction. viii. Bring right foot in ix. Complete with a leg pop downward

Creating (Improvising, Composing): I. Students practice steps by creating their own combination of popping individually II. Students are grouped in 3 or 4 to create a combo including a. Toprock and ground rock (2 moves) b. Fresnos, Twist-o-Flex, Chest pop

Journal Prompt n/a

Lesson 7 Locking Grade 7

Concept/Focus/Theme: The origins and technique of locking.

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational locking technique Cognitive: 2. Students will identify locking terminology and apply the knowledge to application Affective: 3. Students will demonstrate compliance in responding, willingness to respond, and satisfaction in response

Materials: Stereo system, journal, and pencil, projector,

Vocabulary Funk Double lock Pointing Costume music Single Up rock/Muscle Wrist twirls Campbell walk lock man Pacing Pointing Scooby Do

Introduction and Warm-up I. Brief overview of the class format for the day II. How popping began

a. Late 60’s- Don Campbell i. Couldn’t do the ‘Funky Chicken’ dance and would get stuck at the bent arm portion of movement creating a lock effect ii. People would laugh at him and in response he would laugh back and point iii. Clothing consisted of suspenders, stripes, knickerbockers, white gloves, and large hats b. Originally done to Funk music c. Comical and interactive with audience III. Identifying movements a. Similarity and differences between popping and locking b. Freezing from a fast movement (locking) c. Distinct arm and hand movements d. Relaxed hips and legs e. Smiles J IV. Warm-up a. Jumping Jacks b. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand c. Toe raises and heel taps d. Grapevine e. High knee raises with leg swings f. Upper Body Twist Combination g. Mountain Climbers h. Crunches/Planks i. Lunges j. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left V. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Pacing a. The arm does a quick jab to the side while the arm is solid and wrist is loose. Movement is repeated more then once

with the arm lowering between jabs II. Single Lock a. Bend slightly forward as if you are sitting while arms hands are down. One leg is bent while other remains straight III. Double Lock a. Bend slightly forward as if you are sitting and pulse twice while arms hands are down. One leg is bent while other remains straight IV. Up Lock/Muscle Man a. Both arms are held above the head similar to goldpost arms V. Wrist Twirl a. The wrist twirls toward the face in a circular motion VI. Combination of single lock, double, up lock, and wrist twirls VII. Pointing a. One arm points with circular direction b. Two arm points in different directions VIII. Campbell Walk a. Feet- kick ball change with knees slightly bent and feet slightly apart b. Arms- bring your left hand balled up in a fist to your chest and do the same with your right hand in rhythm to the stomping of your feet. After you bring each hand down, swing it behind your back. The hand you're moving should be opposite of the leg you're moving. IX. Scooby Do (Jimmy “Scooby Do” Foster) a. Bring your arms upwards in a lock, swinging out from the elbows. b. Keeping your arms in a lock, rotate your arms downward while spreading your feet apart slightly and bending your knees outward. Pretend you're at the starting line of a race and are about to run. c. Drop your knees low to the ground while bringing one locked arm up forward and swinging your other arm behind you. d. After moving back up from locking and bending, stick one foot out in a forward step. Alternate from foot to foot in between moves. e. As you bring your extended foot back to you, stomp down with the other foot Cues Rotate around elbow for arm movements

Weight placement and grounding for leg movements

Creating (Improvising, Composing): I. Students work on grouping different locking moves individually II. Students are grouped in 3 or 4 to create a. Single or double lock b. Wrist twirl c. Campbell or Scoopy Do Journal Prompt n/a

References: https://www.youtube.com/watch?v=bkI5XGfZSxE https://en.wikipedia.org/wiki/Locking_(dance)

Lesson 8 Popping and Locking Grade 7

National Dance Standards: • DA:Cr1.1.7b-Explain and discuss the choices made using genre-specific dance terminology • DA:Pr5.1.7a-Apply body-use strategies to accommodate physical maturational development to technical skills • DA:Cn10.1.7b-Research the historical development of a dance style. Use knowledge gained from the research to create a dance study that evokes the essence of they style. Share the study with the peers as a part of a lecture demonstration. • DA:Pr4.1.7c-Compare and contrast movement characteristics form a variety of dance styles. Discuss specific characteristics and use adverbs and adjectives to describe them. Determine what dances must do to perform them clearly. CA Visual and Performing Arts Dance Content Standards: • 1.1 Demonstrate increased focus, physical control, coordination, skill, and accurate reproduction in performing locomotor and axial movement. • 2.2 Demonstrate the ability to use personal discovery and invention through improvisation and choreography • 5.3 Appraise how time management, listening, problem-solving, and teamwork skills used with other dancers in composing and rehearsing a dance can be applied to other group activities

Concept/Focus/Theme: Combining popping and locking

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational popping and locking technique 2. Students will demonstrate generic, ordinate, and creative movement Cognitive: 3. Students will identify popping and locking terminology and apply the knowledge to application Affective: 4. Students will demonstrate compliance in responding, willingness to respond, and satisfaction in response

Materials: Stereo system, journal, and pencil, projector, youtube clip of popping and locking

Vocabulary Funk music Double lock Pointing Costume Single lock Up rock/Muscle Wrist twirls Campbell walk

man Pacing Pointing Scooby Do Alpha Whichaway Jazz split Locker’s Hop Scoobot

Introduction and Warm-up I. Brief overview of the class format for the day II. Warm-up a. Light Jog b. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand c. Toe raises and heel taps d. Grapevine e. High knee raises with leg swings f. Upper Body Twist Combination g. Mountain Climbers h. Crunches/Planks i. Lunges j. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left III. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Brief Popping Review a. Arm pop b. Leg pop c. Chest pop d. Fresnos II. Brief Locking Review a. Single Lock b. Double Lock c. Up Lock/Muscle Man d. Wrist Twirl e. Pointing f. Pacing g. Campbell Walk h. Scooby Do (Jimmy “Scooby Do” Foster)

III. Alpha (Alpha Anderson) a. One leg is kicked forward from a crouching position while the upper body leans backwards. b. The upper body is supported by both hands on the floor to push off as the body rocks forward. c. The leg comes down and arms swing forward above the knees IV. Jazz Split a. A half-split done so that one can easily get back up V. Whichaway a. Altering twirl kicks to the sides first, starting with one leg and using the momentum to "kick" the other out like a pendulum. The upper body remains stationary with the arms out front. VI. Lockers Hop a. Jump up in the air b. While jumping, bend your right knee slightly and step down with it after your left foot is already landing c. Add individual flare by adding hand gestures such as pointing, clapping, turning a hat, raising shoulders as if confused, etc. VII. Scoobot a. Feet i. Kick right leg out so that the heel touches the ground while the standing leg is bent. Bring the foot back to center without rising. Kick the left leg out so that the heel touches the ground ii. Bring the left leg up to the chest so that the knee raises high and step the foot down iii. The right leg immediately follow with a high knee step b. Arms (done simultaneously with legs) i. Do muscle man with wrist twist (one arm can be straight and one in muscle man for advanced version) ii. Rotate wrist other direction as arms drop and cross in front of body iii. Do muscle man with wrist twist iv. Clap behind the back Cues Square hips and engage core Rotate around elbow for arm movements Weight placement and grounding for leg movements

Creating (Improvising, Composing): I. Students work on grouping different locking moves individually II. Students are grouped in 3 or 4 to create a. Two popping movements b. Single or double lock c. Wrist twirl

d. Campbell or Scoopy Do e. Alpha, Jazz Split, Whichaway, Scoobot, or Lockers Hop (pick 2) III. Teacher will choose and record which combination to keep for the showcase to refine and modify at later period

Journal Prompt

I. Video clip of popping and locking a. What are the differences between popping and locking? Which style do you prefer and why? II. Popping and locking was founded on comical and colorful moves that displayed one’s personality. What characteristics of your personality would you like to display in your movements and why?

References: https://en.wikipedia.org/wiki/Locking_(dance)

Lesson 9 Introduction to House Grade 7

Concept/Focus/Theme: The origins and technique of house

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational house technique 2. Students will create combinations through varying and improvisation Cognitive: 3. Students will identify house terminology and apply the knowledge to application Affective: 4. Students will demonstrate compliance in responding, willingness to respond, and satisfaction in response

Materials: Stereo system, journal, pencil, and projector

Vocabulary Jacking (1) Stomp (1) Set up(2) Pas de bourree (3) Fluidty Footwork Heel toe hop (2) Train (1) Skate (2) Jack in the Box (1) Parallel First position Crossroads Famer (1) Swirl (2) Scribble foot (3) (3) Shuffle (3) Heel step (2) Kriss Kross (3)

Introduction and Warm-up I. Brief overview of the class format for the day II. How house began a. Chicago in the 80’s after disco era b. Global music influences- American and European c. Community based dance (clubs and lofts) d. Often house dancers began as b-boys e. Free flowing movements that expressed how people felt III. Signature movements a. Inspired by polyrhythms played by African drums in African dance b. Tap influence c. Fluid combined with quick and complex foot-oriented steps d. Movement to subtle rhythms and riffs within music unlike other styles e. Use of improvisation IV. Warm-up a. Light jog b. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand c. Toe raises and heel taps d. Grapevine e. High knee raises with leg swings f. Upper Body Twist Combination g. Burpees h. Crunches/Planks i. Lunges j. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left V. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Jacking a. Feet shoulder distance apart with relaxed knees b. Lean forward with the upper torso

c. Rock back to so torso slightly leans back d. Collapse down into bent knees e. While returning to starting position, torso leans back and knees straighten in a fluid movement II. Jack in the Box a. Start with feet apart and parallel b. As you plie’ turn out from parallel to first position c. Return to the starting position by turning feet parallel d. Make sure to keep torso and head loose III. Farmer a. Hop onto the left foot while lifting the right b. Bring right foot down c. Switch feet to hop onto the right foot while lifting the left d. Cue- Remember to keep jacking movement IV. Stomp a. Start with the farmer move without alternating legs b. Hop onto the left while lifting the right c. Bring the right foot down d. Take a large step (stomp) out to the left with the left foot e. Hop onto the right foot while lifting left f. Bring the left foot down g. Take a large step (stomp) out to the right with the right foot h. Cue- when doing this move the torso goes down (jacking) on the stops V. Train a. Slide the right foot forward so that the only the toe taps the group b. As the foot slides out the body lifts us c. Bring the foot back to the starting position while the body shifts back down d. Switch to the left foot and repeat e. As you are doing the footwork arms swing back and forth in swift but rigid movement (runner’s arms)

Cue Weight distribution- light on feet, buoyant, springy Recognize the beat and snare

Creating (Improvising, Composing): I. Students work independently on creating their own combination based on moves a. Must select 3 of the 5 moves

Journal Prompt

n/a

Reference: http://music.hyperreal.org/library/history_of_house.html “The History of House” written by Phil Cheeseman for DJ magazine December 2003 http://5chicago.com/features/house-dance-and-dancing/ Spin Slide and Jack: A History of House Dancing By Czarina Mirani - August 1, 2005 https://en.wikipedia.org/wiki/House_dance

Lesson 10 Introduction to House Grade 7

National Dance Standards: • DA:Cr1.1.7b-Explain and discuss the choices made using genre-specific dance terminology • DA:Pr5.1.7a-Apply body-use strategies to accommodate physical maturational development to technical skills • DA:Pr4.1.7c-Compare and contrast movement characteristics form a variety of dance styles. Discuss specific characteristics and use adverbs and adjectives to describe them. Determine what dances must do to perform them clearly.

CA Visual and Performing Arts Dance Content Standards: • 1.1 Demonstrate increased focus, physical control, coordination, skill, and accurate reproduction in performing locomotor and axial movement. • 1.2 Demonstrate increased ability and skill to sustain longer and more complex movement sequences for expression in a variety of dance styles

Concept/Focus/Theme: The technique of house

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational house technique Cognitive: 2. Students will identify house terminology and apply the knowledge to application Affective: 3. Student will willingly receive information with controlled or selective attention and exhibit satisfaction in responding.

Materials: Stereo system, journal, pencil, and projector

Vocabulary Jacking Stomp (1) Set up(2) Pas de bourree (3) (1) Fluidity Footwork Kriss Kross (3) Train (1) Skate (2) Jack in the Box (1) Parallel First position Crossroads Famer (1) Swirl (2) Scribble foot (3) (3) Shuffle (3) Heel step (2) Enveloppe’

Introduction and Warm-up

I. Brief overview of the class format for the day II. Warm-up a. Jumping Jacks b. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand c. Toe raises and heel taps d. Grapevine e. High knee raises with leg swings f. Upper Body Twist Combination g. Burpees h. Crunches/Planks i. Lunges j. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left III. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Briefly review last sessions moves a. Jacking b. Jack in the box c. Farmer d. Stomp e. Train II. Heel step a. Jack body to each full out (the body acts as a hinge every time the beat hits) b. As you Jack your body alternate stepping out with each heel of the foot c. As the torso hinges forward the heel of the foot taps the floor d. As the foot comes back to starting position the torso hinges back III. Set-up a. Start with right leg behind the left leg b. Use the right leg to “kick” the back of your left leg so that the weight transfers to the right leg and the left leg is lifted of the floor

c. Lean forward as the left leg steps down behind the right IV. Skate a. Start with legs shoulder distance apart b. Turn to the left and lift the right leg in a kicking motion but bend the knee (enveloppe) c. Once rotation is done kick the right leg straight back and drop the ball of the foot on the floor first d. Shift the torso in a pulling motion from the hip and end facing the left e. Lift the left leg (enveloppe) and follow c and d V. Swirl a. Movement is to the full count and 1/8 note (one, and, two, and) b. Start with feet shoulder distance apart c. Bring in the right foot so that you tap the ball of the foot directly next to the left foot d. As the foot taps, the body rises e. Bring the right foot back out to starting position right away f. As foot returns the body falls g. Repeat with the left foot Cue Weight distribution- light on feet, buoyant, springy Hinge

Creating (Improvising, Composing): I. Students practice varying the movements II. Students work individually to create combination including a. Jacking, Jack in the Box, Farmer, Stomp, Train (choose 2) b. Heel Step, Set-up, Skate, Swirl (choose 2) Journal Prompt

n/a

Lesson 11 Introduction to House Grade 7

CA Visual and Performing Arts Dance Content Standards: • 1.1 Demonstrate risk taking in generating bigger and stronger movements through space in rehearsal and performance • 2.1 Create, memorize, and perform improvised movement sequences with dynamic range and fulfillment • 2.6 collaborate with others in preparing a dance presentation for an audience

Concept/Focus/Theme: The technique of house

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational house technique 2. Students will demonstrate mechanical reproduction Cognitive: 3. Students will identify house terminology and apply the knowledge to application Affective: 4. Student will exhibit the acquiescence, willingness, and the satisfaction found in responding

Materials: Stereo system, journal, pencil, and projector

Vocabulary Jacking (1) Stomp (1) Set up(2) Pas de bourree (3) Fluidty Footwork Kriss Kross (3) Train (1) Skate (2) Jack in the Box (1) Parallel First position

Crossroads(3) Famer (1) Swirl (2) Scribble foot (3) Shuffle (3) Heel step (2)

Introduction and Warm-up I. Brief overview of the class format for the day II. Warm-up a. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand b. Toe raises and heel taps c. Grapevine d. High knee raises with leg swings e. Upper Body Twist Combination f. Burpees g. Crunches/Planks h. Lunges i. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left III. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Brief review of previous lesson’s movements II. Pas de bourree’ a. Start with feet shoulder distance apart b. Step the right foot behind the left and turn body c. Step the left foot out to the side d. Take a step out to the side with the right foot e. As you f. Repeat with the left III. Scribble foot a. Same as pas de bourre’ but fast b. Torso stays centered and does not turn c. Goes to 1/8 and 1/16 note (one-e-and-e, two-e) IV. Kriss Kross a. Start on the 1/8 note (and count) when crossing b. Cross right foot over left c. As you are crossing you want to be lifted opposed to hunched

over and on the ball of your toes d. Hop out with both legs (hops are on every full count) on balls of feet e. Cross left over right and repeat V. Crossroads a. Step the left behind the right foot b. Step the right foot out to the side c. Cross the left back over the right d. Step left behind the right foot e. Step the right for out f. Hop left over right so left foot is on the ground and right foot is lifted g. Reverse it by stepping down with the right foot and repeating VI. Shuffle a. Use hips for this move b. Hop to the right allowing the right hip to lead c. While hoping the left foot is grounded and the right foot lifts off floor d. Switch feet so that the left foot lifts off the floor and the right is planted on ground e. Hop again and bring the left foot behind the right foot f. Make sure on the last hop both the left and right foot are touching the ground at the same time g. Repeat beginning with the left leg Cue Weight distribution- light on feet, buoyant, springy Hinge

Creating (Improvising, Composing): I. Students work individually to create combination including II. Students are placed in groups of 3 or 4 to create a combination a. 2 house moves from each lesson b. Include levels and space changes c. Freestyle with movement from other lessons

Journal Prompt

I. Teacher will select the routine with most creativity, technique, and variation for showcase II. Youtube video on house a. What do you notice about the performance environment? b. What ages and ethnicities can you identify c. What other dance genres or style do you see?

Lesson 12 Grooves Grade 7

National Dance Standards: • DA:Cr1.1.7a-Compare a variety of stimuli (personal experience/recall, current news, or social event) and make selections to expand movement vocabulary and artistic expression • DA:Re7.1.7a-Compare, contrast, and discuss patterns of movement an their relationships in dance • DA:Pr4.1.7c-Compare and contrast movement characteristics form a variety of dance styles. Discuss specific characteristics and use adverbs and adjectives to describe them. Determine what dances must do to perform them clearly.

Visual and Performing Arts Dance Content Standards: • CA 1.5- Use appropriate dance vocabulary to describe everyday gestures and other movements observed in viewing live or recorded dance performances. • 2.2- Demonstrate the ability to use personal discovery and invention through improvisation and choreography.

Concept/Focus/Theme: The technique of Groove

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational groove technique 2. Students will be able to create movement through variance, improvisation, and composing. Cognitive: 3. Students will identify groove terminology and apply the knowledge to application 4. Students will apply knowledge of groove dance by conceptualizing situations and apply knowledge into new paradigms. Affective: 5. Student will encompass the acceptance, understanding, and commitment to the values that are inherent in the subject matter.

Materials: Stereo system, journal, pencil, cue cards for creating dance move, and projector.

Vocabulary Rhythm Pattern Reebok (2) Biz Markie (1) Running Locker’s Groove (1) Kick Groove (1) Bart Simpson Man (1)

The Butterfly (2) Steve Martin (2) Two Step (1) Wop (2) Rock The Brooklyn (2) and Lean (1)

Introduction and Warm-up I. Brief overview of the class format for the day II. Warm-up III. What is Groove a. A pronounced enjoyable rhythm (Webster’s Dictionary) b. Regular rhythmic patterns in music that propels the body to move c. Found in popular music i. Rock, soul, hip hop, salsa, jazz, and funk IV. Groove dance a. The way the body “feels” the music and responds to rhythmic patterns b. Movements are less isolated and more fluid c. Taken from everyday life and observation d. Light jog e. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand f. Toe raises and heel taps g. Grapevine h. High knee raises with leg swings i. Upper Body Twist Combination j. Burpees k. Crunches/Planks l. Lunges m. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left V. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Rock and lean

a. Start with legs shoulder distance apart and knees slightly bent b. Upper torso rocks back as knees straighten c. Upper torso returns to starting position and knees return to bent d. Torso leans to the right and rocks back e. At the same time knees straighten f. Torso returns to starting position and knees return to bent II. Two Step a. Side Two Step i. Start with feet parallel ii. Right foot steps out to the side iii. Left joins the right foot to return to parallel position iv. Repeat steps b and c with the left foot initiating first step b. Front Two Step i. Start with feet parallel ii. Step forward with the right foot iii. Bring foot back to parallel position iv. Step forward with the left foot v. Bring foot to parallel position III. Locker’s Groove a. Step diagonally with the right foot b. At the same time push the right hip forward c. Shift the weight so that the left hip pushes back and slightly bend the knees d. Shift the weight back to the right hip (pushing forward)and bend as if sitting on a chair e. Hips should push forward and backward in a rocking manner f. Repeat with the left foot IV. Kick Groove a. Bring right leg up in bent position b. Kick leg out and immediately step down with right foot c. Slide left foot in as the body appears to be pulled to the right d. End with the left up in bent position to repeat move e. Allow arms to open and close for balance f. Add bounce to stylize V. Biz Markie a. Start with feet parallel b. Hop out with both feet and equal weight placement c. Slightly bend the legs and push the right hip out to the side as chest leans forward (torso should twist and face left) d. Hop with both feet again to come back to center e. Slightly bend the legs and push the left hip out to the side as chest leans forward (torso should twist and fact right) f. Arms i. On the hops the arms swing on ii. On the push out of right hip the right arm swings down, across

the torso, and the right shoulder lifts up iii. On the push out of the left hip the left arm swings down, across the torso, and the left shoulder lifts up VI. Running Man a. Hop onto the left foot (right foot is a couple inches of floor) b. Drop forward while placing weight on right foot. At the same time slide the left foot back slightly c. Hop back with the right foot (back to starting position) and raise left foot d. Drop forward while placing weight on left foot. At the same time slide the right foot back slightly e. Hop back with the left foot (back to starting position) and raise right foot Cue Weight distribution- Grounded, low Square hips

Creating (Improvising, Composing): I. Students practice combining movements with variations II. Students will create their own groove based on any of the following: a. Inanimate objects, people, animal concept or idea, an action, news or current event b. Cue cards for students who struggle with creating move

Journal Prompt

I. Students will take turns and discuss the process of creating their own movement using appropriate dance vocabulary

Reference: https://en.wikipedia.org/wiki/Groove_(music) http://www.merriam-webster.com/dictionary/groove

Lesson 13 Grooves Grade 7

CA Visual and Performing Arts Dance Content Standards: • 1.5- Use appropriate dance vocabulary to describe everyday gestures and other movements observed in viewing live or recorded dance performances. • 2.2- Demonstrate the ability to use personal discovery and invention through improvisation and choreography.

Concept/Focus/Theme: The technique of Groove

Objectives Psychomotor 1. Students will perceive movement and verbal cues from the teacher to replicate foundational groove technique 2. Students will be able to create movement through variance, improvisation, and composing. Cognitive 3. Students will identify groove terminology and apply the knowledge to application 4. Students will apply knowledge of groove dance by conceptualizing situations and apply knowledge into new paradigms Affective 5. Student will encompass the acceptance, understanding, and commitment to the values that are inherent in the subject matter.

Materials: Stereo system, journal, pencil, cue cards, and projector

Vocabulary Rhythm Pattern Reebok (2) Biz Markie (1) Running Locker’s Groove (1) Kick Groove (1) Bart Simpson Man (1) The Butterfly (2) Steve Martin (2) Two Step (1) Wop (2) Rock The Brooklyn (2)

and Lean (1)

Skills Development:

I. Wop a. Stand shoulder distance apart b. Arms swing in unison from right to left like a pendulum with bent elbows c. As the arms swings the torso accompanies the arms with a lean d. Legs remain loose and bent to so body bounces II. Bart Simpson a. Legs i. Start with legs slightly apart and bent ii. Turn both knees to the right and step to the right with the right foot iii. Bring both knees to center in beginning position iv. Bring the right foot in so that both feet are in parallel first position

v. A quick bounce on the ball of the feet ends the moves vi. Repeat with the left b. Arms i. As the knees go to the right, the right arm is raised and bent with the fist are at the collar bone while the left arm is straight out ii. As the knee return to center the left arm comes in to match the right arm. Both arms are now bent with elbows up and fists are at the collar bone iii. As the right foot comes in to parallel, the elbows drop down and the fists rise so that they eye level. iv. Repeat with the left III. Steve Martin a. Arms are loose and move freely b. Right foot steps to the right side while the torso rocks forward c. Left foot takes a step while torso rocks back d. Right foot takes a third step while the left knee rises and the left foot kicks straight back e. The hip rotates as the leg swings through so that the body is now turned to the left and the knee goes back to bent state f. Step down with the left foot while the torso rocks forward. g. Right foot takes a step while torso rocks back h. Left foot takes a third step while the right knee rises and the right foot kicks straight back i. The hip rotate as the leg swings through so that the body is now turned to the right and the knee goes back to the bent state IV. The Brooklyn a. Similar to the double lock but softer b. Bend slightly forward as if you are sitting and pulse twice while arms hands are down and elbows shift from straight to bent for two counts c. Accents are on the “and” count where body lifts d. Legs Hop out shoulder distance apart while on the balls of the feet e. Quickly bring legs in so that the right foot is slightly in front of left (fifth position) f. On the double pulse of the arms the knees turn out twice simultaneously g. Legs hop out shoulder distance apart while on the balls of the feet h. Quickly bring legs in so that the left foot is slightly in front of left (fifth position) i. On the double pulse of the arms the knees turn out twice simultaneously V. Butterfly

a. Legs start of in a wide second position b. Both knees rotate in so that they almost touch c. Slightly use the balls of the feet to push knees up and out (demi-plié) d. The hips isolate by moving forward and back as the legs open and close VI. Reebok a. Standing shoulder distance apart, the torso leans forwards and backwards b. Shift orientation from left to right as the torso leans c. Accent is on the forward placement of torso d. When leaning to the left, the right arms come up in a bent position so that elbow is close ribcage and fist is on the outside of chin. e. The elbow raises as the fist comes down f. When leaning to the right, the left arm comes up in a bent position so that elbow is close to ribcage and fist is on the outside of the chin g. The elbow raises as the fist comes down Cue Weight distribution- Grounded, low Square hips

Creating (Improvising, Composing): I. Students practice combining movements with variations II. Students work in groups to combine: a. 3 grooves b. 1 original groove

Journal Prompt Next class will mark the beginning of creating a performance piece for friends, family, and staff. Think of issues you would like to communicate in an artistic way that incorporate all styles learned. Topics can be social, political, relational, etc. (e.g., peer pressure, bullying, the history of hip hop dance, unity in dance, poverty).

Lesson 14 Production and Choreography Grade 7

National Dance Standards: • DA:Cr2.1.7a-Use a variety of choreographic devices and dance structures to develop a dance study with a clear artistic intent. • DA:Cr2.1.7b-Determine artistic criteria to choreograph a dance study that communicates personal or cultural meaning. Articulate how the artistic criteria serve to communicate the meaning of the dance. • DA:Cr3.1.7b-Investigate a recognized system to document a dance sequence by using words and media technologies • DA:Pr6.1.7b-Explore possibilities of producing dance in a variety of venues or for different audiences and, using production terminology, explain how the production elements would be handled in different situations CA Visual and Performing Arts Dance Content Standards: • 2.1 Create, memorize, and perform improvised movement sequences, dance studies, and choreography with dynamic range and fulfillment • 2.3 demonstrate the ability to use dance elements to develop dance phrases reflecting various musical rhythms, styles, and dynamics. • 2.6 Collaborate with others in preparing a dance presentation for an audience • Explain how different venues influence the experience and impact of dancing • 5.1 identify and use different sources to generate ideas for dance compositions (e.g., poetry, photographs, political/social issues)

Concept/Focus/Theme: Production and Choreography

Objectives Psychomotor: 1. Students will perceive movement and verbal cues from the teacher to replicate choreography 2. Students will demonstrate variation, improvisation, and composition in creative movement Cognitive 3. Students will be able to conceptualize situations and apply knowledge into new paradigms Affective 4. Student will willingly receive information with controlled attention and exhibit satisfaction in responding. 5. Students will encompass the acceptance, understanding, and commitment to the values that are inherent in the subject matter

Materials: Stereo system, journal, pencil, and projector

Vocabulary Choreographic Stage directions Motif Phrase structures Theme Group formation Unison Opposition Complementary Mirror Shadow Succession Artistic criteria

Introduction and Warm-up I. Brief overview of the class format for the day II. Artistic Criteria- What does it take to be a performing artist? a. Technical proficiency b. Professional attitude c. Musicality d. Expression e. Projection III. Cultural and Personal Meaning IV. Rehearsal vs. Stage Performance a. Lighting b. Stage c. Costume d. Mirrors e. Audience V. Choreographic structures (video clip) a. Motif, phrase, theme, group formation b. Unison, opposition, complementary movement c. Mirror, repeat, successive movements, shadowing VI. Video clip of dance work that communicates social, political, or relational issue VII. *Journal prompt VIII. Warm-up a. Light jog b. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand c. Toe raises and heel taps d. Grapevine e. High knee raises with leg swings f. Upper Body Twist Combination g. Burpees h. Crunches/Planks i. Lunges j. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left

iv. Hips: front, back, right left IX. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

I. Staging a. Upstage, Downstage, Center Stage II. Choreographic Structure Exercises (Instructor creates a series of movements incorporating the below) a. Motif b. Group formation c. Unison d. Mirror e. Complementary movement f. Opposition

Creating (Improvising, Composing): I. Teacher will select all dance topics that are appropriate for performance and randomly choose topic. Teacher will find music related to the topic. II. Students will work in groups to strategize “the story” and present the narrative in to peers. *Journal Prompt How did the various dance movements in the video clip communicate personal or cultural movement (verbal prompt)?

*Note to instructor- Instructor will have to review the narratives the students shared during this class to select the narrative that is most clear prior to lesson 15. Instructor will create a framework for student/instructor choreography.

Lesson 15-18 Production and Choreography Grade 7

National Dance Standards: • DA:Cr2.1.7a-Use a variety of choreographic devices and dance structures to develop a dance study with a clear artistic intent.

CA Visual and Performing Arts Dance Content Standards: • 2.1 Create, memorize, and perform improvised movement sequences, dance studies, and choreography with dynamic range and fulfillment • 2.3 demonstrate the ability to use dance elements to develop dance phrases reflecting various musical rhythms, styles, and dynamics. • 2.6 Collaborate with others in preparing a dance presentation for an audience Concept/Focus/Theme: Production and Choreography

Objectives Psychomotor 6. Students will perceive movement and verbal cues from the teacher to replicate choreography 6. Students will demonstrate variation, improvisation, and composition in creative movement Cognitive: 7. Students will be able to conceptualize situations and apply knowledge into new paradigms Affective: 1. Student will willingly receive information with controlled attention and exhibit satisfaction in responding. 2. Students will encompass the acceptance, understanding, and commitment to the values that are inherent in the subject matter

Materials: Stereo system, journal, pencil, and projector

Vocabulary Choreographic Stage directions Motif Phrase structures Theme Group formation Unison Opposition Complementary Mirror Shadow Succession

Introduction and Warm-up I. Brief overview of the class format for the day II. Theme of dance a. Instructor will discuss, in detail, the structure of the dance based on student narrative that is most clear

III. Dance will have beginning, middle, and end IV. Warm-up a. Knee bounce (Plie’) to mid tempo music i. Demi ii. Grand b. Toe raises and heel taps c. Grapevine d. High knee raises with leg swings e. Upper Body Twist Combination f. Burpees g. Crunches/Planks h. Lunges i. Isolations- i. Head: right, left, up, down ii. Shoulders: up down, front, back iii. Ribs: front, back, right left iv. Hips: front, back, right left V. Cool Down (end of class) a. Heel stretch b. Lunges c. Child’s pose d. Toe stretch e. Arm stretch

Skills Development:

Creating (Improvising, Composing): I. Instructor will create a framework for a dance with choreography to teach students and will have spaces in dance for students to create a production using a. Technique/Style b. Group Formations c. Transitions d. Opposition e. Unison f. Complementary movements

Journal Prompt I. Peer share and revisions a. Students perform choreography from the day in groups and answer the following i. Does the piece of work communicate the theme/intent? If not how can it be revised to reflect such? ii. What choreographic structures were displayed? Could structures be added or removed to better convey intent?

Appendix B

Individual and Peer Evaluation Etiquette

As dance artists it is of utmost importance we develop a good work ethic. By establishing classroom expectations and norms, we assist in fostering an environment that is respectful and professional. The list of expectations listed below are to be modeled throughout the entire duration of class.

Individual Etiquette • Students are to arrive on time as arriving late disrupts the class • Please try to display pleasant and positive behavior (energy is contagious, both negative and positive) • NO phone zone • Come to class prepared with course materials (i.e., Journals, pencils, notebook, and assignments) • Come with appropriate clothing (loose fitting pants and shirt, tennis shoes, no oversized jewelry) • Food and beverage is not allowed in the studio at any time (water is acceptable) • When in doubt, ASK questions • Individual and group participation are large components of the class. In order to excel in this class you MUST be involved • If you know in advance you will miss a class, communicate with your instructor • Expletives, derogatory, sexist, and hate speech is strictly prohibited in class. The use of such will result in a parent-teacher conference • Be respectful, courteous, inclusive, and patient with fellow classmates

Peer Observation and Evaluation Etiquette • Be attentive and quiet while fellow students present. Performing in front of an audience can be scary so it is important we show support • Follow the peer assessment rubric when evaluating fellow students • Verbal feedback is always meant to be constructive and encouraging. Fellow students should walk away knowing what they did well on and what they can improve on (refer to the verbal feedback form when in doubt) • Be specific and detailed in feedback. Saying, “You did good”, is not enough- what specifically about the movement or phrase was good.

Appendix C

Student Journal Prompts

How can understanding beats and various notes help us as dancers?

Why are you interested in hip-hop class? What do you hope to learn from this class?

What role do you think hip-hop plays in your community based on the 4 elements?

What types of exercise do you enjoy and how often? Is there anything that prevents you from exercising and if so, what are they?

Based on the physical fitness handout why do you feel it is important exercise?

How can you encourage your family to become more physical activity?

Describe your experience as an evaluator How did it feel critiquing one of your teammates? How can being an evaluator help you as a performer?

Describe your experience as a performer

What are the differences between popping and locking? Which style do you prefer and why? (video clip)

Popping and locking was founded on comical and colorful moves that showcased one’s personality. What characteristics of your personality would you like to display in your movements and why?

Video clip on House dance What do you notice about the performance environment? What ages and ethnicities can you identify? What other dance genres or style do you see?

Describe the process of creating your own, signature Groove move. How does it incorporate body, action, space, time and energy?

Next class will mark the beginning of creating a performance piece for friends, family, and staff. Think of issues you would like to communicate in an artistic way that incorporate all styles learned. Topics can be social, political, relational, etc. (e.g., peer pressure, bullying, the history of hip hop dance, unity in dance, poverty). What topic did you choose and why?

What message would you like to communicate and how does it relate to the historic messages of hip-hop? How did the various dance movements in the video clip communicate personal or cultural movement (verbal prompt)?

How would you compare how you felt about dance compared to how you feel now?

How has working with your peers affected your involvement in class?

How can dance be used as an activity in building relationships?

Why is the use of choreographic structure important in creating a dance performance?

Does the piece of work communicate the theme/intent? If not how can it be revised to reflect such?

What choreographic structures were displayed? Could structures be added or removed to better convey intent?

Appendix D

Hip ‘Hopology’ Quiz

1. What event occurred in the Bronx, NY that paved the way for hip-hop? ______

2. What are the 4 fundamental elements of hip-hop? ______

3. What did DJ Kool Herc contribute to hip-hop? ______

4. A ______is when rivals between crews come together and compete showing of creative dance moves for street credit.

5. Early hip-hop dance originated from which styles?

a. African b. Jazz c. Salsa d. Capoeira e. Martial Arts f. All the above g. a,b,d,e

**Bonus Question**

6. When is hip-hop’s birthday?

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