OFFICE OF CURRI CULUM, INSTRUCTI ON & PROFESSIONAL DEVELOPMENT

MIDDLE SCHOOL COURSE OUTLINE

De pa rtment Visu al and Perf orm in g Arts Cour se Title Ad va nce d Dan ce Cour se Cod e 33 40 Abbr evi ati on Grad e Leve l 7- 8 Cour se Len gth 1 ye ar Re quire d No Elec tive X

COURSE DESCRIPTION

Th is co urse is desig ned to give stud ent s the op por tunit y to con tin ue le arn in g the skills of dan ce wh ile im pr oving th eir tech niq ue, poise, se lf-con fiden ce an d crea tive ability. Studen ts will cho re ogr aph and da nce in cla ss and scho ol pr ese nta tions. Throu gh th eir own dan ce co mpo sitio ns and expressio ns, stud ent s exp lor e the creat ive process, translat ing idea s, thoug hts, and feeling s int o orig in al pie ce s of ch or eog rap hy. They also stu dy dan ce forms from ma ny cu ltu re s and time per io ds in cu ltu ral and hist orical cont ext . By perf orm ing and vie wing the perf orm an ces of dancers and dan ce co mpa nies, stud ent s develo p the skills nee ded for making aesthe tic ju dg men ts an d enga ging in th oug htful discussion s of their re aso ning in th e classr oom .

GOAL S: (Studen t nee ds the c ourse is inten de d to mee t)

Stud ent ne ed s to:

1.0 ARTISTIC PERCEPTION Process, Analyze, and Respond to Sensory Information Through the Language and Skills Unique to Dance

2.0 CREATIVE EXPRESSION Create, Perform, and Participate in Dance Students apply choreographic principles, processes, and skills to create and communicate meaning through the improvisation, composition, and performance of dance.

3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Dance Students analyze the function and development of dance in past and present cultures throughout the world, noting human diversity as it relates to dance and dancers.

4.0 AESTHETIC VALUING Respond to, Analyze, and Make Judgments About Works of Dance Students critically assess and derive meaning from works of dance, performance of dancers, and original works according to the elements of dance and aesthetic qualities. Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 2 5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connect and Apply What Is Learned in Dance to Learning in Other Art Forms and Subject Areas and to Careers Students apply what they learn in dance to learning across subject areas. They develop competencies and creative skills in problem solving, communication, and management of time and resources that contribute to lifelong learning and career skills. They also learn about careers in and related to dance.

CONT ENT STANDARDS

Visual and Performing Arts: 8th Grade Dance Content Standards

1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Dance Students perceive and respond, using the elements of dance. They demonstrate movement skills, process sensory information, and describe movement, using the vocabulary of dance.

Development of Motor Skills and Technical Expertise 1.1 Demonstrate increased ability and skill to apply the elements of space, time, and force/energy in producing a wide range of dance sequences. 1.2 Demonstrate capacity for centering/shifting body weight and tension/release in performing movement for artistic intent. 1.3 Demonstrate greater technical control in generating bigger and stronger movements through space in rehearsal and performance. Comprehension and Analysis of Dance Elements 1.4 Analyze gestures and movements viewed in live or recorded professional dance performances and apply that knowledge to dance activities. Development of Dance Vocabulary 1.5 Identify and analyze the variety of ways in which a dancer can move, using space, time, and force/energy vocabulary.

2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Dance Students apply choreographic principles, processes, and skills to create and communicate meaning through the improvisation, composition, and performance of dance.

Creation/Invention of Dance Movements 2.1 Create, memorize, and perform dance studies, demonstrating technical expertise and artistic expression. 2.2 Expand and refine a personal repertoire of dance movement vocabulary. Application of Choreographic Principles and Processes to Creating Dance 2.3 Apply basic music elements to the making and performance of dances (e.g., rhythm, meter, accents). 2.4 Record personal movement patterns and phrases, using a variety of methods (e.g., drawings, graphs, words). Communication of Meaning in Dance 2.5 Demonstrate performance skill in the ability to project energy and express ideas through dance. 2.6 Demonstrate the use of personal images as motivation for individual and group dance Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 3 performances. Development of Partner and Group Skills 2.7 Demonstrate originality in using partner or group relationships to define spatial patterns and the use of overall performing space. 3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Dance Students analyze the function and development of dance in past and present cultures throughout the world, noting human diversity as it relates to dance and dancers.

Development of Dance 3.1 Compare and contrast specific kinds of dances (e.g., work, courtship, ritual, entertainment) that have been performed. History and Function of Dance 3.2 Explain the variety of roles dance plays among different socioeconomic groups in selected countries (e.g., royalty and peasants). Diversity of Dance 3.3 Describe the roles of males and females in dance in the United States during various time periods.

4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works of Dance Students critically assess and derive meaning from works of dance, performance of dancers, and original works according to the elements of dance and aesthetic qualities.

Description, Analysis, and Criticism of Dance 4.1 Identify preferences for choreography and discuss those preferences, using the elements of dance. Meaning and Impact of Dance 4.2 Explain the advantages and disadvantages of various technologies in the presentation of dance (e.g., video, film, computer, DVD, recorded music). 4.3 Describe and analyze how differences in costumes, lighting, props, and venues can enhance or detract from the meaning of a dance.

5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in Dance to Learning in Other Art Forms and Subject Areas and to Careers Students apply what they learn in dance to learning across subject areas. They develop competencies and creative skills in problem solving, communication, and management of time and resources that contribute to lifelong learning and career skills. They also learn about careers in and related to dance.

Connections and Applications Across Disciplines 5.1 Identify and compare how learning habits acquired from dance can be applied to the study of other school subjects (e.g., memorizing, research, practicing). 5.2 Describe how dancing builds positive mental, physical, and health-related practices (e.g., discipline, stress management, anatomic awareness). Development of Life Skills and Career Competencies Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 4 5.3 Research and explain how dancers leave their performing careers to enter into alternative careers.

DIST RICT PERFORMANCE ST ANDARDS

District Dance Performance Standard Criteria

Assessment/ Not Proficient Partial Proficient Proficient Advanced Proficient Assignments 1 2 3 4 Student Student Student Student clearly and Movement Study demonstrates demonstrates some demonstrates most consistently demonstrates all Movement Project minimal or no of the required of the required required elements and/or Movement Performance required elements and/or skills elements and/or skills of the study/ project/ elements and/or of the study/project/ skills of the performance skills of the performance study/project/ study/project/ performance performance Student Student Student Student clearly and Cognitive Concepts demonstrates demonstrates some demonstrates consistently demonstrates little or no evidence of concept evidence of concept knowledge evidence of knowledge concept knowledge concept knowledge

OUTLINE OF CONTENT AND TIME ALLOTM ENT (Not e: Du e to schoo l sche du les an d stu den t intere st, time a llo tment is variable.)

Orienta tion to Intermed iat e Dan ce 1 we ek Ph iloso phy Class Curr iculu m, Expectatio ns, Grad ing Po licy Classro om Ru les an d Proced ure s Lo cks and Lo cke r Roo m Proced ure Dr essin g Policy

Mode rn Dan ce 7- 9 weeks

Content Standard(s) Skills and Concepts Suggested Resources

Development of Motor 1. Axial movements will be introduced to • Cheney, Gay. Basic Skills and Technical improve alignment, increase flexibility and Concepts in Modern Expertise Dance: A Creative 1.1 Demonstrate balance. May include plies, lunges, leg Approach (Third edition). increased ability and skill swings, side stretches and releves. Pennington, N.J.: to apply the elements of 2. Locomotor movements will be done to Princeton Book Company, space, time, and develop coordination and spatial awareness. 1989. force/energy in producing May include walks, skips, prances, leaps, and • Joyce, Mary, and Patty a wide range of dance Haley. First Steps in sequences. triplets. Teaching Creative Dance 1.2 Demonstrate capacity 3. Creative activity is used to develop to Children (Third edition). for centering/shifting body experimentation, exploration and application Burr Ridge, Ill.: McGraw- weight and of dance principles. These are used in both Hill Higher Education, tension/release in improvisation and choreography assignments. 1993. performing movement for • Lockhart, Aileen, Modern artistic intent. They may include: Dance, WM. C. Brown Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 5 Content Standard(s) Skills and Concepts Suggested Resources 1.3 Demonstrate greater a. Time studies (phrasing, tempo changes, Co.1973 technical control in rhythm patterns) • Mazo, Joseph. Prime generating bigger and b. Spatial design studies (change of direction Movers: The Makers of stronger movements Modern Dance in America through space in and level, symmetrical and asymmetrical (2nd edition). Hightstown, rehearsal and c. Energy studies-quality of movement N.J: Princeton Book performance. (pendular, sustained, suspended, Company Publishers, Comprehension and vibratory, percussive and collapsing) 1999. Analysis of Dance Elements VOCABUL ARY 1.4 Analyze gestures and For suggested choreography assignment, see movements viewed in live Evaluation Axia l: Non -lo co motor or recorded professional mo ve men t occ urr ing a bov e a dance performances and station ary b ase ; movem ent apply that knowledge to of the bod y aro und its own dance activities. ba se . Development of Dance Ce ntere d: the corre ct Vocabulary ba la ncing of th e b od y, an 1.5 Identify and analyze imag ina ry line run ning the variety of ways in th ro ugh the bod y from the which a dancer can crow n o f the he ad do wnw ard move, using space, time, be tw een the two le gs wh ich and force/energy is inte rse cted by an vocabulary. imag ina ry line cross ing the bo dy from on e h ip to the Creation/Invention of othe r a nd ho riz ontal to the Dance Movements floo r. 2.1 Create, memorize, Co ntrac tio n: the muscu lar and perform dance te ns ion that produ ce s a studies, demonstrating fo re sho rte ning of bo dy par ts; technical expertise and a pr inc iple of the Grah am artistic expression. te ch niq ue. 2.2 Expand and refine a Focu s: conc entratio n o n a personal repertoire of fixe d o r moving po in t in dance movement sp ac e; ind ic ation of a fix ed or vocabulary. mo ving point in sp ac e b y Application of dire ction of mo vemen t or o f Choreographic Principles sp ac e and Processes to Lo co motor: moveme nt Creating Dance th ro ugh sp ac e invo lv ing a 2.3 Apply basic music ch an ge of lo cation ; a moving elements to the making ba se in volving a p ro gre ssive and performance of re lo cation o f the bo dy in dances (e.g., rhythm, sp ac e. meter, accents). Plac eme nt: a bala nc ed 2.4 Record personal alig nme nt of the b od y, hips movement patterns and le ve l, leg s turned o ut from phrases, using a variety th e hip jo in ts, rib cage lifted , of methods (e.g., sh ou lde rs re lax ed drawings, graphs, words). do wn war d, sp ine ex te nde d. Communication of Trip let: a three -s tep pa ttern Meaning in Dance with the a ccent us ua lly on 2.5 Demonstrate th e first step. performance skill in the ability to project energy and express ideas through dance. 2.6 Demonstrate the use Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 6 Content Standard(s) Skills and Concepts Suggested Resources of personal images as motivation for individual and group dance performances. Development of Partner and Group Skills 2.7 Demonstrate originality in using partner or group relationships to define spatial patterns and the use of overall performing space.

Ballet 7- 9 weeks

Content Standard(s) Skills and Concepts Suggested Resources

Development of Motor 1. Ballet barre is done at a beginning level of • Grant, Gail, Skills and Technical Technical Manual Expertise proficiency. Includes grand plie, battement tendu, and Dictionary of 1.1 Demonstrate focus, rond de jambe, double frappe and grand Classical Ballet, physical control, battement/develope. Dover Publications, coordination, and 2. Center floor adagio combinations designed to Inc. New York, 1982 accurate reproduction in enhance balance and line. May include promanade, • Johnson, performing locomotor Bernadine, A Night at and axial movement. soutenu and arabesque penchee. the Ballet, Alfred 1.2 Incorporate a variety 3. Center floor allegro combinations designed to Publishing Co. of force/energy qualities develop elevation and articulation of the feet. May • Friedman, Lise. into executing a full include assemble and glissade-jete. First Lessons in range of movements. 4. Movement patterns designed to develop Ballet. New York: Comprehension and Workman Publishing Analysis of Dance coordination and directional awareness. May Company, 1999. Elements include grand tour jete, pique, and pirouette. • Ganeri, Anita. The 1.3 Identify and use Young Person’s force/energy variations Guide to the Ballet, when executing gesture with Music on CD and locomotor and axial from the movements. Nutcracker, Swan 1.4 Use the principles of Lake, and Sleeping contrast, unity, and Beauty. London: variety in phrasing in Harcourt Brace and dance studies and Company, 1998. dances. • Thomas, Annabel. Development of Dance Ballet and Dance. Vocabulary Tulsa, Okla.: EDC 1.5 Describe and Publishing, 1992. analyze movements observed and VOCABULARY performed, using appropriate dance Ad ag io: s low an d vocabulary. gr ac efu l mov eme nts Arab esq ue: Positio n Description, Analysis, of the bod y in profile, and Criticism of Dance su pp orted on on e leg Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 7 Content Standard(s) Skills and Concepts Suggested Resources 4.1 Apply knowledge of with the o th er leg the elements of dance ex te nde d b eh ind at and the craft of righ t angles to it. choreography to Ba la nce : rock ing s tep critiquing (spatial design, Ba rre: a ho riz on tal variety, contrast, clear wo od en bar fastene d structure). to the walls of the 4.2 Propose ways to ba llet cla ssroo m. revise choreography Ever y ballet class according to established be gins with exe rcise s assessment criteria. at the ba rre. Meaning and Impact of De mi: h alf Dance De ve lop e: movem ent 4.3 Discuss the in w hic h the wo rking experience of performing le g is dra wn up to the personal work for others. kn ee of the sup por ting 4.4 Distinguish the le g and slow ly differences between ex te nde d to an ope n viewing live and po sitio n in the air. recorded dance Gran d je te : Larg e performances. le ap . Piro uette: Whir l o r sp in . A comple te turn of the bod y on one fo ot. Plie : A bending of the kn ee s. Re ve nan ce: elab ora te cu rtsey

Jazz 7- 9 weeks

Content Standard(s) Skills and Concepts Suggested Resources

Description, Analysis, and 1. Technique will be introduced daily to develop a jazz Criticism of Dance style and body conditioning. Includes jazz walks, • Geordano, Gus. 4.1 Identify preferences Jazz Dance Class, for choreography and isolations and turns. Beginning Through discuss those 2. Movement patterns will be designed to develop Advanced. ISBN: preferences, using the coordination and directional awareness. May 0871271826 elements of dance. include a six-step pirouette pattern and leaps. Princeton Book Meaning and Impact of Company, Dance September 1992 4.2 Explain the • Stearns, Marshall, advantages and and Jean Stearns. disadvantages of various Jazz Dance: The technologies in the Story of American presentation of dance Vernacular (e.g., video, film, Da nc e. N ew Yo rk: computer, DVD, recorded Da Ca po Pre ss, 1994 . music). 4.3 Describe and analyze how differences in costumes, lighting, props, and venues can enhance or detract from the Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 8 meaning of a dance.

World Dance 7- 9 weeks

Content Standard(s) Skills and Concepts Suggested Resources

Development of Dance 1. Cultural and historical significance of dances from • Burke, William, A 3.1 Compare and around the world will be introduced through Celebration of contrast features of Diversity, Tanza dances already demonstration, lecture, video and guest dancers. Productions, 2002 performed from different 2. Basic steps of world dances will be taught. May • Harris, Jane, countries. include two-step, schottische, polka, and Dance a While: History and Function of promenade. Handbook for Folk, Dance 3. Dances from Asia, Africa, Europe, North America Square, Contra, and 3.2 Explain the Social Dance, Allyn & importance and function and South America will be taught. May include Bacon, 2000. of dance in students lives. Pata Pata, Road to the Isles, Troika, Virginia Reel, Available for check Diversity of Dance Caballito Blanco and Tarantella. out from the LBUSD 3.3 Explain the various Professional Library, ways people have Code #793.3 HAR experienced dance in • Jonas, Gerald. their daily lives (e.g., Dancing: The Power Roman entertainments, of Dance Around the Asian religious World. New York: ceremonies, baby naming Abrams, 1992. in Ghana, Latin American • Weikart, Phyllis. celebrations). Teaching Folk Dance: Successful Steps. Ypsilanti, Connections and Mich.: High/Scope Applications Across Press, 1999. Disciplines 5.1 Describe how other VIDEO arts disciplines are integrated into dance Multicultural Folk performances (e.g., Dance Treasure music, lighting, set Chest, Volume I and design). Volume II, 1998. (VC) 5.2 Describe the 7010 and (VC) 7011, responsibilities a dancer Available for check has in maintaining health- out from the LBUSD related habits (e.g., Office of Multimedia balanced nutrition, Services regular exercise, adequate sleep). VOCABUL ARY Development of Life Skills and Career Blek ing : Ho p righ t, Competencies ex te nding le ft foot 5.3 Identify careers in fo rw ard , hee l touc hing dance and dance-related floo r, hop left, fields (e.g., teacher, ex te nding right foot Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 9 Content Standard(s) Skills and Concepts Suggested Resources therapist, videographer, fo rw ard , hee l touc hing dance critic, floo r. choreographer, notator). Da nc e form: there ar e fo ur ma in fo rms of re creation al da nce . 1. Individ ual: Th e olde st form of re creation al da nce . Da nc ers ca n be ra nd omly s pr ead ov er the d an ce ar ea or in a lo ose circ le. Each da nc er is in de pen den t of the othe rs on the floo r. 2. Circ le or line: Da nc ers ar e lin ked to ge the r in some fa sh ion ; held ha nd s, shoulder s or e ach othe r’s sa sh es. 3. Formation or se t: Da nc es don e in co ntra lin es (pa ralle l line s facing pa rtners), squa res or p res cribe d nu mb er of co uples in c irc les . 4. Co up le: The lates t fo rm of recr eation al da nc e. This term re fe rs to a clo sed po sitio n c ou ple , wh ic h rota te s as a sing le unit as it re vo lve s aro und th e flo or. Folk da nce : The old te rm fo r tradition al, re creation al da nce . Also ca lle d eth nic da nc e, wor ld da nce an d multic ultur al da nc e. Line of dire ction: Re fe rs to th e co un terclo ckwis e dire ction of mo vemen t of d anc ers a rou nd th e circ le.

Closure 1 week Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 0 APPLICATIO N OF THE CONTENT

Re lated Ca re er Title s –Stu den ts wh o have an inte re st in be gin nin g dan ce ma y be int ere sted in the followi ng ca ree rs. Te achin g/Edu cat ion Care ers: pub lic schools a nd priva te studios Jo ur nalism Care ers: dan ce re vie wer o r writ er for Dan ce Mag azine Me dical Ca re ers: d an ce the ra pist Bu siness: o wns a da nce stud io, ru n a d ance com pan y La w: en ter tainm ent law En terta inm en t: perf orm on stag e, trave lin g com pan y, televi sion or vide o Re creat ion a nd Leisu re: work fo r a recr ea tio n d ep art men t or cruise line

METHODS

A varie ty of in structio nal strateg ie s will be used to acco mm oda te all learning style s and to re inf or ce re ad ing , writin g a nd ph ysica l a ctivity skills while lea rning ph ysica l e ducat ion cont ent .

Methods include: Demonstrations – by teacher, student(s), or experts on video; Lecture; Modeling; Guided practice and Group discussion.

Student centered learning to include: peer coaching; reciprocal teaching; checklists; video (peer and self-analysis); guided discovery; stations and circuits; and task cards.

Lesson Design & Delivery: Teachers will incorporate these components of lesson design. The order of components is flexible, depending on the teacher’s vision for the individual lesson.

An ticipato ry Se t Obje ctive Stan dar d Ref ere nce Pu rp ose Essential Elements of Effective Instruction Inpu t Mo de lin g Model for Lesson Design Using Task Analysis Ch eck for Un der stand ing Guid ed Pra ctice Closure Inde pen den t Practice

Some components may occur once in a lesson, but others will recur many times. Checking for understanding occurs continually; input, modeling, guided practice and closure may occur several times. There may even be more than one anticipatory set when more than one content piece is introduced.

Active Participation: Teachers will incorporate the principles of active participation and specific strategies to ensure consistent, simultaneous involvement of the minds of all learners in the classroom. Teachers should include both covert and overt active participation strategies, incorporating cooperative learning structures and brain research. Some of the possible active participation strategies include: Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 1 OVERT OVERT OVERT COVERT (Oral) (Written) (Body Movement) • Think of • Pair/Share • Restate in Journals • Body movement signals • Recall • Idea Wave • Response Boards • Model with or without or on Clipboards manipulatives • Imagine • Choral Response • Graphic Organizers • Stand up/ Kneel • Observe • Give One, Get • Ticket Out of Class • Point to Examples One • Consider • Cooperative Discussion Groups

Baldrige Quality Tools

Flow Chart Team Building Activities Student Survey Plus/Delta Issue Bin

Literacy and Differentiation Strategies Learning styles and learning challenges of your students may be addressed by implementing combinations of the following:

Re ad ing St ra teg ies St ra teg ies for Speci al Nee ds Primary La nguag e Support In Danc e St udent s • Pr eview/re view Gro up ing • Le ar nin g L og s • Inte ractive Lea rning Diff ere ntiat ion fo r • Pr e- tea ching (ma nipulative s, visua ls) ) Adva nce d Lea rne rs • Vo ca bulary • Ad ap t Read in g M ate rial • Cu rr icu lum Comp act in g • Pr e- rea din g • Mo dify Equip men t • Tier ed Assig nme nts • An ticipation Guide s • Ho mo gen eou s Grouping • Flexible G ro uping • Re cipro cal T eachin g • Sm all G rou p Instru ction • Acce ler ation SDAI E Stra te gies f or • Dire ct Instruct ion • De pt h a nd Co mplexity Engl ish Le arners • Grap hic Orga nizers • Independent Study • Ta pp ing /Buildin g Prior • Pa rtner Knowle dge (G ra phic • Bu ild Prio r Kno wle dg e Orga nizers) • Differe ntiat e Inst ru ction • Grou pin g Strate gie s • Use of Instruct ion al • Mu ltiple Inte lligen ce s Acco mmo dat io ns: • Ad ap t the wr itten ma ter ial (i.e., Cha nge o f resp on se, • Inte ractive Lea rning Sched uling , pre sen tatio n, and (Ma nipulative s, Visua ls) Se tting ) • Acqu isitio n Levels • Mo dify/ada pt the Cur riculu m: • La ng uag e Sen sitivity (i.e., Cha nge q uan tity, timin g, • Lo we r the Af fective Filter Le vel o f supp or t, input , diff icult y (Inclu din g Pro cessin g Tim e) ou tpu t, pa rticipat ion , have • Ho me /Schoo l Con nection alterna te goa ls) (Including Cultural Aspects)

MATERIALS USED IN TEACHING THE COURSE Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 2 Equi pme nt Ro om with sp run g flo or, ba llet ba rr es, mirr ors, sou nd syste m, TV, vide o, DVD p layer , CD’s and DVD’s

General Reference Books Ro be rtson, Allen, The Dan ce Ha ndb ook, G. K. Hall & Co., Boston , 199 0

Gene ral Mu si c Source s Wa go n Whee l Record s (71 4) 84 6-8 169 Billy Burke, P.O, Box 5441 , North Ho llywoo d, CA 9161 6-5 441 To we r Reco rd s Live accompa nist

Video Sources Long beach Public Library, Main Branch Insight Media, (800) 233-9910

Resources from the Visual and Performing Arts Framework Alter, Judith B. Stretch and Strengthen: A Safe, Comprehensive Exercise Program to Balance Your Muscle Strength. Boston: Houghton Mifflin Company, 1992. Blom, Lynne Anne; L. Tarin Chaplin; and Alma M. Hawkins. The Intimate Act of Choreography. Pittsburgh: University of Pittsburgh Press, 1982. Ellfeldt, Lois. A Primer for Choreographers. Prospect Heights, Ill.: Waveland Press, Inc., 1988. Grau, Andree. Dance. Eyewitness Books Series. New York: Dorling Kindersley Publishing, Inc., 2000. Hanna, Judith Lynne. Partnering Dance and Education: Intelligent Moves for Changing Times. Champaign, Ill.: Human Kinetics Publishers, 1999. Humphrey, Doris. The Art of Making Dances. Pennington, N.J.: Princeton Book Company, 1991. Lee, Mary Ann; Ann Cannon; and Joni Urry Wilson. Move! Learn! Dance! A K–6 Teaching Resource Guide. Salt Lake City, Utah: Children’s Dance Theatre, 1996. McGreevy-Nichols, Susan, and Helene Scheff. Building Dances: A Guide to Putting Movements Together. Champaign, Ill.: Human Kinetics Publishers, 1995. Minton, Sandra. Choreography: A Basic Approach Using Improvisation (Second edition). Champaign, Ill.: Human Kinetics Publishers, 1997. Mitchell, Jack. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. Kansas City, Mo.: Andrews McMeel Publishing, 1993. Schrader, Constance A. A Sense of Dance: Exploring Your Movement Potential. Champaign, Ill.: Human Kinetics Publishers, 1997. Strandberg, Julie, and Carolyn Adams. Dancing Through the Curriculum: A Guide to Dance Videotapes Created and Designed to Enrich the School Curriculum. Providence, R.I.: Jay Ess Press, 1997. Weikart, Phyllis. Teaching Movement and Dance: A Sequential Approach to Rhythmic Movement (Fifth edition). Ypsilanti, Mich.: High/Scope Press, 2003. Weikart, Phyllis, and Elizabeth Carlton. Guides to Rhythmically Moving. Ypsilanti, Mich.: High/Scope Press, 1997. Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 3

EVALUAT ION

Choreog rap hy /Compo si tion Ass ignmen ts

• Give stude nt s prop s (ba lls, jum p r op es, hu la ho ops, lar ge bo xes, cha irs or stru dy tab le s). Have them crea te a moveme nt ph rase b y moving o ver , und er, ar ou nd and thro ugh these p ro ps. • Ha ve stude nt s each wr ite a po em . Pick four of the po em s to use in grou ps of 4 or five as start ing po in ts for move men t studie s. • Have students pick out three pictures from a Dance Magazine. The pictures will be the beginning, middle and end poses of their dance compositions.

Student achi eve men t in this course will be measure d using multi ple asse ssmen t tools includ in g but not limited to: • Performanc e- bas ed as ses sments w hic h assess dance cognitive c onc epts and skills • Jo ur nals—Stu den ts’ lect ure , observat ion s and re fle ction s. • Po rtfolios—vide o o f studen t perfor ma nce s • Ch ecklists-- criter ia • Ru br ics of p erf orm an ce assessme nts d uring activity • Quizzes an d tests • Pr ojects (ru bric a ssessed) • Vide o

GR AD ING POLICY

A common grading policy ensures cons istenc y between schools and clas srooms across the district.

Sugg ested Percent of Grade

Movement Skills and Movement Knowledge (Sk ills and Knowledg e As ses sments) 25% - 30% In clas s dance per formances 25% - 30% Active Par ticipation in Clas s Activities 20% - 25% Chor eography assignm ents 10% - 20% Homewor k 5% - 10% Projects/Por tfolio 5% - 10%

Sugg est ed Grading Scale A 90 % - 100% B 80 % - 89% C 70 % - 79% D 60 % - 69% F Be lo w 6 0%

Submitted by: Gwen Gibson/Joan Van Blom School: Health/PE Office Revised Date: New 06/05 Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 4

APPENDI X – Samp le As ses sme nts f rom t he Cal iforn ia Arts Ass es sme nt Ne twork Online at: http://ci.sbcss.k12.ca.us/ci/pdf_files/2_Dance4-51.pdf Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 5 Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 6

Names

Name Choreography Check Sheet

______1. Each gr oup me mb er tea ch es all grou p mem ber s his/he r name move me nt in co unt s. Be su re that yo ur gro up re pro du ces yo ur na me mo vem ent u sin g the sa me le g, arm , or movin g in the sam e dir ect io n that you do.

______2. Now practice your name movements together as a group with counts so that each member of your group performs the movements at the exact same time or in a synchronized manner.

______3. Each group member must now choose a locomotor skill to be performed before his/her name movement. It must be a locomotor skill that the entire group can perform. Your group will perform at least one 8 count of each chosen locomotor skill together before each performed name movement.

______4. Now put it all together! Your group will begin by performing the first persons chosen locomotor skill for at least one 8 count and then that person’s name movement. Then, your group will continue with the next student’s chosen locomotor skill and then that student’s name movement and so on, until each student’s chosen locomotor movement and name movement have been performed. Your group will end choreography with the final name movement.

______5. Okay. So, you all know the locomotor skills and the name movements, now your group needs to practice until your are all perfectly synchronized! What should everyone in the group be doing to be sure the group moves together? ______

Practice and have fun!

Grading -Total of 20 points possible:

Group: Locomotor – 4 Synchronization -- 4 Individual: Knowledge – 4 Rhythm – 4 Performance - 4 Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 7

Name Choreography Rubric

GROUP GRADING

Locomotor

4 Group performs at least one 8 count of locomotor movement before each name movement

3 Grou p p erfor ms at least on e 8 c oun t of loco motor mo vement b efo re all b ut on e n ame move men t

2 Grou p p erfor ms at least on e 8 c oun t of loco motor mo vement b efo re all b ut two n ame move men ts

1 Grou p p erfor ms at least on e 8 c oun t of loco motor mo vement b efo re all b ut three na me mo vemen ts

Sy nchroniz at ion

4 Grou p move me nts ar e pre cis ely s ync hr onized

3Grou p move me nts ar e somewh at synch ro niz ed

2 Grou p move me nts sh ow little syn chr on iza tio n

1 Grou p s how s no sen se of sync hro niz ation

INDIVIDUAL GRADING

Knowledge

4Ch or eog rap hy is ex ec ute d w ithou t err or

3Ch or eog rap hy is ex ec ute d w ith minimal e rro r

2Ch or eog rap hy is ex ec ute d w ith freq ue nt err or

1 Ch or eog rap hy ca nno t be exe cu ted

Rhyt hm

4 Timing is precisely executed

3 Timing is present

2 Timing is frequently off

1 Dancer does not display sense of timing

Performance

4 Dancer performs choreography with confidence

3 Dancer performs choreography with moderate display of confidence

2 Dancer performs choreography with little display of confidence

1 Dancer performs choreography without display of confidence Mid dl e Schoo l Advan ced Dance 6-0 5 P ag e 1 8

Rubric – Des igning Choreogra phy Usin g a Sour ce Of Insp ira tion FROM: Crea tive and Perf orm in g M edia Art s, SDUSD

Exempla ry Ac co mplish ed De ve lop ing Be ginning N/A D 4321 Se le ction an d • A so urc e is selected • A so urc e is selected • A so urc e is • A so urc e is • Stud ent do es no t Us e of • Stud ent can • Stud ent can verbally se le cte d se le cte d se le ct a sou rce In sp ira tio na l ju stify/de fe nd the ir ju stify/de fe nd the ir • Stud ent do es no t • Stud ent is u nab le an d cho ose s not So urce ch oice verba lly an d in ch oice bas ed up on clea rly to justify /d efe nd to p articipa te writing (dan ce pe rs ona l p re ferenc e ju stify/de fe nd th eir c hoice ma pp ing ) b as ed upo n an d/or emo tiona l his/her ch oice • De ve lop men t and pe rs ona l p re ferenc e co nn ection • De ve lop men t and co mmunicatio n o f an d/or emo tiona l • De ve lop men t and co mm unicatio n o f th e ide a sho ws co nn ection s co mmunicatio n o f th e ide a sho ws minimal plan nin g, • De ve lop men t and th e ide a sho ws av erage plan nin g, crea tivity , and co mmunicatio n o f the ab ov e a verag e crea tivity , and in ve ntiven es s id ea sh ows care ful plan nin g, creativity, in ve ntiven es s plan nin g a nd is an d inv entiv ene ss clea rly ex press ed th ro ugh crea tive a nd in ve ntive mo vem ent Le ng th of Piece • Da nc e stud y is 50 • Da nc e stud y is 40- • Da nc e stud y is 35- • Da nc e stud y is • Stud ent do es no t se co nds an d abo ve in 49 seco nds in leng th 40 seco nds in un de r 3 0 sec ond s attempt le ng th le ng th or less in leng th Us e of Dance • Stud y d emo ns tra tes a • Stud y d emo ns tra tes • Stud y • Stud y • Stud ent do es no t Elem ents wide range o f axia l an a bov e a ve rag e de mo nstrate an de mo nstrates a attempt an d lo co motor ra ng e o f axial and av erage rang e o f minimal ra ng e o f mo ve men ts using the lo co motor ax ia l a nd ax ia l a nd 3 eleme nts o f danc e mo ve men ts using lo co motor lo co motor th e 3 e lem en ts of mo ve men ts using mo ve men ts using da nc e 2 ou t of the 3 2 ou t of the 3 elem ents of dan ce elem ents of da nc e Em otion al • Stro ng bod y/facial • In co nsiste nt • Bo dy /facia l • Bo dy /facia l • Stud ent do es Impa ct and ex press ion is bo dy /facia l ex press ion is ex press ion is no t attempt Co mm unicatio n de mo nstrated to ex press ion is be lo w a verag e minimal an d of the Idea crea te moo d or de mo nstrated to an d inc ons is ten t to in co nsiste nt to fe eling crea te moo d or crea te moo d or crea te moo d or • In te nt is stron g a nd fe eling fe eling fe eling au dienc e can ea sily • In te nt is ab ove • In te nt is av era ge • In te nt is minim al in te rpret th e mood av erage an d an d aud ien ce ha s an d aud ien ce ha s an d the matic id ea of au dienc e can so me difficu lty difficu lty th e stu dy in te rpret th e mood id en tifying and id en tifying and an d the matic id ea of in te rpreting the in te rpreting the th e stu dy mo od an d mo od an d th em atic ide a o f th em atic ide a o f th e stu dy th e stu dy