For Teaching and Learning in

Grades PreK - 12

New York City Department of Education New York City Department of Education • Joel I. Klein, Chancellor • Marcia V. Lyles, Deputy Chancellor for Teaching and Learning • Sharon Dunn, Senior Instructional Manager for Arts Education

Dance Curriculum Development Contributing Writers Organization Representatives and Reviewers Planning Co-Chairs Consultants New York City Department of Education All of the contributing writers, plus: Ann Biddle, Stories in Motion Joan Finkelstein, Director of Dance Programs, Andrew Buck, Arts Supervisor, Region 8 Leslee Asch, National Dance Institute Office of the Arts and Special Projects, Tina Curran, Language of Dance Center New York City Department of Education Eileen Goldblatt, Arts Supervisor, Region 9 Mary Barnett, Consultant Martha Hart Eddy, Center for Kinesthetic Education Mary Lisa Burns, Merce Cunningham Dance Company Jody Gottfried Arnhold, Founding Director, Kyle S. Haver, Instructional Specialist in Literacy and Humanities Mark DeGarmo, Mark DeGarmo and Dancers Dance Education Laboratory of the 92nd Street Y Barbara Gurr, Director of Visual Arts, New York City Paul King, Director of Theater Programs Daniel Gwirtzman, Daniel Gwirtzman Dance Company Department of Education Tina Ramirez, Artistic Director, Hispanico Eva Pataki, Arts Supervisor, Region 3 Joanne Robinson Hill, The Laura Hymers, Trisha Brown Dance Company Leslie Hunt, Center for Arts Education Arlene Jordan, New York City Center

New York City Department of Education Natasha Jones, New York City Ballet Laveen Naidu, Dance Theatre of Harlem Dance Educators Michael Mao, Michael Mao Dance Ellen Robbins, Dance Educator, Dance Theater Workshop Abigail Agresta-Stratton Sarah Maxfield, Dance Theater Workshop Valerie Rochon, Dance Educator, New York City Jessica Nicoll, ArtsConnection Martha Cataldo-Casey Department of Education Jane Remer, Consultant Jeffrey Dobbs Felicia Rosenfeld, Pentacle Joan Sax, Consultant Diana Domoracki-Kisto Carlota Santana, Vivo Nasha Thomas-Schmitt, Alvin Ailey Dance Foundation Ana Nery Fragoso John-Mario Sevilla, New York City Ballet Tracy Straus, National Dance Institute Catherine Gallant Tom Ward, Paul Taylor Dance Company Richard Toda, American Ballet Theater Lara Gerstein Ellen Weinstein, National Dance Institute Kimberly Vasquez, Bronx Arts Council, Alfred Gonzales Mary Jo Ziesel, American Ballet Theater OPUS Dance Theater Kathleen Isaac Cathryn Williams, Lincoln Center Institute Michael Kerr Jannas Zalesky, Together in Dance Advisors Elisa King Carolyn Adams, Juilliard School, Harlem Dance Judi Mark Foundation, American Dance Legacy Institute Traci Hinton Peterson Barbara Bashaw, NYU Steinhardt School of Education, Dance Education Program Dr. Jacqueline Sawyer Pierre Dulaine, American Ballroom Theater Ani Udovicki Rima Faber, National Dance Education Organization Deborah Zall Jana Feinman, Hunter College Dance Department Dana Manno, PAKA Michele Mathesius, Fiorello H. LaGuardia High School for Music & Art and Performing Arts Dana Perez Rodriguez, New York City Center Randi Sloan, Dalton School Maxine Steinman, Limón Dance Company Alice Teirstein, Fieldston School Marnie Thomas, Martha Graham Dance Company ii N Blueprint for the Arts N Dance Letter from the Chancellor

Joel I. Klein, Chancellor New York City Department of Education

he publication of the Blueprint for Teaching and Learning in the The Blueprint is a result of an exceptional collaboration between TArts defines a course of excellence in arts education that begins educators from the school system and representatives from the arts and in early childhood and follows students up through the grades to a cultural community of New York City. It motivates students to go beyond commencement level of achievement in art, music, dance and theater. the walls of the classroom and encourages them to take advantage of the rich resources available across New York City in museums, concert The Blueprint provides a standards-based rigorous approach to teaching venues, galleries, performance spaces and theaters. the arts. It gives New York City’s students the opportunity to delve deeply into these subjects, while giving their teachers the latitude to create an We are delighted to introduce the New York City schools to this powerful instructional program that demonstrates student learning over time and way of teaching and learning in the arts, and look forward to a future in varied dimensions. filled with artists, designers, musicians, dancers, actors, directors and more—all New York City public school graduates. More importantly, the sequential study of art, music, dance and theater will help students achieve both a vocation and an avocation. Their ongoing work will enable them to apply for advanced study or for jobs in the arts-related industries that are so important to the economy of New York City. It will also provide them with a source of lifelong enjoyment as they become the future audience for the arts.

iii N Blueprint for the Arts N Dance Acknowledgments

he publication of the Blueprint for Teaching and Learning in the Arts: of public education and the arts. They have worked diligently and diplomatically TDance N Grades PreK-12 is truly a milestone for the New York City to involve and include multiple perspectives and multiple opportunities for the Department of Education. For the first time, schools at all levels can implement implementation of dance education. In one year, the dance team pulled together dance education programs that are both sequential and comprehensive. a committee of experts representing all the constituents involved in dance Teachers have been provided with guidelines for implementing rich and education in the city. They welcomed practitioners, philosophers, professors creative instruction, and supervisors have been given a template by which to and scholars of dance education into their broad circle, and spearheaded structure and evaluate programs. Our partners in the cultural and university a stimulating and productive collaboration resulting in this Blueprint. We communities have worked with us to establish the Blueprint as a common acknowledge their immense contribution to the future of arts education in New of reference to advance our mutual goal: an excellent education for all New York York City. City public school students. We must thank Pam Pollack, whose amazing talent has turned this document Many people contributed to the development of the Blueprint for Dance, and into a beautiful and useful work of art, and we are deeply grateful to world- therefore many people must be thanked. We wish to express our gratitude to renowned photographer Arthur Elgort for his beautiful images of New York Chancellor Joel I. Klein for his recognition that arts education can only be City public school dance students. We also extend deepest thanks to Leslie effective if we provide teachers and students with a coherent plan for achieving Koch, Anne Deutsch and Jenn Pass of the Office of Strategic Partnerships for it. The support of Chancellor Klein and Deputy Chancellor Carmen Fariña has their ongoing help and support. made the achievement of this goal possible. No progress could have been made The Blueprint is based on the structural framework developed by Nancy without the leadership of the school system firmly behind this effort. Further, Shankman and Tom Cabaniss for music, and Barbara Gurr and Tom Cahill for we have continued to enjoy unprecedented collaboration with the Department visual art. We are grateful to them for their groundbreaking work. of Cultural Affairs under the leadership of Commissioner Kate D. Levin, to The successful completion of theBlueprint for Dance was possible because of whom we are most grateful. the help of the excellent team in the Office of Arts and Special Projects. We Credit for the creation and completion of this document must be given to thank everyone who pitched in to make this plan a reality: Pat Glunt, Barbara our extraordinarily gifted Director of Dance Programs, Joan Finkelstein. Gurr, Paul King, Jill Rashba, Eleanor Rosenthal, Joan Siscaretti, Carol Varikos Immediately upon joining the Department of Education, Joan sought out and Eddie Villanueva; and Chris Sgarro and Ken Priester for their editorial partners in the cultural community and began the Blueprint development skills. process. We thank Co-chairs Jody Gottfried Arnhold, founder of the Dance Finally, we are indebted to the Arnhold Foundation and the Bloomberg Education Laboratory at the 92nd Street Y, and Tina Ramirez, Artistic Director Foundation for their generous contributions to this program. of Ballet Hispanico, for their unswerving commitment to producing a useful and beautiful tool for dance educators throughout New York City. We are To all who participated in this exciting endeavor, we thank you. extremely fortunate that these partners have been stalwart and generous friends iv N Blueprint for the Arts N Dance Table of Contents

Letter from the Chancellor...... iii 8th Grade ...... 25 Appendices ...... 45 Dance Making...... 26 Acknowledgments ...... iv Appendix A - Glossary ...... 46 Developing Dance Literacy ...... 28 Introduction...... 1 Making Connections ...... 29 Appendix B - Assessment...... 51 The Five Strands of Learning in Dance ...... 2 Working With Community and Cultural Resources. .. . 30 Appendix C - Bibliographies ...... 53 Exploring Careers and Lifelong Learning ...... 31 Student Development and Dance ...... 3 Teaching Through the Five Strands ...... 32 Appendix D - What the Blueprint Means for School Leaders ...... 62 A Guide to Schools for Implementing a Dance Program...... 5 12th Grade ...... 35 Appendix E - What the Blueprint Means for Classroom Teachers ...... 63 A Guide to the Dance Blueprint...... 7 Dance Making...... 36 Developing Dance Literacy ...... 38 Appendix F - What the Blueprint Means for 2nd Grade...... 9 Making Connections ...... 39 Special Education Practitioners ...... 64 Dance Making...... 10 Working With Community and Cultural Resources. .. . 41 Developing Dance Literacy ...... 12 Appendix G - What the Blueprint Means for Exploring Careers and Lifelong Learning ...... 42 Making Connections ...... 13 Parents ...... 65 Teaching Through the Five Strands ...... 43 Working With Community and Cultural Resources. .. . 14 Appendix H - What the Blueprint Means for Exploring Careers and Lifelong Learning ...... 15 the Arts Community ...... 66 Teaching Through the Five Strands ...... 16 Appendix I - What the Blueprint Means for the Unviersity Community ...... 67 5th Grade ...... 17 Dance Making...... 18 Photography Credits: Developing Dance Literacy ...... 19 Making Connections ...... 20 Arthur Elgort – pages vii, 9, 15, 17, 21, 24, 25, 27, 29, 35, 37, 39, 44, 45; taken at the following schools: Working With Community and Cultural Resources. .. . 21 2nd grade and 5th grade, PS 165 (Edith K. Bergtraum); dance Exploring Careers and Lifelong Learning ...... 22 teacher: Kathleen Isaac Teaching Through the Five Strands ...... 23 8th grade, JHS 383 (Phillippa Schuyler); dance teacher: Carol Lonnie 12th grade, Fiorello H. LaGuardia High School of Music & Art and Performing Arts; dance teacher: Elisa King; teaching artist: Scott Rink

Lincoln Center Institute – page 11; taken at PS 333 (Manhattan School for Children)

Daniel Gwirtzman Dance Company – page 14; taken at PS/IS 187 v N Blueprint for the Arts N Dance

Blueprint for Teaching and Learning in the Arts: Dance

Introduction

very New York City public school is capable of supporting an Traditionally, arts curricula have been developed either as subject-based Eexcellent arts program in which arts specialists are key players, the or as outcome-based models. Subject-based curricula define the goals school community is actively involved, and the resources of the city’s for the content to be learned. Outcome-based curricula define what the cultural community are maximized. The recent changes in the New York goals are for the learners—what they should know and what skills they City public schools have afforded an opportunity to make the arts central should possess. The new plan includes both approaches, and will, as it to the education that all children receive, regardless of the school they evolves, provide clear and rigorous forms of assessment based on the attend. ThisBlueprint points the way. best practices offered in the field. It contains strong “studio” strands—in which students paint, draw, sing, act, dance and play—as well as aesthetic As the term “blueprint” suggests, this document is a map that sets a education experiences that include learning about the art form in its course for the Department of Education’s strategic plan to provide an context and in the world. Instead of an exclusive ideology, an inclusive excellent arts education for every child in New York City. The standards plan allows arts teachers to select the approaches and the content that contained in this Blueprint are grounded in the National and New York works best for them. State Learning Standards for the Arts, and are addressed in every facet of the document. ThisBlueprint is distinguished from the New York State Learning Standards by the way teaching and learning are extended into the specific circumstances of New York City schools—most notably, the unique collaboration between the schools and the New York cultural community to forge this plan. New York City arts organizations and their funders play an ongoing role in making the arts available to schools. The schools have always depended on the values and commitment of these organizations, and it is only with the collaborative spirit of the entire arts community that this plan for arts education can succeed.

1 N Blueprint for the Arts N Dance The Five Strands of Learning in Dance “If all children in every school from their entrance until their graduation … were given the opportunity to experience dance as a creative art, and if their dancing kept pace with their developing physical, mental, and spiritual needs, the enrichment of their adult life might reach beyond the results we can now contemplate.”—Margaret N. H’Doubler

Dance Making Working With Community and Cultural Resources By exploring, creating, replicating and observing dance, students Students broaden their perspective by working with professional artists build their technical and expressive skills, develop their artistry and a and arts organizations representing diverse cultural and personal unique personal voice in dance, and experience the power of dance to approaches to dance, and by seeing performances of widely varied dance communicate. They understand dance as a universal language and a styles and genres. Active partnerships that combine school and local legacy of expression in every culture. community resources with the full range of New York City’s dance and cultural institutions create a fertile ground for students’ dance learning Developing Dance Literacy and creativity. Students develop a working knowledge of dance language and aesthetics, and apply it to analyzing, evaluating, documenting, creating Exploring Careers and Lifelong Learning and performing dance. They recognize their role as articulate, literate Students consider the range of dance and dance-related professions as dancers in communicating about dance to their families, schools and they think about their goals and aspirations, and understand how the communities. various professions support and connect with each other. They carry physical, social and cognitive skills learned in dance, and an ability to Making Connections appreciate and enjoy participating in dance, throughout their lives. By investigating historical, social and cultural contexts, and by exploring common themes and principles connecting dance with other disciplines, students enrich their creative work and understand the significance of dance in the evolution of human thought and expression.

2 N Blueprint for the Arts N Dance Student Development and Dance

Early Childhood and the Grade 2 Benchmark: Elementary Students and the Grade 5 Benchmark: Movement is integral to the learning process of young children. In upper elementary school, children become increasingly keen Inquisitive and active, they are quick to absorb information through their observers of their world. Capable of complex patterns of logic, they like senses, and eager to engage in physical explorations. Dance gives them an to analyze and define people, activities, situations and events. They enjoy aesthetic avenue for creatively expressing feelings and imaginative stories inventing games, working cooperatively on group projects, and creating informed by their inner fantasy worlds and their real lives. Children at secret codes and personal languages. At this stage they have developed this stage are whole-body movers who tend toward perpetual motion; a more detailed sense of their bodies’ movement capabilities as regards balancing and holding stillness are major accomplishments. Structured effort in space and time, and will challenge themselves to achieve new dance experiences help them to develop the following skills and skills in dance. experiences with longer-term resolutions understandings: that incorporate the opportunity to practice independently or in small groups give students a chance to express themselves in a unique and N Physical: Self-control, refinement of gross motor skills, development of self-affirming way. Ongoing participation in dance classes develops the fine motor skills, and understanding of the relationship between their following skills and understandings: bodies and the space around them.

N Physical: Rhythmic patterning, fine motor control, isolation of body N Social/affective: Listening, responding, taking turns and working cooperatively in a group. parts, and transitions between movements.

N Social/affective: Initiating, cooperating, co-planning, and respecting N Cognitive: Recognizing, recalling, identifying, differentiating, and sequencing movements. others’ opinions.

N Cognitive: Classifying, interpreting, comparing, analyzing and N Aesthetic: Choosing and expressing preference for dance movements. generating movement. N Metacognitive: Reflecting on their own and classmates’ dancing. N Aesthetic: Revising and refining movements, and recognizing varied notions of beauty in dance.

N Metacognitive: Reflecting on their own dancing in a wider cross- cultural context. Continued on next page

3 N Blueprint for the Arts N Dance Student Development and Dance continued

Middle School Students and the Grade 8 Benchmark: High School Students and the Grade 12 Benchmark: Students at this stage of their lives are testing their relationship to the world, For those high school students studying dance as an elective course or both in terms of challenging the status quo and developing a self-identity with a physical education requirement, dance classes provide an enjoyable which they feel comfortable. They are increasingly concerned with mean- outlet for self-expression, a challenging means of staying fit, and an ing and truth, both personal and social, and are beginning to think in more opportunity to explore personal meaning and identity. High school abstract ways and to speculate about origins and outcomes. The turbulent students who are majoring in dance are ready to use their capacity for emotions and rapid physical changes of this age group present both challenges sustained, detailed work and critical inquiry to advance their skills in all and opportunities for the growth of skills and expression in dance. Students areas of dance learning. Students at this age gain confidence as dancers, are capable of focused work in various techniques and styles of dance, and choreographers and dance critics through consistent study and practice. enjoy the “safe space” that a structured and defined physical challenge provides. They develop an awareness of the standards and requirements of the They can investigate and apply complex processes to movement invention and university and professional dance arenas, and identify personal goals execution. Sharing their original creative dance work in small groups can be regarding future study and work in dance. Deep experience training in a productive solution for the shyness that often accompanies this period. Con- and creating dance, and developing an understanding of dance history, sistent dance study develops the following skills and understandings: cultural contexts and aesthetic concerns, leads to the emergence of their personal artistic voice. Sustained, sequential dance training builds the N Physical: Further refinement of movements, building strength in var- following skills and understandings: ious dance techniques, and coordinating spatially and rhythmically

complex sequences. N Physical: Execution of advanced technical elements of various styles with expressive subtlety. N Social/affective: Overcoming awkwardness, building trust among

peers, working independently and taking risks. N Social/affective: Initiating, planning and producing projects independently in coordination with others. N Cognitive: Distinguishing, manipulating, synthesizing, analyzing,

evaluating and creating dance. N Cognitive: Explaining, comparing, implementing, deconstructing and critiquing dance. N Aesthetic: Accurately executing different styles of dance, considering

multiple factors leading to aesthetic effect. N Aesthetic: Defining and articulating a personal aesthetic in dance.

N Metacognitive: Reflecting on their own qualities as dancers in relation N Metacognitive: Reflecting upon their strengths and weaknesses in to their training and world dance styles. dance and their personal approach to dance study.

4 N Blueprint for the Arts N Dance A Guide to Schools for Implementing a Dance Program The following recommendations represent goals toward which schools should move in support of the optimum functioning of their dance programs. These measures will provide the best environment in which to achieve the student learning set forth in this Blueprint.

Physical Resources Floor Surface The Studio, Dance Office and Equipment The different styles and genres of dance require students to work either Dance is movement of the body through time and space. The physical barefoot or with a variety of footgear: ballet slippers, jazz shoes, tap space in which dance teaching takes place affects the quality of the shoes, flamenco shoes, etc. Traction on the floor surface is affected by experience for students. Ideally, the dance studio should be spacious, clean, these variables. Thus, a polished linoleum tile surface is not optimal for clear of objects, and, when possible, dedicated to dance use only. At least dance teaching. A wood floor with a light matte Durethane finish for one wall should be continuously mirrored to permit students to self- protection is recommended. There are also various multi-use synthetic correct while learning, and to provide maximum visibility of the teacher. dance floor surfaces available that hold up to wear very well, are easily As some kinds of dance activities are more effectively taught without a cleaned, and provide traction for a range of footgear and bare feet. This mirror, it is advisable to hang a lightweight curtain to pull across the mirror type of flooring can be laid on top of the sprung floor surface.

when desired. Wooden double-height barres should be permanently Continued on following page installed on the other three walls, either wall-mounted or floor-mounted; alternately, free-standing barres may be used. A teacher’s office with room for a desk and storage cabinets should be adjacent to the dance room, with a window looking into the room. Teachers should have unrestricted use of a CD/tape player and access to a video monitor/DVD player.

Sprung Flooring Jumping and leaping in dance involve impact, and since shock-absorbing thick rubber-soled sneakers are not the norm for dance training as they are in gym, the floor should be cushioned—“sprung”—by inserting risers or synthetic shock-absorbing pads between the concrete subfloor and the wood dance floor. A wood floor laid directly on concrete will not absorb shock.

5 N Blueprint for the Arts N Dance A Guide to Schools for Implementing a Dance Program continued

Instructional Time High School Elementary Students taking a general dance elective in high school may follow the Children in K-5 should take dance class one period per week throughout guidelines for middle school. Students taking a dance option (major) the school year. Some schools have chosen to fold the equivalent amount program should have a minimum of one double period of dance daily. of instructional time into a concentrated cycle. For the purposes of A seriously competitive program that seeks to prepare students for the a sequential curriculum, however, the consistency of full-year work option of continued university study will go further, extending to three is preferable. The dance teacher can be an excellent resource for or more periods of dance daily, with at least two of those periods block- professional development of all early childhood teachers, as young scheduled. Making creative use of zero period and extended day can ease children should be moving periodically every day in their classes. the burden on programming.

Middle School Students who choose a dance elective in middle school should take an equivalent of three to five dance classes per week. Unlike the naturalistic body movement of sports, dance technique involves a process of carefully and specifically warming up the muscles in order to enable them to execute increasingly challenging shaped movements. As it takes time to prepare the body for these demands, the most effective arrangement is to schedule double periods for dance technique classes whenever possible, reserving the single periods for improvisation/composition or dance history.

6 N Blueprint for the Arts N Dance A Guide to the Dance Blueprint

Organization of the Blueprint into the curriculum. The learning inherent in the four other strands of The Blueprint for Dance is organized by benchmark years, moving the Blueprint stems organically from the Dance Making activities, and through the five strands of dance learning for each benchmark, followed the activities in those strands are inextricably bound with those in the by a sample unit that illustrates a strategy for holistic dance teaching. Dance Making strand. The four other strands deepen dance learning by Thus, each benchmark section provides a complete view of dance providing students with the means to: learning for children in that age group. Scanning through the Blueprint N become literate in dance, developing critical insights and the means to and reading the pages in each benchmark year associated with any express them in dance terms. one strand gives a sense of the developmental learning PreK-12 in that

strand. N make social, cultural and historical connections through dance.

The curriculum is both subject-based—defining the goals for content— N connect creatively to the other arts and disciplines, technology and and outcome-based—defining the goals for student achievement. Thus, health through dance. we first list student learning indicators, and then provide suggested N engage in dance learning with both school staff and other sectors of the examples of activities to reach these outcomes. TheBlueprint is meant New York City dance cultural community. to provide a framework for teachers, suggesting strategies that spur

individual creativity, depth and breadth in dance teaching. N become lifelong learners in and advocates for dance.

This Blueprint is a scaffold on which a sequential, cohesive PreK-12 dance curriculum may be built, encompassing the body of knowledge in Dance Making Is the Starting Point the art form of dance, in rich dialogue with all other aspects of children’s Each benchmark section of the Blueprint for Dance begins with Dance lives and learning. Making, which encompasses all of the activities in which students are physically dancing. Dance is the kinesthetic art form, and all dance learning must take place first in the body. In a box to the right of the Dance Making strand for each benchmark is a list of entry points for teaching. This list suggests a variety of starting points that can lead

7 N Blueprint for the Arts N Dance

2nd Grade 2nd Grade Dance Dance Making

Develop Skills and Improvise Choreograph Perform Techniques

Through participation in dance Students explore dance movement Students contribute to a class Students perform, demonstrating classes, students achieve the through improvisation, dance, demonstrating the ability the ability to: Grade 2 ability to: demonstrating the ability to: to: Benchmarks N recall, repeat and refine N articulate body parts, shapes N work with focus and N begin and end a dance in movement sequences. Through movement ex- and actions. concentration. stillness. N dance with fullness of ploration, observation, N balance on various parts of the N invent original body N choose and order the movement. replication and recall, body. movements in response to movements in a sequence with N dance with expressiveness. N execute locomotor music, images, words, ideas or a beginning, middle and end. students develop kines- symbols. N dance in coordination with a (traveling) movements. N vary the sequence through musical beat and mood. thetic and self-aware- N distinguish a range of reordering and use of dance N control traveling and freezing, N understand entering and ness; understand dance starting and stopping. movement qualities to express elements. feelings, characteristics, leaving the performance concepts; and build N move with a range of dynamics. N recall, repeat and practice the space. sensations and environments. sequence. N understand personal and N explain the meanings within fine and large motor N vary the size of movements. general space. N use tools such as invented the performed. skills. They invent dance N combine levels, directions and pictures and motif symbols Entry points for teaching: N move in different levels (low, pathways with body actions. to represent, manipulate and N understand appropriate movements to create N an element of dance such middle, high) and directions remember dance experiences. performer and audience (forward, back, side, up, N work alone or with a partner. behavior. as Body Shapes and Body their own short dances; down). N respond to musical mood, N cooperate with a partner or Actions small group. learn basic vocabulary N move in straight, circular, tempo and beat. N a theme from students’ lives curved and zigzag pathways in N understand the concepts of Suggested activities: such as My Family or My Pet of various dance forms solo, duet and group. N Perform for peers in dance the air and through space. N a theme related to social and simple dances; Suggested activities: class. N understand basic forms of N understand the concepts of studies such as Native N Explore original movement reflect upon their own relating to other dancers (e.g., unison and counterpoint. N Perform for students and American Myths or My and dance concepts through family at school assemblies and Community and others’ work; and toward, away, contact). activities such as follow-the- celebrations. N a traditional cultural dance N dance on beats, tempi, accents leader, mirroring, shadowing, understand the purpose, Suggested activities: Continued on following page such as Kou Kou (West and simple rhythms. partnering. N Explore images that suggest Africa), Ribbon Dance routine and behavior of N replicate and recall movements N Improvise in response to a a beginning, middle and (China,) Bon (Japan) or a dance class. and patterns. stimulus. end; compose a short dance Native American Friendship N execute simple, basic elements N Improvise to solve a movement phrase—a movement Dance sentence—with a beginning, of various dance forms. problem. N a poem or narrative such as middle and end. N Improvise with props (e.g., balls, those by Shel Silverstein (A Suggested activities: hoops, scarves). N Learn another child’s Light in the Attic) or N Practice structured warm-ups. movement sentence; vary its Ezra Jack Keats (Pet Show!) Continued on following page Dance Making dynamics, timing and spacing. N Explore and repeat movement. N a visual art work such as N Participate in group decisions those by Van Gogh (Starry N Learn simple dances. about class . Night) or Calder (mobiles) Continued on following page Continued on following page N an environmental theme such as The Seasons or The Ocean N a musical element or quality such as Legato/Staccato or Tempo

10 N Blueprint for the Arts N Dance Dance Dance Making continued

Develop Skills and Improvise Choreograph Perform Techniques continued continued continued continued

Respond, Reflect, Revise Respond, Reflect, Revise Respond, Reflect, Revise Respond, Reflect, Revise Evaluate and revise dance skills Evaluate and revise improvisation Evaluate and revise dance Evaluate informal in-class by observing other students, by observing other students, and composition using observation, performances and video evidence engaging in class discussion, applying ideas generated through discussion, drawings, video, and of student performances, following simple class-created reflection and class discussion to simple rubrics designed by the using observation, discussion, rubrics, and responding to further movement explorations. class. Consider questions such as: drawings, video, and simple teacher guidance. Consider Consider questions such as: Why In what ways might we improve rubrics designed by the class. questions such as: In what ways do different individuals create our dance? Consider questions such as: Why, can my body move? different movements? and in what ways, might a dance look different to an audience from the way it feels to a performer? Dance Making Dance Making continued

11 N Blueprint for the Arts N Dance Dance Developing Dance Literacy

Understand Dance as a Apply Dance Vocabulary, Analyze, Critique and Identiify and Compare Means of Expression and Terminology and Symbols Communicate About Dance Styles, Genres, Communication Dance Major Works and Artists

Students understand that dance Students develop a basic dance Students respond in words, Students understand that there is a special way of expressing and vocabulary, demonstrating the movement or pictures, are different approaches to and Grade 2 communicating, demonstrating ability to: demonstrating the ability to: forms of dance, demonstrating Benchmarks the ability to: that they: N use words and symbols to N recall movements and general Students learn and N describe how dance describe and name dance impression. N comprehend that apply dance vocabu- communicates and expresses activities and ideas. N notice and describe elements of choreographers are artists feelings, a story or an idea. N respond to action words and spatial design such as a circle who make dances in response lary and symbols to N speculate on why music makes symbols with appropriate formation or a line of dancers. to experiences, feelings and respond to and make observations about their people want to dance. movement. N identify the theme or subject of world. observations about N use descriptive language N express basic elements of dance a dance. N recognize that to distinguish between by naming and demonstrating N understand and explain a dance. They are contrasting movements, both different body parts, shapes, dance based on a story. choreographers use introduced to as performer and observer. actions, dynamics, directions, both original and N recall elements of the music borrowed movements. N recognize the ways that dance levels, paths and relationships. and costumes. the many ways can celebrate or mark an N name different dance styles N perceive that traditional N express personal feelings about people dance important event. (e.g., Ballet, Tap). and social dances from the dance. different countries have around the N understand and demonstrate choreography ideas (e.g., solo, different styles. world, and Suggested activities: duet, unison). Suggested activities: N distinguish a choreographed N Contribute to a list of the theatrical dance from a discover dance’s N name dance professions (e.g., N Develop guidelines with peers reasons people dance, sharing dancer, choreographer, dance and teacher for expressing traditional or . unique expressive personal dance experiences. teacher). opinions about dance, and N Explore questions such as: power. N use basic motif symbols or follow them during class How does it feel to dance with discussions. Suggested activities: invented images to represent Developing Dance Literacy sharp movements? Smooth N Contribute to a “student movement experiences. N Write and draw in response movements? In choreographers’ chart,” listing to participating in dance, and what ways the activities students engage post responses on the school do these in when creating dances. Suggested activities: bulletin board. movements N Respond verbally and in N Contribute to a class dance affect our folder. movement to works by artists feelings when such as Agnes De Mille we watch N Contribute to a class “word (Rodeo), George Balanchine wall.” Travel them? What else in any (Nutcracker), and Donald Dancing direction moves as sharply N Participate in a dance McKayle (Games). or smoothly as activity with motif symbols is poetry with the dancers we used individually and in arms and legs. observed? What combination. Charles Baudelaire images did watching

the dancers bring to mind? Flexion

To sing well and to dance well is to be well-educated. Plato

12 N Blueprint for the Arts N Dance Dance Making Connections

Understand Dance Connect Dance to Other Utilize Technology in Connect Dance to Health History and the Social and Arts and Disciplines With Dance and Well-Being Cultural Significance of Dance (Theatrical, Ritual & Social Dances)

By actively observing the Through activities including Students respond to and discuss Through participating in and movement of other students, other disciplines in dance videotapes of student and reflecting on dance, students will Grade 2 people and things; and learning study, students will illuminate professional dance performances, demonstrate that they: Benchmarks dances from various cultures and understanding of dance, demonstrating the ability to: historical periods, students will: demonstrating the ability to: N understand the value of a Students understand the N identify a video recorder as a dance warm-up and cool- significance of dance in N apply dance concepts to the N respond to other arts moving image camera. down. world outside the classroom. and disciplines in dance N discuss the difference between N understand personal space their own and other cul- N recognize that every student movement. a moving image and a and its relation to safety and tures, explore creativity in has a cultural background and N respond to dance in another art photograph, and between well-being. dance in response to other dance is part of it. medium. dancing and posing. N understand that dance N understand that people N understand how other art N speculate on the possible uses promotes strength and arts and subject themes, danced differently in different media combine with dance. of dance video. flexibility in body and mind, use video technology historical periods. N recognize and describe and why these are important to N explain why dance can have performance elements on good health. for reflection, and relate Suggested activities: different functions. video. N understand why nutrition, dance to personal health. Understand dance concepts by good health and dance are learning or inventing dances connected. using: Suggested activities: Suggested activities: N understand the relationship N Interview parents/guardians N View and respond to a Music: rhythms. between breathing and about the dance traditions of videotape of a class session. moving. their childhoods, and share Visual Art: movement, color and N Share a videotape of a class with the class. spatial design in a painting (e.g., performance with the school, Suggested activities: N Interview classmates to find Van Gogh’s Starry Night). contributing comments about N Web the feelings created by out whether and in what ways the process. Theater: character-based a dance warm-up and cool- dance is a regular part of their N Discuss questions such as: Why movement. down. family experience. does a dance look different on To watch us N Contribute to a list of favorite N Find examples outside the video than it does live? Language Arts: actions, foods; discuss the relationship classroom of some of the dance is to hear our dynamics or pathways drawn between food, energy and movement words on the class from words and images in a book exercise. “word wall.” hearts speak.

(e.g., Going for a Walk With a Connections Making N Explore and observe changes in Hopi Indian saying N Learn dances marking Line by Douglas MacAgy and posture and describe how they holidays, celebrations and Elizabeth MacAgy, My Mama affect mood. traditions of various cultures. Had a Dancing Heart by Libba Moore Gray); tense; grammar. N Discuss how expressing yourself helps you feel healthy Math: geometric shapes in the and strong. body or in group formations. N Do a movement phrase breathing normally; repeat Science: movement qualities One holding the breath; discuss the found in natural elements in differences. different seasons; movement may judge qualities of various animals; life a king by the state of cycles. dancing during his reign. Chinese proverb

13 N Blueprint for the Arts N Dance Dance Working With Community and Cultural Resources

Engage With Community and Use Resources Share Dance Experiences in Cultural Institutions, Colleges and Between Schools and Universities

Through the school’s participation in Students become aware of print, video Through in-school experiences in dance partnerships with dance artists and and online resources for dance research, class, between classes or with visiting Grade 2 institutions, students will: demonstrating the ability to: schools, students will: Benchmarks

N identify that there are multiple N use the school library to find dance N understand that dance is part of the Through school partnerships sources of dance learning, such as books and videos. school day. with dance institutions, the school dance specialist, a dance N use photographs in magazines and N describe how dance benefits the teaching artist, a college dance intern, videos as sources of dance images. school. teaching artists, colleges and a professional dance company. N access dance websites in guided N demonstrate dance learning to other universities and local, bor- N describe dance venues and cultural sessions. students. institutions in connection with ough and city dance venues, N share dance learning with parents. performances. children extend and enliven Suggested activities: N discuss dance with the classroom Suggested activities: N In the school library, look for books teacher. their experience as dance N Prepare for performances through with the word “dance,” “dancer” or Working With Community and Cultural Resources N share dance experiences with an older learners. dance activities and discussion of “dancing” in the title, or with dance dance buddy. audience behavior. as the subject. N Attend rehearsals and performances N Participate in a class tour of the Suggested activities: in theaters, colleges and universities, Dance Collection at the New York Entry points for teaching N Respond to a video of dances N an element of dance such as Body Actions and community centers. Public Library for the Performing from another school through N a theme from students’ lives such as My Family N Learn dance from a dance teaching Arts at Lincoln Center. Consider the creative choreography, videotaped artist. question: What is special about this commentary, pictures or writing. N a theme related to Social Studies and/or library? LanguageLet Arts suchthat as Native day American N Learn dance from a college or N Mentoring: Identify and examine a myths university dance teaching intern N Find images of dance in dance variety of role models, distinguishing be lost to us on assisting the dance teacher in the publications and appropriate and discriminating behavior that N a traditional cultural dance such as Kou classroom. websites. exemplifies a mentor in dance; whichKou (West weAfrica), didRibbon Dancenot (China,) N Attend performances in school partner with a 5th grade dance Native American Friendship Dance given by dance organizations and buddy. danceN a visual art once! work such as Van Gogh companies, and engage in post- Friedrich(Starry Nietzsche Night) performance discussions. N a poem or narrative such as those by Shel Silverstein (A light in the Attic), Ezra Jack Keats (Pet Show) N an environmental theme such as The Seasons N a musical element such as Legato/ Staccato

14 N Blueprint for the Arts N Dance Dance Exploring Careers and Lifelong Learning

Learn About Careers in and Set and Work Toward Goals Value Dance as a Source of Related to Dance Enjoyment and Lifelong Learning

Through an introduction to jobs in and Through participating in dance over Through participating in dance in related to the dance field, students will: time, students will: school on an ongoing basis, students Grade 2 will: Benchmarks N understand that there are people who N identify how coming to dance make their living in professions in class and participating fully is a N feel comfortable enough to dance Children are introduced and related to dance. preparation for being a dancer. freely and spontaneously at family to a variety of careers in gatherings. N identify basic professions in dance. N discuss what dance class teaches and related to dance, and N identify basic professions related to children about concentrating, N ask to be taken to dance dance. working hard, thinking about how performances. understand that everyone things work, creating, working with N express enjoyment of dance. others. can continue dancing and N express pride in student dance Suggested activities: enjoying dance throughout N Ask the dance teacher about her/his performances. Suggested activities: own dance career; understand that N value dance as an integral part of life. their lives. They realize Exploring Careers and Lifelong Learning teaching dance is a dance profession. N Find pictures of a baby in motion, a toddler playing, children dancing, that being a dance artist N Participate in a guest visit by profes- Suggested activities: sional dancers or choreographers, and adult dancers in performance. involves processes that they Create a story about how you imagine N Participate in a parent-child view a short presentation of their intergenerational dance event. are already practicing. work, learn some of the movements, yourself dancing when you are older. N Visit and observe a 5th grade dance N Contribute to a class portfolio of and hear them speak about their life class. in dance. student drawings and writings about dance. N Invite family to student dance Dance first. N Participate in a hands-on workshop performances. with a professional in a dance-related N Discuss the challenges of working Think later. It’s the field like a musician or costume with a partner, and devise N Visit a local dance studio. designer. cooperative strategies. N Attend dance performances at a local natural order. theater. N Contribute to a chart of professions Samuel Beckett in and related to dance, learning the definitions of: dancer choreographer dance teacher composer costume designer

15 N Blueprint for the Arts N Dance Dance Teaching Through the Five Strands 2nd Grade Sample Thematic Unit:

Dance Making Devoloping Dance Literacy Making Connections Students make imaginative connections by exploring and inventing body movements to create an original class dance inspired by Rainbow Crow, a Native American Lenape myth Develop Skills and Understand Dance as a Means of Expression Understand Dance History and the Social retold by Nancy Van Laan. They integrate learn- Techniques and Communication and Cultural Significance of Dance Build body awareness, Discuss the dance to explore questions such as: Discuss how cultures respond to the changes in ing the Native American Friendship Dance into cooperation, creativity and the seasons through stories, songs and dances. the unit to support their creative work. expressive skills by inventing N How does this story explain natural events? Ask parents about dances from their culture that and recalling body actions to N How are the characters portrayed in movement? celebrate the seasons or mark events such as planting Working With Community Exploring Careers and express the images and themes N How does the dance express the story differently or the harvest. and Cultural Resources Lifelong Learning of Rainbow Crow. Learn the from words and pictures? movements of the Native Connect Dance to Other Arts and Disciplines N Why might different people interpret the same Music: Recognize, clap, and move in time to the American Friendship Dance, dance differently? building the ability to reproduce beat, tempo, and rhythms of the Native American N Why do people dance in many different ways? and retain steps in sequence. Friendship Dance. Engage With Community Learn About Careers in and N How have we participated in this unit as dancers and Cultural Institutions, Related to Dance Improvise and choreographers? Visual Art: Contribute to the creation of simple Colleges and Universities Participate as a dancer in the Find action words in the story costumes and sets for the Rainbow Crow dance, Work with a teaching artist Native American Friendship referring to Native American depictions of animals of Rainbow Crow such as “fly,” Apply Dance Vocabulary, Terminology and and/or the school dance specialist Dance. Participate as a “climb,” “run” and “gather,” and in drawings, paintings, jewelry, rugs, masks and to learn the Native American choreographer and as a dancer Symbols headpieces. explore them with various parts Contribute descriptive vocabulary and action words Friendship Dance. Participate in the Rainbow Crow dance. of the body, shapes, actions, drawn from the story of Rainbow Crow to a class Theater: Create a characteristic sound and in school partnerships with Contribute to creating the dynamics, levels and spatial list. Create a movement sentence of three to five movement for each animal in the dance. Native American song and costumes for both dances. paths. Invent original movements body actions inspired by these words. With peers, dance groups (e.g., the American Discuss and understand the to express the images and notate the movement sentence using motif symbols Language Arts: Create a dance narrative based on Indian Thunderbird Dancers, the difference between the roles meanings of the Native American or invented images. Use dance words to describe the action words from the book. Mohawk Native American Singers of choreographer, dancer and Friendship Dance. movements, patterns and formations of the Native & Dancers). Attend a powwow costume designer. Math: Visually represent counts and groups in the American Friendship Dance. held in New York City. Choreograph dance. Set and Work Toward Goals Create a movement sentence Use Dance Research Set short-term goals such as using movements generated Science: Use observations of various animals to Resources creating a movement sentence by Analyze, Critique and Communicate About create and demonstrate movements for the dance. in response to action words, Dance Use the school library to find the end of a class period. Imagine descriptive words, themes, and Observe the movement sentences created by other books based on Native American the next dance that you would images from the story of Rainbow students for Rainbow Crow, and discuss the images Utilize Technology in Connection With myths such as Rainbow Crow and like to create and describe it. Crow. Contribute it to a class that the shapes, actions and movement qualities Dance Jumping Mouse, and books on dance. Value Dance as a Source of suggest. View student performances of the Native View a videotape of students practicing the Native Native American dances. Visit the Museum of the American Indian Enjoyment and Lifelong Perform American Friendship Dance, live professional American Friendship Dance. Notice and discuss the ex- Learning performances of Native American dances (e.g., ecution of the dance, and revise performance accordingly. to learn about Native American Perform the Rainbow Crow dances, songs, drumming and Invite parents/caregivers to a dance and the Native American the American Indian Thunderbird Dancers, the View a videotape of animals to help find animal culture. class practice or a performance Friendship Dance for another Mohawk Native American Singers & Dancers), or movements for the Rainbow Crow dance. Discuss the of Rainbow Crow and the Native class; share responses. Practice videotapes (e.g., Native American Men’s & Women’s qualities that characterize the ways different animals Share Dance Experiences in American Friendship Dance. and refine the dances and Dance Styles), and web key characteristics of Native move (e.g., stealthily, suddenly, lazily, fiercely) and School and Between Schools Teach parents/caregivers some of perform at a school assembly for American dance styles. Discuss the Native American explore in movement. the steps. peers and families, demonstrating Friendship Dance and the cooperation and concentration. Identify and Compare Dance Styles, Genres, Connect Dance to Health and Well-Being Rainbow Crow class dance with Major Works and Artists Discuss how various animals move, considering the classroom teacher. Perform Learn movements from two styles of dance, such questions such as: What parts of their bodies need to the dances for other grades and/ as a Native American Friendship Dance and an be strong or quick? Relate to human movement. or parents. Israeli Hora. Identify and compare basic movement Discuss how friends work together to solve a elements and spatial formations. problem, and why this contributes to individual and community well-being. 16 N Blueprint for the Arts N Dance 5th Grade 5th Grade Dance Dance Making

Develop Skills and Improvise Choreograph Perform Techniques

Through participation in dance Students explore dance Students collaborate on Students perform, demonstrating classes, students achieve the movement and group dynamics, choreography, demonstrating the the ability to: Grade 5 ability to: demonstrating the ability to: ability to: Benchmarks N reproduce complex sequences N demonstrate a variety of N collaborate in improvisations. N select themes, discuss and accurately. Through ongoing extensions and flexions, limb N invent solutions to movement plan, and develop movement N remember a dance with participation in dance, rotations, stretches, swings, problems. in collaboration with peers, in multiple parts and internal bends and twists. partners and small groups. students develop N distinguish symmetrical and entrances and exits. N exhibit control in balance asymmetrical shapes. N create a short dance with N dance with focus and intent. strength, flexibility, (two feet, one foot, other body peers, incorporating several N employ a variety of traveling N dance with a range of and endurance. They points). actions. movement phrases with a expressive qualities. N execute a variety of locomotor beginning, middle and end. layer compositional N dance with contrasting N dance with responsiveness to movements with changing dynamics. N use unison movement in rhythm, tempo and mood of elements and select shapes, dynamics and different directions and spatial music. Entry points for teaching: pathways. N combine and layer movement paths. themes for group cho- elements. N work in silence or in relation N an element of dance such N demonstrate movement N make choices based on simple as Levels & Directions or N use focus as a dance element. to text. reography, apply their combinations in duple and choreographic structures such Pathways in Space triple meters, even and uneven N work alone, or cooperatively as AB, ABA, canon, theme and N exhibit self-awareness and increasing awareness N an introduction to technique rhythms. with a partner or small group, variation. awareness of the audience in of dance forms as they with awareness of the self in performance. or style such as Modern N dance with weight shift, N rehearse, evaluate, revise and Dance, Ballet or Tap transition and flow. relation to others. edit a dance in collaboration N dance with sensitivity to an learn more complex N a theme from students’ lives N respond to musical accents and with peers. ensemble. N apply basic partnering skills. such as Games or Dreams dances, demonstrate rhythms. Ndemonstrate awareness of cul- N build techniques and execute N a theme related to social self-initiative, and col- Suggested activity: tural tradition and style or combinations of elements in genre. studies such as the American Suggested activities: N Create a dance with peers, laborate actively with various dance forms. Civil War or Latin America N Explore structures such as using group formations, a N improve performance through others in class, rehears- Follow the Changing Leader, variety of locomotor and repetition and correction. N a traditional cultural dance Suggested activities: such as La Bomba (Puerto Echoing, Pass the Movement. non-locomotor movements, N understand stage directions. al and performance. N Practice exercises and Rico), Flamenco Sevillanas N Improvise collaboratively on expressive dynamics and N consistently exhibit appropriate combinations that build (Spain), Atan (Afghanistan), a theme. changing spatial paths. behavior in rehearsal and strength, awareness, Buzzard Lope (American Civil performance. coordination and control. War), or American Square N Learn basic skills of a style. Respond, Reflect, Revise Respond, Reflect, Revise Dance or Reel Engage in discussion using Revise and edit choreography Suggested activities: N Explore concepts through N a poem or narrative such as dance vocabulary and student- through discussion using dance N Perform for peers in class. improvisation. those by Roald Dahl (The generated criteria to increase vocabulary and student-generated N Perform at school assemblies N Learn more complex dances. BFG) or Maya Angelou (Life range of exploration, to focus criteria, to support individual and functions.

Doesn’t Frighten Me) Dance Making improvisation, and to support styles and personal expression. Respond, Reflect, Revise N Perform at local community N a visual art work such as individual styles and personal Consider questions such as: Why organizations. Improve dance skills and support expression. Consider questions did we make these movement and those by Jackson Pollack individual styles and personal such as: How does changing the spatial choices? (drip series) or Keith Haring expression by observing other movement quality or speed affect Respond, Reflect, Revise (movement figures) Discuss in-class and stage perfor- students, engaging in discussion this improvisation? What are N an environmental theme mances, using dance vocabulary, using dance vocabulary, and some other ways to approach this such as The Rainforest or and evaluate according to student- developing criteria with peers and movement problem? Volcanoes generated criteria. Consider ques- teacher. Consider questions such N a musical element or quality tions such as: What do we need as: In what ways might I do this such as Syncopation or to do and think about in order to movement differently? Canon dance together as a group? 18 N Blueprint for the Arts N Dance Dance Developing Dance Literacy

Understand Dance as a Apply Dance Vocabulary, Analyze, Critique and Identiify and Compare Means of Expression and Terminology and Symbols Communicate About Dance Styles, Genres, Communication Dance Major Works and Artists

Students understand the concepts Students understand, speak Students respond to dance Students identify and distinguish “narrative,” “themed” and and read an expanding dance with an opinion supported by several different forms of dance, Grade 5 “abstract” as they apply to dance, vocabulary; apply it to their examples based on collaboratively demonstrating the ability to: Benchmarks demonstrating the ability to: writing; and use it to enrich derived criteria, demonstrating their dancing, demonstrating the the ability to: N identify and describe at least Students expand their N recognize the difference ability to: four different dance styles and dance vocabulary of between a story and a theme N identify the date, performers genres. in dance. N apply contrasting dance words, and venue. N use dance and descriptive words and symbols N describe the movement (e.g., point/flex, round/arch). N use dance vocabulary. language to compare and to further refine their components of a dance and N demonstrate and invent a N recognize the genre or style of a contrast styles. understanding and their effect. wide range of contrasting performance. N recognize aesthetic elements of action words (e.g., pull/push, N recognize and demonstrate N infer the ways in which specific different dance styles. communication of fall/recover) and descriptive how combining dance movements and spatial design N identify elements that are words (e.g., gliding/bouncy, ideas and themes in elements (e.g., head or torso create images that support the related to students’ own dance heavy/light). toward or away from an arm theme of the dance. practice. dance. They practice gesture) communicates images N understand general dance N interpret a dance in terms of N recognize several major works. constructive criticism concepts (e.g., parallel, turned and feelings. content (narrative, themed N analyze the effect of areas out, positions of the feet). using dance language, or abstract) and context Suggested activities: of the stage and facings of N name styles, genres, artists, (theatrical, ritual or social). and explore the ele- performers. companies, dance professions. N Contribute to a growing class N describe music and costumes. list of styles, genres, artists and ments that contribute N describe music and rhythms N use vocabulary specific to a N express personal reactions companies. dance style (e.g., Ballet: plié, in dance. based on specific examples. to expression and relevé, port de bras; Flamenco: N Compare and contrast works N recognize and articulate by choreographers such as meaning in dance. Suggested activities: golpe, zapateado, braceo, compas, palmas). personal aesthetic preferences. Jerome Robbins (Fancy Free), N Discuss what a dancer brings N express responses verbally and Fred Astaire/Hermes Pan N understand choreographic to dance and what a viewer (Top Hat), Paul Taylor (Three devices (e.g., repetition) and in writing. brings to dance. Epitaphs), Alvin Ailey (Cry). structures (e.g., ABA, theme N Explore questions such as: and variation). What is a symbol? In what Suggested activities: ways can dance movements be N combine motif symbols or N Create a set of agreed-upon symbols? invented notation to represent criteria for evaluating dance simultaneous movement with teacher and peers. N Compare and contrast live or Alone or in concert concepts. N taped performances of dances Use notation to analyze a dance man dances his ‘selves’ and that are narrative (e.g., Mark N follow basic stage directions movement. Morris’ The Hard Nut) and (upstage, downstage, stage N Post student ads for dance

his feelings, his knowledge and Dance Literacy abstract (e.g., Paul Taylor’s right and left, wings) and stage events, reviews of dance Esplanade). maps. performances and reflections his intuitions, and his dance N understand basic information about learning or creating a about muscles and bones. dance. becomes a communication as clear as though it were Suggested activity: N Maintain a dance journal written or spoken in a universal that includes responses to performances, vocabulary lists, language. Katherine Dunham drawings and notation.

19 N Blueprint for the Arts N Dance Dance Making Connections

Understand Dance Connect Dance to Other Utilize Technology in Connect Dance to Health History and the Social and Arts and Disciplines Connection With Dance and Well-Being Cultural Significance of Dance (Theatrical, Ritual & Social Dances) grade 5 benchmarks Through discussion and examina- inspiration for dance making in Students view videotape of Through participating in and tion of both choreographed and other disciplines, students make classes and both professional and reflecting on dance, students will: Grade 5 traditional cultural dances, original insights and connections student performances, and use Benchmarks students understand that all in dance, demonstrating the computer programs designed for N understand and describe how dances reflect a time and place, ability to: elementary school dance students, the body responds to small and Students illuminate their demonstrating the ability to: demonstrating the ability to: large movements, stretching relationship to dance N develop dance expressions of and aerobic activity. N identify clues about history and ideas and images from other N explain the difference between N recognize and demonstrate by exploring dances of culture in dance movements, disciplines. video dance documentation how small and large different cultures and costuming and musical N respond to dance using other and dance video as an art form. movements, stretching and accompaniment. art media or other disciplines. N describe the audience aerobic activity are sequenced periods, find shared ele- N describe who dances a dance, N combine dance with other arts perspectives provided by in a dance class. ments among the arts, and where, when and why it is and disciplines. video zoom, pan, and cut as N describe the ways in which use video and interactive danced. compared with live viewing dance builds good coordina- from a single vantage point. N discuss how values and beliefs Suggested activities: tion, and analyze why good technology to support are reflected in a dance. Understand dance principles by N use a dance teaching program coordination might be dance learning, and an- N examine the cultural origins of learning or inventing dances, with guidance. desirable. Dance a variety of dance forms from using: N recognize that some foods are alyze the effects of dance around the world. Suggested activities: more healthful than others, has existed on body and mind. Music: syncopation in music and N Create a video of a dance with and identify healthful foods. dance from various traditions. Suggested activities: peers and edit it using such N understand caloric intake and at all times, N Learn a dance from one’s Visual Art: a “movement palette” software as Macintosh iMovie. what kinds of movements burn and among all heritage and teach it to the inspired by a painter’s palette. N Use interactive computer calories. class, explaining when and by choreography games. N recognize their own shifting people whom the dance is performed, Theater: script and blocking. N View a videotape of students in moods and the ways in which and its cultural significance. dance can help them explore and races. Language Arts: action and dance class, and make a list of and move through them. Mary Wigman N Learn elements of a dance style descriptive words drawn from a new or surprising information (e.g., Tap, ) and poem. that the video medium reveals. examine its roots. Suggested activities: N Research the originator of a Math: symmetry and asymmetry. N Create a web of small and large

technique. movements in dance, and the Connections Making Science: environmental issues, parts of the body they engage. N View videotapes of children natural systems or processes. studying dance in other N Bring in a list of healthful countries (e.g., Russia: The foods and share with the Children of Theatre Street), and class; discuss the importance compare with students’ own of healthful eating habits for experiences in dance class. dancers. N Take part in a whole-group N Discuss the effects of dancing non-presentational dance on self-confidence and comfort experience (folk, social or with one’s body. improvisational); discuss the feeling of participating in dancing as a community with no performance goal. By seeking themes and

20 N Blueprint for the Arts N Dance Dance Working With Community and Cultural Resources

Engage With Community and Use Dance Research Resources Share Dance Experiences in Cultural Institutions, Colleges and Between Schools and Universities

Through the school’s participation in Students utilize print, video and By sharing dance through classroom partnerships with dance artists and online resources for dance research, experiences, advertisement, Grade 5 institutions, students will: demonstrating the ability to: performance, documentation and Benchmarks mentoring, students will: N understand and describe different N use the school library to find In a variety of school part- approaches to dance making information about a specific dance N value dance as an integral part of nerships with dance cultural and performance learned from topic. learning. partnerships. N use published material such as N describe particular benefits of dance institutions, community N identify the different places dance magazines and videos learning to other students and organizations, and colleges learning and performing happen: as a source of dance teachers. and universities, students schools, colleges and universities, information. N work with peers to share or rehearse community centers, studios, theaters. N use dance websites dances. attend performances at and Internet teaching N bring parents to school to participate dance venues citywide, work Suggested activities: programs in guided in dance experiences. Working With Community and Cultural Resources sessions. with dance teaching artists, N Make a list of school partnership N share information and ideas learned activities and web the connections in dance class with the classroom see professional dance per- between them. Suggested activities: teacher. formances at their schools, N Attend professional and college-level N Research a specific dancer/ N share dance experiences with a dance rehearsals and performances in choreographer with a guided group younger student. and become familiar with a school; public, college and university using appropriate websites, and create theaters; community a summary. range of resources for learn- Suggested activities: cultural centers; and N Participate in a class visit to the ing about dance. site-specific venues. N Become “dance pen pals” with New York Public Library for the another class to exchange and N Engage in post- Performing Arts at Lincoln Center, reconstruct motif scores of dances. performance talkbacks and learn how to access the Dance with a list of questions Collection. N Mentoring: Make a list of roles that a dance mentor needs to play; become prepared in class; discuss N Use an instructional CD-ROM afterwards in class. a dance buddy for a 2nd grade dance or video to learn a dance. student. N Engage in workshops and N Read youth-oriented magazines about tours with partnering dance dance such as Young Dancer or Dance organizations. Spirit for articles about dance around N Work with a teaching artist to learn the United States. new dance styles and approaches. N Interview a college or university intern assisting in the dance classroom to learn about their goals. N Interview a teaching artist to learn about the mission of their cultural institution. The dance is for everybody. I believe that the dance came from the people and that it should always be delivered back to the people. Alvin Ailey

21 N Blueprint for the Arts N Dance Dance Exploring Careers and Lifelong Learning

Learn About Careers in and Set and Work Toward Goals Value Dance as a Source of Related to Dance Enjoyment and Lifelong Learning

By exploring the functions of various Through participating in dance over Through participating in dance in careers in and related to dance, students time, students will: school on an ongoing basis, students Grade 5 will: will: Benchmarks N develop short-term goals and long- N understand and describe what people term goals in dance and in personal N learn new dances from friends and Students make inquiries do in various dance and dance- growth. family. into the variety of careers related professions. N identify a personal relationship to N attend dance events outside of school N describe one dance-related career in dance. as a participant or audience. in dance and dance-related detail. N express interests and preferences in N initiate dancing as a social activity. fields. They begin to develop regard to various professions. N seek opportunities to dance in school personal goals in their own Suggested activities: and outside school. dancing. They visit local N Role-play dance-related professions Suggested activities: N promote dance in and outside of with peers and create a web, N Identify and describe personal school. dance venues, and learn answering the question: How many qualities that dance classes have people does it take to produce a strengthened, and speculate about about the physical and so- Suggested activities: Exploring Careers and Lifelong Learning dance performance? Relate this to how these might serve a person in N Watch dance on film, video and TV. cial benefits of dancing. students’ own experience. life. N Invite friends and family to student N Attend professional dance N Make a list of personal dance goals dance performances. performances and study the program and the steps necessary to achieve to see the various professions listed, them. N Create posters advertising school such as: dance performances. N Write an illustrated story about how dancer you imagine yourself dancing in 8th N Attend an after-school dance class at choreographer grade, and describe what you did to school or at a local dance studio. Dancing: The composer achieve this. N Attend dance performances citywide. highest intelligence costume designer N Read or create a story about musician becoming a dancer or doing a related in the freest body. job to help a dance production. Isadora Duncan set designer N Maintain a dance journal over lighting designer time, including such items as diary rehearsal director entries about dance experiences, and stage manager dance-related writings, drawing, and technical director photographs. N Interview people in non-performer professions related to dance. N Visit a performance rehearsal to observe a choreographer interacting with dancers, designers and technical personnel. N Create costumes or sets with peers, On with the dance! or prepare posters to advertise a performance, and discuss the role of Let joy be unconfined. Lord Byron the costume designer and marketing director. 22 N Blueprint for the Arts N Dance Dance Teaching Through the Five Strands 5th Grade Sample Thematic Unit: Dance Making Developing Dance Literacy Making Connections Students create an original class dance inspired by the Underground Railroad, exploring pathways in space and movement qualities that express emotional content, in Develop Skills and Understand Dance as a Means of Expression Understand Dance History and the Social Techniques and Communication and Cultural Significance of Dance response to the theme of making a dangerous Build skills in controlling and View and discuss examples of dances that are Learn a dance that was done by slaves during the journey from oppression to freedom. They combining movement elements abstract (e.g., Paul Taylor’s Esplanade), and dances Civil War period, such as the Buzzard Lope or the on varying pathways in space, related to the unit that are themed (e.g., Alvin Ailey’s Ring Shout, and understand its origins and meaning. integrate learning the Buzzard Lope, an layering actions, shapes, Cry) and narrative (e.g., Donald McKayle’s Rainbow Research other kinds of dance that emerged in African-American dance from the Civil War contrasting dynamics, and levels. ‘Round My Shoulder) to explore questions such as: African-American culture during the period, includ- Learn the Buzzard Lope, building ing dance parody. Discuss in relation to students’ period, into the unit to support their creative skills in dancing rhythmic N What kinds of ideas might an abstract dance be own dances done with friends, family and commu- work. movements, taking visual and based upon? nity. Compare with the Underground Railroad dance aural cues, and maintaining a N Is our class dance narrative, themed or abstract? and other dances students have choreographed. group circle formation in which Why? Working With Exploring Careers and soloists take turns. Discuss the role of dancing as an outlet for Community and Cultural Lifelong Learning N Is the Buzzard Lope narrative, themed or abstract? Resources Why? expressing feelings of joy in spite of harsh circumstances, and for giving a shared form to Improvise N In what ways is dance different from mime or feelings of sadness. sports? Explore the actions of the Engage With Community Learn About Careers in and Underground Railroad N What is communicated when a dancer moves Connect Dance to Other Arts and Disciplines and Cultural Institutions, Related to Dance towards the audience? Away from the audience? (creeping, darting, running, Music: Experiment with a range of musical selections Colleges and Universities In small groups, take turns being Faces the audience? Faces away from the hiding, reaching a destination) for the Underground Railroad dance, such as Attend performances of works by the rehearsal director for sections audience? traveling along various pathways Georgia Sea Islands chants, blues by Robert Johnson, companies that make reference to of the dance. Discuss the role of in space. Explore dynamics to N What else in a dance creates a strong reaction in a symphonic selections. the dance and music of African- rehearsal director with classmates. express emotions (suspense, viewer? American Southern culture (e.g., Visual Art: Create set elements and costumes fear, determination, courage, Reggie Wilson/Fist & Heel Dance with peers, referring to paintings by such artists as excitement, relief, joy). Take turns Apply Dance Vocabulary, Terminology and Company or Forces of Nature Jacob Lawrence (see below) and Doreen Rappaport Set and Work Toward Goals improvising the solo buzzard Symbols Dance Company). Invite the (Freedom River). Create a timeline with peers, figure in the Buzzard Lope. Examine key words, themes and images in the story company to the performance of working backwards from of the Underground Railroad, and explore these in the Underground Railroad dance. Theater: Integrate excerpts from the poem the performance date of dance. Learn the dance vocabulary that describes Choreograph “Harriet Tubman Speaks” by J. Patrick Lewis into the dance. Together, draft a the resulting movement. With peers, notate a phrase Work collaboratively with peers performance. plan for completing work in of movement from the dance, using a stage map to and teacher to create a narrative Use Dance Research choreography, stage rehearsal and draw the pathways and motif symbols or invented Language Arts: Read The Underground Railroad by dance based on the theme of Resources support preparations. notation to depict movements. Raymond Biel, or Harriet and the Promised Land by Use the school library and the the Underground Railroad. Jacob Lawrence to inform dance decisions. Create movement phrases, local public library to research dynamics, spatial paths and group Analyze, Critique and Communicate About Math: Create an original dance map depicting a social life and dances during Value Dance as a Source of formations inspired by words Dance journey from the South to the North, showing the Civil War period for the Enjoyment and Lifelong and images. Make group choices View a live or taped performance of a professional pathways and events in the dance. Underground Railroad dance. Learning about choreographic structure piece inspired by a different historical event or period Visit websites such as www. Discuss ways in which the class and how music is used in the (e.g., Doris Humphrey’s Shakers or Sophie Maslow’s Science: Identify constellations that guided the slaves, nationalgeographic.com/ has collaborated in the creation dance. The Village I Knew). Write a response, describing and use as imagery to inspire choreography. railroad to learn more about the of this dance, and the benefits of Continued on following page the narrative or theme, and the feelings evoked by Underground Railroad, and www. collaborating in dance and other the dance. Describe how the movements, dynamics, Utilize Technology in Connection With pbs.org/wnet/freetodance to learn activities. pathways and relationships between dancers convey Dance more about African-American both story and mood. Videotape students practicing different kinds of dances of this period. Continued on following page pathways with a variety of actions, dynamics and levels. Make group choices about choreography Continued on following page based on the viewing. Continued on following page 23 N Blueprint for the Arts N Dance Dance Teaching Through the Five Strands continued

Dance MakingDeveloping Dance Literacy Dance Literacy Making Connections Working With Community continued continued continued and Cultural Resources continued

Perform Identify and Compare Dance Styles, Genres, Play with an interactive choreography program Share Dance Experiences in Perform the Underground Major Works and Artists (e.g., LEGO MindStorm for Schools/Kaiserworks School and Between Schools Railroad dance and the Buzzard See a performance of a work about the African- Kidmotion) to create computer-generated ideas for Create posters and exhibits about Lope as part of a school assembly American experience like Alvin Ailey’s Revelations, the Underground Railroad dance. the Underground Railroad dance on the Civil War and slavery, and compare with the Underground Railroad for the school bulletin boards. demonstrating collaborative class dance in terms of theme, style and structure. Connect Dance to Health and Well-Being Post student-created stage maps behavior and a clear sense of the Consider questions such as: Revelations has Web the effects on healthy living of working showing the pathways used in the dramatic intent of the dances. sections—does our dance have sections? What cooperatively with others in dance class. Consider dance next to maps of the routes emotions are expressed in Revelations? In our class questions such as: What is enjoyable about of the Underground Railroad. dance? What themes of African-American history participating in dance with other people? Perform the dance for younger are explored in Revelations? In our class dance? Discuss the impact of slavery on people’s health. grades and/or parents. Consider questions such as: What are the many ways enslaved peoples have preserved their dignity and well-being through artistic expression, including dance? In what ways do freedom and choice allow us to be healthier in our bodies and spirits? How does dance play a part in that?

Alvin Ailey’s Revelations

24 N Blueprint for the Arts N Dance 8th Grade 8th Grade Dance Dance Making

Develop Skills and Improvise Choreograph Perform Techniques

Through participation in Students develop movement Students create a dance with Students perform, demon- technique classes, students learn phrases and examine various peers, demonstrating the ability strating the ability to: Grade 8 theatrical styles, culturally specific spatial groupings and patterns, to: Benchmarks dance forms, and social dances, demonstrating the ability to: N recall and reproduce complex achieving the ability to: N clearly express the intent or movement phrases and Through formal study N demonstrate initiative in theme of the dance. spatial formations. of a range of styles, N exhibit proper muscle use, improvisations. N incorporate several N execute internal alignment and posture N vary movement phrases sections with a beginning, entrances and exits on techniques and genres appropriate to a style. through reordering. development, resolution and musical cues with including their own N demonstrate strength and N vary movement phrases by ending. dependable accuracy. social dances, students flexibility in jumps, deep changing rhythm, tempo, N use original movement motifs N change focus, mood and intent bends, turns and extensions. dynamics and use of space. informed by the genres and for different dances. expand their percep- N coordinate a range of small N use dynamics for expression styles studied. N dance in various styles and Entry points for teaching: tion of dance and and large movements specific N use gesture as a source of dance N develop movement motifs to genres, with clear differences N an element of dance such as to a style. movement. derive phrases. in body posture and attitude. Dynamics or Rhythm demonstrate a variety N demonstrate control and N transfer spatial patterns from N use a variety of partnering N dance with physical and N a dance technique or style of style-specific skills. balance in centered and off- visual to kinesthetic. techniques. expressive commitment. such as Ballet, Horton or centered movements. They apply an un- N improvise non-literal N juxtapose a unison group N perform improvisations. Limón N execute combinations of movement on a dramatic against a solo or duet, and two N dance with rhythmic accuracy N a theme from students’ derstanding of cho- steps with transitions in theme. or more unison groups against and musical feeling. lives such as Friendship or varied dynamics and spatial reographic principles each other. Loneliness orientations. N make spontaneous choices N actively relate to the audience. N understand and use and structures when in with N collaborate with an ensemble N a theme related to social N move in syncopated rhythms: sensitivity to the partner. choreographic structures such in rehearsal and performance studies such as 20th Century learning, developing, dotted rhythms, polyrhythms, as ABA, theme and variation, N work alone, or collaborate with decisions. America or War odd meters (e.g., 5/4 time). canon, call and response, and performing danc- a partner or mid-size group. N improve performance N a traditional cultural dance N employ various kinds of counterpoint. such as Funga (West Africa), es, demonstrate the partnering techniques. N translate rhythmic patterns independently in response to from aural to kinesthetic. N use choreographic designs such feedback. Floral Fan Dance (Korea), ability to self-correct in N execute movement sequences as diagonals, lines, clusters, Dabkah (Lebanon), Syrtos/ in a variety of dance forms entrances, exits. N understand stage procedures response to suggestions, and conventions. Kalamatianos (Greece) or with accuracy. Suggested activities: N choose appropriate music. American social dances N exhibit attentive audience and develop personal N Manipulate movement phrases N show initiative and learning behaviors when N a poem or narrative such as Suggested activities: with devices such as repetition, technical goals for im- independence in rehearsals. viewing the work of other those by Langston Hughes N Take classes in such techniques inversion, retrograde. students. (“The Dream Keeper”), or proving dance skills. as Modern (e.g., Horton, N Explore structures such as Call Suggested activities: Robert Frost (“Mending Wall,” Limón), Ballet, Tap, Jazz, etc. and Response, Flocking. “The Road Not Taken”) N Collaborate with peers to set Suggested activities: N Take traditional dance classes Continued on following page formations and spatial patterns N a visual art work such as Dance Making (e.g., Flamenco, West African, N Perform in class, school for a group work using learned assemblies and festivals. those by Rodin (The Thinker, Balkan). movement material. The Burghers of Calais) or N Perform at regional festivals. N Learn social dances from N Create a work with peers using Jean-Michel Basquiat (In various periods. original movement material, N Perform at community Italian, Abuelita) organizations. Continued on following page devices to manipulate phrases, N a musical element or quality and a clear choreographic Continued on following page such as Polyrhythms or structure. Counterpoint Continued on following page N an excerpt or version of a dance such as Nutcracker or Revelations

26 N Blueprint for the Arts N Dance Dance Dance Making continued

Develop Skills and Improvise Choreograph Perform Techniques continued continued continued continued

Respond, Reflect, Revise Respond, Reflect, Revise Respond, Reflect, Revise Respond, Reflect, Revise Clarify and improve dancing Show work at each class session, Show and discuss dance studies- View a videotape of the by analyzing the way the body and respond to work by other in-progress, using agreed-upon performance. Note the qualities works, and the characteristics students, to further exploration protocols and criteria to address that the performers exhibited and demands of various genres, of new movement ideas as a a student choreographer’s in their dancing and the overall styles and techniques. Consider class and individually. Consider intention, how the choreography effect of the performance. Discuss questions such as: In what ways questions such as: What devices communicates, and how it might according to a class-generated do my muscles need to work to might we use to create new be improved. The choreographer protocol. Consider questions such accomplish this movement? movements from existing might ask: How can I reorganize as: How do our individual styles movements? this dance to enhance its affect a group performance? How expressiveness? How can I use can personal expression make a music more effectively to support dance stronger? my theme? Dance Making Dance Making continued

27 N Blueprint for the Arts N Dance Dance Developing Dance Literacy

Understand Dance as a Apply Dance Vocabulary, Analyze, Critique and Identiify and Compare Means of Expression and Terminology and Symbols Communicate About Dance Styles, Genres, Communication Dance Major Works and Artists

Students understand related and Students increase and diversify Students present informed opin- Students differentiate a variety contrasting elements in dance dance vocabulary, demonstrating ions about dance based on stated of styles, and gain familiarity Grade 8 that create a movement language, in dance movement, discussion criteria and supported by examples with a range of dance companies José Limón’s Benchmarks demonstrating the ability to: and writing the ability to: expressed in dance terms, that can and artists, demonstrating the The Moor’s Pavane be defended in comparison with ability to: Through critical and N recognize call and response in N apply contrasting (e.g., fall and those of peer critics, demonstrat- practical investigation, dances. recovery) and synonymous ing the ability to: N identify, describe, compare and N identify moments of contrast (e.g., turnout and rotation) contrast at least six different students develop the and surprise. dance words. N accurately identify the time dance styles and genres. vocabulary and con- and date, all performer and N identify developments and N use descriptive words in N use dance language to describe cepts to discuss dances variations of dance figures combination with dance non-performer participants, specific aesthetic differences (partnered step combinations). terminology (e.g., “a syrupy and venue. and similarities between styles and dance making in recovery”). N describe the genre or style, and artists. N understand and demonstrate terms of style, struc- how agreement or contrast N demonstrate and refer to steps using pertinent style-specific N understand and infer the between parts of the body, in combination (e.g., run-run- vocabulary. technical demands of a style. ture and design. They dynamic attack, and direct leap, chassé, pas de bourrée, N use expressive language to N describe the relationship to You expand their under- or indirect motion create shuffle ball-change flap flap). describe their emotional music in a style. meaning. N use style-specific vocabulary responses to performances. do not standing of the origins (e.g., Hip-Hop: lockin’, poppin’, N identify the movement N understand the effect of spatial Suggested activities: of and connections toprockin’, b-boyin’; Ballet: components in a dance phrase. separate transitions in areas of the stage N Attend performances and enchainement, adagio, en between dance styles in space. N analyze basic structural view videotapes of dances in the human pointe). N identify a elements of the choreography. a variety of dance styles and the ongoing evolution dance’s specific N identify various choreographic N evaluate performer qualities. genres, and choose one to being from devices (e.g., canon, of the art form. relationship to N analyze dance content and analyze in depth. accumulation, retrograde) and the actions time, rhythm and social/cultural context. N Research the connections structures (e.g., rondo, call and music. between two dance styles. response). N recall details about costumes, he does, or the actions N analyze the music and stage design and N Compare and contrast N use motif symbols or invented use of individu- analyze their effect on the dances by various American which surround him, notation to indicate leading als, partners and performance. choreographers (e.g., Merce groups. parts of the body. but you can see what it N speculate on the intent of the Cunningham’s Rainforest, N analyze the N understand stage terminology dance and whether it was Alvin Ailey’s To Bird With is like to break these effects on a viewer and staging concepts (e.g., successfully communicated. Love, José Limón’s The Moor’s of both personal upstaging, crossover, center, Pavane). actions up in different quarter). N respond to dance verbally and aesthetic prefer- in writing. N Compare and contrast ences and physical N name muscles, bones and traditional cultural dance ways, to allow the point of view. tendons. styles shown by American or Dance Literacy Suggested activities: visiting dance companies. passion, and it is N Reflect upon personal criteria Suggested activities: Suggested activities: for evaluating dance, and share N Make a “family tree” of a dance passion, to appear for N Maintain a dance journal, form, including major N Analyze how varying the use of in class discussion. including dance research, artists and dates each person in his force affects the way a move- N Use student documentation ment feels, is perceived, and is dance resources and notation. of significant of the rehearsal process, works. own way. interpreted. N Notate a dance phrase. including notation, to N Consider questions such as: analyze dance. Merce Cunningham What constitutes a metaphor N Post student critical reviews in dance? of dance performances on Merce Cunningham’s the bulletin boards and in a Rainforest newsletter. 28 N Blueprint for the Arts N Dance Dance Making Connections

Understand Dance Connect Dance to Other Utilize Technology in Connect Dance to Health History and the Social and Arts and Disciplines Connection With Dance and Well-Being Cultural Significance of Dance (Theatrical, Ritual & Social Dances)

Through critical investigation and By investigating, comparing Students understand and use Through participating in and analysis, students understand how and synthesizing ideas common videotape as a tool for revising reflecting on dance, students will: Grade 8 dances evolve and interconnect, to dance and other disciplines, dance and as an integrated part of Benchmarks demonstrating the ability to: students gain new perspectives performance, and use computer N analyze the effect of dance on on dance, demonstrating the programs and websites for dance strength, endurance, aerobic Through research and N identify the participants in and ability to: learning, demonstrating the conditioning, flexibility, analysis, students gain a audience for dance in various ability to: coordination, physical cultures and historical periods. N apply basic principles common and mental self-control, sense of the development N analyze societal mores and how to dance and other disciplines N handle a video camera. emotional state, socialization of dance styles through they affect the way dance is to dance creation. N imagine, envision, describe and and cooperation, spiritual performed and received. N use ideas and images from carry out original uses of video fulfillment and balance in life. history. They increase other disciplines to inspire new images to enhance a dance N identify the elements of Basic Pa N examine how dance styles their understanding of 4 ttern: W oman approaches to dance study. performance. nutrition (vitamins, minerals, ’s Pa influence each other rt musical structures and 6 fats, carbohydrates, proteins). star across cultures. N respond to dance using N navigate a dance-teaching t her e 5 N examine the other art media and other website independently. N describe specific benefits qualities in relation to impact of significant disciplines. of good nutrition to dance dance, and integrate national or world events N incorporate other arts and performance. on dance styles and disciplines into dance creation Suggested activities: other art forms in the production. and performance. N Take video footage of only creation of dance pieces. 1 classmates’ feet and legs as they Suggested activities: are rehearsing a dance; repeat N Web the ways in which They expand their use of Suggested activities: Suggested activities: with only the upper body; use studying dance affects students’ technology to research N Research the period in which a Understand dance structures by to revise performance. health. choreographer was working or learning or inventing dances, N With peers, create a videotape N List everything eaten in a and create dance, and a dance form arose. using: of students dancing to weave three-day period and reflect relate dance to nutrition N Choose from a “grab bag of into a performance. upon it; discuss the role of Music: “music visualization” in countries,” and research the N Digitally videotape classes and eating habits in nutrition. and physcical development. movement of musical moods, dances of the country chosen. performances, and share with N Set goals for healthy behaviors rhythms and structures. N Teach a “travel dance” from another school via the World that can enhance dance another country to peers. Visual Arts: sculptural shapes Wide Web. experiences.

and the concept of volume. N Create and edit a video using Connections Making blue screen technology (e.g., Theater: character development; Final Cut Pro or equivalent mood. software). Language Arts: a novelistic N Videotape a class discussion; theme as an underlying structure; view and comment on the grammar in language and in exchange. dance. Math: symbolic representation of Dance is your pulse, it’s your values and relationships. heartbeat, it’s your breathing. It’s the Science: centrifugal and centripetal force (spiral and rhythms of your life ... and that’s common circular movements in place and traveling). to all the cultures and it’s common to all individuals. Jacques D’Amboise

29 N Blueprint for the Arts N Dance Dance Working With Community and Cultural Resources

Engage With Community and Use Dance Research Resources Share Dance Experiences in Cultural Institutions, Colleges and Between Schools and Universities

Through the school’s participation in Students utilize a variety of print, video By sharing analysis of dance with other partnerships with dance artists and and online resources for dance research, dance students, non-dance students, Grade 8 institutions, students will: demonstrating the ability to: parents and teachers of various Benchmarks disciplines, students will: N describe the activities of a dance N find information about dance in a Students broaden their company (e.g., training, rehearsals, variety of libraries and websites. N describe the process of learning, perspective about dance performances). N make use of published material such creating and performing dance to N understand the routine of a theatrical as magazines, periodicals, books other students. through school partner- dance performance: ushers, seating, and videos to learn about dance and N explain evaluation methods to other ships offering more diverse programs, house and stage lights, dance-related subjects. students. experiences with profes- audience attentiveness, performance, N share and applause. documentation with other students. sional dance artists both on Suggested activities: Working With Community and Cultural Resources N compare and contrast various dance N guide a peer or younger dance N Research dance companies using and off-site. They cultivate cultural institutions in terms of their student with sensitivity. mission in the community. general dance sites with links to a wider acquaintance with Modern Dance companies and N incorporate guidance and correction N describe the challenges and rewards choreographers, such as: www. from peer or high school dance dance performance ven- of participating in dance experiences dancer.com or www.artslynx.org. students. with a wider community beyond the ues in New York City, and school dance community. N Visit libraries and corresponding increase their use of librar- websites that specialize in dance, Suggested activities: such as the New York Public Library N Partner with another school to ies and the Internet for Suggested activities: for the Performing Arts at Lincoln share dance notation and other research in dance. N Attend performances and other dance Center (www.nypl.org); research such documentation, including videotape; events at local and citywide theaters, topics as specific dance artists, the reconstruct each other’s dances from community centers, privately dance of a specific culture, or dances various sources. operated dance studios, colleges and created by various choreographers to N Share dance documentation with universities; report on the event to the same piece of music. other students at their own or the rest of the school. N Read dance periodicals (e.g., Dance another school. N Observe rehearsals at the studios Magazine, Dance Spirit, Pointe Magazine) for information about N Share dance learning with peers from of partnering professional dance other schools in dance workshops. I do everything I companies. dance performances, programs and training. N Enroll parents as dance advocates in know how [to do] in a N Work with the school dance teacher the school. in partnership with teaching artists Twyla Tharp from a variety of dance institutions, N Bring relevant dance ideas to the dance. and compare and contrast styles and attention of teachers of other approaches to dancing and dance subjects. making. N Mentoring: Participate in a “big sib” program with a neighboring high N Research and share information about local dance studios. school dance program; partner with a younger class as a “dance big sib.”

Dance is music made visible. George Balanchine

30 N Blueprint for the Arts N Dance Dance Exploring Careers and Lifelong Learning

Learn About Careers in and Set and Work Toward Goals Value Dance as a Source of Related to Dance Enjoyment and Lifelong Learning

By participating in dance classes and Through participation in dance over Through participating in dance in in various capacities in school dance time, students will: school on an ongoing basis, students Grade 8 productions, students will: will: Benchmarks N identify elements in a performance N develop an understanding of the skill (e.g., passion, commitment, N enjoy dancing with friends at school. Students practice various sets necessary to function effectively professionalism) that motivate N dance comfortably at family and roles in dance produc- in dance and dance-related jobs. students to aspire to excellence. social gatherings. tion and transmission to N understand the relationships between N through observation and experience, N attend a variety of dance events in various professions in and related reflect on personal goals and take and outside school. understand dance-related to dance (e.g., dance company steps to achieve them. N become familiar with a range of careers. They identify goals manager, publicist, marketing N identify skills and qualities that New York City schools, studios and director, development director, lead to success in the dance field theaters that offer dance classes, for personal growth, and choreographer). and in life such as responsibility, films, lectures and performances. begin to look at next steps. Exploring Careers and Lifelong Learning N recognize the ways in which dance adaptability, organization, N organize for dance in and out of experiences support preparation for communication, project school. As active members of their allied health and movement fields management, time management. school dance community, (e.g., dance therapy, physical therapy, N make a work plan for improving weak occupational therapy, areas. Suggested activities: they advocate for dance in and medicine). N Make a directory of theaters in their school. New York City that program dance Suggested activities: performances. Suggested activities: N Make a list of favorite activities, and N Make a catalog of citywide dance N Produce a performance with peers, personal strengths and weaknesses; taking various roles, and analyze the studios and the kinds of classes they draft a plan to improve weak areas offer. skills needed for such jobs as: that might interfere with favorite dancer activities. N Invite parents, neighbors, friends, the school principal and other choreographer N Research high schools that have administrators to attend class Dancing is the rehearsal assistant dance programs and visit them; performances. program writing and design understand the admissions criteria; last word in life … in initiate with parents the application N Write about dance in the student lighting assistant and audition procedure; talk with newspaper. dancing one draws stage manager the school guidance counselor about N Create advertisements and displays costume designer the pressures and protocols of a high for dance performances. nearer to oneself. school dance audition. N Write thank-you letters to people who set designer Jean Dubuffet fund raiser N Research high schools that have attend performances or visit classes. advertising director strengths in areas necessary for N Organize, with peers and school staff, dance-related professions such as to create a dance club that extends photographer management, journalism, teaching the school dance program. reviewer/critic and technical theater. N Attend dance events at various venues documenter N Maintain a dance portfolio over with friends or family. N Promote dance as an active member time with journal writing, notation, of community organizations: student videotapes/CDs, photographs, tests. government, the student dance group N Research summer programs in dance. at a local community center, the student dance company at a local dance studio.

31 N Blueprint for the Arts N Dance Dance Teaching Through the Five Strands 8th Grade Sample Thematic Unit:

Dance Making Developing Dance Literacy Making Connections Students investigate theme and variation in 20th century American social dances, research the cultural and social origins of the dances, and understand the role of improvisation in Develop Skills and Understand Dance as a Means of Expression Understand Dance History and the Social social dancing in many cultures. They exam- Techniques and Communication and Cultural Significance of Dance ine the connections between American social Practice complex steps and Describe the ways people communicate with each Examine the African-American, Latin/South dances and other forms and styles of dance. variations of steps from American other in American social dances, and write an American, and European influences on American social dances of various decades, individual statement of the role social dancing plays social dances and social . Discuss the such as Cakewalk (circa 1900); in families and society. Explore questions such as: possible effects of immigration, Prohibition, the Working With Community Exploring Careers and Castle Walk (circa 1910); Charles- Depression and two world wars on social dance and Cultural Resources Lifelong Learning ton (1920s); (1930s), Jitter- N What social relationships and roles are implied expression. bug, or Shim Sham (1940s); by the facings, contact, and leader/follower or (1950s); relationships between partners? Connect Dance to Other Arts and Disciplines Engage With Community Learn About Careers in and or (1960s); Disco or N How do new social dances and variations on social Music: Examine the rhythms, tempi, and Cultural Institutions, Related to Dance (1970s); Electric Slide dance steps arise? instrumentation, and character of social dance Colleges and Universities Coach another pair of students music; discuss the relationships between Ragtime, (1980s); Hip-Hop (1990s). N How is social dancing related to popular music Participate in a school in a . Identify the and culture? Jazz, Swing, Salsa, Rock ‘n’ Roll, and Hip-Hop music partnership with an organization skills that make dance teachers and dances. that teaches social dancing (e.g., effective. Take responsibility Improvise American Ballroom Theater), to for one support role in the Visual Art: Research the costumes worn by social Use reordering, adding, repeating, learn and create social dances. production, and report on the Apply Dance Vocabulary, Terminology and dancers of various periods, including footgear; rhythm changes and level changes Visit social dance studios (e.g., experience to the class. Symbols discuss how period dress affects movement; to explore variations of American Sandra Cameron Dance Center, Call out steps and figures of various American social collaborate with an art class for costume design; find social dance figures. Create at Stepping Out, DanceSport), dances, and respond by dancing the appropriate depictions of social dancing in art and photography least one individual original to observe or participate in movements. Research social dance manuals to learn over the decades. Set and Work Toward Goals move. lessons. Attend performances by about various forms of notation, including foot Reflect in journal writing companies that use social dance patterns and written instructions. Create a score Theater: Participate in a period play or musical that upon personal qualities that in a concert setting, such as Big Choreograph for a social dance using motif symbols or invented features a social dance scene. participating in social dancing has Apple Lindy Hoppers (Jitterbug), Focus on one American social notation, including drawings and words. Use the strengthened. Language Arts: Create a dance inspired by “Life Ballet Hispanico (Salsa), and dance, and create a dance score as an aid in practice and retention. Doesn’t Frighten Me” (poem by Maya Angelou, Rennie Harris’ Pure Movement with peers, using basic steps paintings by Jean-Michel Basquiat), using Hip-Hop and Bill Shannon/Crutchmaster and formations learned, and Analyze, Critique and Communicate About rhythms, steps and music; discuss the relationship (Hip-Hop). Value Dance as a Source of incorporating improvisation and Dance between graffiti and Hip-Hop. Enjoyment and Lifelong original steps. Choose period View a movie featuring choreography based on Learning music for the dance. social dances (e.g., Footloose, Saturday Night Fever Math: Count rhythms and measures of social dance Use Dance Research Enjoy and initiate social dancing or West Side Story), a performance of choreographed phrases and music. Resources at school festivals and events. Use the school library, local Perform social dancing by a professional company (e.g., The Science: Examine the effect of momentum on libraries, websites and the New Perform the American social Lindy Hoppers, Mama Lou Parks Dance partnering. York Public Library for the dances project in a variety of Company, or Ballet Hispanico’s Club Havana), or Performing Arts at Lincoln informal and formal venues in social dancing as depicted in a Broadway show (e.g., Center to research American school and off-site. Demonstrate Hairspray, Grease or Pajama Game), and write a Utilize Technology in Connection with social dances. Read social dance authentic period style, musical review, demonstrating knowledge of a range social Dance magazines (e.g., Ballroom Review) and rhythmic acuity, and the dances. Videotape class practice of social dances, and study for articles about social dance and ability to improvise social dance Continued on following page to revise and improve performance. Create a CD of a news about events. figures. Discuss in what ways it student performance of social dances with student- Continued on following page is different to dance in a social researched informational text. context and a performance Continued on following page context, and assess individual preferences.

32 N Blueprint for the Arts N Dance Dance Teaching Through the Five Strands continued

Developing Dance Literacy Making Connections Working With Community continued continued and Cultural Resources continued

Identify and Compare Dance Styles, Genres, Connect Dance to Health and Well-Being Visit sites such as Major Works and Artists Web the long-term health benefits of social dancing. www.memory.loc.gov/ammen/ Watch movie musicals or the documentary That’s Consider questions such as: How does social dihtml/dihome.html, Entertainment, and identify references to American dancing affect my aerobic conditioning? My physical http://northbysouth.kenyon. social dances. strength? My coordination? My sensitivity? My self- edu/1998/music/dance/dance. confidence? htm or Research and make a presentation on a famous www.pbs.org/wnet/freetodance/ creator and/or teacher of social dance (e.g., Irene and behind/behind_minstrel2.html Vernon Castle, or Frankie Manning). for history of Ballroom and early 20th century dances, and sites Compare and contrast a social dance and a related such as dance style (e.g., Hip-Hop and West ). www.centralhome.com/ Examine the connections between social dances and ballroomcountry/swing.htm for styles such as Jazz, Tap, and Afro-Cuban Dance. history of Swing Dancing.

View appropriate excerpts from the VH1 special Thirty Years of Hip-Hop to support learning in the Hip-Hop style.

Share Dance Experiences in School and Between Schools Frankie Manning and partner Write an article about the upcoming performance in the school newsletter. Host a class workshop for younger grades and/or parents to teach them one of the dances. Exchange notation and video of a dance with another class in school or with a dance class from another school.

33 N Blueprint for the Arts N Dance

12th Grade 12th Grade Dance Dance Making

Develop Skills and Improvise Choreograph Perform Techniques

Through participation in ongoing, Students work in a variety of Students create a solo or group Students perform in a wide sustained and sequential dance improvisational structures to work independently or with variety of venues, demonstrating Grade 12 technique classes, students extend develop a personal style and peers, demonstrating ability to: the ability to: Benchmarks physical and conceptual skills in expand movement vocabulary, a variety of styles, achieving the demonstrating the ability to: N present a clear and detailed N exhibit a high level of dance Through sustained, ability to: proposal for a dance. awareness and achievement. sequential study and N suggest and develop original N create a dance with a N demonstrate internalized N demonstrate understanding of improvisation structures. beginning, development, standards of excellence. analysis, students gain weight placement and support N combine body actions, elaboration, resolution and N make appropriate performance performance skills and specific to a dance form. dynamics, space, relationships, ending. choices to support conceptual under- N demonstrate competent props and vocalization to find N employ original movements choreographic intent. skill elements in a variety of new movement. informed by a technique, genre N dance with a unique personal Entry points for teaching: standing in a variety dance forms (e.g., strength N extend gestures to create dance or style. style. N an element of dance, such as in extensions, turns, jumps, of dance forms, and movement. N develop material based on Focus or Time complex coordinations). N dance with sensitivity to achieve technical pro- N initiate movement using observations of fellow dancers’ musical phrasing. N a dance technique or style, N demonstrate proficient devices such as breath impulse, improvisations. such as Graham, Limón, ficiency in at least one technical skill in one genre, N dance with confidence passed energy, physical N understand and use unison in a range of performing Ballet, Jazz style or technique. manipulation. style. They teach and movement, juxtapose unison experiences, including N a theme from students’ N use expressive musical phrasing N improvise non-literal dance groups with solos and duets, theatrical , lives such as Identity, demonstrate for peers, and dynamic control. movement to define a dramatic juxtapose unison and non- traditional ritual and social Relationships, or Transitions create improvisational N move on mixed meters character. unison groups. dance, and musical theater. N a theme related to social with and without musical N explore group dynamics and N use various choreographic N perform student works, studies such as Women’s problems for class accompaniment. relationships. structures such as ABA, rondo, teacher-created works, and Roles, Social Justice, or exploration, develop N demonstrate proficiency N work comfortably in a range of theme and variation, canon, works by guest artists. Leadership in a variety of partnering palindrome, suite. a repertoire of their partnering relationships. N self-evaluate to improve N a traditional cultural dance techniques. N work alone or collaborate with N use choreographic devices such performance. technique such as Afro- own choreography and N execute extended sequences in as repetition, call and response, a partner or any size group. N understand and apply basic Haitian, Flamenco, , a variety of dance forms with echoing, accumulation, other works, engage in N interpret a visual score in skills in technical theater. Kabuki, American Clogging, dependable accuracy. retrograde, inversion. Irish Step all aspects of perfor- movement. N exhibit proper theater etiquette N convey a dramatic through-line N interpret a musical score in in rehearsal, audience and N a visual art work such mance and production, Suggested activities: movement. and an emotional subtext. performer situations, and as works by Matisse or N Study techniques such as and demonstrate the Continued on following page N choose appropriate staging and respectful cooperation Bearden, Medieval icons, Ballet (any method), Modern costumes. with stage crew and design pre-Colombian sculpture, ability to self-correct Dance (e.g., Graham, Horton, N select dancers based upon personnel. Japanese prints Limón, Humphrey/Weidman, without suggestion. multiple criteria. N a poem or narrative such as Holm/Nikolaïs, Cunningham,

works by Keats, cummings, Dance Making Release Technique, Contact N choose appropriate music or Suggested activities: Nikki Giovanni or García Improvisation), West African, work collaboratively with a live N Perform for peers in class. Márquez Afro-Haitian, Jazz, Hip-Hop, musician. N Perform at in-school events. N a musical element or Rhythm Tap, Broadway Tap, N rehearse, document, evaluate N Perform in regional festivals. and revise choreography quality such as Phrasing or Flamenco, Broadway Theater N Represent the school by Accelerando/Decelerando Dance (e.g., Fosse, Bennett), independently. performing in citywide events. Latin Salsa, Odissi, Kabuki. Continued on following page N a theme from science such as N Perform at community Metamorphosis or Gravity Continued on following page organizations. N an excerpt from a dance Continued on following page such as Steps in the Street or Shakers

36 N Blueprint for the Arts N Dance Dance Dance Making continued

Develop Skills and Improvise Choreograph Perform Techniques continued continued continued continued

Respond, Reflect, Revise Suggested activities: Suggested activities: Respond, Reflect, Revise Refine dancing by understanding N Improvise using text and/or N Create a solo reflecting a Meet after performance to hear personal strengths and sounds while moving. distinct personal statement; performance “notes” from the limitations, work with an N Explore various ways to express perform it or set it on another teacher and other students. understanding of stylistic intent, emotion using non-gestural student. Discuss according to a class- and develop strategies to improve movement. N Create a group work for peers generated protocol. Rehearse execution. Consider questions based on an abstract concept “notes,” both individuallylly and such as: How can I modify my Respond, Reflect, Revise such as Time. as a group to furtherher develop movement to make it more Observe group improvisations, performance.e. Consider questions expressive? and discuss how dance elements such as: Whatat can I do personally are used in combination Respond, Reflect, Revise to improve my own performance or isolation. Apply general Show and discuss dance studies- as an individual and as part of an observations to developing a in-progress, using a standard or ensemble? personal approach to movement. class-generated critical protocol Consider questions such as: Why (e.g., one compliment, two is it important to expand my questions, one suggestion); revise movement vocabulary through work accordingly. Consider improv? questions such as: How might I make this movement or phrase more interesting and relevant to my dance? Should my dance be edited, and if so, in what ways? What other ways might there be to think about this dance? Dance Making Dance Making continued

37 N Blueprint for the Arts N Dance Dance Developing Dance Literacy

Understand Dance as a Apply Dance Vocabulary, Analyze, Critique and Identify and Compare Means of Expression and Terminology and Symbols Communicate About Dance Styles, Genres, Communication Dance Major Works and Artists

Students understand how Students use a broad range of Students respond to dance verbal- Students demonstrate a broad choreographic devices combine dance terms, demonstrating in ly and in writing based on a vari- understanding of styles and Grade 12 with contextual elements dance movement, discussion and ety of criteria, supported by ob- genres of dance, and knowledge Benchmarks to communicate meaning, writing the ability to: servations, dance references and of major dance artists and their Through critical analy- demonstrating the ability to: personal experiences. They express repertory, with the ability to: N apply terms specific to a opinions that can be defended in sis and comparison, N distinguish referential and variety of styles, genres comparison with those of peers N identify, describe, compare students gain verbal, formal themes. and cultural dance forms, and other critics, demonstrating and contrast the major styles of N distinguish representational describing movements and the ability to: Western Theatrical Dance (e.g., written and practi- and presentational approaches: combinations of movements. Ballet, Modern, Jazz, Tap, etc.). cal fluency in dance understand the “fourth wall.” N utilize technical theater N understand the effect of venue N identify, describe, compare on performance. styles and concepts, N analyze the effects of repetition vocabulary, including and contrast at least six other and variation. stagecraft, lighting, stage N use a broad descriptive and styles/genres of dance (e.g., incorporating their directions and production technical dance vocabulary. Flamenco, Hip-Hop, African/ N evaluate the effects of open- understanding into processes. Afro-Caribbean, Middle ended structures (e.g., chance) N describe dances and decon- their work as emerg- and closed structures (e.g., N use motif symbols and scoring struct dance phrases. Eastern, Latin Salsa, Japanese Butoh, Chinese Opera, Indian palindrome). or invented notation to N use multiple frameworks as ing choreographers indicate timing and duration. Classical Dance). N analyze and demonstrate lenses to observe, interpret and and performers. A the effects of combinations N apply technical words analyze dance. N name and demonstrate a range of social dances. familiarity with both of shapes, actions, gestures, describing muscle actions such N contextualize a dance in refer- dynamics, texture, space, body as adductor and abductor. ence to the spectrum of dance, N recognize and identify major historical and current facings and relationships, and N apply technical names of synthesizing historical, cultural works of dance. dance artists lends per- use of the stage space. muscles, bones and tendons and stylistic information. N describe the hallmarks of spective to their criti- N analyze how music/rhythm, and describe their functions. N evaluate all elements contrib- Performance Art. visual elements, setting/venue, N teach a dance class to a uting to a dance performance N describe the styles and cal responses to dance Developing Dance Literacy and text combine with dance. younger group, demonstrating and production. approaches of contemporary performance. N examine the effect of specific specific knowledge of dance N utilize refined observation and choreographers in relation to cultural, religious, mythical or concepts, and skills; communi- evaluation skills. personal dance studies. cation of dance concepts, using archetypal references in dance. N identify specific movement Dance dance vocabulary; and an and staging elements to infer Suggested activities: understanding of the purpose, Suggested activities: choreographic intent. N Attend performances by speaks the sequence and organization of a N Deconstruct a dance, webbing a range of large and small dance class. hidden language, movement, musical and design Suggested activities: companies working in different elements to analyze their N Read articles and reviews of the language combined effects. Suggested activity: dance to broaden understand- styles and genres, and report to N Maintain a dance portfolio, the class. N Discuss point of view in dance, ing of criteria used for dance our ancestors considering questions such including journal reflections, evaluation. N Analyze the influences research, ideas and drawings that have affected students’ as: What will this movement N Use notation to analyze dance have given us, convey when seen from for dances, clippings about personal dance styles. dance from magazines and in response to dance observa- different angles? N Attend a performance of the language newspapers, dance resources tion, creation and performance. N Analyze the differences contemporary emerging and performance “notes.” N Post critical reviews, articles, that is beyond between dance created as photographs and artwork on choreographers, interview theater art and dance created school bulletin boards, in a them and write a report. language. as a participatory experience N Create a “family tree” of dance newsletter, and in school publi- Martha Graham within a community. cations such as the literary mag- forms, tracking influences and azine, the art magazine and the interrelationships. yearbook. 38 N Blueprint for the Arts N Dance Dance Making Connections

Understand Dance Connect Dance to Other Utilize Technology in Connect Dance to Health History and the Social and Arts and Disciplines Connection With Dance and Well-Being Cultural Significance of Dance (Theatrical, Ritual & Social Dances)

Through research, practice, By investigating historic and Students use interactive computer Through participating in and analysis and synthesis, students contemporary collaborations, programs to deconstruct and reflecting on dance, students will: Grade 12 gain a basic understanding of students understand collaboration design dances and production Benchmarks dance history and cross-cultural between artists, demonstrating elements for dance, and use the N describe the skeletal, muscular influences, demonstrating the the ability to: Internet for dance research and and cardiovascular systems By charting the course ability to: communication, demonstrating and their response to dance of dance development, N identify dance and the ability to: movements. N identify whether a dance form choreographic structures in N describe the functions of students understand the is theatrical, ritual, social or other disciplines, and describe N transfer dance ideas from nutritional elements and their history and variety of a combination of these, and their effect. digital sources to performance. effects on short-and long-term describe its function. N create a dance based on N apply dance experience and physical performance. theatrical dance styles, N analyze the development of a research in another subject knowledge when generating N construct a dance warm-up, the functions of ritual dance form over time. area or art form. dance ideas on the computer. demonstrating safe and sound and social dances, and N identify and describe aesthetic N understand collaboration N navigate a wide range of dance physical principles. movements in dance and place vs. interdisciplinary work; websites for dance news, and N demonstrate knowledge of a the interplay between them in historical, social and create or contribute to an research independently. range of dance and bodywork theatrical and non- cultural context. interdisciplinary piece. practices that enhance physical N understand a choreographer’s N collaborate with art and Suggested activities: fitness, stress management, theatrical dance forms. career in context. music departments to design N Videotape dance studies for use tension release and emotional They engage in interdis- and create costumes and in college and summer dance support. N reflect an understanding of ciplinary collaborations dance history and cultural sets, and provide musical program applications. N identify safe practices, using context in dance study, accompaniment for a N Make use of CD-ROM teaching weights or machines that can and interactive computer creation, performance and performance. programs to analyze and create help to build strength for critical response. choreography. dance. programs to extend N Use interactive motion N understand dance injuries, their dance expression. Suggested activities: capture technology to create prevention and treatment. Understand the principles They maintain health- Suggested activities: choreography, and as an underlying collaboration by N Research, compare and element in performance. ful practices in dance. contrast topics such as: Isadora learning or inventing dances N Use interactive distance Suggested activities: Duncan; The Denishawn in cooperation with students learning technology to work N Attend workshops with School; Classical Dance of working in other disciplines, or visiting health professionals, with a master artist located Connections Making India, Asia or Southeast Asia; by using elements and skills from outside New York City. such as physical therapists, Dances of Africa; Dances of other disciplines, such as: nutritionists, orthopedists, N Use interactive distance the African Diaspora; The massage therapists, Music: a joint project with a learning technology to share Rise of Theatrical Ballet; 19th chiropractors and somatic student composer. and create work. Century Russian ; educators. American Dance in the Visual Art: the relationship N Make a personal list of safe 20th Century; 21st Century between space, objects and viewer dance practices and injury International Dance Fusion. in art installations. prevention and treatment N Research an aesthetic measures. movement in dance such as: Theater: singing and acting while dancing; projection. N Investigate bodywork German Expressionism and practices such as yoga that can Continued on following page Mary Wigman, or Post- Doris Humphrey complement dance training Modernism and the Judson and remain lifelong pursuits. Dance Theater. Continued on following page Continued on following page

39 N Blueprint for the Arts N Dance Dance Making Connections continued

Understand Dance Connect Dance to Other Connect Dance to Health History and the Social and Arts and Disciplines and Well-Being Cultural Significance of continued continued Dance (Theatrical, Ritual & Social Dances) continued

N Research the “family tree” of Language Arts: poetic devices N Keep track of nutritional habits Katherine Dunham, including shared by dance (e.g., motif in a log to maintain a safe and , Jean-Léon development, repetition, healthy attitude towards eating Destiné, Lavinia Williams, variation). as a dancer. Alvin Ailey and others. N Research and chart emotional Math: structures (e.g., number N Research, write about and moods in connection with series). perform dances of celebration dance and other physical from two continents. Science: acceleration, gravity, activity. N Participate in units or elective power, force, mechanics. N Interview older dancers about courses such as: Baroque aging and lifetime dancing. Dance, Indian Classical Dance (Odissi, Kathak, Bharata Natyam), Hip-Hop and African Dance, Latin and , Post-Modern Dance (Release, Contact), Theater Dance (De Mille, The truest Robbins, Fosse), Percussive Dance (Tap, Irish Step, expression of a Flamenco), Styles. people is in its dances and its

music. Bodies Connections Making never lie. Agnes De Mille continued

40 N Blueprint for the Arts N Dance Dance Working With Community and Cultural Resources

Engage With Community and Use Dance Research Resources Share Dance Experiences Cultural Institutions, Colleges in and Between Schools and Universities

Through the school’s participation in partnerships Students make frequent use of a wide Through active dance outreach with dance artists and institutions, students will: variety of print, video and online resources within school, between schools, Grade 12 for dance research, demonstrating the to parents, teachers and the Benchmarks N describe the workings of a dance company (e.g., ability to: community, students will: roles such as executive director, choreographer, Students attend performances artistic director, dancers, technical director, N become familiar with the range of N collaborate to create through school partnerships lighting designer, company manager, physical resources to facilitate dance research. mechanisms for sharing therapist, videographer, notater, board member, N stay current with dance trends through dance experiences within the and independently, learn and publicist, booking agent; activities such as online and print resources. greater school culture. create choreography through touring, attending performances, teaching). N share performances, N understand the structure of college and workshops, notation, partnerships with professional university dance and dance education programs. Suggested activities: documentation, and dance artists, familiarize N Use the school library, public libraries, Working With Community and Cultural Resources N describe elements of dance production common evaluation methods within themselves with dance studios to all venues in non-profit and commercial research libraries, Internet sources, school and with other enterprises. interviews and performances for dance schools. and programs, serve as in- research. N represent the school dance terns to dance organizations, Suggested activities: N Access the Dance Collection at the New program with pride and N Attend performances, workshops and rehearsals York Public Library for the Performing a professional attitude at and take full advantage of the at a range of dance institutions. Arts at Lincoln Center to view historic interschool, regional and cultural resources New York dance videotape. citywide events. N Engage with dance teaching artists in school and at their professional work site. N Become familiar with websites that N engage parents in dance City offers for dance study, feature current news and information activities in school, N Work with a visiting choreographer to learn a performance, and enjoyment. about the dance world such as piece of repertoire or participate in the creation regionally and citywide. www.dancenyc.org. of a dance. N seek out information from N Make use of such publications as High teachers of other subjects Dance is N Take dance and dance-related courses offered 5 to get discount tickets for dance to high school students by local colleges and relevant to a dance unit. performances. bigger than the universities. N teach and give guidance to a N Read dance publications (e.g., Dance middle school or younger high N Attend classes at and create a key to New York physical body. Think Magazine, Dance Spirit, Dance Teacher, City dance studios. school dance student with Pointe Magazine, The New York Times, sensitivity and confidence. bigger than that. N Intern with a dance company or community- Village Voice, Backstage, The New Yorker based dance organization, presenting or service and Time Out New York) and visit When you extend Suggested activities: institution. websites (e.g., www.danceinsider.org) N Participate in an exchange of N Participate in high school dance festivals for their dance reviews, articles, class, your arm, it doesn’t dance teachers with another arranged by colleges, universities and cultural workshop and performance listings, and school during National stop at the end institutions (e.g., the L.I.U. High School Dance audition notices. Dance Week. Festival), and in festivals hosted by cultural N Make use of such videotape and dance of your fingers, N Initiate a student club for organizations (e.g., Dancewave’s Kids’ Café lesson collections as Dancing Through sharing dance ideas. Festival, the BAX Teen Arts Festival, New the Curriculum. because you’re York City Ballet Workout High School Dance N Mentoring: Become a teacher Festival). or coach to a younger dancing bigger than N Participate in partnerships (e.g., the American student; teach warm-ups Dance Legacy Institute) to learn a short dance in or classes to students in that. You’re dancing a specific style (e.g., a Repertory Etude™). a younger grade; serve as Judith Jamison rehearsal assistant for a spirit. N Interview and record members of the first cast of a famous dance work. dance teacher or teaching artist.

41 N Blueprint for the Arts N Dance Dance Exploring Careers and Lifelong Learning

Learn About Careers in and Set and Work Toward Goals Value Dance as a Source of Related to Dance Enjoyment and Lifelong Learning

Through active engagement with dance Through participation in dance over Through participating in dance in school and dance service professionals and time, students will: on an ongoing basis, students will: Grade 12 organizations in school and off-site, Benchmarks students will: N develop realistic goals for further learn- N make dance a regular part of life ing in dance and dance-related fields. activities. Students initiate actions N practice basic skills in dance and N understand the resources available for N seek out varied opportunities for to advance their career dance-related professions in a school continuing education in dance and further dance learning. or professional setting. goals, and to enhance their dance-related fields. N analyze the ways in which dance can N develop an understanding of personal N identify individual strengths and help individuals overcome perceived ability to continue to enjoy strengths and weaknesses in relation weaknesses in relation to the de- limitations in self and others. to various dance and dance-related dance on many levels. They mands of various professions. N articulate the value of dance in a professions. N apply habits of mind and work habits broad range of settings. cultivate a broad familiar- N express personal preferences for types gained from participation in dance to N understand the options for participat- ity with the opportunities of dance and dance-related activities. other career paths. ing in dance-related activities. for participating in dance N advocate for and support dance in multiple ways. in New York City. As ac- Suggested activities: Suggested activities: N Participate in career talks with N Create a career map that is a visual tive future members of the visiting professional choreographers, representation of goals, challenges Suggested activities: wider dance community, Exploring Careers and Lifelong Learning dancers, teachers, administrators, and strategies; research next steps. managers, publicists, writers, techni- N Take classes at a variety of dance they advocate for dance N Become familiar with college and studios and studios offering dance- cal personnel, designers, to learn the university dance programs, dance steps necessary to pursue these career related bodywork such as yoga, Pi- verbally, in writing, and by companies and musical theater op- lates, Alexander and Feldenkrais. options. portunities. example. N Go social dancing at clubs, commu- N “Job-shadow” professionals in fields N Research higher education programs nity centers, or public outdoor dance of arts administration such as execu- in dance-related fields such as dance tive director, marketing director, edu- events such as Midsummer Night’s journalism, dance teaching and arts Swing. To dance at all cation director, company manager. administration. N Attend dance films at such events as N Visit a local dance studio and inter- N Rehearse a solo and prepare a video is to confront oneself. view the director. the Dance Film Association’s annual of it for college admission. Dance On Camera Film Festival at N Develop skills in dance and dance- It is the art of N Prepare a dance resume; revise after Lincoln Center. related jobs through internships and peer review; include a dance portfolio assistantships. N Speak about dance at various school honesty…. It is gathered over time. and public events. N Teach a dance to classmates, or teach N Prepare a general resume highlighting impossible to dance a warm-up to a younger grade, and N Bring friends or family members to a personal strengths gained through dance performance in an unfamiliar make a list of the skills necessary for dance. out of the side of your successful dance teaching. venue. N Hold a mock audition; discuss ap- N Recognize that dance has its own mouth. You tell the pearance, behavior, presentation, special requirements, skills, history listening skills, initiative, nervousness and legacy, and speak out to see that truth when you dance. and rejection. these are addressed in school. If you lie, you hurt N Interview classmates with a set list N Advocate for dance with parents, of questions; discuss the experience school staff and local government yourself. Shirley Maclaine and create a rubric of successful officials. behaviors. N Attend dance performances on a N Create a short personal statement of regular basis and in multiple venues values, artistic passion and career goals. with friends or family.

42 N Blueprint for the Arts N Dance Dance Teaching Through the Five Strands 12th Grade Sample Thematic Unit:

Dance Making Developing Dance Literacy Making Connections Students practice Martha , improvise and create studies in Graham style, and perform original studies and a section of Graham repertory to understand her use of Develop Skills and Understand Dance as a Means of Expression Understand Dance History and the Social gesture, treatment of myths, and portrayal Techniques and Communication and Cultural Significance of Dance of women. They participate in workshops in Practice floor work, standing Examine the use of Greek mythology in Graham’s Research Martha Graham’s development as an traditional genres such as Afro-Haitian, Ka- work and traveling phrases in Errand Into the Maze or Clytemnestra. Analyze artist, her influences (e.g., Ruth St. Denis and the Graham style, with attention to structure, content and context in Graham’s Steps in Denishawn Company, Isadora Duncan, Loie Fuller), buki or Flamenco to clarify understanding of gesture, breath, focus and attack. the Street. Compare dances by Graham with other and her contemporaries (e.g., Hanya Holm, Doris Graham’s technique through comparison. Take workshops in Afro-Haitian dances based on gesture such as Kurt Jooss’ The Humphrey, Charles Weidman, Katherine Dunham). (rhythmic isolations and undula- Green Table, and with traditional cultural dances Examine the role of women in the Modern Dance tions in place and traveling), using gesture and based on myth or stories. movement of the first half of the 20th century in Working With Community Exploring Careers and Flamenco (lifted body posture light of social roles of women during this period, and Cultural Resources Lifelong Learning and rhythmic foot and hand pat- Explore questions such as: and Graham’s portrayal of women. Analyze dances terns) or Kabuki (controlled that Graham created in response to social themes N What are the effects of gesture in Graham’s work? minimal movement). Compare In other work studied or viewed? or world events (e.g., Appalachian Spring—pioneer Engage With Community Learn About Careers in and and contrast with Graham style. America; Steps in the Street—the Depression at home and Cultural Institutions, Related to Dance N What are the effects of sequential and percussive and growing militarism in Europe in the 1930s). Colleges and Universities Examine the organization of movements? Examine multicultural influences in her work (e.g., Participate in a school the high school in relation to Improvise N Why might Graham have chosen myths as rituals of the Native American and Mexican cultures partnership with a professional dance programming, facilities, Using the Graham movement themes? of the American Southwest). company (e.g., the Martha administration, funding. Intern vocabulary, explore the use of N How does Graham use repetition and variation? Graham Dance Company) to at a dance company or school to gestures for emotional expres- participate in master classes observe dance administration, sion, dramatic intention, and con- Apply Dance Vocabulary, Terminology and and to learn a piece of Graham fund-raising, programming, trasting dynamics of sudden/sus- Connect Dance to Other Arts and Disciplines Symbols repertoire. Attend a professional management and public relations. tained. Repeat with Afro-Haitian, (Music, Visual Arts, Theater, Language Arts, Math, Respond appropriately when a Graham exercise rehearsal and/or performance of Recognize the support structures Flamenco or Kabuki movements. Science) is named, such as Exercise on Six; respond to the work learned. that enable choreographers, and use appropriately terms such as contraction, Read biographies and autobiographies of famous teachers and students to release, spiral, tilt, pitch turn, stag leap, prance, choreographers and their collaborators. Create a participate in dance. Research Choreograph Use Dance Research archaic. Make journal notes for original dance “family tree” of dance collaboration, including such the careers in which one could Manipulate a phrase derived from Resources composition in the Graham style. Create a score for artists as: continue involvement with improvisation using extended Use the Internet and the New York a section of a Graham work using motif symbols or Graham’s work. and stylized gestures informed by Public Library for the Performing invented notation, including drawings and words. Isamu Noguchi and Martha Graham study of Graham and Afro-Hai- Arts at Lincoln Center to research Exchange scores with a classmate and reconstruct in tian, Flamenco or Kabuki. Con- John Cage and Merce Cunningham the history of the Modern Dance movement. Set and Work Toward Goals struct a self-portrait solo or small movement and to watch films of Igor Stravinsky and George Balanchine Create a web of personal group relationship study, using the works of Martha Graham and dance preferences, styles of this phrase as a starting point. Continued on following page her contemporaries. Consult Mar- Analyze, Critique and Communicate About dance, activities in dance (e.g. Utilize devices such as repeti- tha Graham resources to access Dance choreography, performance, tion and variation to develop the tool kits with formal and contextual Write a review of a performance of Martha Graham teaching) in reference to this movement material. information about Graham’s danc- works using the vocabulary and concepts of Graham unit, and draft a personal plan for Continued on following page es. View the interactive website “A technique. Read other reviewers and critics (e.g., further study. John Martin, Walter Terry, contemporary writers) Dancer’s Journal: Learning How to identify the elements of performance they to Perform the Dances of Mar- Continued on following page consider, and the kinds of references they use to tha Graham” at www.artsedge.ken- place a performance in context. Support opinions nedy-center.org/marthagraham/, with examples drawn from research and personal and the Martha Graham materi- experience. als on the the Virginia Arts Festival website at www.virginiaartsfestival. Continued on following page com/education_sol.html. Continued on following page

George Balanchine and Igor Stravinsky 43 N Blueprint for the Arts N Dance Dance Teaching Through the Five Strands continued

Dance Making Developing Dance Literacy Making Connections Working With Community Exploring Careers and continued continued continued and Cultural Resources Lifelong Learning continued continued

Perform Identify and Compare Dance Styles, Genres, John Pratt and Katherine Dunham Share Dance Experiences in Value Dance as a Source of Perform a section of a Martha Major Works and Artists School and Between Schools Enjoyment and Lifelong Graham ballet that is in the public Analyze the Martha Graham style, in comparison Robert Rauschenberg and Trisha Brown Learning Post photographs of Martha domain (e.g., Steps in the Street) with Native American, African and Asian genres, Murray Louis and Alwin Nikolaïs Identify what styles of dance along with original student work and other Western theatrical styles (e.g., Ballet, Graham and of students appeal to you and consider why. inspired by study of Graham and Limón, Jazz). Alex Katz, Donald York and Paul Taylor practicing the Graham technique; Consider questions such as: How related cultural dance forms. research papers; and dance does the study of different dance Demonstrate a clear understand- Research artists whose work was influenced by or Bill T. Jones and Arnie Zane scores on the school bulletin styles affect my understanding of ing of Graham’s approach to ges- in reaction to Graham (e.g., Erick Hawkins, Merce boards. Write an article in the Continue the “family tree” by interviewing my own preferences, strengths ture, body shapes, movement Cunningham, Paul Taylor; younger contemporary school newsletter, highlighting contemporary professional and student and aesthetics? qualities, emotional attack and choreographers and performance artists such as student work inspired by studying choreographers, and their collaborators. dramatic intention. Jaqulyn Buglisi, Donlin Foreman, Richard Move, and Graham. Invite parents to school Pascal Rioult.) open houses and performances, and to a performance by the Utilize Technology in Connection With Martha Graham Dance Company. Dance Use a graphic design program to create sets and costumes inspired by Isamu Noguchi and Martha Graham.

Use a CD-ROM teaching program (e.g., Bedford Interactive) to deconstruct a Graham-style study as an aid in creating original dance studies.

Use a computer choreography program (e.g., LifeForms, Dance Forms 1.0, William Forsythe: Improvisation Technologies CD-ROM) to generate ideas for choreography.

Use a notation program (e.g., Laban Writer) to notate a phrase of a Graham dance. Connect Dance to Health and Well-Being Martha Graham’s Appalachian Spring Analyze safe practices in various dance techniques including Graham. Consider questions such as: What are some danger signs that might indicate overuse of muscles? What are the appropriate steps to take if these appear?

44 N Blueprint for the Arts N Dance Appendices Appendix A A Basic Glossary of Dance Terms For further glossary listings, go to http://www.glossarist.com/glossaries/art-culture/dance.asp

AB: A two-part compositional form with an A theme and a B theme; the binary form consists of two distinct Ballet: A form of dance originally developed in the 18th century French court with a codified movement sections that share either a character or quality. vocabulary. Advanced female ballet dancers work “en pointe,” wearing hard-tipped shoes that enable them to stand on the tips of their toes. A dancer must train in a consistent, rigorous daily ballet program for a ABA: A three-part compositional form in which the second section contrasts with the first section. The third minimum of three years before starting pointe work. Ballet training in soft slippers is often practiced by section is a restatement of the first section in a condensed, abbreviated or extended form. professional dancers specializing in modern, jazz or to build a beautiful line and strength in leg Abduction: The movement of a body part away from the midline. extensions, turns and jumps. Abstract: Dance movement removed from a representational context; dance as the “thing-in-itself”; Blocking: Planning and practicing the sequence of formations and positions of dancers on stage in a dance movement through space in time as its own subject matter. work. Accent: An emphasis or stress on certain musical counts or within specific movements. Brushes: Standing warm-up movements executed with straight legs in which the working foot “brushes” the floor away from the standing leg until the foot is entirely extended in a point, with the toes either on or off Accumulation: Repeating a sequence with the addition of one movement each time, e.g., 1, 1-2, 1-2-3, etc. the floor. In modern and jazz dance, these can be done with the legs parallel or turned out and from various Adduction: Movement of a body part toward the midline. starting positions; in ballet, they are done turned out from various starting positions and are called “tendues” when culminating with the toes touching the floor, “dégagés” when culminating with the toes off the floor. Aesthetics: A guiding principle in matters of beauty or artistic taste; a heightened sense of beauty; the branch of philosophy that deals with beauty, art and artistic principles. Call and Response: A choreographic form, characteristic of African dances, in which a leader demonstrates and/or calls out dance steps, and the group responds by either repeating the step or with Aesthetic criteria: Standards on which to make judgments about the artistic merit of a work of art. another step or movement combination. The same process can be used with two groups instead of a solo and Aesthetic elements: Items considered when evaluating the impact of a work of art. a group. Agility: Moving with ease or kinetic flow. Canon: The equivalent of a musical “round,” in which an identical movement phrase is performed by two or more dancers or groups of dancers, with staggered starting points. Alignment: In ballet and modern dance, the placement of the body’s segments one above the other so that the ear, shoulder, hip, knee, and ankle are as close as possible to a straight line that extends at a right angle to Center Stage: The area in the middle of the floor space outlined by a proscenium stage. the floor. Alignment in other dance forms may involve a different relationship between the segments of the Chance Operations: A choreographic device, deeply explored by Merce Cunningham, in which various body; proper alignment in a dance form allows for the greatest freedom of movement with the least amount methods may be used to obtain random selection or organization of movements or movement phrases, e.g., of strain. rolling dice to determine the order of phrases to be performed; also called “chance procedures.” Apron: The area of the stage that extends toward the audience in front of the curtain line. Character: The mood, feeling or style of a dance or a section of a dance; a specific role performed by a dancer Arabesque: A position in which the body is supported on one leg while the other is extended behind in a in a dance. long straight line. This ballet term is now commonly used in modern dance and jazz as well. Choreographic Device: A compositional process used to organize movements within a dance, e.g., canon, Articulation: Movement, with clarity and precision, of specific parts of the body that have jointed counterpoint, chance, unison, etc. connectors, e.g., head (neck), arms (shoulders, elbows, wrists), hands (wrists, fingers), torso (shoulder girdle, Choreographic Structure: The overarching compositional form in which movements are organized in a spine), hips (lower spine, pelvic girdle, hip joints), legs (hips, knees, ankles), feet (ankles, toes). dance, e.g., AB, ABA, theme and variation, rondo, etc.; syn. “choreographic form.” Asymmetrical: A body shape or choreographic formation in which one side of the midline is not a mirror Choreographer: An artist who creates dances; one who originates and/or chooses movements and organizes image of the other side. them into a dance work. Attitude: A position in which the body is supported on one leg while the other leg is extended behind bent at Circumduction: Movement of a body part so that its extremity makes a circular path. the knee. The legs may be turned out or parallel, the working foot pointed or flexed, depending on the style of dance. This ballet term is widely used in other forms of dance training, including modern dance and jazz. Collapse: Movement characterized by a release of the muscles so that the body’s weight gives in to gravity. Axial: A movement organized around the axis of the body in which the dancer remains in one spot in space, Combination: A series of connected movements forming a dance phrase. e.g., bending, stretching, twisting, swinging; a non-traveling movement. Composition: The activity of putting movements together into a short dance study or a complete dance. Backstage: The areas of a traditional proscenium stage not seen by the audience, e.g., the spaces concealed Concert: A formal performance of dance, featuring either a full-length dance work or a series of separate by the side and rear curtains, the dressing areas, scene or costume shop, etc. shorter dance works. Continued on following page

46 N Blueprint for the Arts N Dance Appendix A continued

A Basic Glossary of Dance Terms

Contact Improvisation: Spontaneous partnered movement in which one dancer responds instantly to Elevation: The height of the body off the floor in a jump or leap. movements done by the other, leading to a seamless flow of movement initiation and response. The form Energy: The degree and control of force in a movement in terms of impulse and follow-through; ranges from is characterized by use of the floor, rolling and tumbling, and non-gender-specific lifting using natural light to strong, and from free to bound. momentum and leverage. Ensemble: A group of dancers working together in a dance piece. Content: The subject matter or meanings of a work of art, as distinguished from its formal aspects. Exploration: A process in which suggestions made by a leader or teacher result in spontaneous original Contraction: A shortening of the muscles of any part of the body, resulting in a pulling inward; in Martha movement; also called “movement investigation.” Graham technique, a shortening of the muscles in the front of the torso, as in exhaling. Expressionism: An aesthetic movement in the arts characterized by the principle of depicting the artist’s Contrast: The use of movements with different or opposite dynamics (use of energy or effort), shapes, use of subjective emotions and responses, rather than reflecting objective reality. space or time. Extension: Stretching any limb away from the midline; for the legs, defined by the degree of angle in the hip Counter-balance: To oppose with equal weight or force, preventing a shape from collapsing. joint formed by a leg raised and held in a controlled fashion. Counterpoint: The juxtaposing of different movement phrases against each other simultaneously. Facing: The direction towards which the front of the body is positioned. Critical Protocol: A set of guidelines and procedures meant to be followed during discussions of dance Figure: A specific self-contained pattern of steps; in particular, a step pattern (with accompanying arm links performance and choreography. and hand holds) executed by a couple in ballroom and swing dancing; also used to describe specific ice- Cue: An external stimulus that motivates a movement or change of movements; a movement in a dance skating moves. Improvisation in ballroom and swing dancing involves the spontaneous choosing and ordering that motivates other dancers in the dance to perform certain movements; a point in a dance work at which a of figures. lighting or musical change occurs. Flexion: Bending or folding a limb, resulting in a decrease in the angle of the joint. Cue-to-Cue: A technical stage rehearsal in which the dancers take the places they would be in at each Flocking: A group follow-the-leader activity in which the leader changes when the group changes its lighting change, without performing the movements in between those changes. directional facing, very much like a flock of birds. Curtain line: On a proscenium stage, the imaginary line marking where the bottom of the front curtain hits Floor Pattern: The pathway traced on the floor by dancers traveling through space. the stage floor. Flow: Transmitting energy from one part of the body to another to link movements without a break. Dance Elements: The Body (shapes and actions); Dynamics (movement qualities through energy and time); Space; and Relationship (between dancers, dancers and audience, dance and music). Focal Point: A place within a group of dancers or on the stage that naturally draws the audience’s attention. Dance Drama: A dance presentation using relationships between characters to convey a narrative; Focus: The direction of the dancer’s face and eyes; a dancer can project this focus into near or far space; focus characteristic of Indian, Chinese, Japanese and Southeast Asian classical dance productions. can also be sharp or soft. Dance Flooring: A flexible, portable floor covering that provides traction and a predictable surface for bare Fourth Wall: The imaginary wall between the audience and the performers in a proscenium stage setting; feet and various types of dance shoes; composed of a specially designed composite material. It generally comes “breaking” the fourth wall involves the performer directly addressing the audience, either verbally or in six-foot widths that are unrolled onto the floor and taped together with gaffer’s tape. physically. Dance in the Round: a dance meant to be viewed from all sides, rather than from only one viewpoint as in a Framework: A description or suggestion that limits movement materials discovered during exploration and traditional theater. improvisation. Dance Score: A graphic representation of a dance, using standard or invented elements. Fusion: Dance that blends several genres or styles to create a new way of moving. Design: In choreography, the patterns and arrangement of movement in a dance. Gel: The medium used to give color to white light produced by theatrical lighting instruments. Downstage: The area of a proscenium stage closest to the audience. General Space: All the available space through which a dancer can move and which is also available to other dancers; differentiated from “personal space”; in a studio or room, also called “room space.” Dynamics: In music, the degree of loudness, softness and attack; in dance: the degree of effort (force, energy) and the speed (time) with which a movement is executed; syn. movement quality. Genre: A type or category of dance, e.g., ballet, jazz, modern dance, tap, European , African dance, Ballroom dance, etc. Echoing: Repeating a movement exactly as shown. Continued on following page Effort: The degree of energy or force with which a movementis executed, and the directness or indirectness of the movement; as defined by Rudolf Laban, effort actions include punch, press, flick, float, slash, glide, wring and dab.

47 N Blueprint for the Arts N Dance Appendix A continued

A Basic Glossary of Dance Terms

Gesture: A movement of the body or part of the body that expresses an emotion or idea, e.g., a wave, reach, Juxtaposition: In choreography, placing two or more different dance phrases side by side or one in front of fist shake, stamping of the foot, nod of the head; a movement emblematic of a working activity such as the other, so that they are performed simultaneously. planting, hunting or fishing; a movement emblematic of a daily activity such as washing the face. Gestures are Kinesphere: The space surrounding the body of a dancer at any one moment, which includes all directions intensified and delineated with performer focus when used in mime; they are extended into larger movements and levels as far as the dancer can reach with limbs or torso. and abstracted into related movements when used as a basis for developing movement vocabulary in dance. Kinesthetic: Pertaining to the ability of the body’s sensory organs in the muscles, tendons and joints to both Glow Tape: A special photosensitive tape that glows in the dark, used to mark dancers’ opening placement respond to stimuli and to relate information about body position, movement and tension. onstage; used as an aid for finding places in total blackness. Kinesthetic awareness: Conscious awareness of the kinesthetic sense. Gobo: A metal mask with a pattern of shaped cutouts that is placed at the gate of a lighting instrument to project a pattern of light and shadow on the stage floor or backdrop. Labanotation: A symbolic notation system for recoding and analyzing human and animal movement developed by Rudolf Laban. Grand Battement: A fast, high kick of the leg and a return to the starting position in which both the working and standing leg are kept straight and the foot of the kicking leg is pointed unless otherwise directed. Leading: Refers to the part of the body that initiates or leads a movement; also, in partnered social dancing, This ballet term is widely used in other forms of dance training, e.g., modern dance and jazz. the part taken by the person who determines the order of steps, signals cues to the partner which figure to execute, and guides the partner through space. Grand Jeté: A high leap traveling through the air in which both legs are extended with the feet pointed. This ballet term is widely used in other forms of dance training, e.g., modern dance and jazz. Leap: To go into the air, taking off from one foot and landing on the other foot. Grid: The system of pipes erected at ceiling level in a theater from which the lighting instruments are hung. Legs: Curtains at the sides of the stage that hide the dancers waiting to enter the performance area. Hop: To go into the air, taking off from one foot and landing on the same foot. Level: The height of the dancer in relation to the floor, e.g., high, middle, low. Hot Spot: The most intense place in a pool of light thrown onto the stage by a lighting instrument. Light Boom: A vertical standing pipe weighted at the bottom on which lighting instruments are hung; generally used in the wings at the sides of the stage. Hyperextension: Extreme extension of a joint; extension of a joint beyond what is physically healthy or technically useful. Literal: Non-abstracted, verbatim, directly representational in relation to a stimulus such as text, dramatic situation or musical accompaniment. Imagery: Ideas, visual pictures, colors, objects, feelings, and sensations either suggested by dance movement, or serving as a motivation for the creation of dance movement. Locomotor Movement: Movement that travels through space, e.g., walk, run, leap, hop, jump, skip, slide, and gallop. Improvisation: Original movement created spontaneously in a free or structured environment. Involves an instantaneous choice of actions on the part of the dancer, affected by chance elements, such as the movement Lyrical: A movement quality that is calm and controlled with sequential flow, smooth transitions and choices of other dancers or musicians in the room. It may involve focused and concentrated movement extended limbs. exploration of a specific movement problem or idea, or may be a simple individual response to music. Maintain One’s Instrument: Keep the body (the instrument of dancing) fit for dance. Impulse: The initial starting point or origin of a movement, e.g., breath, musical beat or melodic line, physical reaction to a movement or effort action; syn. impetus. Manipulation: Varying and developing movement phrases by changing the use of shape, dynamic energy, space or time, or by applying devices such as repetition, accumulation, or retrograde. Intent: In a dancer, the inner motivation made manifest in movement; in a piece of choreography, the desired effects or meanings to be communicated. Material: Refers to movement phrases that have been developed and will be used in creating a choreographed dance work. Interdisciplinary: Involving two or more arts disciplines. Metaphor: An image that motivates a movement, movement quality, or movement relationship; the image Isolation: Movement restricted to one area of the body, e.g., eyes, head, hands/fingers, shoulders, rib cage, or brought to mind by a movement, movement quality, or movement relationship. hips; important in jazz dance; also used in African dance, Indian classical dance. Meter: The division of music into small groups of pulse beats. Binary meters (as in a march) have pulse beats Interpretation: The step in dance analysis and/or criticism in which the viewer infers meanings from that can be counted in twos; ternary meters (as in a ) have groups of pulse beats that are counted in the form and content of a dance work; also, the unique choices of dynamic phrasing, character, attack, and threes; mixed meters change the numbers of pulse beats in different measures. made by an individual dancer in performing a set piece of choreography. Minimalism: A movement form based on repeated use of the same movement or movement phrase with Jazz: A dance form that developed along with jazz music; a major influence in Broadway show choreography; only slight changes. characterized by sharp body isolations, a presentational aesthetic, high kicks and pelvic movements. Mirroring: A partnering activity in which a dancer simultaneously reflects the positions and movements of a Jump: To go into the air, taking off from two feet and landing on either two feet or one foot. partner as if gazing into a mirror. Continued on following page 48 N Blueprint for the Arts N Dance Appendix A continued

A Basic Glossary of Dance Terms

Motif: A recurring movement idea, shape or form that appears in a dance composition. Positive Space: The space filled by the body of the dancer; the shape of the dancer’s body in space. Motif Notation: A system of recording and analyzing movement using simple pictorial symbols; based on Proscenium: The architectural arch that defines the viewing space of a traditional theatrical stage. Labanotation, which is more exact and extensive. Performances on a proscenium stage are meant to be viewed from one direction only. Mount: To place and position a dance onstage once the choreography is completed. Pulse: An underlying steady beat, expressed in the body, either arising internally or in response to a musical beat; rhythms are patterns laid over and in relation to a pulse. Movement Quality: The effect created by the varied uses of effort (force), attack and energy in a movement; syn. dynamics. Rearranging: A choreographic device in which the beginning, middle and end of the phrase are reordered. Movement Sentence: A brief sequence of related movements that has a sense of continuity and rhythmic Reflect:To consider one’s responses to experiencing or observing dance, in either framed or open discussion. completion, with a beginning, middle and end; it is delineated by stillness at the beginning and end; syn. Relationship: Dancers’ connections to or positions relative to their own bodies or parts of their bodies, phrase. another dancer or dancers, the audience, the stage space, music, or sets and costumes. Movement Theme: A complete idea in movement that can be manipulated and altered; can be expressed by Release: A relaxing and lengthening of the muscles in any part of the body; in Martha Graham technique, varied or related movement phrases. an opening up of the front of the body, as in breathing in. It also refers to the technique developed by Trisha Music Visualization: Choreography that directly expresses the structure, rhythms and melodies of a piece of Brown that uses a release of tension in the joints to facilitate a relaxed, rapidly flowing style of movement. music in movement terms. Relevé: To rise up so that the body is supported by the balls of the feet and toes, with the heels lifted off the Narrative: A choreographic form that tells a story through character and/or situational development. ground. This ballet term is in general use for training in other dance forms such as modern dance and jazz. Negative Space: The space surrounded by parts of a dancer’s body, or the space between dancers and/or Repetition: To perform a movement at least twice in a row. prop elements, and the air shapes thus created; becomes part of the visual design of a dance work. Negative Respond: To experience a reaction to performing or observing dance; to express a response to dance space can be charged with energy. verbally, in writing or in movement. Non-Literal: Choreography that is non-representational, communicating directly through movement that Retrograde: To perform a dance movement or phrase backwards, in the body and in its spatial path; needs no translation; an emotional theme or dramatic impact can nevertheless be achieved. retrograde used in movement exploration can lead to the discovery of new and unexpected movements. It is Non-Locomotor Movement: Movement done in place rather than traveling through space; syn. axial also used as a device in sections of choreography. movement. Revise: To rework dancing or choreography with the goal of improving practice or product. Opposition: Position or movement of the arm in opposition to the leg, e.g., the left arm moves to the right, Rhythm: A structure of movement patterns in time, in relation to a pulse. while the left leg moves to the left. Walking involves simple front-back opposition of the same arm and leg. Rondo: A choreographic structure based on alternation between a repeated section (A) and contrasting Order: To organize movements, movement phrases or movement themes in a sequence. episodes (B, C, etc.), e.g., ABACADA. Organic: Dance movement or choreography that has an interrelationship of parts similar to the organization Rotation: Turning of the whole body around itself; a pivoting of a bone on its axis, limited by the joint of parts in nature; movements that flow naturally from each other. (external rotation—away from the midline; internal rotation—toward the midline); in the legs, the degree of Palindrome: Performing a movement phrase forward, then backward (retrograde), then forward again. rotation is identified as turned out, parallel, or turned in. Pedestrian Movement: Everyday movement as it is executed by the average person not trained as a dancer; Rubric: An assessment instrument used for evaluation that includes criteria and scored levels of performance. non-stylized movement. Sagittal: referring to the median plane of the body, and movements that align with that plane. Percussive: Movement characterized by sharp movements with sudden stops, strong effort, and angular Sequence: An ordered series of connected movements. shapes. Sequential Movement: A movement characterized by an impulse that originates in one part of the body Performance Art: Performance pieces that do not fall into the usual categories of dance, theater, or visual and travels one after the other through connected body parts. art; performance that blends several kinds of artistic categories and conventions. Shape: The spatial contours of the body, such as curved, angular, twisted, straight, symmetrical or Personal Space: The “space bubble” immediately surrounding a dancer, including all levels and directions asymmetrical; the overall form of a dance; v.t. to give form to a piece of choreography. reachable by extending the limbs and torso; syn. kinesphere. Site Specific: Choreography that is intentionally designed to make use of a performance environment, e.g., a Phrase: A brief sequence of related movements that have a sense of continuity and rhythmic completion; park, a public building or plaza, a warehouse. delineated by stillness at the beginning and end; syn. movement sentence. Continued on following page 49 N Blueprint for the Arts N Dance Appendix A continued

A Basic Glossary of Dance Terms

Skip: A step followed by a hop. Traditional Dance: Dance forms that have arisen out of the tradition of a people and are performed throughout that culture in substantially the same way, as opposed to original forms that have been created Slide: A traveling movement in which the legs are separated by sliding one foot along the floor in any direction by a single individual e.g., Indian Bharata Natyam and Haitian Shango are traditional dance forms; Martha until both legs are bent, and bringing the other leg to meet it such that both legs straighten and the body in Graham and Merce Cunningham styles are not. Ballet may be said to have arisen from Western European momentarily lifted off the ground. A gallop is a form of slide. In ballet this movement is called “chassé.” traditional social dances, but then developed by a series of individuals and altered for dramatic purposes. Somatic: Having to do with the body and its sensory organs. However, it should be noted that both traditional dance forms and non-traditional dance forms may be social, ritual or theatrical in their purpose and performance, or a combination of these categories. Space: The area in which dance takes place; defined by the use of size, shape, levels, directions, pathways and focus. Transition: Moving from one movement to another, or one shape to another. The quality of transitions affects the overall flow of dancing: transitions may be smooth or abrupt. There are techniques that support Spatial Design: The arrangement of bodies in space. control of transitional moments. Spatial Pattern: The pathways on the floor or in the air through which a movement travels; in choreography, Transpose: To render a dance phrase into another dance style or form of expression. spatial patterns in group dances can best be viewed when an audience is placed above the level of the stage. Unison: Movements performed simultaneously by two or more dancers. Stage Left: The direction to the left of a performer facing the audience on a proscenium stage. Upstage: The area on a proscenium stage that is farthest from the audience. Stage Right: The direction to the right of a performer facing the audience on a proscenium stage. Variation: A choreographic device in which an initial phrase of movement is treated differently by changing Standing Leg: Refers to the leg bearing the dancer’s weight, leaving the other leg free to move on and off the the use of the body, dynamics, levels, directions, speed, or use of music, without altering its essential character floor. or intent. Style: A distinctive manner of moving; describes the appearance and movement principles of a dance genre Vibratory Movement: Movement characterized by rapidly repeated bursts of percussive energy, shaking or or a specific technique; also applies to an individual approach to moving. trembling; can be whole-body movement or movement of a part of the body. Suspend: To temporarily hang in space at the very top of a swinging, jumping or leaping movement, before Visual Image: A motivation for movement that resembles a picture held in the mind. gravity pulls the body back down. Drawing out this moment of lingering in the air can create an exciting dynamic and a sense of suspense similar to the feeling of being at the top of a roller coaster hill. Warm-up: Movements and movement phrases designed to raise the core body temperature and stretch the muscles in preparation for dancing. In a dance class, the warm-up may contain elements of the movement Sustained: Movement that is smoothly executed with flow and continuity, without apparent starts or stops. that will appear in the movement combinations later in the class. A warm-up is most effective when the Swing: Movement based on the principle of a pendulum: starting suspended, falling by giving into gravity in dancer approaches it as dancing, investing it with focus and expression. an arced pathway, and rising back to suspension with momentum in the opposite arced pathway. Swings may Wellness: Physical, mental, emotional and spiritual good health. be whole body movements, or may be movements of individual parts of the body, e.g., arms, legs or hips. Wing: The areas at the sides of a proscenium stage, situated behind and hidden by the legs. Theme: The ideational content that informs a piece of choreography. A theme for a dance may be taken from the movement itself (e.g., Expanding and Contracting in Space), or from other sources (e.g., ideas, images, Working Leg: The leg that is actively moving on or off the floor; opposite of “standing leg.” principles, or emotions found in the world or in other arts and disciplines). Also, a movement theme refers to a phrase of movement in a dance work that can be developed or varied. Theme and Variations: A choreographic structure in which a movement phrase is established, and then followed by a number of variations, ending with a repetition of the original phrase. The variations do not alter the essential intent and character of the initial phrase. Time: The duration of movement; may be continuous, as in slow-motion movement; alternatively, may be broken up into increments by natural elements such as breathing, or into beats, meters and rhythms at varying speeds.

50 N Blueprint for the Arts N Dance Appendix B Assessment

Forms of Traditional Assessment Forms of Alternative Assessment N Collecting ideas for dance The non-performative aspects of dance learning can be measured Courtesy Barbara Bashaw N Sharing feelings, dreams and wishes about dance and dancing using traditional instruments that are shared with other subject N Revising and reworking dance When students participate in and respond to dance, reflect upon areas. These may include: N Brainstorming with others about dance their experience, and revise their work using the methods below, N Remembering/reminiscing about dance Written tests and quizzes on topics such as: teachers may collect the evidence to evaluate the teaching and learn- N Exit slips N dance vocabulary and terminology ing in their classroom: N dance history Performance Assessment: Shows evidence of development N dance styles and genres of skills, projects or tasks. Student Dance Portfolios N dance notation N Movement exams (demonstration of dance movements) Courtesy Barbara Bashaw N physiology/kinesiology N Comparing one dance performance with another Here are some examples of the types of evidence you may want to N stagecraft N Engaging in dialogue with a jury include in a student dance portfolio: N Recording dance tasks or performances (using video, motif notation, Written work such as: written notes, drawings, etc.) N Student’s individual goals (for dance growth, academic growth, and N descriptions of dance experiences personal growth through dance) N Using standards or rubrics (teacher-generated or student-generated) N personal responses to performances N Teacher’s expectations (rules, guidelines, year-long/project goals, N Self-critiquing N critical reviews of performances rubrics, dance standards) N Peer critiquing N research papers on dance artists, periods, styles or genres in the N Videotape and photographs of student engaged in process and in context of society, culture and general history N Setting explicit goals for specific skills, projects or tasks performance during the beginning, middle and end of the year or N Setting personal goals N reports, interviews, and job-shadow journals about dance and project dance-related careers N Student’s class notes, reading notes, choreographer’s journal, motif Perceptive Assessment: Shows evidence of critical analysis N creative writing in response to or about dance notation and other dance scores to enhance performance. N personal mission statements in relation to dance N Student’s dance journal documenting personal growth and self- Discussion, written work or movement in response to dance creation, reflection N scoring or notation of dance performance, and study of various styles and genres, showing the N Completed class exercises such as webs, dance maps, artwork, or following processes: graphic organizers used for tasks Oral work such as: N Discriminating N class presentations on dance subjects N Completed dance homework assignments and research papers N Describing N participation in class discussions N Graded tests on dance subjects N Identifying N Special recognition student has received (awards, citations, N Analyzing However, the creative, investigative and performative aspects of performance invitations, competition placements) N Distinguishing dance learning may be more effectively measured by alternative N Incidental correspondence or drawings the student may send to the N Comparing means of assessment. teacher via the dance mailbox N Synthesizing N Parent feedback, formal and informal N Using specialized dance vocabulary N Student’s self-critique of his/her learning N Using graphic organizers (e.g., lists, webs, charts, etc.) N Peer critique of the student’s learning N Viewing dance works with specific content in mind N Student/teacher conference records N Peer conference records Reflective Assessment: Shows evidence of understanding N Student’s defense of the grade he/she feels is deserved through self-reflection N Student journals N Choreographer’s journals For high school seniors: N Practicing N Student dance and personal résumé with cover letter N Sketches of dance N Poetry in response to dance 51 N Blueprint for the Arts N Dance Appendix B Assessment Tools Sample Rubric: Dance Making Strand, 5th Grade Strand Component: Develop Skills and Techniques Adapted from Barbara Bashaw

Indicator Secure Developing Beginning Not Yet

Develop Skills and Techniques Develop Skills and Techniques Develop Skills and Techniques Develop Skills and Techniques Develop Skills and Techniques

Body articulations N Demonstrates a variety of extensions N Can describe extensions and flexions, N Can describe extensions and flexions, N Is not yet describing or demonstrating and flexions, limb rotations, stretches, limb rotations, stretches, swings, limb rotations, stretches, swings, bends extensions and flexions, limb rotations, swings, bends and twists bends and twists; can demonstrate one and twists; can demonstrate some but not stretches, swings, bends and twists movement for each of these actions all of these actions

Balance N Consistently exhibits control in balance N Exhibits control in balance on two feet, N Sometimes exhibits control in balance N Does not yet demonstrate control in balance (two feet, one foot, other body points) and sometimes on one foot or other body on two feet; does not have control on one on two feet, one foot or other body points points foot or other body points

Combining dance elements N Is consistently able to execute a variety N Is able to execute some locomotor N Is able to execute locomotor N Is challenged executing locomotor of locomotor movements with changing movements with changing shapes, movements in a single shape, dynamic or movements in a single shape, dynamic or shapes, dynamics and pathways dynamics and pathways pathway pathway

Rhythm N Consistently demonstrates movement N Demonstrates movement combinations N Demonstrates movement combinations N Is challenged by movement combinations in duple and triple meters, in duple and triple meters, and dances on but does not distinguish between duple combinations; does not distinguish even and uneven rhythms the beat in even rhythms, but not uneven and triple meters; dances inconsistently between duple and triple meters; does not rhythms on the beat in even rhythms follow a beat when dancing

Flow N Consistently dances with weight shift, N Dances with weight shift; often N Dances with weight shift; sometimes N Is not yet understanding weight shift transition, and flow connects movements in transitions; connects movements in transitions or transitions; moves from shape to shape sometimes achieves flow without connecting movements

Working with a partner N Is comfortable applying basic N Demonstrates basic partnering skills, N Demonstrates basic partnering skills, N Is not yet demonstrating basic partnering skills and is willing to explore new ways of but is challenged applying them to new partnering skills using them partnering situations

Styles and genres N Successfully executes combinations of N Successfully executes combinations N Executes combinations of elements in N Is challenged by executing elements in various dance forms of elements in one dance form; executes one dance form combinations of elements in one dance combinations of elements in a second form dance form with partial accuracy

By circling the level of a student’s strength in various areas, both student and teacher can assess the student’s strengths and areas that need attention. Teachers can devise their own rubrics in greater or lesser detail according to the goals of their lesson, unit or year-long plan. Descriptive values (as shown) or numerical values may be assigned depending on the purpose of the scoring guide. Comparing a student’s rubrics over time yields a sense of overall progress. For ideas about how to create various kinds of rubrics, go to websites such as: http://rubistar.4teachers.org/index.php www.2learn.ca/projects/together/START/rubric.html www.2gsu/~mstnrhx/457/rubric.htm

52 N Blueprint for the Arts N Dance Appendix C Bibliographies

Books about dance and dance pedagogy for teachers Carroll, J. Creative Dance for Boys. London: Macdonald & Evans, Ltd., 1969. Cohen, B. Sensing, Feeling, and Action: The Experiential Anatomy of Body-Mind Centering. Northampton, This bibliography is meant as a starting point. Teachers and students will discover and add many more MA: Contact Editions, 1994. resources to this list. Cohen, S. J., ed. Dance as a Theatre Art: Source Readings in Dance History, from1581 to the Present. 2d ed. Allen, R. et al. Voices of the Americas: Traditional Music and Dance from North, South, and Central America Hightstown, NJ: Princeton Book Company, 1991. and the Caribbean. New York: World Music Institute,1988. Cohen, S. J., ed. Dance: Seven Statements of Belief. Middletown, CT: Wesleyan University Press, 1966. Anderson, L., and D. Krathwohl, eds. A Taxonomy for Learning, Teaching and Assessing: A Revision of Colon-Vila, L., and R. Collier-Morales. SALSA. Houston, TX: Piñata Press, 1998. Bloom’s Taxonomy of Educational Objectives. Boston: Allyn & Bacon, 2000. Dance: A Social Study Introduction. New York: Arts Connection: 1984. (Available through ArtsConnection) Asante, K. W., ed. African Dance: An Artistic, Historical, and Philosophical Inquiry. Trenton, NJ: Africa World Press, Inc., 1997. Dance: A Social Study - The Afro-American Tradition. New York: ArtsConnection, 1984. (Available through ArtsConnection) Banes, S. Democracy’s Body: Judson Dance Theater, 1962-1964. Durham, NC: Duke University Press, 1993. Dance: A Social Study - The Latin American Tradition. New York: ArtsConnection, 1984. (Available through Banes, S. Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Durham, NC: Duke ArtsConnection) University Press, 1993. Dance: A Social Study -The Native American Tradition. New York: ArtsConnection, 1984. (Available through Banes, S. Terpsichore in Sneakers: Post-Modern Dance. 2d ed. Middletown, CT: Wesleyan University Press, ArtsConnection) 1987. Davies, M. Helping Children to Learn Through a Movement Perspective. London: Paul Chapman Educational Banes, S. Writing Dancing in the Age of Postmodernism. Hanover, NH: Wesleyan University Press, 1994. Publishing, 1995. th Banks, J. A, and C. M. Banks Multicultural Education: Issues and Perspectives. 5 ed. Needham Heights, MA: Delgado, C. F., and J. E. Munoz, eds. Everynight Life: Culture and Dance in Latin/o America. Durham, NC, Wiley, 2003. and London: Duke University Press, 1997. Bartenieff, I., and D. Lewis. Body Movement: Coping with the Environment. New York: Gordon & Breach, Dell, C. et al. Space Harmony. New York: Dance Notation Bureau, 1972. 1980. De Mille, A. America Dances. New York: Amadeus Press, 1984. Benzwie, T. A Moving Experience: Dance for Lovers of Children and the Child Within. Tucson, AZ: Zephyr Press, 1980. De Mille, A. Martha: The Life and Work of Martha Graham. New York: Random House, 1991. Benzwie, T. More Moving Experiences: Connecting Arts, Feelings and Imagination. Tucson, AZ: Zephyr Press, De Mille, A. The Book of the Dance. New York: Golden Press, 1963. 1995. Denby, E. Looking at the Dance. New York: Popular Library, 1968. Bissinger, K., and N. Renfro. Leap Into Learning! Teaching Curriculum Through Creative Dramatics and Desmond, J. C., ed. Meaning in Motion: New Cultural Studies of Dance. Durham, NC, and London: Duke Dance. Austin, TX: Nancy Renfro Studios, 1990. University Press, 1997. Blom, L. A., and L. T. Chaplin. The Intimate Act of Choreography. Pittsburgh, PA: University of Pittsburgh Dimon, T. The Undivided Self: Alexander Technique and the Control of Stress. Berkeley, CA: North Atlantic Press, 1982. Books, 1998. Boorman, J. Creative Dance in the First Three Grades. Don Mills, Ontario: Academic Press Canada, 1969. Dimondstein, G. Children Dance in the Classroom. New York: Macmillan PublishingCompany, 1971. Boorman, J. Creative Dance in Grades Four to Six. Don Mills, Ontario: Academic Press Canada, 1971. Docherty, D. Education Through the Dance Experience. Bellingham, WA: Educational Designs and Boorman, J. Dance and Language Experiences with Children. Don Mills, Ontario: Academic Press Canada, Consultants, 1975. 1980. Doray, M. J is for Jump! Moving into Language Skills. New York: McGraw Hill Children’s Publishing, 1982. Bowers, F. Theatre in the East: A Survey of Asian Dance & Drama. Manchester, NH: Ayer Co., 1980. Dunning, J. Alvin Ailey: A Life In Dance. New York: Addison-Wesley, 1996. Brady, M. Dancing Hearts: Creative Arts with Books Kids Love. Golden, CO: Fulcrum Publishing, 1997. Eddy, M. H. Conflict Resolution through Movement and Dance.North Chelmsford, MA: Courier Custom Brown, J. M. et al, eds. The Vision of Modern Dance. 2d ed. Hightstown, NJ: Princeton Book Company, Publishing Inc., 2001. 1990. Eddy, M. H. Movement Retraining: Principles of Perceptual-Motor Development, Experiential Perspectives Bucek, L. E. Dance Education Initiative Curriculum Guide. 2d ed. Golden Valley, MI: Minnesota Center for from Bartenieff Fundamentals, Body-Mind Centering, and Other Somatic Disciplines. North Chelmsford, MA: Arts Education, 1996. Courier Custom Publishing, Inc., 2001.

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Ellfeldt, L. A Primer for Choreographers. Hightstown, NJ: Princeton Book Company, 1967. Hanna, J. L. Partnering Dance and Education: Intelligent Moves for Changing Times. Champaign, IL: Human Kinetics, 1999. Ellfeldt, L., and V. Morton. This is Ballroom Dance. Palo Alto, CA: National Press Books, 1974. Harris, D. E., and J. Carr. How to Use Standards in the Classroom. Alexandria, VA: ASCD, 1996. Eisner, E. The Arts and the Creation of Mind. New Haven & London: Yale University Press, 2002. Hawkins, A. M. Creating Through Dance. Hightstown, NJ: Princeton Book Company, 1996. Emery, L. F. Black Dance in the U.S., from 1619 to Today. Revised ed. Hightstown, NJ: Princeton Book Company, 1991. H’Doubler, M. Dance. Madison, WI: University of Wisconsin Press, 1957. Fallon, D. J. The Art of Ballroom Dance. Minneapolis, MI: Burgess Publishing Company, 1977. Highwater, J. Dance: Rituals of Experience. New York: A&W Publishers, Inc., 1978. Feldman, A. Inside Tap: Technique and Improvisation for Today’s Tap Dancer. Princeton, NJ: Princeton Book Hodes, S. A Map of Making Dances. New York: Ardsley House Publishers, Inc, 1998. Company, 1995. Hodgson, J. Rudolf Laban: An Introduction to His Work and Influence. Plymouth, UK: Northcote House, Fineberg, C. Creating Islands of Excellence: Arts Education as a Partner in School Reform. Portsmouth, NH: 1990. Heinemann, 2004. Hughes, L. The Dream Keeper and Other Poems. New York: Alfred A. Knopf, Inc., 1994. Foster, S. L. Reading Dancing - Bodies and Subjects: Contemporary American Dance. Berkeley, CA: Humphrey, D. The Art of Making Dances. Reprint ed. Hightstown, NJ: Princeton Book Company Publishers, University of California Press, 1986. 1991. Frich, E. The Matt Mattox Book of Jazz Dance. New York: Sterling Publishing Company, 1983. Hunt, D. Erika Thimey: A Life of Dance, A Dance of Life. Washington DC: Erika Thimey Dance and Theater Furst, C., and M. Rockefeller. The Effective Dance Program in Physical Education. West Nyack, NY: Parker Company, Inc., 1999. Publishing Company, Inc., 1981. Jacobs, H. H. Interdisciplinary Curriculum Design and Implementation. Alexandria, VA: ASCD, 1989. Gardner, H. Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books, Inc., 1985. Jacobs, H. H. Mapping the Big Picture: Integrating Curriculum and Assessment K-12. Alexandria, VA: ASCD, Gardner, H. The Unschooled Mind: How Children Think and How Schools Should Teach. New York: Basic 1997. Books, Inc., 1991. Jamison, J. Dancing Spirit. New York: Doubleday, 1993. Gardner, H. Multiple Intelligences: The Theory in Practice. New York: Basic Books, Inc., 1993. Jonas, G. Dancing: The Pleasure, Power, and Art of Movement (Companion book to 8-part public television Gilbert, A. G. Teaching the Three R’s: Through Movement Experiences. New York: Macmillan Publishing series, Dancing). New York: Harry N. Abrams, Inc. in association with Thirteen/WNET, 1992. Company, 1977. Jones, G. Seeds of Movement: Book One. Pittsburgh, PA: Volkwein Brothers Inc., 1973. Gilbert, A. G. Creative Dance for All Ages: A Conceptual Approach. Reston, VA: American Alliance for Jowitt, D. Time and the Dancing Image. New York: William Morrow & Company, 1988. Health, Physical Education, and Dance, 1992. Joyce, M. Dance Technique for Children. Palo Alto, CA: Mayfield Publishing Company, 1984. Goldberg, M. Arts and Learning: An Integrated Approach to Teaching and Learning in Multicultural and Multilingual Settings. 2d ed. Boston: Allyn & Bacon, 2000. Joyce, M. First Steps in Teaching Creative Dance to Children. Mountain View, CA: Mayfield Publishing Company, 1994. Greene, M. A Light in Dark Times. New York and London: Teacher’s College, 1998. Karsavina, T. Classical Ballet: The Flow of Movement. New York: Theatre Arts Books, 1962. Griss, S. Minds in Motion: A Kinesthetic Approach to Teaching Elementary Curriculum. Portsmouth, NH: Heinemann, 1998. Kincaid, Z. Kabuki: The Popular Stage of Japan.Salem, NH: Ayer Company, 1972 Guest, A. H. Your Move: A New Approach to the Study of Movement and Dance. New York: Gordon & King, A. ! And Other Afro-Brazilian Dance Expressions. New York: Roots of Brazil, Inc., 1985 Breach, 1983. King, E. Transformations: The Humphrey-Weidman Era. Hightstown, NY: Dance Horizons, 1978. Guest, A. H. Your Move: A New Approach to the Study of Movement and Dance Exercise Sheets. New York: Kraus, R. Play Activities for Girls and Boys: A Guide for Teachers, Parents, and Recreation Leaders. New York: Gordon & Breach, 1989. McGraw-Hill Book Company, Inc., 1957. Guest, A. H. Motif at a Glance! A Quick Guide to Motif Description – The Method of Recording Movement Laban, R. A Life for Dance: Rudolf Laban. London: Macdonald & Evans, Ltd., 1975. Concepts. London: Gordon & Breach, 1998. Laban, R. Modern Educational Dance. 3rd ed. London: Macdonald & Evans, Ltd., 1975. Guest, A. H. The Starbies Parent and Teacher Guide. Bethesda, MD: National Dance Education Organization, 2000. Laban, R., and F. Lawrence. Effort: Economy in Movement. 2d ed. London: Macdonald & Evans, Ltd., 1974. Guest, A. H. Labanotation: The Systems of Analyzing and Recording Movement. 4th ed. New York: Routledge, Lalagia. Spanish Dancing: A Practical Handbook by Lalagia. Hightstown, NJ: Princeton Book Company, 1986. 2005.

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Landalf, H. Moving the Earth: Teaching Earth Science through Movement, Grades 3-6. Lyme, NH: Smith and Rainer, Y., and S. Sachs. Yvonne Rainer: Radical Juxtapositions, 1961-2002. Philadelphia: University of the Kraus, Inc., 1997. Arts, 2003. Landalf, H. Moving is Relating: Developing Interpersonal Skills through Movement, Grades 3-6. Lyme, NH: Redfern, H. B. Concepts in Modern Educational Dance. London: Henry Kimpton Publishers, 1973. Smith and Kraus, Inc., 1998. Remer, J. Beyond Enrichment: Building Effective Arts Partnerships with Schools and Your Community. New Landalf, H., and P. Gerke Movement Stories for Children. Lyme, NH: Smith and Kraus, 1996. York: American Council for the Arts, 1996. Lavender, L. Dancers Talking Dance. Champaign, IL: Human Kinetics, 1996. Reynolds, N., and M. McCormick. No Fixed Points: Dance in the Twentieth Century. New Haven, CT: Yale University Press, 2003. Lewis, P., and S. L. Keene. The Kestenberg Movement Profile: Its Past Present Applications and Future Directions. NH: Antioch/New England Graduate School, 1990. Rhodes, N. 21 Voices: The Art of Presenting the Performing Arts.Washington DC: Association of Performing Arts Presenters, 1990. Lewis-Ferguson, J. Alvin Ailey, Jr.: A Life in Dance. New York: Walker & Company, 1994. Roseman, J. L. Dance Was Her Religion: The Spiritual Choreography of Isadora Duncan, Ruth St. Denis and Litvinoff, V. The Use of Stanislavsky Within Modern Dance. New York: American Dance Guild, 1972. Martha Graham. Prescott, AZ: Hohm Press, 2004. Lockhart, A. Modern Dance: Building and Teaching Lessons. Dubuque, IA: Wm. C. Brown Co., 1976. Ross, J. Moving Lessons: Margaret H’Doubler and the Beginning of Dance in American Education. Madison, Louis, Murray. Inside Dance. New York: St. Martins Press, 1980. WI: University of Wisconsin Press, 2000. Magee, B. Guidelines for the Development of Doctors Addressing K-12 Dance Education Program. University Rowen, B. Dance and Grow: Developmental Dance Activities for Three- Through Eight-Year-Olds. of Illinois at Urbana-Champaign, 1991. Hightstown, NJ: Princeton Book Company, 1994. Martin, J. The Modern Dance.Reissue ed. Hightstown, NJ: Princeton Book Company, 1990. Russell, J. Creative Dance in the Primary School. London: Macdonald & Evans, Ltd., 1963. Mazo, J. H. Prime Movers: The Makers of Modern Dance In America. New York: William Morrow & Russell, J. Creative Dance in the Secondary School. London: Macdonald & Evans, Ltd., 1969. Company, Inc., 1977. Sarason, S. Teaching as a Performing Art. New York and London: Teachers College Press, Columbia McGreevy-Nichols, S. et al. Building Dances: A Guide to Putting Movements Together. 2d ed. Champaign, IL: University, 1999. Human Kinetics, 2005. Schlaich, J., and B. DuPont, eds. Dance: The Art of Production. 3rd ed. Hightstown, NJ: Princeton Book Mettler, B. Materials of Dance: As a Creative Art Activity. Tucson, AZ: Mettler Studio Publishers, 1979. Company, 1998. Minton, S. C. Choreography: A Basic Approach Using Improvisation. 2d ed. Champaign, IL: Human Kinetics, Sherbon, E. On the Count of One: A Guide to Movement and Progression in Dance. Palo Alto, CA: National 1997. Press Books, 1971. Morgenroth, J. Dance Improvisations. Pittsburgh, PA: University of Pittsburgh Press, 1987. Slater, W. Teaching Modern Educational Dance. London: Macdonald & Evans, Ltd., 1974. Norris, D. E., and R. Shiner. Keynotes to Modern Dance. Minneapolis, MN: Burgess Publishing Company, Smith-Autard, J. M. Dance Composition. London: A & C Black, 1996. 1965. Smith-Autard, J. M. The Art of Dance in Education. London: A & C Black, 1994. North, M. Movement Education. Boston: Plays, Inc., 1973. Sorensen, J., and B. Bruns. Aerobic Dancing. New York: Rawson, Wade Publishers, Inc., 1979. North, M. Personality Assessment Through Movement.Boston: Plays, Inc., 1975. Sorell, W., ed. The Dance Has Many Faces.3 rd revised ed. Chicago Review Press, 1992. Orlick, T. The Second Cooperative Sports and Games Book. New York: Pantheon Books, 1982. Spain, L., ed. Dance on Camera. Lanham, MD: Scarecrow Press, Inc., 1998 Penrod, J., and J. Plastino. The Dancer Prepares: Modern Dance for Beginners. 4th ed. New York: McGraw- Spolin, V. Theater Games for the Classroom: A Teachers Handbook.Evanston, IL: Northwestern University Hill Humanities, 1997. Press, 1986. Pohren, D. E. The Art of Flamenco. Westport, CT: Bold Strummer, Ltd., 1990 Stecher, M. Joy and Learning Through Music and Music Improvisation. New York: Macmillan Publishing Porter, L. Movement Education for Children: A New Direction in Elementary School Physical Education. Company, 1972. Washington, DC: A Study/Action Publication, 1969. Stinson, S. Dance for Young Children: Finding the Magic in Movement. Reston, VA: American Alliance for Preston Dunlop, V. A Handbook for Modern Educational Dance. Boston: Plays Inc., 1980. Health, Physical Education, Recreation and Dance, 1993. Preston Dunlop, V. Rudolf Laban: An Extraordinary Life. London: Dance Books, Ltd., 1998. Stinson, W. Moving and Learning for the Young Child. Reston, VA: American Alliance for Health, Physical Education, Recreation and Dance, 1990.

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Stodelle, E. The Dance Technique of Doris Humphrey and Its Creative Potential. Hightstown, NJ: Princeton Learning Standards and Curriculum Frameworks Book Company, 1978. Curriculum Frameworks: Knowledge, Skills and Abilities, Grades Pre-K-12. New York: Board of Education of Strandberg, J., and C. Adams. Dancing Through the Curriculum. Providence, RI: Jay Ess Press, 1997. the City of New York, 1995.

Switzer, E. Dancers! Horizons in American Dance. New York: Atheneum Press, 1982. Learning Standards for English Language Arts. Albany, NY: New York State Education Department, 1996. Taylor, P. Private Domain. Berkeley, CA: North Point Press, 1988. Learning Standards for Mathematics, Science and Technology. Albany, NY: New York State Education Terry, W. How to Look at Dance. New York: William Morrow & Company, 1982. Department, 1996.

Todd, M. E. The Thinking Body. Hightstown, NJ: Princeton Book Company, 1937. Learning Standards for Social Studies. Albany, NY: New York State Education Department, 1996. Towers, D. Dance Film and Video Guide. Revised ed. Hightstown, NJ: Princeton Book Company, 1991. Learning Standards for the Arts. Albany, NY: New York State Education Department, 1996. Villella, E. Prodigal Son: Dancing for Balanchine in a World of Pain and Magic. New York: Simon & Schuster, 1992. National Arts – Opportunity-to-Learn Standards for Arts Education - Dance, Music, Theater, Visual Arts. Consortium of National Arts Education Associations, 1995. Vitucci, M. The Language of Spanish Dance.Norman, OK, and London: University of Oklahoma Press, 1990. National Standards for Arts Education: Dance, Music, Theatre, Visual Arts: What Every Young American Should Wagner, A. Adversaries of Dance: From the Puritans to the Present. Urbana and Chicago: University of Know and Be Able to Do in the Arts. Reston, VA: National Association for Music Education, 1994. Illinois Press, 1997. New Standards’ Performance Standards: English Language Arts, Mathematics, Science, Applied Learning, Warren, L. Anna Sokolow: The Rebellious Spirit. Hightstown, NJ: Princeton Book Company, 1991. Volume 1, Elementary School. National Center on Education and the Economy, and the University of Pittsburgh, 1997. Warren, L. Lester Horton, Modern Dance Pioneer. New York: Marcek Dekker, Inc., 1977. Wiggins, G. Understanding by Design. Alexandria, VA: ASCD, 1998. Priorities for Arts Education Research: Goals 2000 Arts Education Partnership. Washington DC: Arts Education Partnership, 1997. Willis, C. Dance Education Tips From the Trenches. Champaign, IL: Human Kinetics, 2004. Young Children and the Arts: Making Creative Connections – A Report of the Task Force: Birth to Age Eight. Washington DC: Arts Education Partnership. 1998 Annotated Bibliographies Zemelman, Steven et al. Best Practice: New Standards for Teaching and Learning in America’s Schools. 2d ed. Portsmouth, NH: Heinemann, 1998. Mirus, Judith. Dance Resource Collection. Golden Valley, MN: Minnesota Center for Arts Education, 1994. (Phone: 612-591-4700 or toll free: 1-800-657-3515)

New York City Board of Education Office of Multicultural Education.Multicultural Guide: An Annotated Bibliography. 3rd ed. New York: NYC Board of Education, 1997.

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Books about dance for students Elliot, Donald. Frogs and Ballet Loredo, Elizabeth. Boogie Bones Enting, Brian. People Dance Lowery, Linda. Twist with a Burger, Jitter with a Bug The following books focus on dance and dancers as their subject. Esbensen, Barbara. Dance with Me Malam, John. Song and Dance Students can also create dances in response to a wide range of non- dance-related literature. Evans, Lezlie. Snow Dance Martin, Bill, and John Archambault. Barn Dance! Feldman, Jane. I Am a Dancer Martin, Nora. The Stone Dancers Elementary Titles Fleming, Robert. Alvin Ailey, Dancer & Choreographer Mitchell, Pratima. Dance of Shiva Ackerman, Karen. Song and Dance Man Flynn, Arthur. Morris, Ann. Little Ballerinas Agell, Charlotte. Dancing Feet Gili, Phillida. The Nutcracker: A Pop-Up Book Morrison, Lillian. Rhythm Road: Poems to Move To Allen, Debbie. Dancing in the Wings. Glover, Savion. Savion!: My Life in Tap McMullan, Kate. Nutcracker Noel Balducci, R. The Nutcracker Gray, Libba Moore. My Mama Had a Dancing Heart Nicklaus, Carol. Come Dance With Me Baron, Alan. Red Fox Dances Greene, Carol Katherine Dunham: Black Dancer O’Connor, Jane. Nina, Nina, Star Ballerina Bartoletti, Susan. Dancing with Dziadziu Gregory, Cynthia. Cynthia Gregory Dances Swan Lake Odinov, Orel. Since Lulu Learned the Cancan Berenstain. The Berenstain Bears Gotta Dance! Gourley, Catherine. Who Is Maria Tallchief? Parmet, Davina. Fun with Ballet Berger, Gilda. Magic Slippers: Stories from the Ballet Grau, Andree. Dance Patrick, Denise. Red Dancing Shoes Bornstein, Ruth. The Dancing Man Hamanaka, Sheila. The Hokey Pokey Pinkney, Andrea and Brian Pinkney. Watch Me Dance Boynton, Sandra. Barnyard Dance Hampshire, Susan. Rosie’s Ballet Slippers Pinkney, Andrea. Alvin Ailey. Brighton, Catherine. Nijinsky Hautzig, Deborah. The Story of the Nutcracker Ballet Quin-Harkin, Janet. Peter Penny’s Dance Burstein, Fred. The Dancer/La Bailarina Hopkins, Lee Bennett. Song & Dance Reiser, Lynn. Earthdance Bussell, Darcey. The Young Dancer Hurd, Edith Thatcher. I Dance in My Red Pajamas Roalf, Peggy. Looking at Painting Series Boullier, Diann. Exploring Irish Music & Dance Johnston, Edith. Regional Dances of Mexico Ryder, Joanne. Earthdance. Caney, Steven, with Peggy Spina. Teach Yourself Tap Dancing Jonas, Ann. Color Dance Sale, Laurie. Sleeping Beauty: The Story of the Ballet Carrier, Lisa, and Lenore Hart. T-Rex At Swan Lake Jonas, Gerald. Dancing Sanchez, Sharon, ed. About Ballet Class Charlip, Remy, and Jerry Joyner. Thirteen Jones, Bill T., and S. Kuklin. Dance Sanderson, Ruth. The Twelve Dancing Princesses Cleary, Beverly. Ellen Tebbits Kalman, Bobbie, and Petrina Gentile. Ballet School Schaefer, Jackie. Miranda’s Day to Dance Cocca-Leffler, Maryann. Edgar Degas – Paintings That Dance Kessel, Kristin. Dance Performance: From Rehearsal to Opening Night Schick, Eleanor. I Have Another Language – The Language Is Dance Cohen, Leonard. Dance Me to The End of Love Koda-Callan, Elizabeth. The Silver Slippers Schroeder, Alan. Ragtime Tumpie Colon-Vila, Lillian, and Roberta Collier-Morales. Salsa Komaiko, Leah. Aunt Elaine Does the Dance from Spain Schroeder, Alan. Josephine Baker: Entertainer Cooper, Elisha. Dance! Kroll, Virginia. Can You Dance, Dalila? Shannon, George. Dance Away Cristaldi, Kathryn. Baseball Ballerina Lee, Jeanne. Silent Lotus Shields, Carol. Saturday Night at the Dinosaur Stomp Daly, Niki. Papa Lucky’s Shadow Left Hand Bull, Jacqueline. Lakota Hoop Dancer. Silver, Burton, and Heather Busch. Dancing with Cats D’Angelis, Gina. Gregory Hines LeMieux, Margo. The Fiddle Ribbon Slater, Teddy. The Cow That Could Tap Dance DeFelice, Cynthia. The Dancing Skeleton Lewison, Wendy. I Wear My Tutu Everywhere Smith, Lucy et al. Dance: An Usborne Guide Delacre, Lulu. Vejigante Masquerader Locker, Thomas. Water Dance Spinelli, Eileen. Boy, Can He Dance DeSpain, Pleasant. The Dancing Turtle: A Folktale from Brazil Locker, Thomas. Cloud Dance Spinelli, Jerry. Do The Funky Pickle Dillon, Leo, and Diane Dillon. Rap a Tap Tap: Here’s Bojangles – Think Locker, Thomas.Home: A Journey Through America Tallchief, Maria, with Rosemary Wells. Tallchief: America’s Prima of That! Ballerina

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Tilden, Ruth. Sophie’s Dance Class Middle School Titles High School Titles Thomassie, Tynia. Mimi’s Tutu Donloe, Darlene. Katherine Dunham, Dancer, Choreographer Banes, Sally Terpsichore in Sneakers: Post-Modern Dance Trussell-Cullen, Alan. Everybody Dances Geras, Adele et al. The Magic Ballet: Sleeping Beauty De Mille, Agnes America Dances. Turner, Charlie Anne, illus. Dance-O-Rama: 3-D Diorama Geras, Adele et al. Giselle De Mille, Agnes Martha: The Life and Work of Martha Graham VanBeek, Tom. Degas, the Ballet, and Me Glover, Savion. Savion!: My Life In Tap. De Mille, Agnes. The Book of the Dance Varriale, Jim. Kids Dance (The Students of Ballet Tech) Grau, Andree. Dance Denby, Edwin Looking at the Dance Vaughan, Marcia. The Dancing Dragon Kristy, David. George Balanchine, American Ballet Master Dunning, Jennifer. Alvin Ailey: A Life In Dance Verdy, Violette. Of Swans, Sugarplums and Satin Slippers: Ballet Stories Kuklin, S. Reaching for Dreams: A Ballet from Rehearsal to Opening Night Ellfeldt, Lois, and Virgil Morton. This is Ballroom Dance for Children Mackie, Joyce. Basic Ballet: The Steps Defined Feldman, Anita. Inside Tap: Technique and Improvisation for Today’s Walsh, Ellen. Hop Jump Maze, Stephanie. I Want To Be A Dancer Tap Dancer. Walton, Rick. How Can You Dance? Newman, Gerald and Eleanor Newman Layfield. Martha Graham, Frank, Rusty. TAP! The Greatest Tap Dance Stars and Their Stories, Wallace, Ian. Chin Chiang and the Dragon’s Dance Founder of Modern Dance 1900-1955 Wasserstein, Wendy. Pamela’s First Musical Nugent, Anne. Swan Lake Frich, Elisabeth. The Matt Mattox Book of Jazz Dance Waters, Kate. Lion Dancer O’Connor, Barbara. Barefoot Dancer: The Story of Isadora Duncan Hughes, Langston. The Dream Keeper and Other Poems Wilson, Karma. Hilda Must Be Dancing O’Connor, Barbara. Katherine Dunham: Pioneer of Black Dance Humphrey, Doris. The Art of Making Dances Winkowski, Fred. Shelton the Dancing Skeleton Penrod, James, and Janice G. Plastino. The Dancer Prepares: Modern Kraus, Richard. History of the Dance in Art and Education Wolkstein, S. Bouki Dances the Kokioko: A Tale from Haiti Dance for Beginners Jamison, Judith. Dancing Spirit Yep, Laurence. The Case of the Lion Dance Pinkney, Andrea Davis. Alvin Ailey Jowitt, Dedorah. Time and the Dancing Image Probosz, Kathilyn S. Alvin Ailey, Jr. Lewis-Ferguson, Julinda. Alvin Ailey, Jr.: A Life in Dance Louis, Murray. Inside Dance Towers, Deirdre, ed. Dance Film and Video Guide Warren, Larry. Anna Sokolow: The Rebellious Spirit Warren, Larry. Lester Horton, Modern Dance Pioneer

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Dance Notation Bureau (DNB): Pointe Magazine: Dance Information Websites www.dancenotation.org www.pointemagazine.com Americans for the Arts (AAA): Information about Labanotation and other forms of dance notation, News, trends, articles and performance reviews of ballet www.americansforthearts.org licensing of Labanotated scores, trends in dance notation technology, applications of notation Arts education research on a national level, arts advocacy Daily and Weekly Publications with American Alliance for Health, Physical Education, Recreation and Dance Spirit: Dance (AAHPERD): www.dancespirit.com Dance Features www.aahperd.org Youth-oriented magazine with news of national competitions and National trends in K-12 and university dance and physical education master classes Backstage: performance reviews, audition announcements, casting calls, news about shows American Dance Guild (ADG): Dance Teacher: www.americandanceguild.org www.dance-teacher.com New York Magazine: performance reviews, occasional articles Magazine of national news about dance teachers, articles on method, Scholarly essays, news about scholarships, conventions and The New Yorker: performance reviews performance opportunities advertising about conferences and materials The New York Times: daily dance reviews in the Arts section; weekly American Dance Festival (ADF): Free To Dance (on WNET, the New York City station of PBS, the Public www.americandancefestival.org Broadcasting System): dance reviews and articles in the Sunday Arts & Leisure section www.pbs.org/wnet/freetodance Information on festival programs, performances, and study Time Out New York: weekly interview with a dance artist, and listings African-American dance history opportunities of dance performances, classes, lectures and exhibits American Tap Dance Foundation (ATDF): Gregory Hines Collection of American Tap Dance: The Village Voice: weekly performance reviews, audition www.atdf.org www.nypl.org/research/lpa/dan/hines New York City Tap Festival, classes, performances, the Gregory Hines Chronological and comprehensive history of tap dance, videos, other announcements, performance listings Collection (see below) materials Congress on Research in Dance (CORD): Laban/Bartenieff Institute of Movement Studies (LIMS): Resources: Websites, www.cordance.org www.limsonline.org Scholarly research in dance and dance education, conferences Courses and programs leading to CMA (Certified Movement Analyst) Computer Programs, Equipment, and certification Dance/NYC: Videotapes Language of Dance©Centre (LODC): www.dancenyc.org List courtesy Troika Ranch (Mark Coniglio and Dawn Stoppiello, Information about New York City dance companies, performance www.lodc.org directors) schedules, rehearsal spaces, and dance news and research Scholarly essays, LOD certification courses, conferences, and resources related to motif notation Dance/USA: Software www.danceusa.org Kennedy Center: Information about national trends in dance, dance news and research, http://artsedge.kennedy-center.org Overview federal-level dance advocacy, and national conferences Three major sections: Teach (Lessons, Standards, Web-Links and There are three basic categories of software for dance: 1) programs How-To’s); Connect (Articles and Reports, Contacts, and Advocacy dance and the Child international (daCi): that encourage students to create and/or otherwise notate movement; Essentials); and Explore (Look-Listen-Learn, Arts Days, Meet the 2) software that allows them to capture dancers on video tape and http://www-unix.oit.umass.edu/~devi/daci Artist, and Arts Quotes); history of various dance forms International research on dance education, conferences subsequently edit and publish these videos; and 3) software that National Assessment of Educational Progress (NAEP): allows them to add interactively controlled video and/or sound to live Dance Insider: www.nagb.org/pubs/artsed.pdf performance creations. www.danceinsider.com The 1997 national evaluation of arts education Daily performance reviews written by dance performers and choreographers National Dance Education Organization (NDEO): William Forsythe – Improvisation Technologies CD-ROM www.ndeo.org Improvisation Technologies is a digital dancing school that feeds : Scholarly work in dance education, teacher e-mail chat room, Forsythe’s improvisation techniques into the basic training. Forsythe www.dancemagazine.com networking, conferences National news about dance and dancers, performance reviews, articles explains the key principles of his improvisation work in over 100 on dancers’ health, directory of schools, links to Pointe, Dance Teacher, New York Public Library of the Performing Arts at Lincoln Center: video chapters in the form of short lectures. The video recordings were Dance Spirit and American Cheerleader magazines, a Summer Study www.nypl.org created graphically: animated white lines and other effects delineate Guide, a College Guide, and the Dance Annual Directory. Description of the library, catalog of books and videos, schedules, links sequences of movement and figures. Physical movement and its New York State Learning Standards in the Arts: relationship with space can thus be perceived in a quite different way. www.emsc.nysed.gov/ciai/arts.html Available on www.amazon.com

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VJ Software for Interactive Video with Dance are for “data” only and so have a connector that allows it to be hooked DanceForms 1.0 There are now numerous software programs that allow the user to up to a computer, but not to a video source like a VCR, etc. Having DanceForms 1.0 inspires you to visualize and chronicle dance steps or interactively manipulate video imagery. By bringing video clips created both composite video and data is best, because you can generally get a entire routines in an easy-to-use 3D environment for choreography, in iMovie or other video editing software into these programs, a simple clearer image if you come out of the computer’s VGA (video graphics interdisciplinary arts and dance technology applications. A “child” series of key presses can generate complicated video manipulations. adapter) port, i.e., the same kind of connector you would hook up to a of the well-known Life Forms software developed at Simon Fraser The reason that one might want to use such software in the context of computer monitor. University in the 1990s, it now has a library of ballet “shapes” that can dance is that it allows you to 1) see the movement in new ways (e.g., be easily sequenced, one after the other, to create choreography. The playing it backwards instead of forwards); 2) improvisationally “edit” Resource: www.ProjectorPeople.com Web page claims the following features: the movement’s sequences to suggest new choreography (similar to the method described in the section on video editing tools above); Sensors N Sketch out your choreographic ideas using an assortment of and 3) use external sensors to enable movement to directly influence poseable dance figures. the playback of choreographic material recorded previously. (See the Overview Hardware section for more information on sensors.) N Save time by mixing, matching, and blending sequences from One activity that can combine the artistic practice as well as basic DanceForms’ existing libraries and palettes of dance movement. Here are links to a few notable programs: electronics is using hardware sensors to allow movements to trigger video and sound. The basic setup consists of connecting sensory N Animate single figures or large groups. www.arkaos.net/ devices to computer software like Isadora, which is specifically designed to receive information from these kinds of sensors. For an N Use the many innovative features to bring your dance ideas to three- www.resolume.com/ dimensional life. overview of many devices created by several practitioners in the field, look at http://xspasm.com/tech/tech.php for clips and information. The I-Cube system is probably the easiest of these to use—though cheaper Isadora® - Real Time Media Manipulation Basic Video Editing Software: iMovie & iDVD TroikaTronix’s Isadora provides a powerful environment that is easy alternatives that are somewhat more difficult to set up are listed below. Being able to easily capture, edit and publish (via DVD) video dances to learn. Over one hundred basic building blocks, called “actors,” are An example would be the I-Cube’s “floor tap” sensor. This is plugged would seem to be a clear activity that would engage young people. available within the Isadora environment. By connecting wires from into the I-Cube box, which is then connected to the computer. Each There are many software packages out there that allow you to do this. one module to the next, manipulations of video imagery are made tap on the sensor could trigger the production of a sound or the There is an excellent suite of tools available on Macintosh: iMovie for possible, producing a wide range of images from photographic to appearance of a video clip. When the students create a relationship capture and editing, and iDVD for creating DVD from iMovie files. The entirely abstract designs. The translation takes place in “real time” between movement and media, they are in effect creating a new kind user interface is easy to learn, and the two programs are integrated so —that is, the images are produced simultaneously as the movement of instrument: musical instruments translate gesture into sound; these that creating a DVD from your edited file is simple. There are software is being videotaped. Some “actors” perform simple functions like “electronic” instruments translate movement into video, sound, or that perform similarly on Windows-based PCs, but their user interfaces watching for a key to be pressed on the computer keyboard, while even light. are somewhat less user-friendly than the Mac. others allow sophisticated functions such as warping video imagery. Activities that could be proposed past the normal shoot-capture-edit By using Isadora in combination with some of the sensory devices I-Cube Sensory System cycle might include something like the following: Students improvise described in the Hardware section, a complete interactive performance The I-Cube from Infusion Systems is a system that converts real-world in front of the camera, pick out the bits that they like the best, capture can be created. At base, Isadora is a programming language. Students activity into MIDI messages that can be read by your computer. It them to the computer, and edit them together into an order that is can have fun creating patches and seeing the results, but they are can be connected to a wide variety of sensors, all of which can be pleasing to them. Then, another student or a guest professional dancer actually learning the logic of programming as they do so. individually purchased from Infusion Systems. It produces MIDI output that can be fed into interactive languages like Isadora, MAX, etc. learns the dance from the edited video. This activity allows students to www.troikatronix.com think improvisationally, to see relationships between movements that The sensors available are extremely varied, and are ruggedly designed. are not always apparent when one has to consider them in real time. Connecting them to the I-Cube is as simple as plugging them in. Furthermore, if they try to learn the edited material, they will be forced to deal with the impossible movements created by the jump cuts that Video Projectors www.infusionsystems.com are unavoidable when using this technique—in other words, to make An LCD video projector allows students to project video dance works choreographic decisions. they create, for use with any real-time interactive environments. The key feature for a video projector is the brightness of the projector, MidiTron™ which is rated in ANSI Lumens. A rating of 2000 Lumens should MidiTron is a new MIDI to real-world interface designed to simplify be the minimum, as this is bright enough to work well in theatrical the process of creating sensor- and robotics-based electronic art situations. Bright theater lights can wash out the image. Make sure that projects. It is easily user configurable and provides 20 terminals of the projector has an NTSC or PAL composite input—some projectors digital and analog inputs and outputs in any combination. It is a cost-

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effective alternative to Infusion System’s I-Cube. Connect sensors to the Technology Information Additional Dance Technology Resources inputs yourself; no sensors are included with the device. This provides an opportunity to interest the more science-minded students, and to Links to Dance Companies with a Focus on Using Technology expose them to basic electronics in the service of art making. MidiTron http://troikaranch.org comes with a manual, including hook-up diagrams for various sensor Bedford Interactive: www.dance-interactive.web.com/ types, and a software editor (for MacOS 9/X and Windows) that allows www.igloo.org.uk/ you to customize the device’s functions. This British concern has developed excellent tools for teaching students www.companyinspace.com/ to analyze professional choreography and create original choreography. www.eroktronix.com/ http://xspasm.com/tech/tech.php I-PAC Keyboard Controller Credo Interactive: The I-PAC is a USB Keyboard Controller to which you can attach your www.charactermotion.com/ own wires. By connecting switches (e.g., burglar alarm floor switches This company is the producer of all versions of Life Forms and Dance & Technology Zone or even bare wires) to this device, you can simulate pressing keys on the newer DanceForms 1.0. Both are excellent tools for exploring Created in collaboration with Scott deLahunta, the Dance & the keyboard, e.g., as if you were to type the letter “a.” This is a very choreographic design and movement choices. inexpensive way to add a switch-based interface to computer software Technology Zone is dedicated to disseminating both practical and like the VJ software mentioned previously. theoretical information about the integration of dance and interactive digital media: http://www.art.net/~dtz. In this site you can find Kaiserworks: www.ultimarc.com/ information on how to join the Dance & Technology Listserv. Over www.kaiserworks.com/kidmotion/index.htm two hundred artists and academics worldwide are members of this Paul Kaiser, noted (along with partner Shelly Eshkar) for his list. Here, like the D&TZ, they discuss both practical and theoretical motion sensor-generated projections in collaborations with Merce information germane to the field. The participants come from a wide Cunningham and Bill T. Jones, is a former teacher who is creating a variety of backgrounds and range from beginners to experts. E-mail children’s choreography game using LEGO MindStation software. [email protected] to find out how to subscribe.

Physical Computing, or “How to Solder and Much More” For a compendium of basic sensory systems and how to get them connected to your computer, visit Dan O’Sullivan’s “Physical Computing—A Hands On to Guide for Artists, Scientists, Hobbyists (and Engineers in a Hurry)” Web page. From soldering to software to putting together your own inexpensive sensory systems, this site is useful because of its depth and because it is for the uninitiated.

http://fargo.itp.tsoa.nyu.edu/~dano/physical/physical.html

61 N Blueprint for the Arts N Dance Appendix D What the Blueprint Means for School Leaders

All students deserve an excellent arts education, and the reorganization of the New York School leaders can ask some simple but vital questions: City Department of Education is an opportunity to recommit to that mission. One of N What is the place of dance in our comprehensive educational plan (CEP)? the priorities of the reorganization is to look anew at how the arts are approached and N Do we have the staffing in place to support our dance goals? If not, what short- and taught across the city. ThisBlueprint outlines how teaching and learning the art of dance long-term strategies can we use to implement an infrastructure for effective dance should be implemented in New York City public schools, PreK-12. education? N How can we use ongoing assessment to help us improve our dance instruction? N Are parents meaningfully involved? If not, how can we help them become more aware How Principals and School Leadership Teams Can Use This Blueprint of our students’ learning in dance? Page 5, above, “A Guide to Schools for Implementing a Dance Program” lists guidelines for a healthy dance program. These criteria can be especially useful to local instructional N Are we taking advantage of the rich dance and other arts resources that New York superintendents, principals, assistant principals, and other school leaders. They can be City has to offer? used to initiate a conversation about the place of dance and the other arts in a school N How can strategic arts partnerships help us advance teaching and learning in dance? community. N Do our dance teachers, classroom teachers and visiting artists have adequate professional development to carry out work that is developmentally appropriate and has artistic integrity? What can we do to support them? N What resources can the New York City Department of Education provide that would help us meet our goals?

In every school community, different agendas compete for time and resources. Schools are responsible for helping students learn to read and write, compute, investigate, explore, imagine, and create. Research supports the assertion that authentic work in the arts serve all of these goals, and New York City, through its commitment to a PreK-12 citywide arts curriculum, has made a major investment to ensure that there is equity and access to the arts for every child. Effective arts education can only be achieved with the commitment of school leaders.

62 N Blueprint for the Arts N Dance Appendix E What the Blueprint Means for Classroom Teachers

“Interdisciplinary education enables students to identify and apply authentic connections N Infusion: Teachers focus on the strong relationships among disciplines and commit between two or more disciplines and to understand essential concepts that transcend to a deep and fruitful collaboration. Example: Dance and history teachers on the high individual disciplines.” —The Consortium of National Arts Education Associations* school level plan a semester-long seminar involving both their disciplines. They focus on European Baroque Dance and primary-source readings from the era (perhaps incorporating a residency by a Baroque Dance ensemble), so that students can draw Great teachers know the power of the arts to transform, motivate and inspire. Great shared meaning from both disciplines. arts teachers know the power of connecting their work to the teaching and learning in other subjects. Authentic connections reinforce the power and relevance of the arts, and In the Blueprint, the “Connections” strand of instruction suggests how dance teachers add depth and dimension to studies in other disciplines. can connect their work to other disciplines. Similarly, teachers of other subject areas can draw on the power of dance to help their students delve deeper into the topics they Since this Blueprint is aimed at providing equitable access to an excellent dance education study. General classroom teachers may be especially interested in this section. The for all New York City public school students, it follows that dance teachers and teachers Blueprint does not include examples of how themes or concepts from other disciplines in other subjects can work together to help make this a reality. There are already many might initiate joint projects, because its purpose is to demonstrate the power of what exemplary models for how teachers can infuse the dance into their general classroom happens in the dance classroom. Joint planning at the local school level will generate work, many through partnerships with cultural institutions and others through school- many examples of how dance teachers and teachers from other subject areas can help based efforts. Successful collaborations generally involve interdisciplinary education create healthy, rich learning environments for their students. This Blueprint has been and may take the following forms: designed to encourage such collaborative endeavors in schools.

N Parallel Instruction: Teachers agree to focus on a common topic or theme, but work on them separately. Example: An elementary classroom teacher teaching science and the dance teacher agree to study patterns and change over time in both their classrooms. Students are able to draw connections between these parallel experiences to reinforce learning in both science and dance.

N Cross-Disciplinary Instruction: Teachers agree to focus on a common theme, concept or problem. They plan together and often engage in team teaching. Example: A dance teacher, a literature teacher and a visiting dance teaching artist on the middle school level work together to plan a unit of study focusing on Alvin Ailey’s Revelations and Mildred D. Taylor’s Roll of Thunder, Hear My Cry, both of which embody artistic responses to African-American life and traditions. These collaborative experiences deepen students’ understanding of the content areas.

* Authentic Connections: Interdisciplinary Work in the Arts, The Consortium of National Arts Education Associations (AATE, MENC, NAEA, NDEO), 2002. The examples given below this citationre a also drawn from this article.

63 N Blueprint for the Arts N Dance Appendix F What the Blueprint Means for Special Education Practitioners

To help all students achieve to their potential, it is recommended that attention to different learning styles be addressed in all teaching strategies. Most of the suggested activities that appear in the New York City Department of Education Blueprint for Teaching and Learning in the Arts: Dance, Grades PreK-12 can be adapted to meet the needs of students and teachers in Special Education programs. To ensure access to and participation in dance classes, some students with disabilities may need services and supports to address their unique learning needs. Advance preparation may be needed to achieve equal access, especially for events taking place outside of the school. Consultation may be necessary to make dance activities, events and classroom teaching happen smoothly and efficiently for Special Education students. A supplemental guide to effective use of the dance Blueprint in teaching Special Education students will be available in 2008. For references and assistance, please contact the Office of Arts and Special Projects.

64 N Blueprint for the Arts N Dance Appendix G What the Blueprint Means for Parents

Children First, the city’s education reform program, is being implemented to improve teaching and learning in all New York City public schools. Already many innovations have been introduced:

N stronger instruction in reading, writing and math; N trained parent coordinators in every school; and N a simpler, more streamlined structure to redirect resources directly to schools, where funds are most needed.

The arts must also become a rich and vital part of the school experience for every child. As parents and as families, you can help your child by being informed about arts education. ThisBlueprint outlines what dance education should look like for students in PreK-12. In addition to staying informed, there are several areas of arts learning in which parent participation is explicitly suggested, and others where it would be welcome. All the research about successful arts education indicates that parent involvement is crucial. There is a lot you can do at home to help children do their best in the arts. Here are just a few ideas:

N Share the rich arts traditions of your family and culture: dance with your child, sing to your child, paint, draw, or tell stories you heard when you were young. N Attend performances or visit museums with your child, taking advantage of the many family programs offered by New York City’s cultural institutions. N Support your school’s arts programs by attending workshops or performances in the arts. N Support the arts goals set by the school. On page 5, above, you will find “A Guide to Schools for Implementing a Dance Program,” which lets you know what kind of dance instruction you should expect for your child. If these indicators are not in place at your child’s school at the present time, you can start a conversation with your parent coordinator and the school staff by referring to thisBlueprint . Parents, families and communities have an important role in contributing to and supporting arts education in the schools. Arts educators and members of the arts community look forward to working with you to give every child in New York City equal access to an excellent education in the arts.

65 N Blueprint for the Arts N Dance Appendix H What the Blueprint Means for the Arts Community

The arts community of New York City is a vital element of the arts education of our youth. In recognition of its expertise, the Department of Education has asked arts organizations and teaching artists to actively participate in the creation of this Blueprint. No other major urban school system has a collaboration with its arts community on quite this scale. It is a groundbreaking initiative and a hallmark of this administration.

N What does the Blueprint mean to arts organizations? The arts community has been represented by colleagues who have served tirelessly to assist the Department of Education in its work. Representatives from many arts organizations were invited to examine this Blueprint, give feedback to the committees whose task it was to refine it, and consider how this work will interact with their educational missions, programs and offerings. As the Blueprint is implemented across New York City, it will strengthen and deepen the partnerships between the arts community, the schools, and the teacher preparatory programs at the city’s colleges and universities.

N What does the Blueprint mean to teaching artists? Whether they are working independently or are employed by arts organizations, teaching artists are the practitioners who work with teachers and students in schools, and their relationship to the Blueprint will be critical. Understanding the educational goals of arts teachers and the schools in which they work will be vital to creating dynamic collaborations that maximize a school’s resources.

N Will the Blueprint change the way the arts community works with schools? As the school’s commitment to the arts increases over the next few years, there will most likely be an even greater need for the participation of the arts community. As the “Community and Cultural Resources” strand indicates, even schools that have not had active arts programs will be asked to consider the strategic use of cultural and community resources to support arts learning. The joint work between the arts community and the schools also means that teaching practices will be examined. Because meaningful and ongoing professional development is required to engage teachers and artists in improving the work they do, the work will be planned collaboratively. It is the hope of the dance and theater committees that the implementation of the Blueprint will lead to increased and improved arts education for New York City students, and that the arts community will play a vital and explicit role in its success.

66 N Blueprint for the Arts N Dance Appendix I What the Blueprint Means for the University Community

The Blueprint for Dance has been developed with the advice and counsel of the members of departments of dance education on college campuses across our city. The majority of teachers in our New York City Public Schools have received their degrees from these colleges. Since the success of teaching and learning in the dance is dependent upon the skill and competence of the dance teachers in the classroom, the university community is crucial to the future of dance education in our schools. It is critical that dance education programs in our universities, conservatories and colleges reflect and support this new Department of Education Blueprint, so that future generations of dance educators will be prepared to provide exemplary dance instruction to our students. We look to them to integrate this document into the coursework and build upon this important work. We therefore invite our colleagues in higher education to continue with us in this effort to strengthen the work of school-based dance professionals toward a common framework of high expectations and rigorous content for our students.

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Office of Arts and Special Projects New York City Department of Education 52 Chambers Street, Room 210 New York, New York 10007 Phone: 212.374.0300 Fax: 212.374.5598 Email: [email protected] website: schools.nyc.gov/artseducation