Moving and Grooving: a Nine-Week Curriculum of Beginning Modern Dance Theory and Technique for the Intermediate Dancer in Secondary Education

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Honors Theses Honors College

Spring 5-2018

Moving and Grooving: A Nine-Week Curriculum of Beginning Modern Dance Theory and Technique for the Intermediate Dancer in Secondary Education

Katherine Brooke Jerome University of Southern Mississippi

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Recommended Citation Jerome, Katherine Brooke, "Moving and Grooving: A Nine-Week Curriculum of Beginning Modern Dance Theory and Technique for the Intermediate Dancer in Secondary Education" (2018). Honors Theses. 615. https://aquila.usm.edu/honors_theses/615

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Moving and Grooving: A Nine-Week Curriculum of Beginning Modern Dance Theory and Technique for the Intermediate Dancer in Secondary Education

K. Brooke Jerome

A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Fine Arts In the Department of Dance

May 2018

Approved by

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Elizabeth Lentz-Hill, M.F.A., Thesis Advisor and Interim Chair, Department of Dance

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Julie Hammond White, M.F.A., Director of Dance Education and Professor of Dance, Department of Dance

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Ellen Weinauer, Ph.D., Dean, Honors College

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Abstract

The learning of modern dance theory and technique is one of the most certain practices to ensure high school dance students are meeting college and career readiness standards. This study focuses on crafting a nine-week curriculum that introduces secondary dance students at the intermediate level to modern dance technique and theory.

The aim of this study is to create a curriculum that not only makes certain that standards for creating, performing, responding, and connecting are being met and exceeded, but provides a guide in planning, instruction, and assessment to foster motivation in intermediate-level students as they delve into a new genre of dance. In addition, it was crucial to develop a curriculum that is clearly guided and accessible to many dance educators. Ultimately, the careful consideration of not only the content of what is being learned, but the context in which it is taught further developed this creative project. As a result, this work contributes to the field of dance education by providing dance educators a guide in the introduction of new genres of dance theory and technique in order for their students to meet and exceed standards. Further, this work gives insight on the fostering of student motivation in dance education, which leads to a more effective and efficient learning environment for all.

Key Words: Honors College, undergraduate research, dance education, modern dance,

planning, instruction, assessment, student motivation, college and career readiness

Dedication

To my students – past, present, and future:

This is for you.

Thank you for inspiring me to be better in all I do.

Acknowledgements

I would first like to thank Julie Hammond White, the Director of Dance Education at the University of Southern Mississippi, for her consistent support of and investment in me throughout the past four years. My success in my undergraduate work and beyond would not have been possible without her and the opportunities she has provided me. I have been mercilessly challenged and absolutely loved, and for that, I am thankful.

Additionally, I would like to pay special thanks the faculty of the University of

Southern Mississippi Department of Dance, especially our Student Dance Organization

Advisor, Kelly Ferris Lester, and my Academic and Thesis Advisor, Elizabeth Lentz-

Hill. Thank you all for guiding me in dance theory, technique, and research in my undergraduate experience and being with me through the highs, lows, ACL tears, and juried assessments. I am so grateful for the exponential growth I have gained because of you, which I truly do not deserve.

I would also like to thank the University of Southern Mississippi Honors College, which has done nothing but literally teach me how to move mountains.

Above all, I would like to give my most sincere thanks to the University of

Southern Mississippi and its students, faculty, and staff for showing me that I was born to soar. “Southern mem’ries we shall cherish, loyalty we pledge to thee.”

Table of Contents

Creative Project………………………………………………………………………….1

Curriculum Overview……………………………………………………………...1

Curriculum………………………………………………………………………...3

Contextual Research……………………………………………………………………87

Introduction………………………………………………………………………87

Review of Literature……………………………………………………………...88

Exceeding Standards and Fostering Motivation…………………………………93

Appendices……………………………………………………………………………..102

Appendix A: Teaching Philosophy……………………………………………..102

Appendix B: Curriculum Vitae…………………………………………………107

Appendix C: Curriculum Development Notes………………………………….120

Works Cited……………………………………………………………………………131

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List of Abbreviations

AIR American Institutes for Research ASL American Sign Language MCCR Mississippi College and Career Readiness MDE Mississippi Department of Education NCA National Core Arts

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Creative Project

Curriculum Overview and Relevance

In this nine-week curriculum, “Moving and Grooving: A Nine-Week Curriculum of

Beginning Modern Dance Theory and Technique for the Intermediate Dancer in

Secondary Education,” students are introduced to modern dance theory and technique, which are essential to college and career readiness in dance. To meet the Mississippi

College and Career Readiness (MCCR) Arts Learning Standards, students must be able to create (“conceive and develop new artistic ideas and work”); perform (“perform,”

“present,” and “produce”); respond (understand and evaluate how the arts convey meaning); and connect (relate artistic ideas and work with personal meaning and external context). (MDE 10) The College and Career Readiness and Success Center at American

Institutes for Research has “identified a subset of actionable definitions” that explain the knowledge, skills, and dispositions needed to be considered college and career ready:

“academic knowledge”; “critical thinking and/or problem solving”; “social and emotional learning”, “grit/resilience/perseverance”; “collaboration and/or communication”;

“citizenship and/or community involvement”, and “other additional activities”

(“knowledge of technology”, “lifelong learning”, and “responsibility to environment and family”) . (3) Without a doubt, this curriculum has the ability to help students demonstrate and develop the above skills, knowledge, and dispositions.

This curriculum is designed so that intermediate-level dancers can comfortably explore modern dance, especially if they have not previously received training in the genre. This curriculum is created for a 50-minute class that meets three times a week but is easily adaptable; it can be extended or shortened if needed. Each week houses a

specific focus that, when built upon the material taught the weeks before, deepens the knowledge and understanding of the genre. The curriculum begins simply with first recognizing and analyzing the shared movement vocabulary between modern dance and other genres and culminates in participation in a creative, collaborative choreographic process. Throughout the nine weeks students will meet all of the higher order thinking skills in Bloom’s Taxonomy (discussed further in Contextual Research); students will:

1. Remember – define modern dance terminology and recall basic modern dance

concepts.

2. Understand – describe and perform basic modern dance concepts.

3. Apply – demonstrate understanding of basic modern dance concepts through

implementing them into performance and choreography.

4. Analyze – find connections between modern dance and a variety of other

academic subjects – history, anatomy, mathematics, etc.

5. Evaluate – assess the work of peers and selves, as well as provide supportive

evidence for all evaluations.

6. Create – with the assistance of the teacher, work to create an original

choreographic work, utilizing concepts learned throughout the nine weeks.

In addition, this nine-week curriculum meets the National Core Arts (NCA) Standards in

Dance (Connecting, Creating, Performing, and Responding) as it is a creative approach to teaching and learning that teaches students not only how to dance, but why. The National

Core Arts Standards in Dance outline the benchmarks that should be met by each grade level through the artistic processes of creating, performing, responding, and connecting.

The NCA standards are a guideline for planning, instruction, and assessment of the

expectations set for each grade level (proficient, accomplished, advanced). The curriculum below was created to meet the MCCR Standards and is therefore immediately applicable for Mississippi secondary educators; however, because the NCA Standards are inherent within the MCCR Standards, this curriculum is applicable beyond Mississippi as well.

Curriculum

Moving and Grooving: Beginning Modern Dance Theory and Technique for the Intermediate Dancer in Secondary Education

Nine-Week Curriculum: Modern Dance Theory and Technique High School: Intermediate Level Author: K. Brooke Jerome

Curriculum Week-By-Week Guide

• Week One: Introduction of Modern through Dance Styles that Share a Movement Vocabulary (I) • Week Two: Introduction of Modern through Dance Styles that Share a Movement Vocabulary (II) • Week Three: Modern Dance Technique (I) • Week Four: Modern Dance Technique (II) • Week Five: Modern Dance Technique (III) • Week Six: Modern Dance History • Week Seven: Improvisation • Week Eight: Basics of Composition • Week Nine: The Collaborative, Creative Choreographic Process

Abbreviated Weekly Plans

Week One: Introduction of Modern through Dance Styles that Share a Movement Vocabulary (I)

Day A – Dancing the Day B – Dancing the Day C – Dancing the Connection 1 Connection 2 Connection 3

Obj. 1: The student will be Obj. 1: The student will be Obj. 1: The student will be able to identify some of the able to identify some of the able to identify some of the

similarities and differences similarities and differences similarities and differences between jazz and modern between jazz and modern between jazz and modern dance. dance. dance. Obj. 2: The student will be Obj. 2: The student will be Obj. 2: The student will be able to demonstrate shared able to demonstrate shared able to demonstrate shared movement vocabulary movement vocabulary movement vocabulary between jazz and modern between jazz and modern between jazz and modern dance, including: dropping dance, including: dropping dance, including: dropping of the pelvis, articulation of of the pelvis, articulation of of the pelvis, articulation of the spine, plié, tendu, the spine, plié, tendu, the spine, plié, tendu, dégagé, leg swings, grand dégagé, leg swings, grand dégagé, leg swings, grand battement, and pas de battement, and pas de battement, and pas de bourrée. bourrée. bourrée. Obj. 3: The student will Obj. 3: The student will Obj. 3: The student will fully participate throughout fully participate throughout fully participate throughout the lesson and make a clear the lesson and make a clear the lesson and make a clear effort to begin making effort to begin making effort to begin making connections between jazz connections between jazz connections between jazz and modern dance genres. and modern dance genres. and modern dance genres.

Activity One: Warm-Up Activity One: Warm-Up Activity One: Warm-Up The teacher has students The teacher has students The teacher has students spread out and find a place spread out and find a place spread out and find a place on the floor. Then the on the floor. Then the on the floor. Then the teacher teaches the warm- teacher quickly reviews the teacher quickly reviews the up, moving through each warm-up, moving through warm-up, moving through section slowly. Next, each section. Finally, each section. Finally, students and teachers will students and teacher do students and teacher will perform warm-up together. warm-up together. do warm - up together. Movement: Movement: Movement: • YOGA STRETCHES • YOGA STRETCHES • YOGA • Breathe – arms up, • Breathe – arms up, STRETCHES breathe – arms breathe – arms • Breathe – arms up, down (repeat 4 down (repeat 4 breathe – arms times) times) down (repeat 4 • Bend over, place • Bend over, place times) hands on floor, plié hands on floor, plié • Bend over, place and straighten the and straighten the hands on floor, plié legs (4 times) legs (4 times) and straighten the • Walk hands out to • Walk hands out to legs (4 times) downward dog downward dog • Walk hands out to • Prance feet (16 • Prance feet (16 downward dog counts), push heels counts), push heels • Prance feet (16 down towards down towards counts), push heels ground ground

• 4 yoga push-ups • 4 yoga push-ups down towards • Back to downward • Back to downward ground dog dog • 4 yoga push-ups • Extend right leg • Extend right leg • Back to downward back, push forward back, push forward dog to right leg lunge to right leg lunge • Extend right leg • Stretch arms down • Stretch arms down back, push forward and out, hold deep and out, hold deep to right leg lunge lunge lunge • Stretch arms down • Place hands and left • Place hands and left and out, hold deep knee on floor, knee on floor, lunge elbows placed on elbows placed on • Place hands and inside of the knee inside of the knee left knee on floor, • Reach right arm up • Reach right arm up elbows placed on – look at hand – look at hand inside of the knee • Return to neutral • Return to neutral • Reach right arm up lunge lunge – look at hand • Sit back on left leg, • Sit back on left leg, • Return to neutral flex front foot flex front foot lunge • Move to right leg • Move to right leg • Sit back on left leg, triangle triangle flex front foot • Lower to pigeon – • Lower to pigeon – • Move to right leg stretch forward and stretch forward and triangle back back • Lower to pigeon – • Repeat from leg • Repeat from leg stretch forward and extension in down extension in down back dog to end with left dog to end with left • Repeat from leg leg leg extension in down • CONDITIONING • CONDITIONING dog to end with left • 16 ballet sit-ups • 16 ballet sit-ups leg • 16 “four-part abs” • 16 “four-part abs” • CONDITIONING • 4 oblique twists, • 4 oblique twists, • 16 ballet sit-ups followed by 4 leans followed by 4 leans • 16 “four-part abs” (repeat four times) (repeat four times) • 4 oblique twists, • 16 counts “improv • 16 counts “improv followed by 4 leans abs” abs” (repeat four times) • Flip to stomach • Flip to stomach • 16 counts “improv • Triceps push-ups • Triceps push-ups abs” (16 both arms, 8 (16 both arms, 8 • Flip to stomach right, 8 left, 16 both right, 8 left, 16 both • Triceps push-ups arms) arms) (16 both arms, 8 • Hold plank until end • Hold plank until right, 8 left, 16 both of music end of music arms) • Hold plank until Activity Two: Walking and Activity Two: Walking and end of music Running with a “Dropped” Running with a “Dropped”

Pelvis Pelvis Activity Two: Walking and Teacher leads students Teacher reviews Running with a “Dropped” through experiential combination, then students Pelvis walking/running exercise perform the combination. Teacher leads students that alternates between As students complete the through movement doing jazz walks and runs exercise, teacher walks experience. As students in varying lengths and around the room, complete the exercise, speeds. As students monitoring understanding teacher walks around the complete the exercise, and giving feedback when room, monitoring teacher walks around the necessary. understanding and giving room, monitoring feedback when necessary. understanding and giving Activity Three: Articulation feedback when necessary. of the Spine Activity Three: Articulation Teacher reviews of the Spine Activity Three: Articulation combination, then students Teacher reviews of the Spine perform the combination. combination, then students Teacher teaches students As students complete the perform the combination. combination, then students exercise, teacher walks As students complete the perform the combination. around the room, exercise, teacher walks As students complete the monitoring understanding around the room, exercise, teacher walks and giving feedback when monitoring understanding around the room, necessary. and giving feedback when monitoring understanding Movement: necessary. and giving feedback when Movement: necessary. • ISOLATIONS Movement: • Head – right and • ISOLATIONS left, up and down, • Head – right and • ISOLATIONS tilt side to side, roll left, up and down, • Head – right and neck around tilt side to side, roll left, up and down, • Ribs – front and neck around tilt side to side, roll back, side to side, • Ribs – front and neck around square, circle back, side to side, • Ribs – front and • Pelvis – front and square, circle back, side to side, back, side to side, • Pelvis – front and square, circle square, circle, back, side to side, • Pelvis – front and figure eight square, circle, back, side to side, • FLAT BACKS AND figure eight square, circle, ROLLING • FLAT BACKS AND figure eight THROUGH THE ROLLING • FLAT BACKS AND SPINE THROUGH THE ROLLING • Roll down for 8, roll SPINE THROUGH THE up for 8 (repeat – 4, • Roll down for 8, SPINE 4, 2, 2, 2, 2) roll up for 8 (repeat • Roll down for 8, roll • Reach up, flat back – 4, 4, 2, 2, 2, 2) up for 8 (repeat – 4, over, plié and • Reach up, flat back 4, 2, 2, 2, 2) straighten legs over, plié and straighten legs

• Reach up, flat back • Reach to bottom • Reach to bottom over, plié and front corner front corner straighten legs Activity Four: Plié, Tendu, Activity Four: Plié, Tendu, • Reach to bottom Dégagé Dégagé front corner Teacher reviews Teacher reviews Activity Four: Plié, Tendu, combination, then students combination, then students Dégagé perform the combination. perform the combination. Teacher teaches students As students complete the As students complete the combination, then students exercise, teacher walks exercise, teacher walks perform the combination. around the room, around the room, As students complete the monitoring understanding monitoring understanding exercise, teacher walks and giving feedback when and giving feedback when around the room, necessary. necessary. monitoring understanding Movement: repeated 4 Movement: repeated 4 and giving feedback when times (right parallel, left times (right parallel, left necessary. parallel, right turned-out, parallel, right turned-out, Movement: repeated 4 left turned-out) left turned-out) times (right parallel, left parallel, right turned-out, • Begin in first • Begin in first left turned-out) position parallel position parallel • Plié, plié, grand • Plié, plié, grand • Begin in first plié plié position parallel • Roll down spine, • Roll down spine, • Plié, plié, grand plié hold – plié to hold – plié to • Roll down spine, stretch the legs, roll stretch the legs, roll hold – plié to up spine up spine stretch the legs, roll • Tendu front, plié, • Tendu front, plié, up spine point, close, two point, close, two • Tendu front, plié, quick tendus quick tendus point, close, two • Tendu side, plié, • Tendu side, plié, quick tendus point, close, two point, close, two • Tendu side, plié, quick tendus quick tendus point, close, two • Two dégagés front, • Two dégagés front, quick tendus two dégagés side two dégagés side • Two dégagés front, • Dégagé front, side, • Dégagé front, side, two dégagés side front, side front, side • Dégagé front, side, Activity Five: Leg Swings Activity Five: Leg Swings front, side and Grand Battement and Grand Battement Activity Five: Leg Swings Teacher reviews Teacher has volunteer and Grand Battement combination, then students demonstrate. Student Teacher teaches students perform the combination. review the combination combination, then students As students complete the together, then the students perform the combination. exercise, teacher walks perform the combination. As students complete the around the room, As students complete the exercise, teacher walks monitoring understanding exercise, teacher walks

around the room, and giving feedback when around the room, monitoring understanding necessary. monitoring understanding and giving feedback when Movement (from the side): and giving feedback when necessary. necessary. Movement (from the side): • 3 leg swings, chassé Movement (from the side): • 3 leg swings chassé • 3 leg swings, chassé • Step, grand • 3 leg swings, chassé • 3 leg swings chassé battement front • 3 leg swings chassé • Step, grand • Step, grand • Step, grand battement front battement front battement front • Step, grand • Step, grand • Step, grand battement front battement side battement front • Step, grand • Step, grand • Step, grand battement side battement back battement side • Step, grand • Step, grand battement back Activity Six: Pas de Bourrée battement back Teacher reviews Activity Six: Pas de Bourrée combination, then students Activity Six: Pas de Teacher teaches students perform the combination. Bourrée combination, then students As students complete the Teacher quickly reviews perform the combination. exercise, teacher walks combination, then students As students complete the around the room, perform it. Teacher teaches exercise, teacher walks monitoring understanding students combination, then around the room, and giving feedback when students perform the monitoring understanding necessary. combination. As students and giving feedback when Movement: complete the exercise, necessary. teacher walks around the Movement: • Pas de bourrée room, monitoring cross over understanding and giving • Pas de bourrée • Pas de bourrée feedback when necessary. cross over cross over Movement: • Pas de bourrée • Pas de bourrée turn cross over en de hors • Pas de bourrée • Pas de bourrée turn • Repeat right and cross over en de hors left • Pas de bourrée • Repeat right and left • Pas de bourrée cross over • Pas de bourrée cross under • Pas de bourrée turn cross under • Pas de bourrée en de hors • Pas de bourrée cross under • Repeat right and cross under • Pas de bourrée turn left • Pas de bourrée turn en de hors • Pas de bourrée en de hors • Repeat right and cross under • Repeat right and left left • Pas de bourrée • Chassé to the side, • Chassé to the side, cross under ball change ball change • Pas de bourrée turn • Chassé to the side, • Chassé to the side, en de hors ball change ball change

• Three step turn • Three step turn • Repeat right and • Three step turn • Three step turn left • Chassé to the side, BEGINNING LEVEL: BEGINNING LEVEL: ball change The student will perform The student will perform • Chassé to the side, the movement at a slower the movement at a slower ball change tempo, working towards tempo, working towards • Three step turn moving at a faster speed. moving at a faster speed. ADVANCED LEVEL: ADVANCED LEVEL: • Three step turn The student will perform The student will perform BEGINNING LEVEL: the given movement with the given movement with The student will perform defined dynamics as well as defined dynamics as well as the movement at a slower lead peers in demonstrating lead peers in demonstrating tempo, working towards the movement in front of the movement in front of moving at a faster speed. the class, and, in addition, the class, and, in addition, ADVANCED LEVEL: will make connections will make connections The student will perform between movement between movement the given movement with vocabularies with vocabularies with defined dynamics as well supported reasoning. supported reasoning. as lead peers in demonstrating the movement in front of the class, and, in addition, will make connections between movement vocabularies with supported reasoning.

Week Two: Introduction of Modern through Dance Styles that Share a Movement Vocabulary (II)

Day A – Dancing the Day B – Dancing the Day C – Discussing and Connection 4 Connection 5 Analyzing the Connection

Obj. 1: The student will be Obj. 1: The student will be Obj. 1: The student will able to identify some of the able to identify some of the be able to explain some of similarities and differences similarities and differences the similarities and between jazz and modern between jazz and modern differences between dance. dance. modern dance and other Obj. 2: The student will be Obj. 2: The student will be genres of dance. able to demonstrate shared able to demonstrate shared Obj. 2: The student will movement vocabulary movement vocabulary be able to demonstrate between jazz and modern between jazz and modern shared movement dance, including: dropping dance, including: dropping vocabulary between of the pelvis, articulation of of the pelvis, articulation of modern and other genres the spine, plié, tendu, the spine, plié, tendu, of dance, including: dégagé, leg swings, grand dégagé, leg swings, grand dropping of the pelvis,

battement, and pas de battement, and pas de articulation of the spine, bourrée. bourrée. plié, tendu, dégagé, leg Obj. 3: The student will Obj. 3: The student will swings, grand battement, fully participate throughout fully participate throughout and pas de bourrée. the lesson and make a clear the lesson and make a clear Obj. 3: The student will effort to begin making effort to begin making fully participate connections between jazz connections between jazz throughout the lesson and and modern dance genres. and modern dance genres. make a clear effort to make connections between Activity One: Warm-Up Activity One: Warm-Up modern and other genres The teacher has students The teacher has students of dance. spread out and find a place spread out and find a place on the floor. Then the on the floor. Then the Activity One: Viewing teacher quickly reviews the teacher quickly reviews the Modern Dance warm-up, moving through warm-up, moving through Students view clips of each section. Finally, each section. Finally, three works from some of students and teacher will do students and teacher will do the most prominent warm-up together. warm - up together. modern dance Movement: Movement: choreographers. While viewing the works, • YOGA STRETCHES • YOGA STRETCHES students make • Breathe – arms up, • Breathe – arms up, observations and take breathe – arms breathe – arms notes on what they have down (repeat 4 down (repeat 4 noticed when viewing. times) times) Videos: • Bend over, place • Bend over, place hands on floor, plié hands on floor, plié • Alvin Ailey’s and straighten the and straighten the Revelations – legs (4 times) legs (4 times) Sinner Man • Walk hands out to • Walk hands out to • Pina Bausch’s Rite downward dog downward dog of Spring • Prance feet (16 • Prance feet (16 • Paul Taylor’s counts), push heels counts), push heels Company B down towards down towards Activity Two: Discovering ground ground Similarities and • 4 yoga push-ups • 4 yoga push-ups Differences Jazz, Ballet, • Back to downward • Back to downward and Modern Dance dog dog Students are given a • Extend right leg • Extend right leg worksheet to fill out that back, push forward back, push forward guides them in organizing to right leg lunge to right leg lunge their observations and • Stretch arms down • Stretch arms down opinions. and out, hold deep and out, hold deep Worksheet Questions: lunge lunge • Place hands and left • Place hands and left • What are the three knee on floor, knee on floor, pieces we just

elbows placed on elbows placed on viewed and who inside of the knee inside of the knee choreographed • Reach right arm up • Reach right arm up them? – look at hand – look at hand • In your opinion, • Return to neutral • Return to neutral which of these lunge lunge modern dance • Sit back on left leg, • Sit back on left leg, pieces was most flex front foot flex front foot like the jazz dance • Move to right leg • Move to right leg you know? Why? triangle triangle • Which was most • Lower to pigeon – • Lower to pigeon – like ballet? stretch forward and stretch forward and • What are some of back back the movement you • Repeat from leg • Repeat from leg saw in these pieces extension in down extension in down that we also do in dog to end with left dog to end with left jazz or ballet? leg leg Could you perform • CONDITIONING • CONDITIONING them? • 16 ballet sit-ups • 16 ballet sit-ups • Why do you think • 16 “four-part abs” • 16 “four-part abs” these three genres • 4 oblique twists, • 4 oblique twists, of dance have such followed by 4 leans followed by 4 leans similar movement? (repeat four times) (repeat four times) • Why is it important • 16 counts “improv • 16 counts “improv for you to make abs” abs” connections between what you • Flip to stomach • Flip to stomach already know and • Triceps push-ups • Triceps push-ups what you are (16 both arms, 8 (16 both arms, 8 learning? right, 8 left, 16 both right, 8 left, 16 both arms) arms) Activity Two: Discussing • Hold plank until end • Hold plank until end Connections of music of music After filling out worksheets, teacher and Activity Two: Walking and Activity Two: Walking and students discuss findings. Running with a “Dropped” Running with a “Dropped” By the end of class, Pelvis Pelvis students should be able to Teacher leads students Teacher leads students explain and demonstrate through movement through movement some similarities and experience. As students experience. As students differences between complete the exercise, complete the exercise, modern dance and other teacher walks around the teacher walks around the genres of dance. room, monitoring room, monitoring understanding and giving understanding and giving BEGINNING LEVEL: feedback when necessary. feedback when necessary. The student will only watch one of the pieces and be given a simplified

Activity Three: Articulation Activity Three: Articulation worksheet to complete. of the Spine of the Spine ADVANCED LEVEL: Teacher reviews Teacher reviews The student will perform combination, then students combination, then students the activities with perform the combination. perform the combination. enthusiasm, making As students complete the As students complete the connections between the exercise, teacher walks exercise, teacher walks shared movement around the room, around the room, vocabularies of modern monitoring understanding monitoring understanding and other genres of dance, and giving feedback when and giving feedback when as well as leading peers in necessary. necessary. discussion. Movement: Movement: • ISOLATIONS • ISOLATIONS • Head – right and • Head – right and left, up and down, left, up and down, tilt side to side, roll tilt side to side, roll neck around neck around • Ribs – front and • Ribs – front and back, side to side, back, side to side, square, circle square, circle • Pelvis – front and • Pelvis – front and back, side to side, back, side to side, square, circle, figure square, circle, figure eight eight • FLAT BACKS AND • FLAT BACKS AND ROLLING ROLLING THROUGH THE THROUGH THE SPINE SPINE • Roll down for 8, roll • Roll down for 8, roll up for 8 (repeat – 4, up for 8 (repeat – 4, 4, 2, 2, 2, 2) 4, 2, 2, 2, 2) • Reach up, flat back • Reach up, flat back over, plié and over, plié and straighten legs straighten legs • Reach to bottom • Reach to bottom front corner front corner Activity Four: Plié, Tendu, Activity Four: Plié, Tendu, Dégagé Dégagé Teacher reviews Teacher reviews combination, then students combination, then students perform the combination. perform the combination. As students complete the As students complete the exercise, teacher walks exercise, teacher walks around the room, around the room, monitoring understanding monitoring understanding

and giving feedback when and giving feedback when necessary. necessary. Movement: repeated 4 times Movement: repeated 4 times (right parallel, left parallel, (right parallel, left parallel, right turned-out, left turned- right turned-out, left turned- out) out) • Begin in first • Begin in first position parallel position parallel • Plié, plié, grand plié • Plié, plié, grand plié • Roll down spine, • Roll down spine, hold – plié to stretch hold – plié to stretch the legs, roll up the legs, roll up spine spine • Tendu front, plié, • Tendu front, plié, point, close, two point, close, two quick tendus quick tendus • Tendu side, plié, • Tendu side, plié, point, close, two point, close, two quick tendus quick tendus • Two dégagés front, • Two dégagés front, two dégagés side two dégagés side • Dégagé front, side, • Dégagé front, side, front, side front, side Activity Five: Leg Swings Activity Five: Leg Swings and Grand Battement and Grand Battement Teacher has volunteer Teacher has volunteer demonstrate. Student demonstrate. Student review the combination review the combination together, then the students together, then the students perform the combination. perform the combination. As students complete the As students complete the exercise, teacher walks exercise, teacher walks around the room, around the room, monitoring understanding monitoring understanding and giving feedback when and giving feedback when necessary. necessary. Movement (from the side): Movement (from the side): • 3 leg swings, chassé • 3 leg swings, chassé • 3 leg swings chassé • 3 leg swings chassé • Step, grand • Step, grand battement front battement front • Step, grand • Step, grand battement front battement front

• Step, grand • Step, grand battement side battement side • Step, grand • Step, grand battement back battement back Activity Six: Pas de Bourrée Activity Six: Pas de Bourrée Teacher quickly reviews Teacher quickly reviews combination, then students combination, then students perform it. Teacher teaches perform it. Teacher teaches students combination, then students combination, then students perform the students perform the combination. As students combination. As students complete the exercise, complete the exercise, teacher walks around the teacher walks around the room, monitoring room, monitoring understanding and giving understanding and giving feedback when necessary. feedback when necessary. Movement: Movement: • Pas de bourrée • Pas de bourrée cross over cross over • Pas de bourrée • Pas de bourrée cross over cross over • Pas de bourrée turn • Pas de bourrée turn en de hors en de hors • Repeat right and left • Repeat right and left • Pas de bourrée • Pas de bourrée cross under cross under • Pas de bourrée • Pas de bourrée cross under cross under • Pas de bourrée turn • Pas de bourrée turn en de hors en de hors • Repeat right and left • Repeat right and left • Chassé to the side, • Chassé to the side, ball change ball change • Chassé to the side, • Chassé to the side, ball change ball change • Three step turn • Three step turn • Three step turn • Three step turn BEGINNING LEVEL: BEGINNING LEVEL: The student will perform The student will perform the movement at a slower the movement at a slower tempo, working towards tempo, working towards moving at a faster speed. moving at a faster speed. ADVANCED LEVEL: ADVANCED LEVEL: The student will perform The student will perform

the given movement with the given movement with defined dynamics as well as defined dynamics as well as lead peers in demonstrating lead peers in demonstrating the movement in front of the movement in front of the class, and, in addition, the class, and, in addition, will make connections will make connections between movement between movement vocabularies with supported vocabularies with supported reasoning. reasoning.

Week Three: Modern Dance Technique (I) [full lesson plans provided]

Day A – Connecting Day B – Connecting Day C – The Spine and Breath 1 Breath 2 Head-Tail Connection 1

Obj. 1: The student will Obj. 1: The student will Obj. 1: The student will know and understand the know and understand the know and understand the basic modern dance basic modern dance basic modern dance concept of connecting concept of connecting concept of utilizing the movement to breath. movement to breath. spine for a head-tail Obj. 2: The student will be Obj. 2: The student will be connection. able to demonstrate a able to demonstrate a Obj. 2: The student will be connection between their connection between their able to demonstrate movement and breath. movement and breath. utilizing the spine for a Obj. 3: The student will Obj. 3: The student will head-tail connection. fully participate throughout fully participate throughout Obj. 3: The student will the lesson and make a clear the lesson and make a clear fully participate throughout effort to learn about effort to learn about the lesson and make a clear connecting breath and connecting breath and effort to learn about the movement. movement. spine and the head-tail connection. Activity One: Bartenieff Activity One: Bartenieff Warm-Up Warm-Up Activity One: Bartenieff The teacher has students The teacher has students Warm-Up spread out and find a place spread out and find a place The teacher has students on the floor. Then the on the floor. Then the spread out and find a place teacher teaches the warm- teacher quickly reviews the on the floor. Then the up, moving through each warm-up, moving through teacher quickly reviews the section slowly. Next, each section. Next, warm-up, moving through students and teachers will students and teacher will each section. Next, do warm-up together. do warm-up together. students and teacher will Finally, teacher leads Finally, teacher leads do warm-up together. students through stretching students through stretching Finally, teacher leads students through stretching

and conditioning. and conditioning. and conditioning. Movement: Movement: Movement: • BARENIEFF • BARENIEFF • BARENIEFF • 2 8-counts of • 2 8-counts of • 2 8-counts of breathing/feeling breathing/feeling breathing/feeling • 2 8-counts of heel • 2 8-counts of heel • 2 8-counts of heel rocks rocks rocks • 2 8-counts elbow to • 2 8-counts elbow to • 2 8-counts elbow to knee side knee side knee side contraction contraction contraction • Fetal position to the • Fetal position to the • Fetal position to the right, x position, right, x position, right, x position, fetal position to the fetal position to the fetal position to the left, x position left, x position left, x position (each movement is (each movement is (each movement is 4 counts) – repeat 4 counts) – repeat 4 counts) – repeat • Fetal position to the • Fetal position to the • Fetal position to the right, dovetail, right, dovetail, right, dovetail, fetal, x position, fetal, x position, fetal, x position, fetal position to the fetal position to the fetal position to the left, dovetail, fetal, left, dovetail, fetal, left, dovetail, fetal, x position (each x position (each x position (each movement is 4 movement is 4 movement is 4 counts) counts) counts) • Head-tail • Head-tail • Head-tail contraction, x contraction, x contraction, x position, head-tail position, head-tail position, head-tail contraction, x- contraction, x- contraction, x- position (each position (each position (each movement is 4 movement is 4 movement is 4 counts) – repeat counts) – repeat counts) – repeat • 4 Cross lateral • 4 Cross lateral rolls • 4 Cross lateral rolls rolls (right foot (right foot leads, (right foot leads, leads, left foot left foot leads, right left foot leads, right leads, right arm arm leads, left arm arm leads, left arm leads, left arm leads) leads) leads) • Neutral position • Neutral position • Neutral position with knees up – hip with knees up – hip with knees up – hip raises (2 8-counts) raises (2 8-counts) raises (2 8-counts) • STRETCHING/CO • STRETCHING/CO • STRETCHING/CO NDITIONING NDITIONING NDITIONING • Flip to downward • Flip to downward • Flip to downward dog dog dog • Yoga push-ups • Yoga push-ups • Yoga push-ups

• Extend each leg • Extend each leg • Extend each leg out/up out/up out/up • Lunges • Lunges • Lunges • Pigeon • Pigeon • Pigeon • Triceps pushups • Triceps pushups • Triceps pushups • Crunches • Crunches • Crunches • INCREASE HEART • INCREASE HEART • INCREASE HEART RATE RATE RATE • Walking • Walking • Walking • Prances • Prances • Prances • Jogging • Jogging • Jogging Activity Two: The Brain Activity Two: The Brain Activity Two: Isolations & Dance Dance Regions of the Spine Teacher leads students Teacher leads students The teacher demonstrates through the Brain Dance. through the Brain Dance. the isolation pattern, then Movement: Movement: students and teacher move through it together. • Breath – breathe • Breath – breathe Movement: deeply deeply • Tactile – squeeze, • Tactile – squeeze, • Head (cervical) – 8 tap, pat, scratch, tap, pat, scratch, up/down isolations, brush all body brush all body parts 8 side-to-side parts • Core-Distal – reach isolations, 8 tilt • Core-Distal – reach out with toes, right/left isolations, out with toes, fingers, head, tail, 8-count roll to the fingers, head, tail, and curl back to right, 8-count roll and curl back to your core to the left your core • Head-Tail – move • Ribs (thoracic) – 8 • Head-Tail – move head and tail right/left isolations, head and tail separately and 8 front/back separately and together in all isolations, 8-count together in all planes, wiggle roll to the right, 8- planes, wiggle spine count roll to the left spine • Upper-Lower – • Hips (lumbar) – 8 • Upper-Lower – move all parts of side-to-side move all parts of upper half of body, isolations, 8 upper half of body, then all parts of front/back then all parts of lower half of body isolations, 8-count lower half of body • Body Side – move toll to the right, 8- • Body Side – move all parts on right count roll to the left all parts on right side of body, then Activity Three: Contract side of body, then all parts on left and Release all parts on left side, do horizontal Teacher teaches students side, do horizontal eye tracking combination, then students eye tracking perform the combination.

• Cross Lateral – • Cross Lateral – As students complete the move across move across exercise, teacher walks midline and midline and around the room, connect upper and connect upper and monitoring understanding lower body lower body and giving feedback when quadrants, do quadrants, do needed. vertical eye vertical eye Movement: tracking tracking • Begin in seated • Vestibular – move • Vestibular – move butterfly position off balance with off balance with (heels off the swings, spin, tips, swings, spin, tips, ground), arms to and rolls on all and rolls on all the side-back levels and in all levels and in all directions directions • Contract forward (8) Activity Three: Breathing Activity Three: Breathing • Move to seated Exercises Exercises position with legs in Teacher leads students in Teacher leads students in front breathing exercises. breathing exercises. • Release back, Exercises: Exercises: stretch forward • Repeat from the top • DIAPHRAGMATIC • DIAPHRAGMATIC BREATHING BREATHING Activity Four: Flat Black • Lie on back with • Lie on back with and Rolling Down your knees bent your knees bent Teacher teaches students • Place one hand on • Place one hand on combination, then students belly below your rib belly below your rib perform the combination. cage cage As students complete the • Place the other • Place the other exercise, teacher walks hand on your chest hand on your chest around the room, • Inhale deeply • Inhale deeply monitoring understanding through your nose through your nose and giving feedback when for a count of three for a count of three needed. • Belly and lower • Belly and lower Movement: ribs should rise, but ribs should rise, but • Start standing chest should remain chest should remain • Roll down for 8 still still counts • Tighten your • Tighten your • Stretch out to flat stomach muscles stomach muscles back and come up and exhale for a and exhale for a count of six through count of six through • Flat back down for slightly puckered slightly puckered 8 counts lips lips • Roll up for 8 counts • NUMBERED • NUMBERED • Repeat combination BREATHING BREATHING using 4 counts, then

• Stand still and take • Stand still and take using 2 counts a deep breath with a deep breath with twice eyes closed eyes closed Activity Five: Twisty Spine • Force all the air • Force all the air Teacher teaches students out of lungs when out of lungs when combination, then students you exhale you exhale perform the combination. • Inhale for 1 count • Inhale for 1 count As students complete the • Exhale for 1 count • Exhale for 1 count exercise, teacher walks • Inhale for 2 counts • Inhale for 2 counts around the room, • Exhale for 2 counts • Exhale for 2 counts monitoring understanding • Inhale for 3 counts • Inhale for 3 counts and giving feedback when • Exhale for 3 counts • Exhale for 3 counts needed. • Inhale for 4 counts • Inhale for 4 counts Movement: • Exhale for 4 counts • Exhale for 4 counts • 3 steps with a side • Inhale for 5 counts • Inhale for 5 counts curve (right, then • Exhale for 5 counts • Exhale for 5 counts left) • Inhale for 6 counts • Inhale for 6 counts • Snake both ways • Exhale for 6 counts • Exhale for 6 counts • Release up with a • Inhale for 7 counts • Inhale for 7 counts side twist (right) • Exhale for 7 counts • Exhale for 7 counts • Contract • Inhale for 8 counts • Inhale for 8 counts • Release up with a • Exhale for 8 counts • Exhale for 8 counts side twist (left) • Contract Activity Four: Breathing Activity Four: Breathing While Dancing While Dancing BEGINNING LEVEL: Teacher teaches students The teacher quickly The student will go combination, then students reviews the combination, through combination perform the combination. moving through each slowly and explore where As students complete the section. Then students they can enhance their exercise, teacher walks perform the combination. head-tail connection. around the room, As students complete the ADVANCED LEVEL: monitoring understanding exercise, teacher walks The student will perform and giving feedback when around the room, the given movement with necessary. monitoring understanding defined dynamics and lead Movement: and giving feedback when peers in demonstrating the necessary. movement in front of the • Breath – breathe Movement: class, as well as show a deeply for one clear head-tail connection. eight-count • Breath – breathe • Tactile – grand plié deeply for one eight-count with “choo-choo” arms (inhale), arm • Tactile – grand plié roll around and with “choo-choo” down (exhale), clap arms (inhale), arm (inhale), fall roll around and backward (exhale) down (exhale), clap

• Core-Distal – (inhale), fall facing the back, backward (exhale) reach out into x- • Core-Distal –

position (inhale), facing the back, close back in reach out into x- (exhale) position (inhale), • Head-Tail – snake close back in to rond de jambe (exhale) around to the front • Head-Tail – snake (inhale) to rond de jambe • Upper-Lower – around to the front upper body around (inhale) in a circle (exhale), • Upper-Lower – upper body around upper body around in a circle with a in a circle (exhale), grand plié (inhale) upper body around • Body Side – right in a circle with a arm and leg gather grand plié (inhale) in (exhale), left arm • Body Side – right and leg gather in – arm and leg gather to lunge down to in (exhale), left arm lying flat on the and leg gather in – back (inhale) to lunge down to • Cross Lateral – lying flat on the cross lateral roll to back (inhale) stand (exhale) • Cross Lateral – • Vestibular – 16- cross lateral roll to counts off-balance stand (exhale) improvisation using • Vestibular – 16- breath to initiate counts off-balance movement improvisation using breath to initiate BEGINNING LEVEL: movement The student will go through combination BEGINNING LEVEL: slowly and explore where The student will go they can connect breath to through combination movement. slowly and explore where ADVANCED LEVEL: they can connect breath to The student will perform movement. the given movement with ADVANCED LEVEL: defined dynamics and lead The student will perform peers in demonstrating the the given movement with movement in front of the defined dynamics and lead class, as well as connect peers in demonstrating the movement in front of the

breath to each movement class, as well as connect they are doing. breath to each movement they are doing.

Week Four: Modern Dance Technique (II) [full lesson plans provided]

Day A – The Spine and Day B – Hip Creases and Day C – Hip Creases and Head-Tail Connection 2 Being Grounded 1 Being Grounded 2

Obj. 1: The student will Obj. 1: The student will Obj. 1: The student will know and understand the know and understand the know and understand the basic modern dance basic modern dance basic modern dance concept of utilizing the concept of dropping the concept of dropping the spine for a head-tail weight into the hip creases weight into the hip creases connection. in order to be grounded in in order to be grounded in Obj. 2: The student will be movement. movement. able to demonstrate Obj. 2: The student will be Obj. 2: The student will be utilizing the spine for a able to demonstrate a able to demonstrate a head-tail connection. dropping of the weight into dropping of the weight into Obj. 3: The student will the hip creases in order to the hip creases in order to fully participate throughout be more grounded in be more grounded in the lesson and make a clear movement. movement. effort to learn about the Obj. 3: The student will Obj. 3: The student will spine and the head-tail fully participate throughout fully participate throughout connection. the lesson and make a clear the lesson and make a clear effort to learn about the hip effort to learn about the hip Activity One: Bartenieff creases and being creases and being Warm-Up grounded. grounded. The teacher has students spread out and find a place Activity One: Bartenieff Activity One: Bartenieff on the floor. Then the Warm-Up Warm-Up teacher quickly reviews the The teacher has students The teacher has students warm-up, moving through spread out and find a place spread out and find a place each section. Next, on the floor. Then the on the floor. Then the students and teacher will teacher quickly reviews the teacher quickly reviews the do warm-up together. warm-up, moving through warm-up, moving through Finally, teacher leads each section. Next, each section. Next, students through stretching students and teacher will students and teacher will and conditioning. do warm -up together. do warm-up together. Movement: Finally, teacher leads Finally, teacher leads students through stretching students through stretching • BARTENIEFF and conditioning. and conditioning. • 2 8-counts of Movement: Movement: breathing/feeling • BARTENIEFF • BARTENIEFF

• 2 8-counts of heel • 2 8-counts of • 2 8-counts of rocks breathing/feeling breathing/feeling • 2 8-counts elbow to • 2 8-counts of heel • 2 8-counts of heel knee side rocks rocks contraction • 2 8-counts elbow to • 2 8-counts elbow to • Fetal position to the knee side knee side right, x position, contraction contraction fetal position to the • Fetal position to the • Fetal position to the left, x position right, x position, right, x position, (each movement is fetal position to the fetal position to the 4 counts) – repeat left, x position left, x position • Fetal position to the (each movement is (each movement is right, dovetail, 4 counts) – repeat 4 counts) – repeat fetal, x position, • Fetal position to the • Fetal position to the fetal position to the right, dovetail, right, dovetail, left, dovetail, fetal, fetal, x position, fetal, x position, x position (each fetal position to the fetal position to the movement is 4 left, dovetail, fetal, left, dovetail, fetal, counts) x position (each x position (each • Head-tail movement is 4 movement is 4 contraction, x counts) counts) position, head-tail • Head-tail • Head-tail contraction, x- contraction, x contraction, x position (each position, head-tail position, head-tail movement is 4 contraction, x- contraction, x- counts) – repeat position (each position (each • 4 Cross lateral movement is 4 movement is 4 rolls (right foot counts) – repeat counts) – repeat leads, left foot • 4 Cross lateral rolls • 4 Cross lateral rolls leads, right arm (right foot leads, (right foot leads, leads, left arm left foot leads, right left foot leads, right leads) arm leads, left arm arm leads, left arm • Neutral position leads) leads) with knees up – hip • Neutral position • Neutral position raises (2 8-counts) with knees up – hip with knees up – hip • STRETCHING/CO raises (2 8-counts) raises (2 8-counts) NDITIONING • STRETCHING/CO • STRETCHING/CO • Flip to downward NDITIONING NDITIONING dog • Flip to downward • Flip to downward • Yoga push-ups dog dog • Extend each leg • Yoga push-ups • Yoga push-ups out/up • Extend each leg • Extend each leg • Lunges out/up out/up • Pigeon • Lunges • Lunges • Triceps pushups • Pigeon • Pigeon

• Crunches • Triceps pushups • Triceps pushups • INCREASE HEART • Crunches • Crunches RATE • INCREASE HEART • INCREASE HEART • Walking RATE RATE • Prances • Walking • Walking • Jogging • Prances • Prances • Jogging • Jogging Activity Two: Isolations & Regions of the Spine Activity Two: Leg Swings Activity Two: Leg Swings The teacher demonstrates Teacher teaches students The teacher quickly the isolation pattern, then combination, then students reviews the combination, students and teacher move perform the combination. moving through each through it together. As students complete the section. Then students Movement: exercise, teacher walks perform the combination. around the room, As students complete the • Head (cervical) – 8 monitoring understanding exercise, teacher walks up/down isolations, and giving feedback when around the room, 8 side-to-side needed. monitoring understanding isolations, 8 tilt Movement (on ground): and giving feedback when right/left isolations, necessary. 8-count roll to the • PART 1 Movement (on ground): right, 8-count roll • 8 leg drops to the left • 8 alternating leg • PART 1 • Ribs (thoracic) – 8 swings • 8 leg drops right/left isolations, • Développé • 8 alternating leg 8 front/back • Envelope’ swings isolations, 8-count • Carry leg to side, • Développé roll to the right, 8- hook, rond, and • Envelope’ count roll to the left drop • Carry leg to side, • Hips (lumbar) – 8 • (repeat part 1 on hook, rond, and side-to-side right and left) drop isolations, 8 • PART 2 • (repeat part 1 on front/back • Two swings right and left) isolations, 8-count • Push up to mermaid • PART 2 toll to the right, 8- • Two swings count roll to the left • Carry body around – end in x-position • Push up to mermaid Activity Three: Contract • (repeat part 2 on • Carry body around and Release right and left twice) – end in x-position The teacher quickly • (repeat part 2 on reviews the combination, Activity Three: Leg Drops right and left twice) moving through each Teacher teaches students section. Then students combination, then students Activity Three: Leg Drops perform the combination. perform the combination. The teacher quickly As students complete the As students complete the reviews the combination, exercise, teacher walks exercise, teacher walks moving through each around the room, around the room, section. Then students monitoring understanding perform the combination.

monitoring understanding and giving feedback when As students complete the and giving feedback when needed. exercise, teacher walks necessary. Movement (standing – around the room, Movement: repeat right and left): monitoring understanding • 3 leg drops (front, and giving feedback when • Begin in seated side, back) necessary. butterfly position • 2 rond de jambe Movement (standing – (heels off the • 4 leg swings (front, repeat right and left): ground), arms to back, front, back) • 3 leg drops (front, the side-back • Brush to the front, side, back) • Contract forward fall, gather • 2 rond de jambe (8) everything back to • 4 leg swings (front, • Move to seated neutral back, front, back) position with legs • Brush to the front, in front Activity Four: Under/Over fall, gather • Release back, Curve everything back to stretch forward Teacher teaches students neutral • Repeat from the top combination, then students perform the combination. Activity Four: Under/Over Activity Four: Flat Black As students complete the Curve and Rolling Down exercise, teacher walks The teacher quickly The teacher quickly around the room, reviews the combination, reviews the combination, monitoring understanding moving through each moving through each and giving feedback when section. Then students section. Then students needed. perform the combination. perform the combination. Movement (standing – As students complete the As students complete the repeat four times [right exercise, teacher walks exercise, teacher walks beginning front, left around the room, around the room, beginning front, right monitoring understanding monitoring understanding beginning back, left and giving feedback when and giving feedback when beginning back]): necessary. necessary. Movement (standing – Movement: • 8 undercurves en repeat four times [right croix (front, side, • Start standing beginning front, left back, side) beginning front, right • Roll down for 8 • Undercurve, three- counts beginning back, left step turn (front, beginning back]): • Stretch out to flat side, back) back and come up • Undercurve, • 8 undercurves en • Flat back down for undercurve, croix (front, side, 8 counts overcurve (arms back, side) • Roll up for 8 counts circles around • Undercurve, three- • Repeat combination head) step turn (front, using 4 counts, then side, back) using 2 counts Activity Five: Grounded • Undercurve, twice Traveling undercurve, overcurve (arms

Activity Five: Twisty Spine Teacher teaches students circles around The teacher quickly combination, then students head) reviews the combination, perform the combination. Activity Five: Grounded moving through each As students complete the section. Then students exercise, teacher walks Traveling perform the combination. around the room, The teacher quickly As students complete the monitoring understanding reviews the combination, exercise, teacher walks and giving feedback when moving through each around the room, needed. section. Then students monitoring understanding Movement (across the perform the combination. and giving feedback when floor): As students complete the exercise, teacher walks necessary. • 3 right leg swings, around the room, Movement: chassé monitoring understanding • 3 left leg swings, • 3 steps with a side and giving feedback when chassé curve (right, then necessary. • Pas de basque left) Movement (across the (right and left) • Snake both ways floor): • Pas de bourree • Release up with a • 3 right leg swings, (right and left) side twist (right) chassé • Side chassé • Contract • 3 left leg swings, • Jump fall to the • Release up with a chassé ground side twist (left) • Pas de basque (right and left) • Contract BEGINNING LEVEL: • Pas de bourree The student will perform BEGINNING LEVEL: (right and left) the phrases given with The student will go • Side chassé minimal ‘groundedness’ through combination • Jump fall to the slowly and explore where and work towards becoming more grounded ground they can enhance their head-tail connection. in each movement. ADVANCED LEVEL: BEGINNING LEVEL: ADVANCED LEVEL: The student will perform The student will perform The student will perform the given movement with the phrases given with the given movement with minimal ‘groundedness’ defined dynamics and lead defined dynamics and lead peers in demonstrating the and work towards peers in demonstrating the becoming more grounded movement in front of the movement in front of the class. in each movement. class, as well as show a ADVANVED LEVEL: clear head-tail connection. The student will perform the given movement with defined dynamics and lead peers in demonstrating the movement in front of the class.

Week Five: Modern Dance Technique (III) [full lesson plans provided]

Day A – Floor Work 1 Day B – Floor Work 2 Day C – Performance: Focus Obj. 1: The student will Obj. 1: The student will know and understand the know and understand the Obj. 1: The student will basic modern dance floor basic modern dance floor know and understand how work movements: rolling work movements: rolling to use focus to enhance onto/off of the ground, onto/off of the ground, performance, as well as the inversions, and cartwheels. inversions, and cartwheels. basic modern dance Obj. 2: The student will be Obj. 2: The student will be concepts of connecting able to demonstrate the able to demonstrate the breath to movement, the proper technique of proper technique of head-tail connection, being modern dance rolls modern dance rolls grounded, and floor work. onto/off the ground, onto/off the ground, Obj. 2: The student will be inversions, and cartwheels. inversions, and cartwheels. able to demonstrate using Obj. 3: The student will Obj. 3: The student will focus to enhance fully participate throughout fully participate throughout performance, while using a the lesson and make a clear the lesson and make a clear connection of breath to effort to learn how to effort to learn how to movement, the head-tail properly roll onto/off the properly roll onto/off the connection, and floor work. ground, inversions, and ground, inversions, and Obj. 3: The student will cartwheels in modern cartwheels in modern fully participate throughout dance. dance. the lesson and support their classmates in discussion Activity One: Bartenieff Activity One: Bartenieff and performance. Warm-Up Warm-Up The teacher has students The teacher has students Activity One: Bartenieff spread out and find a place spread out and find a place Warm-Up on the floor. Then the on the floor. Then the The teacher has students teacher quickly reviews the teacher quickly reviews the spread out and find a place warm-up, moving through warm-up, moving through on the floor. Then the each section. Next, each section. Next, teacher quickly reviews the students and teacher will students and teacher will warm-up, moving through do warm-up together. do warm-up together. each section. Next, Finally, teacher leads Finally, teacher leads students and teacher will students through stretching students through stretching do warm-up together. and conditioning. and conditioning. Finally, teacher leads Movement: Movement: students through stretching and conditioning. • BARTENIEFF • BARTENIEFF Movement: • 2 8-counts of • 2 8-counts of • BARTENIEFF breathing/feeling breathing/feeling • 2 8-counts of • 2 8-counts of heel • 2 8-counts of heel breathing/feeling rocks rocks

• 2 8-counts elbow to • 2 8-counts elbow to • 2 8-counts of heel knee side knee side rocks contraction contraction • 2 8-counts elbow to • Fetal position to the • Fetal position to the knee side right, x position, right, x position, contraction fetal position to the fetal position to the • Fetal position to the left, x position left, x position right, x position, (each movement is (each movement is fetal position to the 4 counts) – repeat 4 counts) – repeat left, x position • Fetal position to the • Fetal position to the (each movement is right, dovetail, right, dovetail, 4 counts) – repeat fetal, x position, fetal, x position, • Fetal position to the fetal position to the fetal position to the right, dovetail, left, dovetail, fetal, left, dovetail, fetal, fetal, x position, x position (each x position (each fetal position to the movement is 4 movement is 4 left, dovetail, fetal, counts) counts) x position (each • Head-tail • Head-tail movement is 4 contraction, x contraction, x counts) position, head-tail position, head-tail • Head-tail contraction, x- contraction, x- contraction, x position (each position (each position, head-tail movement is 4 movement is 4 contraction, x- counts) – repeat counts) – repeat position (each • 4 Cross lateral • 4 Cross lateral rolls movement is 4 rolls (right foot (right foot leads, counts) – repeat leads, left foot left foot leads, right • 4 Cross lateral rolls leads, right arm arm leads, left arm (right foot leads, leads, left arm leads) left foot leads, right leads) • Neutral position arm leads, left arm • Neutral position with knees up – hip leads) with knees up – hip raises (2 8-counts) • Neutral position raises (2 8-counts) • STRETCHING/CO with knees up – hip • STRETCHING/CO NDITIONING raises (2 8-counts) NDITIONING • Flip to downward • STRETCHING/CO • Flip to downward dog NDITIONING dog • Yoga push-ups • Flip to downward • Yoga push-ups • Extend each leg dog • Extend each leg out/up • Yoga push-ups out/up • Lunges • Extend each leg • Lunges • Pigeon out/up • Pigeon • Triceps pushups • Lunges • Triceps pushups • Crunches • Pigeon • Crunches • INCREASE HEART • Triceps pushups RATE • Crunches

• INCREASE HEART • Walking • INCREASE HEART RATE • Prances RATE • Walking • Jogging • Walking • Prances • Prances Activity Two: Leg Swings, • Jogging • Jogging Lunges, & Jump Rolls Activity Two: Leg Swings, The teacher quickly Activity Two: Eye Tracking Lunges, & Jump Rolls reviews the combination, The teacher leads students Teacher teaches students moving through each through eye tracking combination, then students section. Then students exercise. As students perform the combination. perform the combination. complete the exercise, As students complete the As students complete the teacher walks around the exercise, teacher walks exercise, teacher walks room, monitoring around the room, around the room, understanding and giving monitoring understanding monitoring understanding feedback when necessary. and giving feedback when and giving feedback when Movement: needed. necessary. Movement (on the ground): Movement (on the ground): • “Stand still.” • “Look at yourself in • 4 leg swings • 4 leg swings the mirror.” • 4 leg swings to one • 4 leg swings to one • “Now move your knee up knee up eyes side to side in • 4 leg swings to • 4 leg swings to a horizontal lunges with an arm lunges with an arm pathway.” reach reach • “Move your eyes up • 4 leg swings to • 4 leg swings to and down in a jump rolls jump rolls vertical pathway.” • repeat • repeat • “Begin walking.” • “Now focus on the Activity Three: Rolling Activity Three: Rolling floor and continue Across the Floor Across the Floor walking.” Teacher demonstrates The teacher quickly • “Find an object to combination. Then students reviews the combination, look at in the room, do rolls both to a seated moving through each continue walking, position and to the back section. Then students but stay looking at right and left across the perform the combination. it the whole time.” floor two times. As students complete the Movement (across the floor exercise, teacher walks • “Continue walking - repeat): around the room, and find a person to monitoring understanding focus on. Look at • Rolls to seated and giving feedback when them and keep position (right) necessary. moving around the • Rolls to seated Movement (across the floor room.” position (left) - repeat): • “Now stand where • Rolls to the back you are and move a (right) • Rolls to seated single body part.” position (right)

• Rolls to the back • Rolls to seated • “Look at the body (left) position (left) part that is • Rolls to the back moving.” Activity Four: Cartwheels (right) • “Let that body part Teacher teaches students • Rolls to the back change to a combination, then students (left) different one, look perform the combination. at the new body As students complete the Activity Four: Cartwheels part, focus on it and exercise, teacher walks The teacher quickly continue moving.” around the room, reviews the combination, • “Switch.” monitoring understanding moving through each • “Switch.” and giving feedback when section. Then students needed. perform the combination. • “Switch.”

Movement (from the back): As students complete the exercise, teacher walks • 3 cartwheels (right) Activity Three: Final around the room, Phrase • Land on one leg to monitoring understanding Students spread out and do an extension into and giving feedback when teacher reviews the a coupé (left leg) necessary. culminating combination • 3 cartwheels (left) Movement (from the back): from each day. Then • Land on one leg to teacher puts the • 3 cartwheels (right) do an extension into combinations into a dance, a coupé (right leg) • Land on one leg to stressing focus on certain • All students repeat do an extension into areas. a second time a coupé (left leg) Movement: • 3 cartwheels (left) Activity Five: Inversions • Land on one leg to • Breathe deeply for Teacher teaches students do an extension into one eight-count combination, then students a coupé (right leg) • Grand plié with perform the combination. • All students repeat “choo-choo” arms As students complete the a second time (inhale), arm roll exercise, teacher walks around and down around the room, Activity Five: Inversions (exhale), clap monitoring understanding The teacher quickly (inhale), fall and giving feedback when reviews the combination, backward (exhale) needed. moving through each • Facing the back, Movement (center): section. Then students reach out into x- perform the combination. • Undercurve to the position (inhale), As students complete the front, back to close back in exercise, teacher walks neutral, inversion (exhale) around the room, to the front • Snake to rond de monitoring understanding jambe around to the • Undercurve to the and giving feedback when front (inhale) side, back to necessary. neutral, inversion • Upper body around Movement (center): to the side in a circle (exhale), • Undercurve to the • Undercurve to the upper body around front, back to front, back to

neutral, inversion neutral, inversion in a circle with a to the front to the front grand plié (inhale) • Undercurve to the • Undercurve to the • Right arm and leg side, back to side, back to gather in (exhale), neutral, monkey neutral, inversion left arm and leg to the side gather in – to lunge BEGINNING LEVEL: • Undercurve to the down to lying flat The student will perform front, back to on the back (inhale) the phrases given with neutral, inversion • Cross lateral roll to minimal ‘groundedness’ to the front stand (exhale) and work towards • Undercurve to the • 16-counts off- becoming more grounded side, back to balance in each movement. neutral, monkey improvisation using ADVANCED LEVEL: breath to initiate The student will perform BEGINNING LEVEL: movement the given movement with The student will perform • 3 steps with a side defined dynamics and lead the phrases given with curve (right, then peers in demonstrating the minimal ‘groundedness’ left) movement in front of the and work towards • Snake both ways class, while incorporating becoming more grounded the concepts learned in each movement. • Release up with a previously in the week ADVANCED LEVEL: side twist (right) (breath, head-tail The student will perform • Contract connection, and being the given movement with • Release up with a grounded) into the defined dynamics and lead side twist (left) combination. peers in demonstrating the • Contract movement in front of the • 3 right leg swings,

class, while incorporating chassé the concepts learned • 3 left leg swings, previously in the week chassé (breath, head-tail • Pas de basque connection, and being (right and left) grounded) into the • Pas de bourree combination. (right and left) • Side chassé • Jump fall to the ground • Undercurve to the front, back to neutral, inversion to the front • Undercurve to the side, back to neutral, inversion to the side

• Undercurve to the front, back to neutral, inversion to the front • Undercurve to the side, back to neutral, monkey BEGINNING LEVEL: The student will perform a smaller section of the final phrase working on incorporating all concepts covered throughout the week. ADVANCED LEVEL: The student will perform the given movement with defined dynamics and lead peers in demonstrating the movement in front of the class, as well as incorporate all concepts covered throughout the week.

Week Six: Modern Dance History

Day A – Merce Day B – In-Class Research Day C – Present a Cunningham and Chance Day Historical Modern Dance Dance Figure Presentations * Students spend class time Obj. 1: The student will researching and working on Obj. 1: The student will know, understand, and be presentations. Teacher know, understand, and be able to explain basic facts provides as many text able to explain basic facts about Merce Cunningham, resources as possible. about a historical modern as well as the practice of Teacher also provides dance figure and their “Chance Dance”. assistance and feedback as impact on dance history. Obj. 2: The student will be needed. Obj. 2: The student will able to successfully be able to confidently and demonstrate implementation successfully present their of “Chance Dance” project in front of the procedures. class, Obj. 3: The student will fully participate throughout

the lesson and make a clear Obj. 3: The student will cooperative effort in group be a supportive audience activities. participant.

Activity One: Background Activity One: Information on Merce Presentations Cunningham Students present their The teacher shares some projects on a historical background information on dance figure. On Day A of Merce Cunningham, Week 6, students are contextualizing all concepts given the following learned and activities assignment – completed. Instructions: 1. He believed that • Each student dance and music chooses a should be able to historical modern exist independently dance figure and of each other present on their 2. He loved using life and legacy technology with • In project, include dance areas such as: 3. He used a early life; choreographic education, family, practice called career, later life, “Chance Dance” and legacy; photos; Activity Two: Cunningham accomplishments Technique Warm-Up • Answer the The teacher has students following question: spread out and find a place what is the major to dance. The teacher impact this figure teaches the warm-up, had on the modern moving through each section dance world? slowly. Then, students and Requirements: teacher complete warm-up • 3-5 minutes in together. length Movement: • Visual aid, power • SPINE/PLIÉS point, etc. • Begin in parallel Assessment areas: • Spine curved • Inclusion of all forward, arms down requirements • Roll down for 4, • Quality of content pulse for 8, roll up and information for 4, roll down for provided 4, pulse for 8, roll up • Creativity and for 4 neatness

• 4 pliés, arms in 5th • Quality of written • Spine curved over to and oral the right, left arm communication reaching • Overall quality • 8 pulses, switch to left side in 8 counts, BEGINNING LEVEL: 8 pulses, back to The student will be given neutral in 8 counts a partner for the project to • 4 pliés, arms in 2nd assist them in the • Repeat in turned-out demonstration of 1st position understanding of • Repeat in turned out concepts. 2nd position ADVANCED LEVEL: • TENDUS/DÉGAGÉS The student will complete • Begin in parallel the project as defined, and • Ball, point, ball, in addition, will include close (alternating an interactive or audience- right and left, 4 participation element in their presentation. times) • 3 tendus (slow, and quick, and quick) en croix (R, L, R, L, R, L, R, L) • Repeat in 1st position • Begin in parallel • Ball, point, ball, close (alternating right and left, 4 times) • 3 dégagés (slow, and quick, and quick) en croix (R, L, R, L, R, L, R, L) • Repeat in 1st position • TRAVELING PATTERN • Triplets • Traveling front • Traveling back • Traveling side (flip front and back) Activity Three: Learning a Cunningham-Inspired Phrase Teacher teaches phrase one

section at a time, utilizing accumulation as a teaching aid. After teacher teaches the combination, students will perform it all together group, before splitting into small groups. Movement: • Section1 – triplet, triplet, dégagé, fall, passé, close, lean out, close in • Section 2 – lower to knees, lean over right, lean over left, right foot up, rise – chest elevated • Section 3 – step hop, step hop, jump up, land in second, rise to relevé • Section 4 – chainé, under curve, chainé under curve, passé, plié arabesque Activity Four: Manipulating and Performing a Phrase Using “Chance Dance” The teacher goes through the materials in the packet and their correct use, then briefly explains each activity. Then, students are separated into several small groups (no more than 5 per group). After students are put into group, they will work together to complete all activities listed on the instruction sheet. (Full instructions for each activity attached to lesson.) As students are working in small groups, the teacher walks around the room,

monitoring understanding of concepts and providing feedback/answering questions when needed. Finally, students will perform their group’s phrase after being manipulated by “Chance Dance”. Activities: • Dice: Section Order (sections 1, 2, 3, and 4) • Coin Bracket: Facing (8 possible facings) • Colored Paper: Music (red, purple, yellow, green, blue) • Computer Program: Performance Order BEGINNING LEVEL: The student will perform the given movement. With the assistance of the teacher, the student will manipulate the combination using the four “Chance Dance” procedures. ADVANCED LEVEL: The student will show mastery in performance. In group work, the student will take on a leadership role and assist peers when needed. *students are assigned Historical Modern Dance Figure project that will be presented on Day C of Week 6

Week Seven: Improvisation [full lesson plans provided]

Day A – Using Yourself as Day C – Working Inspiration Together, Contact

Day B – Using Others and Improvisation, and Weight Obj. 1: The student will Outside Sources as Sharing know and understand the Inspiration importance of Obj. 1: The student will improvisation and how to Obj. 1: The student will know and understand the use self as inspiration. know and understand the importance of Obj. 2: The student will be importance of improvisation and to able to demonstrate using improvisation and how to incorporate contact self as inspiration for use others and outside improvisation and weight improvisation. sources as inspiration. sharing into Obj. 3: The student will Obj. 2: The student will be improvisational movement. fully participate throughout able to demonstrate using Obj. 2: The student will be the lesson and make a clear others and outside as able to demonstrate the effort to learn about using inspiration for incorporation of contact the self as inspiration for improvisation. improvisation and weight improvisation. Obj. 3: The student will sharing into fully participate throughout improvisational movement. Activity One: Using Breath the lesson and make a clear Obj. 3: The student will to Initiate Movement effort to learn about using fully participate throughout Teacher leads students others and outside sources the lesson and make a clear through exercises, as inspiration for effort to learn about beginning on the floor and improvisation. incorporating contact ending standing. improvisation and weight Instructions: sharing into Activity One: Best improvisational movement. • “Begin by Friend/Enemy breathing at your Student and teacher walk Activity One: Moulding normal rate and around the room together. Teacher leads students imagine your body Then, each person picks a through exercise, and each melting into the “best friend” and an partner practices moulding floor.” “enemy”. Without telling the other to find familiarity • “Now, with each either person, they try to in using touch for inhale, lift a body stay an equal distance improvisation. part up, and with between their best friend each exhale, sink and enemy. Teacher Activity Two: Skin Level – your whole body demonstrates exercise with Beginning Contact back in the the two student volunteers. With a partner, without ground.” Then, students and teacher talking, students will dance • “Continue doing begin to walk around together and as they are this, trying to use a room, each person picks a dancing, allow themselves different body part “best friend” and a light contact with each each time.” “murderer”, while moving other. Teacher • “Do not think about around the room, they try demonstrates exercise with how your body is to stay equally between the volunteer, then students moving, just let it two people they have find a partner. Teacher happen.” chosen. leads students through exercise, making sure all

• “Next you can Activity Two: Mirroring students feel safe and slowly work your and Moulding comfortable. way to a seated First, students try Activity Three: Skin Level position, mirroring. Students find a – Spherical Contact coordinating each partner, then the pair With a new partner, breath with a new choose one person to be students do spherical movement in a new Person A and one person to contact. Both partners body part.” be Person B. To begin, make a circle with their • “Try not to plan Partner A will begin arms, and rotate around, how you are going dancing, and Partner B will staying connected to each to get to the new mirror their movement. other. Teacher and position, let your Then, partners switch so volunteer demonstrate. breath take you Partner B will dance and After, teacher and there.” Partner A will mirror. volunteer demonstrate how • “Now slowly dance Teacher demonstrates with volunteer, then students to change the size of their your way to circle. Teacher then leads standing, keeping find a partner and teacher leads students through students through exercise, your eyes closed, monitoring the room to and your breath exercise. After, students try moulding. Teacher and make sure all students feel initiating your safe and comfortable. movement.” volunteer demonstrate. • “Do not force your Students find a new partner Activity Four: Muscle muscles to move; let and teacher leads students Level – Weight Sharing your breath help through moulding exercise. Teacher finds student close you rise.” Activity Three: Following to teacher’s size to help • “Stay in the same and Flocking demonstrate and shows spot and continue For following, everyone weight sharing in several letting each new spreads out. The students positions: back to back breath bring a new begin improvising on their (lower and rise), shoulder movement that you own, watch each other, and to shoulder (to the side), have not done if they see someone do shoulder to shoulder before.” something they like, they (facing each other), both • “Now you can open try follow them and do hands to both hands your eyes, but keep what they do. Teacher (facing each other), one moving, using your demonstrates activity with hand to one hand (to the breath to initiate volunteer. Then, teacher side). Teacher your movement.” leads students through demonstrates each position exercise. For flocking, one at a time, then after Activity Two: Elements of finding a similarly-sized Dance – Body teacher and students move together in a big group like partner, students are given Teacher demonstrates how the opportunity to try it. to choose a body part and a flock of birds. The person in front leads, and Then students connect use it to lead and inspire random body parts, trying movement across the floor. everyone else follows. At any point in time, the to find a weight share Then, students go across between them. Teacher the floor three at a time, leader can change direction, and the person leads students through

using the body part they who is in front of the group exercise, monitoring the choose to lead and inspire after everyone changes room to make sure all movement. Exercise is direction will be the new students feel safe and repeated three times, and leader. Teacher and comfortable. each time the students go volunteers demonstrates, across the floor and back, then teacher and students Activity Five: Improv they will choose a new participate in activity, with Speed Dating body part to use. the teacher leading. Teacher gives students time to find a partner they Activity Three: Elements of Activity Four: have not worked with. The Dance – Energy Environmental Inspiration students decide who is The students go across the Students think of a Partner A and who is floor three at a time. The location, or piece of Partner B. Partner A’s first time, they try furniture, or school supply, make a small circle in the flowy/floaty. The second or anything else that can be center of the room. Partner time, they try sharp/direct. found in the school and use B’s make a larger circle And the last time, they it as inspiration for around them, facing their attempt both in the same movement. Teacher partner. With the person cross. demonstrates if they were they are facing, students to choose a pencil as improvise using any of the Activity Four: Elements of inspiration. Teacher has things we have done today Dance – Space students spread out, then in class – moulding, skin The students go across the gives students time to think level contact (touching, floor three at a time. The of an inspiration. Then, spherical), and muscle first time, they try a low students complete exercise. level contact (weight level. The second time, Teacher leads students to sharing) – and throughout they try a medium level. repeat the exercise several the week – the elements of The third time, they try a times, finding a new dance, following, high level. The last time, inspiration each time. environment inspiration, they will try to incorporate etc. Partners dance for all three levels. Activity Five: about two minutes. Then Interdisciplinary the outer circle rotates to Activity Five: Elements of Inspiration Dance – Time the right and begins Students are shown a dancing with the new The students go across the picture of Vincent van floor three at a time. The partner. This is repeated Gogh’s Starry Night. They several times. Teacher first time, they try a fast are given 30 seconds to speed. The second time, leads exercise and look at the painting and monitors the room to they try a medium speed. consider the shapes, colors, The third time, they try a ensure all students feel safe structures, etc. that they see and comfortable. slow speed. The last time, in it and use that as they will try to incorporate inspiration. Them, teacher BEGINNING LEVEL: all three speeds. leads students through an The student will use only Activity Six: Mini-Improv improvisational experience skin level contact and will Jam of the painting. dance with only one Teacher leads the improv partner, working towards BEGINNING LEVEL: muscle level contact and jam circle, using concepts The student will try to

learned previously in demonstrate understanding having multiple partners. lesson. of concepts by taking one ADVANCED LEVEL: element of the painting The student will show BEGINNING LEVEL: Starry Night to use as clarity and confidence in The student will inspiration for movement movement while using demonstrate understanding invention. both skin and muscle level of concepts in just the ADVANCED LEVEL: contact and will dance with group improv jam by The student will more than three partners. showing the initiation of demonstrate understanding movement through breath, of concepts by taking more and experimenting with than three elements of the body, energy, space, and painting Starry Night to time – the elements of use as inspiration for dance. ADVANCED movement invention, as LEVEL: The student will well as demonstrate clear demonstrate understanding shifts in dynamics and of concepts in both the focus. group and circle improv jams by showing the initiation of movement through breath, and experimenting with body, energy, space, and time – the elements of dance, as well as perform improvisational movement with defined dynamics and clear focus.

Week Eight: Basics of Composition

Day A – The Elements of Day B – Qualities of Day C – Devices Dance Movement Obj. 1: The student will Obj. 1: The student will Obj. 1: The student will know and understand the know and understand the know and understand the importance of using importance of using the importance of using compositional devices as Elements of Dance as a differentiating qualities of a creative source in dance creative source in dance movement as a creative composition. composition. source in dance Obj. 2: The student will Obj. 2: The student will be composition. be able to demonstrate the able to demonstrate the Obj. 2: The student will be utilization of utilization of the Elements able to demonstrate the compositional devices as of Dance as a creative utilization of differentiating a creative source in dance source in dance qualities of movement as a composition.

composition. creative source in dance Obj. 3: The student will Obj. 3: The student will composition. fully participate fully participate throughout Obj. 3: The student will throughout the lesson and the lesson and make a clear fully participate throughout make a clear effort to effort to learn about using the lesson and make a clear learn about using the Elements of Dance as a effort to learn about using compositional devices as creative source in dance differentiating qualities of a creative source in dance composition. movement as a creative composition. source in dance Activity One: Using Breath composition. Activity One: Using to Initiate Movement Breath to Initiate Teacher leads students Activity One: Using Breath Movement through exercises, to Initiate Movement Teacher leads students beginning on the floor and Teacher leads students through exercises, ending standing. through exercises, beginning on the floor and Instructions: beginning on the floor and ending standing. ending standing. Instructions: • “Begin by breathing Instructions: at your normal rate • “Begin by and imagine your • “Begin by breathing breathing at your body melting into at your normal rate normal rate and the floor.” and imagine your imagine your body • “Now, with each body melting into melting into the inhale, lift a body the floor.” floor.” part up, and with • “Now, with each • “Now, with each each exhale, sink inhale, lift a body inhale, lift a body your whole body part up, and with part up, and with back in the ground.” each exhale, sink each exhale, sink • “Continue doing your whole body your whole body this, trying to use a back in the ground.” back in the different body part • “Continue doing ground.” each time.” this, trying to use a • “Continue doing • “Do not think about different body part this, trying to use how your body is each time.” a different body moving, just let it • “Do not think about part each time.” happen.” how your body is • “Do not think • “Next you can moving, just let it about how your slowly work your happen.” body is moving, way to a seated • “Next you can just let it happen.” position, slowly work your • “Next you can coordinating each way to a seated slowly work your breath with a new position, way to a seated movement in a new coordinating each position, body part.” breath with a new coordinating each • “Try not to plan movement in a new breath with a new how you are going body part.”

to get to the new • “Try not to plan movement in a position, let your how you are going new body part.” breath take you to get to the new • “Try not to plan there.” position, let your how you are going • “Now slowly dance breath take you to get to the new your way to there.” position, let your standing, keeping • “Now slowly dance breath take you your eyes closed, your way to there.” and your breath standing, keeping • “Now slowly initiating your your eyes closed, dance your way to movement.” and your breath standing, keeping • “Do not force your initiating your your eyes closed, muscles to move; let movement.” and your breath your breath help you • “Do not force your initiating your rise.” muscles to move; let movement.” • “Stay in the same your breath help you • “Do not force spot and continue rise.” your muscles to letting each new • “Stay in the same move; let your breath bring a new spot and continue breath help you movement that you letting each new rise.” have not done breath bring a new • “Stay in the same before.” movement that you spot and continue • “Now you can open have not done letting each new your eyes, but keep before.” breath bring a moving, using your • “Now you can open new movement breath to initiate your eyes, but keep that you have not your movement.” moving, using your done before.” breath to initiate • “Now you can Activity Two: Elements of your movement.” open your eyes, Dance – Body but keep moving, First, students come up with Activity Two: Qualities of using your breath a four 8-count phrase that Movement – to initiate your will be manipulated with Sustained/Percussive movement.” the Elements of Dance. First, students review Teacher and students take manipulated phrases from Activity Two: Devices – about five minutes to the day before. Teacher Augmentation/Diminution individually come up with then demonstrates their First, students review short phrases. Teacher phrase twice, first applying solos from the day before. demonstrates phrase they the quality of sustained, Teacher then made up, then demonstrates then the quality of demonstrates how to putting a focus on body percussive. Then, students manipulate the phrase parts, body shapes, and perform their own phrase using the device. Then, balance. Then students take twice, first doing it students choose one one of the elements of body sustained, then staccato. movement or one 8-count and use it as a focus to After, students apply a of their solo to apply change their phrase. Then, mixture of the two qualities augmentation or teacher and students

perform manipulated to their phrase. Last, teacher diminution to. Teacher phrases together. and students perform solos and students perform together. solos. Activity Three: Elements of Dance – Energy Activity Three: Qualities of Activity Three: Devices – Teacher demonstrates Movement – Accumulation phrase that was manipulated Swing/Vibratory Teacher demonstrates with body elements, then Teacher demonstrates their how to manipulate the demonstrates putting a focus phrase twice, first applying phrase using the device. on flow, weight, force, and the quality of swing, then Then, students choose one stillness. Then students take the quality of vibratory. movement or one 8-count one of the elements of Then, students perform their of their solo to apply energy and use it as a focus own phrase twice, first accumulation to. Teacher to change their phrase. doing it swing, then and students perform Then, teacher and students vibratory. After, students solos. perform manipulated apply a mixture of the two phrases together. qualities to their phrase. Activity Four: Devices – Last, teacher and students Retrograde Activity Four: Elements of perform solos together. Teacher demonstrates Dance – Space how to manipulate the Teacher demonstrates Activity Four: Qualities of phrase using the device. phrase that was manipulated Movement – Then, students choose one with energy elements, then Suspend/Collapse movement or one 8-count demonstrates putting a focus Teacher demonstrates their of their solo to apply on place, size, level, phrase twice, first applying retrograde to. Teacher and direction, pathway, and the quality of suspend, then students perform solos. the quality of collapse. focus. Then students take Activity Five: Devices – one of the elements of space Then, students perform their own phrase twice, first Transposition and use it as a focus to Teacher demonstrates change their phrase. Then, doing it suspended, then collapsed. After, students how to manipulate the teacher and students phrase using the device. perform manipulated apply a mixture of the two qualities to their phrase. Then, students choose one phrases together. movement or one 8-count Last, teacher and students perform solos together. of their solo to apply Activity Five: Elements of transposition to. Teacher Dance – Time Activity Six: Performance – and students perform Teacher demonstrates Day 2 solos. phrase that was manipulated Teacher calls students up with space elements, then three at a time, and each Activity Six: Devices – demonstrates putting a focus group of three performs Inversion on speed and rhythm. Then what they have been Teacher demonstrates students take one of the working on. how to manipulate the elements of time and use it phrase using the device. as a focus to change their BGL: The student will Then, students choose one phrase. Then, teacher and demonstrate some movement or one 8-count students perform understanding of concepts of their solo to apply by incorporating two

manipulated phrases Elements of Dance and 1 inversion to. Teacher and together. qualities of movement pair. students perform solos. AGL: The student will Activity Seven: Activity Six: Performance – demonstrate understanding Day 1 of concepts by Performance – Day 3 Teacher calls students up incorporating all Elements Teacher calls students up three at a time, and each of Dance, all qualities of three at a time, and each group of three performs movement pairs, and will group of three performs what they have been perform with energy and what they have been working on. maturity in movement. working on. BGL: The student will BGL: The student will demonstrate some demonstrate some understanding of concepts understanding of concepts by incorporating two by incorporating two Elements of Dance. Elements of Dance, 1 AGL: The student will qualities of movement demonstrate understanding pair, and 1 compositional of concepts by device. incorporating all Elements AGL: The student will of Dance, as well as will demonstrate perform with energy and understanding of concepts maturity in movement. by incorporating all Elements of Dance, all qualities of movement pairs, and all 5 compositional devices covered, as well as perform with energy and maturity in movement.

Week Nine: The Collaborative, Creative Choreographic Process

Day A – Repertory and the Day B – Repertory and Day C – Repertory and Process, Collaboration, Piecing It Together Beginning/Finishing, and Compositional Rehearsing/Cleaning, and Elements Obj. 1: The student will Performing know and understand the Obj. 1: The student will importance of the Obj. 1: The student will know and understand the collaborative choreographic know and understand the importance of the process and piecing sections importance of the collaborative choreographic of a dance together in the collaborative process, quickly and collaborative choreographic choreographic process, accurately learning process. adding a beginning and an

choreography, and working Obj. 2: The student will be end to a piece, and with compositional able to demonstrate piecing rehearsing and cleaning it. elements. together sections of a dance Obj. 2: The student will Obj. 2: The student will be in the collaborative be able to demonstrate the able to demonstrate quick choreographic process. addition of a beginning and accurate learning of Obj. 3: The student will and end to a piece in the choreography and the use of fully invest themselves in collaborative compositional elements. the collaborative choreographic process, the Obj. 3: The student will choreographic process and application of corrections, fully invest themselves in make a full effort to focus and the addition of the collaborative on the connection between performance intention. choreographic process and movements, as well as Obj. 3: The student will make a full effort to learn practice working with a fully invest themselves in choreography quickly and partner. the collaborative accurately, as well as be choreographic process, as supportive of peers Activity One: Warm-Up well as be able to apply throughout the lesson. Teacher leads students corrections quickly and through warm-up, positively in a positive Activity One: Warm-Up beginning on the floor and manner. Teacher leads students ending standing. through warm-up, Movement: Activity One: Warm-Up beginning on the floor and Teacher leads students ending standing. • Begin with legs through warm-up, Movement: straight out in front beginning on the floor and • Point and flex toes ending standing. • Begin with legs • Roll ankles Movement: straight out in front • Point toes, stretch • Point and flex toes forward – flex toes, • Begin with legs • Roll ankles stretch forward straight out in • Point toes, stretch (repeat x4) front forward – flex toes, • Move to butterfly, • Point and flex toes stretch forward push thighs down, • Roll ankles (repeat x4) then touch nose to • Point toes, stretch • Move to butterfly, feet forward – flex toes, push thighs down, • Open to straddle stretch forward then touch nose to position stretch to (repeat x4) feet right and to left (8- • Move to butterfly, • Open to straddle 8-4-4-2-2-1-1-1-1) push thighs down, position stretch to • Stretch to right, nose then touch nose to right and to left (8- to knee feet 8-4-4-2-2-1-1-1-1) • Stretch to left, nose • Open to straddle • Stretch to right, nose to knee position stretch to to knee • Stretch forward, right and to left (8- • Stretch to left, nose breathe in, release 8-4-4-2-2-1-1-1-1) to knee further (x3) • Stretch to right, nose to knee

• Stretch forward, • Move to ‘froggy’ • Stretch to left, nose breathe in, release stretch to knee further (x3) • Right leg pigeon, left • Stretch forward, • Move to ‘froggy’ leg pigeon (stretch breathe in, release stretch forward, arch back) further (x3) • Right leg pigeon, left • Right leg lunge • Move to ‘froggy’ leg pigeon (stretch (stretch down, out, stretch forward, arch back) up – elbows and • Right leg pigeon, • Right leg lunge back knee down – left leg pigeon (stretch down, out, twist inside arm up (stretch forward, up – elbows and & look at hand – up arch back) back knee down – to triangle – sit • Right leg lunge twist inside arm up down on back leg, (stretch down, out, & look at hand – up cross lateral stretch up – elbows and to triangle – sit – right leg split) back knee down – down on back leg, • Left leg lunge twist inside arm up cross lateral stretch (stretch down, out, & look at hand – – right leg split) up – elbows and up to triangle – sit • Left leg lunge back knee down – down on back leg, (stretch down, out, twist inside arm up cross lateral up – elbows and & look at hand – up stretch – right leg back knee down – to triangle – sit split) twist inside arm up down on back leg, • Left leg lunge & look at hand – up cross lateral stretch (stretch down, out, to triangle – sit – right leg split) up – elbows and down on back leg, • Downward dog back knee down – cross lateral stretch • 4 yoga push-ups twist inside arm up – right leg split) • Walk feet in, hang & look at hand – • Downward dog and stretch up to triangle – sit • 4 yoga push-ups • Push-ups down on back leg, • Walk feet in, hang (biceps/triceps) cross lateral and stretch • Crunches stretch – right leg • Push-ups • Walk around room split) (biceps/triceps) • Prance around room • Downward dog • Crunches • Jog around room • 4 yoga push-ups • Walk around room • Walk feet in, hang • Prance around room Activity Two: Reviewing and stretch Choreographic Phrases • Jog around room • Push-ups The teacher walks through (biceps/triceps) Activity Two: Teaching of the movement phrase taught • Crunches Movement Phrase first, identifying any issues • Walk around room in understanding and Teacher teaches phrase, • Prance around clarifying choreography based on American Sign room Language (ASL). Teacher when needed. After • Jog around room will teach movement reviewing movement through accumulation, phrase, students run through

adding a new section when the phrase at least twice. Activity Two: Review students show mastery of Then, with their groups, Choreography the section before. Before students review ‘deviced’ The teacher and students adding a new section, phrase and ‘prompt’ phrase. walk through the students will practice each choreography, identifying section with music. Activity Three: Make a Duet any issues in Movement: Teacher puts students in understanding and trois, then assigns each trio clarifying choreography • ASL – “I see you.” a character. Then, trios when needed. After (palm to palm brush work together to create a reviewing choreography right hand over left character dance. As trios are students run through dance hand, right hand working, teacher walks with music at least twice. peace sign point to around the room, eyes, right hand monitoring understanding Activity Three: Add peace sign point to and how trios are working Beginning/End audience) together. Teacher and students work • Windmill arms Characters: together to add a around, spoke left beginning and end to the • 1: loves basketball; leg to grand plié in dance. Both teacher and always happy and second position, students will provide optimistic; proud to hands in ASL suggestions. be deaf; always “family” (pointer fights for what she finger and thumb Activity Four: Walk believes in; pushed together, Through Dance considerably honest both hands The teacher will have the and very confident touching) students walk through the • 2: strong-willed, • Slow rise up, head entire piece with no music, hot-headed, comes up last answering any questions impulsive, stubborn; • Rond de jambe right the students may have. smart, sarcastic, leg to front, catch- Then, the teacher will headstrong, funny; step, bring leg up to have students walk talented graffiti highest crease through the dance with artist with a wild music. • Cross legs in, then streak – passion for out art; insolent and Activity Five: Rehearse • Upper body self- centered at and Perform Dance “matrix” times Teacher has students fully • 3: sarcastic and hot- run through the dance headed, at times; several times. First, all Activity Three: Performance somewhat of a students dance, and the of Movement Phrase temper; comforting teacher gives feedback. Teacher and students review side and is very Then each dancer finds a sections of dance together. honest with her partner – one student is Then teacher splits students family and friends Partner A, the other is into three groups. Each • 4: extremely driven - Partner B. All Partner A’s group takes turns tries to instill that will dance, while Partner performing the phrase. quality in all three B’s observe their partner

of his children; does to give them feedback. Activity Four: Applying not understand the Partner B will pick two Devices to Movement value of things; corrections and one Phrase in Groups competitive and compliment and share it Teacher splits students into athletic, and had with Partner A. Then, three groups and assigns a always pushed his Partner B dances while set of devices to each group. children to attend Partner A observes. They For ten minutes, each group sporting events; will either do this once or incorporates the assigned forgiving towards twice, depending on time devices into the phrase. As his wife and family constraints. Then, all students are working, the • 5: independent and students will run the dance teacher walks around the open to tell the story as many times as they can. room, monitoring of her experiences; In between each run, the participation and sensitive mother and teacher will give feedback. understanding. easily gets hurt; If needed, teacher and Device Requirements: extremely loving and students will work through equally treats all of specific sections of the • GROUP 1 - her children dance to ensure clarity,

• Transpose to feet • 6: very passionate timing, and spacing. • Fast (stumble-y) about his music; • Off-balance does not like it when BEGINNING LEVEL: • GROUP 2 - others try to dictate The student will • Inversion his life; very kind demonstrate understanding • Slow-down and thoughtful; very of concepts covered • Stretchy forgiving and tries throughout the week by • Group 3 - to be sympathetic participating in the • Transpose to hands and reasonable in rehearsal process, showing • Minimal/gestural most situations at least 75% of the piece, • Low level • 7: typically and performing movement patient and kind, but with some dynamics and Activity Five: Show sometimes has a bad focus. Movement Phrase with temper; romantic in ADVANCED LEVEL: Devices love, often creating The student will Each group takes a turn big gestures to show demonstrate understanding showing what they have it; determined, but of concepts covered created. Both students and with a head in the throughout the week by teacher can give the groups clouds, he is leading peers in the feedback as needed. creative and rehearsal process, showing Activity Six: Choreographic inventive at times 100% of the piece, and Prompt • 8: true intentions performing movement Each group is given an ASL are often a mystery; with defined dynamics, word to use as inspiration mysterious; has a clear focus, and full for choreographing a 4 8- desire to form a performance intention. count phrase. In addition to close relationship using the movement of the with daughters, very sign language translation, bad temper

students should consider Activity Four: Show Duet how the word is spelled, Each pair takes a turn what the word means, and showing what they have how they can communicate created. Both students and the word using their whole teacher can give the pair body. feedback as needed. ASL Words: Activity Five: Piece Dance • Love Together • Family Teacher and students will • Quiet work together to piece all • Deaf sections of the dance that • Switch have been created together: big unison phrase, ‘deviced’ Activity Six: Show small groups, ‘prompt’ Choreographic Prompt small groups, and ‘character Phrases in Groups trios’. Based on what is Each group takes a turn created each day, the order showing what they have of the dance may change, created. Both students and however, is planned as teacher can give the follows: Section Order: BEGINNING LEVEL: The student will participate • Entrance in choreographing with • Transition group 50% of the time, • Entrance focusing on learning the • ‘character trios’ choreography being taught • Entrance by others. • ‘prompt small ADVANCED LEVEL: groups’ – choose The student will participate three soloists in choreographing with • Entrance group 100% of the time and • ‘deviced’ small take a lead in working with groups their group, all while being • Entrance supportive of the • big unison phrase movement/ideas being • entrance supplied by others. • closing BEGINNING LEVEL: The student will not collaboratively contribute to the creation of transition material and will instead learn the material other students and teacher come up with.

ADVANCED LEVEL: The student will collaboratively contribute two or more transition movements and/or ideas and will lead peers in the rehearsal process.

Full Lesson Plans

Weeks Three Through Six: Modern Dance Technique

Lesson Plan For: ANTICIPATORY SET: Beginning Modern Unit R: N/A Name: K. Brooke Jerome A: “Today, we are going to begin our study of modern Date: April 2018 dance. Does anyone know what modern dance is? Has Grade Level: 9-12 anyone seen modern dance performed? Can you name any Subject: Dance II & III modern dance companies? You might have heard of people Benchmark/Framework: like Martha Graham, and companies like Alvin Ailey National – Performing American Dance Theater. Modern dance was created in the Lesson Title: late 19th and early 20th centuries because dancers became Move & Grove: bored of the structured, clinical, and unoriginal classical Introduction to Modern ballet dance technique that was popular at the time and (Connecting Breath), Day decided to rebel. They were over the impossible standards 1 and 2 ballet held and created a dance form that anyone, no matter size, shape, or color can do that can be used as a way to center mind, body, and spirit. Today, we are going to dive in to the world of modern dance by exploring the connection of breath to movement, one of the most fundamental concepts of we will learn this week. I invite you to be open to this new form of movement, find the similarities and differences between this and the dance that you know, and use that to enhance your experience today.” P: To introduce the student to the concept of connecting breath to movement, a critical skill in modern dance technique. P: The teacher will teach and lead students through a warm-up based in Bartenieff Fundamentals. After, students will complete an improvisational exercise, the BrainDance, to increase blood/oxygen flow. Then, teacher will lead students through some breathing exercises to activate the respiratory system and prepare the body to dance. Finally, teacher will teach a culminating combination inspired by the principles of the Brain Dance, which includes choreographed breathing.

IMP/REL: Understanding the concept of connecting breath to movement, which is a critical component of modern dance technique, in order to increase performance value. Obj. 1: The student will know and understand the basic modern dance concept of connecting movement to breath. Obj. 2: The student will be able to demonstrate a connection between their movement and breath. Obj. 3: The student will fully participate throughout the lesson and make a clear effort to learn about connecting breath and movement. Materials: Laptop, sound system, open dance space, mirror, dry erase marker http://www.humankinetics.com/excerpts/excerpts/understa nd-movement-preferences-in-modern-dance https://dancecurriculumdesigns.com/how-do-you-teach- modern-dance-technique/ http://localmotionstudio.com/the-braindance/ Assessment: The teacher will informally assess the understanding of concept (connecting breath to movement) through questions, as well as formally assess students on participation in warm-up, participation in movement exercises, and daily performance. (See rubric.) Closure: “Today we explored the concept of connecting breath to movement. Why is that connection important?” Teacher gives students time to respond. “How does what we learned today compare to the type of dancing you know?” Teacher gives students time to respond. “Great! Please review the warm-up combination and remember what we talked about today. Tomorrow, we will learn about the spine and head-tail connection.”

PROCEDURES: 1.1 Warm-Up: Debussy Clair de Lune – Modern Dance Academy, Bach Air on the G String (Lounge Modern Dance Version) – Modern Dance Academy (6) “Of course, before we dive into modern, we must warm-up our bodies to prepare ourselves to dance. Today, I am going to teach you a modern dance warm-up based on Bartenieff Fundamentals and developmental movement patterns. In modern, we use Bartenieff fundamentals to re-pattern neurological connections in order to turn our bodies, minds, and spirits into blank slates before dancing. I will teach you each section of the Bartenieff warm-up, we will do it together, then I will lead you through some stretches and conditioning exercises. We will do this warm-up every day this week, and by Friday, you should be able to move through it on your own. Let’s begin!” The teacher has students spread out and find a place on the floor. Then the teacher teaches the warm-up, moving through each section slowly. Next, students and

teachers will do warm-up together. Finally, teacher leads students through stretching and conditioning. Warm-up Movement: • Bartenieff - • 2 8-counts of breathing/feeling • 2 8-counts of heel rocks • 2 8-counts elbow to knee side contraction • Fetal position to the right, x position, fetal position to the left, x position (each movement is 4 counts) – repeat • Fetal position to the right, dovetail, fetal, x position, fetal position to the left, dovetail, fetal, x position (each movement is 4 counts) • Head-tail contraction, x position, head-tail contraction, x-position (each movement is 4 counts) – repeat • 4 Cross lateral rolls (right foot leads, left foot leads, right arm leads, left arm leads) • Neutral position with knees up – hip raises (2 8-counts) • Stretches/conditioning - • Flip to downward dog • Yoga push-ups • Extend each leg out/up • Lunges • Pigeon • Triceps pushups • Crunches • Increase heart rate – • Walking • Prances • Jogging FEEDBACK: “Think of this warm-up as a meditation before we begin the more intense movement. Use this time to center your mind, body, and spirit!” 1.2 The Brain Dance: Minéral – Sylvain Chauveau (1, 2) “Now, to begin exploring the connection of breath to movement, we are going to move into an improvisational exercise called the BrainDance. The BrainDance has many benefits, but today we are going to use it to increase the blood flow to the respiratory system, and therefore send more oxygen to the brain. Often, when we dance we can forget to breathe, and so we have a decreased amount of oxygen moving through the body, which causes lightheadedness and muscle fatigue. Let’s do the BrainDance!” Teacher leads students through the Brain Dance. Movement: • Breath – breathe deeply • Tactile – squeeze, tap, pat, scratch, brush all body parts • Core-Distal – reach out with toes, fingers, head, tail, and curl back to your core

• Head-Tail – move head and tail separately and together in all planes, wiggle spine • Upper-Lower – move all parts of upper half of body, then all parts of lower half of body • Body Side – move all parts on right side of body, then all parts on left side, do horizontal eye tracking • Cross Lateral – move across midline and connect upper and lower body quadrants, do vertical eye tracking • Vestibular – move off balance with swings, spin, tips, and rolls on all levels and in all directions FEEDBACK: “How do you feel now in comparison to before we began? How do you see the BrainDance impacting your dancing in the future?” 1.3 Breathing Exercises (1, 7) “Now, we are going to do some breathing exercises together. These exercises will activate your respiratory system and prepare your body to move, as well as help you connect your breath to your movement. Breathing exercises also improve the strength of your muscles that help you breathe, such as the diaphragm.” Exercises: • Diaphragmatic Breathing: o Lie on back with your knees bent o Place one hand on belly below your rib cage o Place the other hand on your chest o Inhale deeply through your nose for a count of three o Belly and lower ribs should rise, but chest should remain still o Tighten your stomach muscles and exhale for a count of six through slightly puckered lips • Numbered Breathing: o Stand still and take a deep breath with eyes closed o Force all the air out of lungs when you exhale o Inhale for 1 count o Exhale for 1 count o Inhale for 2 counts o Exhale for 2 counts o Inhale for 3 counts o Exhale for 3 counts o Inhale for 4 counts o Exhale for 4 counts o Inhale for 5 counts o Exhale for 5 counts o Inhale for 6 counts o Exhale for 6 counts o Inhale for 7 counts o Exhale for 7 counts o Inhale for 8 counts o Exhale for 8 counts

FEEDBACK: “Use these exercises to become better breathers! Try to remember them and practice at home.” 1.4 Breathing While Dancing: San Solomon – Balmorhea (1, 2) “The last exercise will we do today is a combination based on the Brain Dance where you can put everything you have learned into practice. To help you connect breath to movement, I have choreographed when/where you breathe into this combination. Let’s begin!” Movement: o Breath – breathe deeply for one eight-count o Tactile – grand plié with “choo-choo” arms (inhale), arm roll around and down (exhale), clap (inhale), fall backward (exhale) o Core-Distal – facing the back, reach out into x-position (inhale), close back in (exhale) o Head-Tail – snake to rond de jambe around to the front (inhale) o Upper-Lower – upper body around in a circle (exhale), upper body around in a circle with a grand plié (inhale) o Body Side – right arm and leg gather in (exhale), left arm and leg gather in – to lunge down to lying flat on the back (inhale) o Cross Lateral – cross lateral roll to stand (exhale) o Vestibular – 16-counts off-balance improvisation using breath to initiate movement FEEDBACK: “Inhale or exhale with every movement! Breathing while you dance make your movement more rich and full.” BGL: The student will go through combination slowly and explore where they can connect breath to movement. OGL: The student will perform the given movement while connecting an inhale or exhale with each movement. AGL: The student will perform the given movement with defined dynamics and lead peers in demonstrating the movement in front of the class, as well as connect breath to each movement they are doing. 1.5 Discussion/Closure (4) “Today we explored the concept of connecting breath to movement. Why is that connection important?” Teacher gives students time to respond. “How does what we learned today compare to the type of dancing you know?” Teacher gives students time to respond. “Great! Please review the warm-up combination and remember what we talked about today. Tomorrow, we will learn about the spine and head-tail connection.

Lesson Plan For: ANTICIPATORY SET: Beginning Modern Unit R: “Yesterday we discussed and explored connecting breath Name: K. Brooke Jerome to movement, which is one of the most fundamental Date: April 2018 concepts to learn in modern dance. Today, we are going to

Grade Level: 9-12 add another layer to what we know and learn about the Subject: Dance II & III head-tail connection.” Benchmark/Framework: A: “You have probably never heard the term ‘head-tail National – Performing connection’ in any of the dance forms you know. The head- Lesson Title: tail connection is the connection from the top of your spine Move & Grove: to the bottom. Sometimes, in modern dance, we work to Introduction to Modern bring both ends of our spine together in order to increase the (The Spine and Head-Tail range of motion in our back. There is a huge contrast in this Connection), Day 1 and 2 and what we work towards in ballet, which is a lengthened spine where each end is stretched as far away from the other as possible. Today, through the exercises we do, you will learn how to utilize the spine to increase head-tail connection.” P: To introduce the student to the concept of using the spine for head-tail connection, a critical skill in modern dance technique. P: The teacher will teach and lead students through a warm- up based in Bartenieff Fundamentals. After, teacher will go over the regions of the spine and lead students through isolations to work each region of the spine independently. Then, students will do a movement exercise on contraction and release, as well as flat backs and rolling down. Finally, students will learn a “twisty spine” combination where they will practice the head-tail connection in all directions. IMP/REL: Understanding the concept of head-tail connection and spinal mobility, which is critical component of modern dance technique, in order to increase performance value. Obj. 1: The student will know and understand the basic modern dance concept of utilizing the spine for a head-tail connection. Obj. 2: The student will be able to demonstrate utilizing the spine for a head-tail connection. Obj. 3: The student will fully participate throughout the lesson and make a clear effort to learn about the spine and the head-tail connection. Materials: Laptop, sound system, open dance space, mirror, dry erase marker http://www.humankinetics.com/excerpts/excerpts/understan d-movement-preferences-in-modern-dance https://dancecurriculumdesigns.com/how-do-you-teach- modern-dance-technique/ Assessment: The teacher will informally assess the understanding of concept (the spine and the head-tail connection) through questions, as well as formally assess

students on participation in warm-up, participation in movement exercises, and daily performance. (See rubric.) Closure: “Thank you for putting your spines into action today to explore the head-tail connection! Can anyone tell me any of the three regions of the spine?” Teacher lets students respond. “Excellent! Tomorrow we are going to add another layer to our modern dance exploration: utilizing the hip creases to become more grounded! Please review the warm-up because we will do it again tomorrow.”

PROCEDURES: 2.1 Warm-Up: Debussy Clair de Lune – Modern Dance Academy, Bach Air on the G String (Lounge Modern Dance Version) – Modern Dance Academy (6) “We are going to continue with the same warm-up yesterday, so we can really get it into our bodies. I will review quickly, then we will do it together. Remember that this warm-up is based around Bartenieff Fundamentals and we use Bartenieff Fundamentals to re-pattern neurological connections, which means that it puts our bodies back into a neutral condition, which is helpful before beginning to dance.” The teacher has students spread out and find a place on the floor. Then the teacher quickly reviews the warm-up, moving through each section. Next, students and teacher will do warm-up together. Finally, teacher leads students through stretching and conditioning. Warm-up Movement: • Bartenieff - • 2 8-counts of breathing/feeling • 2 8-counts of heel rocks • 2 8-counts elbow to knee side contraction • Fetal position to the right, x position, fetal position to the left, x position (each movement is 4 counts) – repeat • Fetal position to the right, dovetail, fetal, x position, fetal position to the left, dovetail, fetal, x position (each movement is 4 counts) • Head-tail contraction, x position, head-tail contraction, x-position (each movement is 4 counts) – repeat • 4 Cross lateral rolls (right foot leads, left foot leads, right arm leads, left arm leads) • Neutral position with knees up – hip raises (2 8-counts) • Stretches/conditioning - • Flip to downward dog • Yoga push-ups • Extend each leg out/up • Lunges • Pigeon • Triceps pushups • Crunches

• Increase heart rate – • Walking • Prances • Jogging

2.2 Isolations & Regions of the Spine: Brazilian Drums (Latin Dance School) – Modern Dance Academy (1, 2, 7) “First, I would like to talk about the regions of the spine. Can anyone tell me the three regions of the spine?” Teacher gives students time to respond. “The three regions of the spine are the cervical, thoracic, and lumbar. The cervical spine is from inside of the skull to the bottom of the next, the thoracic spine is the upper back, and the lumbar spine is located in the lower back. The first exercise we do is going to ensure that we have each region of the spine warm and ready to dance is head, rib, and hip isolations. I will go over the pattern, then we will do it together.” The teacher shows students the isolation pattern, then students and teacher move through it together. Movement: • Head (cervical) – 8 up/down isolations, 8 side-to-side isolations, 8 tilt right/left isolations, 8-count roll to the right, 8-count roll to the left • Ribs (thoracic) – 8 right/left isolations, 8 front/back isolations, 8-count roll to the right, 8-count roll to the left • Hips (lumbar) – 8 side-to-side isolations, 8 front/back isolations, 8-count toll to the right, 8-count roll to the left FEEDBACK: “When we move from one region of the spine to the next, consider how they are connected and how they can be activated to increase mobility from the head to the hips!” 2.3 Contraction and Release: Plies 110 4/4 – Modern Dance Academy (1, 2) “Now we are going to move into a contraction and release exercise based on Graham technique. A contraction brings both ends of the spine together and is a clear example of the head-tail connection.” Teacher demonstrates contraction, then all students try it out. “Great! You can also see a head-tail connection in the release.” Teacher demonstrates, then all students try it out. “Fantastic! We are going to do a combination with contraction and release.” Teacher teaches combination, then students perform it. Movement: • Begin in seated butterfly position (heels off the ground), arms to the side-back • Contract forward (8) • Move to seated position with legs in front • Release back, stretch forward • Repeat from the top FEEDBACK: “Get the two ends of your spine as close together as possible!” 2.4 Flat Back and Rolling Down: In Motion – Modern Dance Academy (1, 2) “Now we are going to do an exercise for flat back and rolling down. This exercise is further exploration of head-tail connection.” Teacher teaches combination, then

students perform it. Movement: • Start standing • Roll down for 8 counts • Stretch out to flat back and come up • Flat back down for 8 counts • Roll up for 8 counts • Repeat combination using 4 counts, then using 2 counts twice FEEDBACK: “In the flat back, stretch the two ends of your spine away from each other. In the rolls, bring them close together!” 2.5 Twisty Spine: Chopin Nocturne op15 n2 – Modern Dance Academy (1, 2) “For this final phrase, we will put everything we have learned today together, while also considering how we can connect our breath to movement.” Teacher demonstrates phrase, then students perform it. Movement: • 3 steps with a side curve (right, then left) • Snake both ways • Release up with a side twist (right) • Contract • Release up with a side twist (left) • Contract FEEDBACK: “Let’s go again! How can you increase your head-tail connection? Try breathing more deeply and see what happens!” BGL: The student will go through combination slowly and explore where they can enhance their head-tail connection OGL: The student will perform the given movement while activating the head-tail connection. AGL: The student will perform the given movement with defined dynamics and lead peers in demonstrating the movement in front of the class, as well as show a clear head- tail connection. 2.6 Discussion/Closure (4) “Thank you for putting your spines into action today to explore the head-tail connection! Can anyone tell me any of the three regions of the spine?” Teacher lets students respond. “Excellent! Tomorrow we are going to add another layer to our modern dance exploration: utilizing the hip creases to become more grounded! Please review the warm-up because we will do it again tomorrow.”

Lesson Plan For: ANTICIPATORY SET: Beginning Modern Unit R: “Yesterday, we learned about the three regions of the Name: K. Brooke Jerome spine and the head-tail connection. Today, we add even Date: April 2018 another concept to what we know about modern: utilizing Grade Level: 9-12 the hip creases to become more grounded.” Subject: Dance II & III

Benchmark/Framework: A: “If you think of ballet, you think of dancers standing tall National – Performing and straight up on the balls of their feet, right? Well, in Lesson Title: modern, we do the opposite. If you remember from Move & Grove: Monday, we discussed how modern dance was a rejection Introduction to Modern of classical ballet technique; in order to reject the lift of (Hip Creases and Being ballet, we have to find the down, which means we have to Grounded), Day 1 and 2 be grounded. To become more grounded, we activate what is called the hip creases. By finding a release in the muscles in and around the hip, we are able to find those hip creases and get down into the ground.” P: To introduce the student to the concept of activating the hip creases to become more grounded, a critical skill in modern dance technique. P: The students will do a warm-up based in Bartenieff Fundamentals. Then teacher will lead students through exercises on leg swings, leg drops, under/over curves, and grounded traveling to explore the concept of activating the hip creases to become more grounded. IMP/REL: Understanding the concept of utilizing the hip creases to become more grounded, which is critical component of modern dance technique, in order to increase performance value. Obj. 1: The student will know and understand the basic modern dance concept of dropping the weight into the hip creases in order to be grounded in movement. Obj. 2: The student will be able to demonstrate a dropping of the weight into the hip creases in order to be more grounded in movement. Obj. 3: The student will fully participate throughout the lesson and make a clear effort to learn about the hip creases and being grounded. Materials: Laptop, sound system, open dance space, mirror, dry erase marker http://www.humankinetics.com/excerpts/excerpts/understan d-movement-preferences-in-modern-dance https://dancecurriculumdesigns.com/how-do-you-teach- modern-dance-technique/ Assessment: The teacher will informally assess the understanding of concept (activating hip creases to be more grounded) through questions, as well as formally assess students on participation in warm-up, participation in movement exercises, and daily performance. (See rubric.) Closure: “Today we explored the concept of using the hips to get more grounded. Why is this an important concept of modern dance?” Teacher gives students time to respond. “How does what we learned today compare to ballet?”

Teacher gives students time to respond. “Great! Please review the warm-up combination and remember what we talked about today. Tomorrow, we will learn about floor work.

PROCEDURES: 3.1 Warm-Up: Debussy Clair de Lune – Modern Dance Academy, Bach Air on the G String (Lounge Modern Dance Version) – Modern Dance Academy (6) “We are going to begin with our Bartenieff warm-up to prepare our bodies and center our minds. I will review quickly, then we will do it together.” The teacher has students spread out and find a place on the floor. Then the teacher quickly reviews the warm-up, moving through each section. Next, students and teacher will do warm-up together. Finally, teacher leads students through stretching and conditioning. Warm-up Movement: • Bartenieff - • 2 8-counts of breathing/feeling • 2 8-counts of heel rocks • 2 8-counts elbow to knee side contraction • Fetal position to the right, x position, fetal position to the left, x position (each movement is 4 counts) – repeat • Fetal position to the right, dovetail, fetal, x position, fetal position to the left, dovetail, fetal, x position (each movement is 4 counts) • Head-tail contraction, x position, head-tail contraction, x-position (each movement is 4 counts) – repeat • 4 Cross lateral rolls (right foot leads, left foot leads, right arm leads, left arm leads) • Neutral position with knees up – hip raises (2 8-counts) • Stretches/conditioning - • Flip to downward dog • Yoga push-ups • Extend each leg out/up • Lunges • Pigeon • Triceps pushups • Crunches • Increase heart rate – • Walking • Prances • Jogging

3.2 Leg Swings: Satie Gymnopedie N.1 – Modern Dance Academy (1, 2) “The first combination we will do today has leg swings. We use leg swings to warm- up our hips before we use them to do bigger movement. This combination is on the

floor so we can get our weight out of our hips to find a more complete range of motion. I will go through it, then we will do this combination together.” The teacher teaches combination, then students and teacher do combination together. Movement (on ground): • Part 1: o 8 leg drops o 8 alternating leg swings o Développé o Envelope’ o Carry leg to side, hook, rond, and drop (repeat part 1 on right and left) • Part 2: o Two swings o Push up to mermaid o Carry body around – end in x-position (repeat part 2 on right and left twice) FEEDBACK: “Great job! Remember to find that release in your hip!” 3.3 Leg Drops: Bossa Nova (for Modern Ballet) – Modern Dance Academy (1, 2) “Next, we are going to stand and move on to leg drops, which also help us find a release in our hip creases. I will teach you this phrase, then have you all do it together without me.” Teacher teaches phrase, then students perform phrase. Movement (standing – repeat right and left): • 3 leg drops (front, side, back) • 2 rond de jambe • 4 leg swings (front, back, front, back) • Brush to the front, fall, gather everything back to neutral FEEDBACK: “Make sure your leg is actually dropping! We want to feel that release so we can apply it to our dancing later.” 3.4 Under/Over Curve: Dance Choreography – Modern Dance Academy (1, 2) “Now, let’s move on to under and over curves. This is where we can really find a release in our muscles and start discovering how to utilize our hip creases to become more grounded.” The teacher demonstrates the phrase, then students do it. Movement (standing – repeat four times [right beginning front, left beginning front, right beginning back, left beginning back]): • 8 undercurves en croix (front, side, back, side) • Undercurve, three-step turn (front, side, back) • Undercurve, undercurve, overcurve (arms circles around head) FEEDBACK: “Find that release so you can really move on, in, with, and through the ground!” 3.5 Grounded Traveling: Jazz Dance (for Adult Ballet Classes) – Modern Dance Academy (1, 2)

“It is now time for our final combination! This phrase will test whether or not you have been able to find your hip creases to become more grounded.” Teacher demonstrates movement, then students do movement across the floor, two at a time. Movement (across the floor): • 3 right leg swings, chassé • 3 left leg swings, chassé • Pas de basque (right and left) • Pas de bourree (right and left) • Side chassé • Jump fall to the ground FEEDBACK: “Remember to keep your knees bent and your pelvis square to increase how grounded you are!” BGL: The student will perform the phrases given with minimal ‘groundedness’ and work towards becoming more grounded in each movement. OGL: The student will perform the given movement with clarity and energy, demonstrating a grounded quality. AGL: The student will perform the given movement with defined dynamics and lead peers in demonstrating the movement in front of the class. 3.6 Discussion/Closure (4) “Today we explored the concept of using the hips to get more grounded. Why is this an important concept of modern dance?” Teacher gives students time to respond. “How does what we learned today compare to ballet?” Teacher gives students time to respond. “Great! Please review the warm-up combination and remember what we talked about today. Tomorrow, we will learn about floor work.”

Lesson Plan For: ANTICIPATORY SET: Beginning Modern Unit R: “Yesterday, we learned about the hip creases and being Name: K. Brooke Jerome grounded. We are going to take what we learned everything Date: 2/1/18 we have learned throughout the week and incorporate it into Grade Level: 9-12 floor work.” Subject: Dance II & III A: “We know how to connect breath to movement, find a Benchmark/Framework: head-tail connection, and use our hip creases. Today we are National – Performing going to take all of those things and use them to get on the Lesson Title: ground and do floor work. Floor work is one of the largest Move & Grove: divisions between modern and ballet. In ballet, we don’t see Introduction to Modern dancers on the floor unless they are sleeping or dying (for (Floor Work), Day 1 and example, the Dying Swan Variation from Swan Lake). But 2 in modern, dancers are on the ground almost as much as they are standing. A lot of early modern dance pioneers wanted to connect dance to the natural world, which is where floor work comes in.” P: To introduce the student to the concept of floor work (including rolls, inversions, and cartwheels), a critical skill in modern dance technique.

P: The students will do a warm-up based in Bartenieff Fundamentals. Then teacher will lead students through exercises on rolling in and out of the ground, cartwheels, and inversions to explore modern dance floor work. IMP/REL: Understanding the concept of floor work, such as rolls in and out of the ground, inversions, and cartwheels, which is critical component of modern dance technique, in order to increase performance value. Obj. 1: The student will know and understand the basic modern dance floor work movements: rolling onto/off of the ground, inversions, and cartwheels. Obj. 2: The student will be able to demonstrate the proper technique of modern dance rolls onto/off the ground, inversions, and cartwheels. Obj. 3: The student will fully participate throughout the lesson and make a clear effort to learn how to properly roll onto/off the ground, inversions, and cartwheels in modern dance. system, open dance space, mirror, dry erase marker http://www.humankinetics.com/excerpts/excerpts/understan d-movement-preferences-in-modern-dance https://dancecurriculumdesigns.com/how-do-you-teach- modern-dance-technique/ Assessment: The teacher will informally assess the understanding of concept (floor work) through questions, as well as formally assess students on participation in warm- up, participation in movement exercises, and daily performance. (See rubric.) Closure: “Today we explored different types of floor work. Which was your favorite?” Teacher gives students time to respond. “How does floor work make modern different from or similar to other styles of dance?” Teacher gives students time to respond. “Great! Please review the warm-up combination and remember what we talked about today. Tomorrow, we will learn about focus and work on our performance skills.”

PROCEDURES: 4.1 Warm-Up: Debussy Clair de Lune – Modern Dance Academy, Bach Air on the G String (Lounge Modern Dance Version) – Modern Dance Academy (6) “We are going to begin with our Bartenieff warm-up to prepare our bodies and center our minds. I will talk through it quickly, then you will do it on your own.” The teacher has students spread out and find a place on the floor. Then the teacher quickly reviews the warm-up, moving through each section. Next, students do the warm-up.

Finally, teacher leads students through stretching and conditioning. Warm-up Movement: • Bartenieff - • 2 8-counts of breathing/feeling • 2 8-counts of heel rocks • 2 8-counts elbow to knee side contraction • Fetal position to the right, x position, fetal position to the left, x position (each movement is 4 counts) – repeat • Fetal position to the right, dovetail, fetal, x position, fetal position to the left, dovetail, fetal, x position (each movement is 4 counts) • Head-tail contraction, x position, head-tail contraction, x-position (each movement is 4 counts) – repeat • 4 Cross lateral rolls (right foot leads, left foot leads, right arm leads, left arm leads) • Neutral position with knees up – hip raises (2 8-counts) • Stretches/conditioning - • Flip to downward dog • Yoga push-ups • Extend each leg out/up • Lunges • Pigeon • Triceps pushups • Crunches • Increase heart rate – • Walking • Prances • Jogging

4.2 Leg Swings, Lunges, & Jump Rolls: (1, 2) “This first combination will help us feel more comfortable being on the floor, so the rest of the floor work we do today is much easier.” Teacher teaches combination, then students perform it. Movement (on the ground): • 4 leg swings • 4 leg swings to one knee up • 4 leg swings to lunges with an arm reach • 4 leg swings to jump rolls • repeat FEEDBACK: “What can you do to move more efficiently? Breathe, use head-tail, and get into your creases!” 4.3 Rolling Across the Floor: Born This Way – Modern Dance Academy (1, 2) “For this next phrase, we are going to go across the floor. First, I want to do rolls to a seated position, all the way across to the right and all the way across to the left.” Teacher demonstrates. “Then you will start on the side again and do rolls to the back,

all the way across to the right and all the way across to the left.” Teacher demonstrates. Then students do rolls both to a seated position and to the back right and left across the floor two times. Movement (across the floor - repeat): • Rolls to seated position (right) • Rolls to seated position (left) • Rolls to the back (right) • Rolls to the back (left) FEEDBACK: “This is one of the most crucial moments to bring back the head-tail connection we learned on Tuesday! The smaller you are, the easier it is to do these movements.” 4.4 Cartwheels: Samba – Modern Dance Academy (1, 2) “Now we are going to cartwheels from the back, but the way modern dancers do them, not gymnasts! In modern, cartwheels are low to the ground and move through a squatted position instead of an upright one.” Teacher demonstrates. “Now we are going to do three cartwheels from the back, ending with a one-leg extension into a coupé balance.” Teacher demonstrates, then students practice the combination. After student go from the back of the room to the front, two at a time. Movement (from the back): • 3 cartwheels (right) • Land on one leg to do an extension into a coupé (left leg) • 3 cartwheels (left) • Land on one leg to do an extension into a coupé (right leg) • All students repeat a second time FEEDBACK: “Activate those hip creases to stay in a low, grounded position!” 4.5 Inversions: Sunset Sessions – Modern Dance Academy (1, 2) “Come to the center and spread out! We are going to do some inversions.” Teacher demonstrates an inversion. “You are going to want to think about pushing into your arms so your lower body and legs come off of the ground. Try it!” Students try inversions. “Awesome! Now let’s put them into a combination with undercurves!” Teacher demonstrates and teaches students combination, then students perform it. Movement (center): • Undercurve to the front, back to neutral, inversion to the front • Undercurve to the side, back to neutral, inversion to the side • Undercurve to the front, back to neutral, inversion to the front • Undercurve to the side, back to neutral, monkey FEEDBACK: “Use your head tail in this movement by looking behind you instead of under you when you are upside down!” BGL: The student will perform the phrases given with minimal ‘groundedness’ and work towards becoming more grounded in each movement. OGL: The student will perform the given movement with clarity and energy, incorporating the concepts learned previously in the week (breath, head-tail connection,

and being grounded) into the combination. AGL: The student will perform the given movement with defined dynamics and lead peers in demonstrating the movement in front of the class, while incorporating the concepts learned previously in the week (breath, head-tail connection, and being grounded) into the combination. 4.6 Discussion/Closure (4) “Today we explored different types of floor work. Which was your favorite?” Teacher gives students time to respond. “How does floor work make modern different from or similar to other styles of dance?” Teacher gives students time to respond. “Great! Please review the warm-up combination and remember what we talked about today. Tomorrow, we will learn about focus and work on our performance skills.”

Lesson Plan For: ANTICIPATORY SET: Beginning Modern Unit R: “So far, we know about connecting breath to movement, Name: K. Brooke Jerome the spine and the head-tail connections, using the hip Date: April 2018 creases to become more grounded, and have learned rolls, Grade Level: 9-12 inversions, and cartwheels. Today, we are going to take Subject: Dance II & III everything you have learned about modern and put it Benchmark/Framework: together in a phrase in order to reach our final concept: National – Performing focus.” Lesson Title: A: “What do you think when I say the word ‘focus’?” Move & Grove: Teacher lets students respond. “Good! When I say ‘focus’ Introduction to Modern you may think about concentration, what to pay special (Performance - Focus) attention to, or something to do with eyesight. When we are talking about focus in dance, we are referring to a combination of all of these things. Focus in modern dance can be what we are thinking about or looking at. What focus does is increase performance value, so our dancing becomes intentional and has meaning. Today, we are going to put everything we have learned this week into a dance, then add in focus to really perform the phrase.” P: To introduce the student to the concept of incorporating focus to increase performance, a critical skill in modern dance technique. P: The students do Bartenieff warm-up. Then teacher guides students through eye tracking exercises. Finally, teacher and students put final combination together, made from the ending phrase from each day, to combine breath connection, head-tail, ‘groundedness’, focus, and floor work into a final combination that incorporates several modern dance concepts into a performance. IMP/REL: Understanding the concept of incorporating focus into performance, which is critical component of modern dance technique, in order to increase performance value.

Obj. 1: The student will know and understand how to use focus to enhance performance, as well as the basic modern dance concepts of connecting breath to movement, the head- tail connection, being grounded, and floor work. Obj. 2: The student will be able to demonstrate using focus to enhance performance, while using a connection of breath to movement, the head-tail connection, and floor work. Obj. 3: The student will fully participate throughout the lesson and support their classmates in discussion and performance. Materials: Laptop, sound system, open dance space, mirror, dry erase marker http://www.humankinetics.com/excerpts/excerpts/understan d-movement-preferences-in-modern-dance https://dancecurriculumdesigns.com/how-do-you-teach- modern-dance-technique/ Assessment: The teacher will informally assess the understanding of concepts through question, as well as well as formally assess students on participation in warm-up and the final performance of modern movement phrase, demonstrating all 4 concepts learned. Closure: “Thank you all for moving and grooving with me this week! I hope you have learned a lot about modern dance and it has inspired you to continue to expand your knowledge of different dance styles!”

PROCEDURES: 5.1 Warm-Up: Debussy Clair de Lune – Modern Dance Academy, Bach Air on the G String (Lounge Modern Dance Version) – Modern Dance Academy (6) “Today, you will do the Bartenieff warm-up on your own. Let’s begin.” The teacher has students spread out and find a place on the floor. Then students do warm-up. Finally, teacher leads students through stretching and conditioning. Warm-up Movement: • Bartenieff - • 2 8-counts of breathing/feeling • 2 8-counts of heel rocks • 2 8-counts elbow to knee side contraction • Fetal position to the right, x position, fetal position to the left, x position (each movement is 4 counts) – repeat • Fetal position to the right, dovetail, fetal, x position, fetal position to the left, dovetail, fetal, x position (each movement is 4 counts) • Head-tail contraction, x position, head-tail contraction, x-position (each movement is 4 counts) – repeat • 4 Cross lateral rolls (right foot leads, left foot leads, right arm leads, left arm leads)

• Neutral position with knees up – hip raises (2 8-counts) • Stretches/conditioning - • Flip to downward dog • Yoga push-ups • Extend each leg out/up • Lunges • Pigeon • Triceps pushups • Crunches • Increase heart rate – • Walking • Prances • Jogging

5.2 Eye Tracking (1) “Today, we are going to work on our focus, but first we must warm it up. I am going to lead you through some guided experiences that will help you with working on your focus. Spread out and we will begin!” Students find a place on the floor, and teacher leads students through eye tracking. Eye tracking: • “Stand still.” • “Look at yourself in the mirror.” • “Now move your eyes side to side in a horizontal pathway.” • “Move your eyes up and down in a vertical pathway.” • “Begin walking.” • “Now focus on the floor and continue walking.” • “Find an object to look at in the room, continue walking, but stay looking at it the whole time.” • “Continue walking and find a person to focus on. Look at them and keep moving around the room.” • “Now stand where you are and move a single body part.” • “Look at the body part that is moving.” • “Let that body part change to a different one, look at the new body part, focus on it and continue moving.” • “Switch.” • “Switch.” • “Switch.” FEEDBACK: “If your eyes begin to get tired, take a break for 5 seconds by standing still and keeping your eyes closed.” 5.3 Final Phrase: Remnants – Max Cooper, Tom Hodges (1, 2) “The final thing we will do this week is take everything we have learned (connecting breath and movement, the head-tail connection, hip creases and being grounded, and floor work) and make a dance with it. To do that, we are going to take the last combination we did each day and put them together. Because today we are

concentrating on focus, I will choreograph when you look where. In this, you will see how each concept we learned was a step up from the one before it. Spread out and we will begin piecing our dance together.” Students spread out and teacher reviews the ending combination from each day. Then teacher puts the combinations into a dance, stressing focus. Movement: • Breathe deeply for one eight-count • Grand plié with “choo-choo” arms (inhale), arm roll around and down (exhale), clap (inhale), fall backward (exhale) • Facing the back, reach out into x-position (inhale), close back in (exhale) • Snake to rond de jambe around to the front (inhale) • Upper body around in a circle (exhale), upper body around in a circle with a grand plié (inhale) • Right arm and leg gather in (exhale), left arm and leg gather in – to lunge down to lying flat on the back (inhale) • Cross lateral roll to stand (exhale) • 16-counts off-balance improvisation using breath to initiate movement • 3 steps with a side curve (right, then left) • Snake both ways • Release up with a side twist (right) • Contract • Release up with a side twist (left) • Contract • 3 right leg swings, chassé • 3 left leg swings, chassé • Pas de basque (right and left) • Pas de bourree (right and left) • Side chassé • Jump fall to the ground • Undercurve to the front, back to neutral, inversion to the front • Undercurve to the side, back to neutral, inversion to the side • Undercurve to the front, back to neutral, inversion to the front • Undercurve to the side, back to neutral, monkey FEEDBACK: “Instead of worrying about the timing with the music, focus on how your breath and focus can guide you in timing. While doing this combination, think about everything we learned and discussed this week and use those things to enhance your overall performance.” BGL: The student will perform a smaller section of the final phrase working on incorporating all concepts covered throughout the week OGL: The student will perform the given movement with clarity and energy, incorporating all concepts covered throughout the week. AGL: The student will perform the given movement with defined dynamics and lead peers in demonstrating the movement in front of the class, as well as incorporate all concepts covered throughout the week.

5.4 Closure (4) “Thank you all for moving and grooving with me this week! I hope you have learned a lot about modern dance and that it has inspired you to continue to expand your knowledge of different dance styles!”

Name: ______Date: ______

Class: ______Lesson: Beginning Modern

4 – Exemplary 3 – Mastery* 2 – 1 – Basic Developing Warm-Up In addition to The student is The student The student falls mastery, the focused and fulfills the short of student takes a enthusiastic in stated fulfilling the leadership role participation of expectations stated in class either in the warm-up. with one – two expectations the teaching of They help to exceptions. with three (or movement or in create a more) class positive, exceptions. discussions. supportive environment for other students. Movement In addition to Student is fully The student The student falls Exercises mastery, student invested in fulfills the short of has a complete movement stated fulfilling the understanding exercises and expectations stated of all shows an with one – two expectations movement, almost complete exceptions. with three (or takes a understanding more) leadership role of individual exceptions. in class, and movements. helps others better understand the movement. Daily In addition to Student The student The student falls Performance mastery, student performs fulfills the short of leads other in movement with stated fulfilling the performance proper expectations stated and serves as an technique, with one – two expectations example of artistry, and exceptions. with three (or proper professionalism. more) technique, exceptions. artistry, and professionalism. Final In addition to Student The student The student falls Performance mastery, student performs fulfills the short of Modern Dance leads other in movement with stated fulfilling the Phrase performance proper expectations stated and serves as an technique, with one – two expectations example of exceptions. with three (or

proper artistry, and more) technique, professionalism. exceptions. artistry, and professionalism.

Additional Comments: Total: ______/16

Week Seven: Improvisation

Lesson Plan For: ANTICIPATORY SET: Beginning Improvisation R: N/A Unit A: “So, I have a question for you all: have you ever been in Name: K. Brooke Jerome a situation where your parents asked you why you got Date: April 2018 home so late or what you did the night before and you Grade Level: 9-12 didn’t really want to tell them the real answer? Therefore, Subject: Dance II & III you had to think quickly and come up with something to Benchmark/Framework: tell them?” The teacher will wait for students to respond. National – Creating & Performing “Well, that is improv! We use improvisation in our daily Lesson Title: lives all of the time. Even when we are just having a Free Play: Introduction to conversation and listening/responding to another person, Improvisation (Using we are using it. Improvisation in dance is very similar to Yourself as Inspiration), the improv we do in our everyday lives - it is being creative Day 1 and thinking on our feet as the situation arises. As dancers, improv is often the start of our choreographic processes when creating new dances, which is why it is so important for us to learn and use. I know what you are probably wondering — how do I do this? How do I learn to improv? To explain this concept of improvisation better, I will read an excerpt from Stephen Nachmanovitch’s book Free Play: Improvisation in Life and Art.” Teacher reads excerpt of book. “He writes: ‘How does one learn improvisation? The only answer is to ask another question: What is stopping us? Spontaneous creation comes from our deepest being and is immaculately and originally ourselves. What we have to express is already with us, is us, so the work of creativity is not a matter of making the material come, but of unblocking the obstacles to its natural flow.’” Teacher gives students time to consider the reading. So, to put it simply, you are not going to try and make movement happen, you are going to allow it to happen through guided activities. Throughout this process, I invite you to be open, committed, spontaneous, investigative, present, aware, creative, and generous.” Teacher writes adjectives on mirror. “Let’s get started!” P: To introduce the student to improvisation and the concept of using themselves as inspiration to generate movement.” P: The teacher will lead students through several improvisational activities that allow students to explore using self as inspiration, including: using breath to initiate

movement, manipulating “body” (element of dance), manipulating “energy” (element of dance), manipulating “space” (element of dance), and manipulating “time” (element of dance). Then students will participate in a teacher led miniature “improv jam” to demonstrate what they have learned. IMP/REL: When creating a choreographic work, understanding and incorporating improvisation is a supportive, constructive, and productive tool for composition. Obj. 1: The student will know and understand the importance of improvisation and how to use self as inspiration. Obj. 2: The student will be able to demonstrate using self as inspiration for improvisation. Obj. 3: The student will fully participate throughout the lesson and make a clear effort to learn about using the self as inspiration for improvisation. Materials: Free Play: The Improvisation in Life and Art by Stephen Nachmanovitch, laptop, sound system, music (Spotify playlist -Free Play: Beginning Improvisation and Composition), open dance space, mirror, dry erase marker http://danceteacherconnect.com/how-to-teach-improv/ http://www.humankinetics.com/excerpts/excerpts/learn- different-ways-to-create-improvisation Assessment: The teacher will informally assess the understanding of concept (using self as inspiration) through questions and observation, as well as formally assess students on participation, daily improvisational movement exercises and activities, daily culminating exercises/performances, and the final improv jam. (See rubric.) Closure: “Today we began exploring improvisation by using ourselves as inspiration to generate movement. Is there anything you experienced or witnessed today that stands out to you?” Teacher gives students time to respond. “What is something that was difficult for you today?” Teacher gives students time to respond. “Can you tell me one thing you felt very successful in?” Teacher gives students time to respond. “I want to think you all for being open, committed, spontaneous, investigative, present, aware, creative, and generous today.” Teacher points to adjectives written on mirror. “Tomorrow, we will explore

using other people and outside sources as inspiration for movement. Thank you and wonderful dancing!”

PROCEDURES: 1.1 Warm-Up: Using Breath to Initiate Movement (1, 2) “The first exercise we are going to do today is using breath to initiate movement, so we can get into the practice and become more comfortable with moving without thinking. Find a spot in the room, lay down on your backs, close your eyes, and follow the directions closely.” Teacher leads students through exercises, beginning on the floor and ending standing. Movement: • “Begin by breathing at your normal rate and imagine your body melting into the floor.” • “Now, with each inhale, lift a body part up, and with each exhale, sink your whole body back in the ground.” • “Continue doing this, trying to use a different body part each time.” • “Do not think about how your body is moving, just let it happen.” • “Next you can slowly work your way to a seated position, coordinating each breath with a new movement in a new body part.” • “Try not to plan how you are going to get to the new position, let your breath take you there.” • “Now slowly dance your way to standing, keeping your eyes closed, and your breath initiating your movement.” • “Do not force your muscles to move; let your breath help you rise.” • “Stay in the same spot and continue letting each new breath bring a new movement that you have not done before.” • “Now you can open your eyes, but keep moving, using your breath to initiate your movement. FEEDBACK: “Your eyes should be closed so you can focus on yourself and what you are experiencing. Please keep them closed until I say to open them. But, be aware of your surroundings and try not to brush against, or hit, anyone.” 1.2 Elements of Dance: Body (1, 2) “Next, we are going to move into an activity that will help us play with each element of dance – body, energy, space, time – as we continue to practice improvisation. Applying the elements of dance to our bodies and our improvisational experiences allows us to experiment with more engaging and inventive movement, while still dancing like ourselves. First, let’s look at body, the first element of dance. Body can include many things, such as: body parts, body shapes, relationships between those things, and balance. But today we are going to focus on body parts and how they can help us create movement. Let’s make three lines to go across the floor. You are going to pick a body part to lead or inspire your movement, for example, the head, legs, or pelvis, and go across the floor three people at a time. I will demonstrate, then we will

begin. Remember that the element we are working on now is called body.” Teacher demonstrates how to choose a body part and use it to lead and inspire movement across the floor. Then, students go across the floor three at a time, using the body part they choose to lead and inspire movement. Exercise is repeated three times, and each time the students go across the floor and back, they will choose a new body part to use. FEEDBACK: “One of the things I asked of you today was to be generous. At this time, I want you to be generous in your support of each other.” 1.3 Elements of Dance: Energy (1, 2) “The next element of dance we are going to experiment with is energy. Energy can include: flow, weight, force, stillness, and qualities. Today our focus will be on energy qualities, specifically flowy and floaty vs. sharp and direct.” Teacher demonstrates the two opposite energy qualities for the students. “The first time you go across the floor and back, I want you to try being flowy and floaty. The second time, you will try sharp and direct. And the third, and final, time you will try being both floaty/floaty and sharp/direct. Remember the element we are working on now is called energy.” The students go across the floor three at a time. The first time, they try flowy/floaty. The second time, they try sharp/direct. And the last time, they attempt both in the same cross. FEEDBACK: “Try to make sure there is a noticeable difference when you are trying the energy qualities! The more types of energy you can use while dancing, the more interesting your movement will be.” 1.4 Elements of Dance – Space (1, 2) “Okay, so now we are going to move to the next element of dance. This element is space and can include: place, size, level, direction, pathway, and focus. When considering space today, we are going to work with using levels – low, medium, and high.” Teacher demonstrates improvisational movement at each level – low, medium, and high. “The first time you go across the floor and back, I want you to try a low level. The second time, you will try a medium level. The third time, you will try a high level. The fourth, and final, time, you will try dancing at each level at least once. Remember at this point the element we are working on is space.” The students go across the floor three at a time. The first time, they try a low level. The second time, they try a medium level. The third time, they try a high level. The last time, they will try to incorporate all three levels. FEEDBACK: “Let me see the difference in each level! Transitioning between levels can be made easier when you incorporate your breath!” 1.5 Elements of Dance – Time (1, 2) “The last element of dance is time. Time can include things such as speed and rhythm. Today, we are going to take a closer look at speed. Speed can either be slow, medium, or fast.” Teacher demonstrates improvisational movement at each speed. “The first time you go across the floor and back, I want you to try a fast speed. The second time, you will try a medium speed. The third, and last, time, you will try a slow speed. Then, you will try to go across and use each speed at least once.

Remember at this point the element we are working on is time.” The students go across the floor three at a time. The first time, they try a fast speed. The second time, they try a medium speed. The third time, they try a slow speed. The last time, they will try to incorporate all three speeds. FEEDBACK: “Think about how your energies change when using different speeds. Usually, when going slow, you will want to move floaty and flowy. Try moving slow, but direct and sharp!” 1.6 Mini-Improv Jam (1, 2) “The last activity we will do today is a mini improv jam. The purpose of doing this is to practice all of the ways we have explored improvisational movement today together. So, we will dance and use breath to initiate our movement, while incorporating different the elements of dance we learned today – body, energy, space, and time. First, we are all going to improv at the same time in the center, paying attention to those around us so we don’t accidentally run into anyone else.” Students and teacher improv together, using all concepts learned that day. “Now, I want us to all move into a circle. One or two at a time, when you feel comfortable, I want you to enter the circle and improv, demonstrating all concepts learned today. You do not have to dance by yourself today if you are not ready to, but I invite and encourage you to try.” Teacher leads the improv jam circle. FEEDBACK: “As observers and dancers, you are to be open, committed, spontaneous, investigative, present, aware, creative, and generous. Be supportive of your peers and do your best possible dancing.” BGL: The student will demonstrate understanding of concepts in just the group improv jam by showing the initiation of movement through breath, and experimenting with body, energy, space, and time – the elements of dance. OGL: The student will demonstrate understanding of concepts in both the group and circle improv jams by showing the initiation of movement through breath, and experimenting with body, energy, space, and time – the elements of dance. AGL: The student will demonstrate understanding of concepts in both the group and circle improv jams by showing the initiation of movement through breath, and experimenting with body, energy, space, and time – the elements of dance, as well as perform improvisational movement with defined dynamics and clear focus. 1.7 Discussion/Closure (4) “Today we began exploring improvisation by using ourselves as inspiration to generate movement. Is there anything you experienced or witnessed today that stands out to you?” Teacher gives students time to respond. “What is something that was difficult for you today?” Teacher gives students time to respond. “Can you tell me one thing you felt very successful in?” Teacher gives students time to respond. “I want to think you all for being open, committed, spontaneous, investigative, present, aware, creative, and generous today.” Teacher points to adjectives written on mirror. “Tomorrow, we will explore using other people and outside sources as inspiration for movement. Thank you and wonderful dancing!”

Lesson Plan For: ANTICIPATORY SET: Beginning Improvisation R: “Yesterday, I introduced you to improvisation and using Unit yourself and the things you are capable of as inspiration for Name: K. Brooke Jerome movement.” Date: April 2018 A: “But sometimes, just relying on yourself isn’t enough, so Grade Level: 9-12 we turn to other people and places for inspiration. Today, Subject: Dance II & III we are going to explore how to find inspiration in other Benchmark/Framework: people and outside sources to generate movement, which is National – Creating & valid and happens often in the choreographic process. I Performing want to remind you to be open, committed, spontaneous, Lesson Title: investigative, present, aware, creative, and generous today, Free Play: Introduction to in order to explore new ways of moving. Let’s begin!” Improvisation (Using P: To introduce the student to improvisation and the Others & Outside Sources concept of using others and outside sources as inspiration to as Inspiration), Day 2 generate movement.” P: The teacher will lead students through several improvisational activities that allow students to explore using others and outside sources as inspiration, including: best friend/murderer game, mirroring/moulding, following/flocking, and environmental inspiration. Then students will participate in an interdisciplinary activity where they will use a painting as inspiration for movement to demonstrate what they have learned. IMP/REL: When creating a choreographic work, understanding and incorporating improvisation is a supportive, constructive, and productive tool for composition. Obj. 1: The student will know and understand the importance of improvisation and how to use others and outside sources as inspiration. Obj. 2: The student will be able to demonstrate using others and outside as inspiration for improvisation. Obj. 3: The student will fully participate throughout the lesson and make a clear effort to learn about using others and outside sources as inspiration for improvisation. Materials: Laptop, sound system, music (Spotify playlist - Free Play: Beginning Improvisation and Composition), open dance space, mirror http://danceteacherconnect.com/how-to-teach-improv/ http://www.humankinetics.com/excerpts/excerpts/learn- different-ways-to-create-improvisation Assessment: The teacher will informally assess the understanding of concept (using self as inspiration) through questions and observation, as well as formally assess students on participation, daily improvisational movement exercises and activities, daily culminating

exercises/performances, and the final improv jam. (See rubric.) Closure: “Today, you all did an awesome job with being open, committed, spontaneous, investigative, present, aware, creative, and generous, which can be difficult when letting others use our dancing as inspiration. Can someone tell me what it felt like when someone was watching, following, and imitating you when dancing?” Teacher lets students respond. “Yes! Sometimes, it can be a bit awkward and uncomfortable, but that’s okay! In improvisation, we have to be willing to step outside of our comfort zones so we can be as successful as possible in creating interesting movement. I am so proud of you all for your work today! Tomorrow, we will work together on contact improvisation and weight sharing.”

PROCEDURES: 2.1 Warm-Up: Best Friend/Murderer (1, 2) “To begin learning how to rely on others as inspiration for the generation of movement, we are going to play a game called Best Friend/Murderer. We are all going to walk around the room together, then I want you to pick one person in the room to be your “best friend” and one person on the room be your “enemy”. But don’t tell them or anyone else who it is! You don’t want your best friend to be murdered, so as we are walking around, I want you to try and stay in between your best friend and the murderer. Can I have two volunteers to demonstrate?” Teacher demonstrates exercise with the two student volunteers. “Great – begin walking!” Students and teacher begin to walk around room, each person picks a “best friend” and a “murderer”, while moving around the room, they try to stay equally between the two people they have chosen. FEEDBACK: “This game will only work if you stay quiet! Try your hardest to not talk or make any noise. Really focus on keeping your best friend safe!” 2.2 Mirroring and Moulding (1, 2) “Now, we are going to move into mirroring and moulding, which are both partner exercises. First, we will do mirroring. You are going to find a partner, and choose one person to be Person A and one person to be Person B. To begin, Partner A will begin dancing, and Partner B will mirror their movement. Then, we will switch so Partner B will dance, and Partner A will mirror. Before you find your partner, I need a volunteer to help me demonstrate!” Teacher demonstrates with volunteer, then students find a partner and teacher leads students through exercise. “Next, we are going to take it one step further and try moulding. Moulding is when one person guides their partner’s body with a light touch in the way they wish for them to move. Will someone please help demonstrate?” Teacher and volunteer demonstrate. “Find a new partner and figure out who is A and who is B. B, please begin moulding your partner, in a little

bit, we will switch.” Students find a new partner and teacher leads students through exercise. FEEDBACK: “When mirroring each other, try to move at exactly the same time. Person being moulded – try to be as responsive as possible to your partner’s touch! Person molding – be gentle.” 2.3 Following and Flocking (1, 2) “Next, we will do group improvisational exercises. First, we will do following, then flocking. For following, I need everyone to spread out. Everyone is going to begin improvising on their own, but you are going to each other, and if you see someone do something you like, try following them and do what they do. I need a volunteer!” Teacher demonstrates activity with volunteer. “Okay, begin improvising! You don’t have to pick just one person, and you don’t have to immediately find someone to follow – switch it up! Let’s start!” Teacher leads students through exercise. “Great job with that exercise, let’s take it one step further and do flocking. In flocking, we will move together in a big group like a flock of birds! One person will lead, and everyone else will follow. At any point in time, the leader can change direction, and the person who is in front of the group after everyone changes direction will be the new leader. I need two dancers to help me volunteer!” Teacher and volunteers demonstrates, then teacher and students participate in activity, with the teacher leading. FEEDBACK: “In these exercises, you have to be very observant – concentrate on watching your classmates and doing what they do! Let them be your inspiration!” 2.4 Environmental Inspiration (1, 2, 3) “The next exercise we will do is using our environment as inspiration, and we will use an environment we all know well – this school! You are going to think of a location, or piece of furniture, or school supply, or anything else you can find in this school and use it as inspiration for movement. For example, if I chose a pencil as my inspiration, it would look like this.” Teacher demonstrates. “Spread out and think of something in this school to use as inspiration.” Teacher gives students time to think of an inspiration. “Okay, now begin dancing, using an environmental factor to generate movement.” Students complete exercise, then teacher leads students to repeat the exercise several times, finding a new inspiration each time. FEEDBACK: “Think about all of the things that make your inspiration real – the color, the usage, the shape, the size, etc.! Use those things to make very creative movement.” 2.5 Interdisciplinary Inspiration (1, 2, 3) “For this final exercise, we are going to use an outside source – a painting – as inspiration for movement generation. We could also use music, or a sculpture, a historical event, or even a math problem. Today, we will focus on art and painting we will use today as inspiration is Starry Night by Vincent van Gogh. I am going to give you 30 seconds to look at this painting. Consider the shapes, colors, structures, etc. that you see in it and use that as your inspiration. Try to find at least three things to use as inspiration.” Teacher shows students the painting, for 30 seconds. “Spread out and begin dancing!”

FEEDBACK: “Have you danced all parts of the painting yet!” BGL: The student will try to demonstrate understanding of concepts by taking one element of the painting Starry Night to use as inspiration for movement invention. OGL: The student will demonstrate understanding of concepts by taking at least three elements of the painting Starry Night to use as inspiration for movement invention. AGL: The student will demonstrate understanding of concepts by taking more than three elements of the painting Starry Night to use as inspiration for movement invention, as well as demonstrate clear shifts in dynamics and focus. 2.6 Discussion/Closure (4) “Today, you all did an awesome job with being open, committed, spontaneous, investigative, present, aware, creative, and generous, which can be difficult when letting others use our dancing as inspiration. Can someone tell me what it felt like when someone was watching, following, and imitating you when dancing?” Teacher lets students respond. “Yes! Sometimes, it can be a bit awkward and uncomfortable, but that’s okay! In improvisation, we have to be willing to step outside of our comfort zones so we can be as successful as possible in creating interesting movement. I am so proud of you all for your work today! Tomorrow, we will work together on contact improvisation and weight sharing.”

Lesson Plan For: ANTICIPATORY SET: Beginning Improvisation R: “Yesterday, we got to explore using other people, places, Unit and things as inspiration for movement and how we can Name: K. Brooke Jerome encourage and support others in doing so as well. Today, we Date: April 2018 are going to see how others can literally support our dancing Grade Level: 9-12 with their bodies.” Subject: Dance II & III A: “Today’s improvisation theme is working together in Benchmark/Framework: contact improvisation and weight sharing. Does anyone National – Creating & think they know what contact improvisation and weight Performing sharing are?” Teacher lets students respond. “Contact Lesson Title: improvisation is when two dancers make physical contact Free Play: Introduction to with each other in dancing. We are going to explore two Improvisation (Using types of contact improvisation today: skin level, which is Yourself as Inspiration), when the dancers make light contact with each other and are Day 1Lesson Title: primarily maintaining their own weight, and muscle level, Free Play: Introduction to when the improvisers make a deeper contact with each other Improvisation (Working and become more responsible for their partners weight. We Together, Contact Improv, are also going to explore weight sharing, when two people & Weight Sharing), Day 3 make contact and are equally responsible for the total sum of the weight between them. This probably all seems a little confusing right now, but as we work through our exercises, you will begin to understand. Once again, I ask you to be open, committed, spontaneous, investigative, present, aware, creative, and generous today. Let’s begin!” P: To introduce the student to improvisation and the concept of working together, contact improvisation, and

weight sharing as generation for movement.” P: The teacher will lead students through several improvisational activities that allow students to explore working together, contact improvisation, and weight sharing as generation for movement, including: a review of moulding, beginning contact, spherical contact, and weight sharing. Then students will participate in a speed dating activity where they will demonstrate what they have learned. IMP/REL: When creating a choreographic work, understanding and incorporating improvisation is a supportive, constructive, and productive tool for composition. Obj. 1: The student will know and understand the importance of improvisation and to incorporate contact improvisation and weight sharing into improvisational movement. Obj. 2: The student will be able to demonstrate the incorporation of contact improvisation and weight sharing into improvisational movement. Obj. 3: The student will fully participate throughout the lesson and make a clear effort to learn about incorporating contact improvisation and weight sharing into improvisational movement. Materials: Laptop, sound system, music (Spotify playlist - Free Play: Beginning Improvisation and Composition), open dance space, mirror http://danceteacherconnect.com/how-to-teach-improv/ http://www.jstor.org/stable/20444700?seq=1#page_scan_ta b_contents Assessment: The teacher will informally assess the understanding of concept (using self as inspiration) through questions and observation, as well as formally assess students on participation, daily improvisational movement exercises and activities, daily culminating exercises/performances, and the final improv jam. (See rubric.) Closure: “Great job today! We did some very advanced contact improv and weight sharing, and you all were able to stay open, committed, spontaneous, investigative, present, aware, creative, and generous throughout this class. How did it feel to be responsible for someone else’s weight?” Teacher lets students respond. “How did it feel to let someone else be responsible for your weight and making sure you did not fall?” Teacher lets students respond. “Awesome! Yes, it can be scary to have so much

responsibility, but when we are brave and focused, we can be successful in just about anything we try to do in dance and in life. Tomorrow, we are going to take everything we have learned throughout this week and have an improv jam. Come prepared to dance your hearts out!”

PROCEDURES: 3.1 Warm-Up: Moulding (1, 2) “We will begin today by re-doing our moulding exercise from yesterday to prepare for working together with contact improv and weight sharing. Quickly, find a partner, spread out, and decide who is Person A and who is Person B!” Teacher leads students through exercise, and each partner practices moulding the other. FEEDBACK: “Moulder – remember to use a gentle touch! Person being moulded – focus so you are very responsive. Today requires a strong focus and concentration so every dancer in the room stays safe. Please practice that now!” 3.2 Skin Level – Beginning Contact (1, 2) “The next thing we will do today is begin using contact in our improvisational experiences. With a partner, without talking, you will dance together and as you are dancing, allow you and your partner to make light contact with each other. Light contact where no weight is being shared is called skin level contact. Can I have a volunteer?” Teacher demonstrates exercise with volunteer. “Find a partner and please spread out to do this exercise! Try making contact with your partner with other body parts besides your hands!” Teacher leads students through exercise, making sure all students feel safe and comfortable. FEEDBACK: “You have to communicate and talk to each other without really speaking – it’s a silent conversation!” 3.3 Skin Level – Spherical Contact (1, 2) “This next exercise is very similar to the one before. With a new partner, you are going to do spherical contact. You both make a circle with your arms, and rotate around, but stay connected to each other. Can I have a volunteer?” Teacher and volunteer demonstrate. “After you get really good at staying connected, you will want to vary the size of your circle.” Teacher and volunteer demonstrate. “Find a new partner and a place on the floor and try it!” Teacher leads students through exercise, monitoring the room to make sure all students feel safe and comfortable. FEEDBACK: “Try making spherical contact with other parts of your body! What happens if your heads stay touching, but you keep rotating?” 3.4 Muscle Level – Weight Sharing (1, 2) “Next, we are going to work on some muscle level contact, weight sharing. Remember that weight sharing is when two people make contact and are equally responsible for the total sum of the weight between them. We are going to try weight sharing in several different positions, so I need you to find someone who is close to

your height!” Teacher finds student close to teacher’s size to help demonstrate. “We will try several positions: back to back (lower and rise), shoulder to shoulder (to the side), shoulder to shoulder (facing each other), both hands to both hands (facing each other), one hand to one hand (to the side). I will demonstrate each position with my partner, then you will try it!” Teacher demonstrates each position one at a time, then students are given the opportunity to try it. “Finally, you are going to connect random body parts to each other and see if you can find a weight share!” Teacher demonstrates, students attempt. FEEDBACK: “To be successful in this, you must make sure both partners are equally pushing and pulling each other.

3.5 Improv Speed Dating (1, 2) “The final activity we will do today in our exploration of contact improvisation and weight sharing is improv speed dating! Everyone, find a partner that you haven’t worked with yet.” Teacher gives students time to find partners. “Decide who is Partner A and who is Partner B. If you are Partner A, make a small circle in the center of the room.” Teacher gives students transition time. “Now Partner B people make a larger circle around them, facing your partner. You are going to improvise with this partner using any of the things we have done today in class: moulding, skin level contact (touching, spherical), and muscle level contact (weight sharing). You can also use any of the other things we have learned this week – the elements of dance, following, environment inspiration, etc. You will dance with your partner for about two minutes. Then, when I say ‘switch’, the outer circle will rotate to the right and begin dancing with the new partner - it’s improv speed dating!” Teacher leads exercise and monitors the room to ensure all students feel safe and comfortable. FEEDBACK: “Don’t forget that safe weight sharing relies on both partners using an equal amount of force!” BGL: The student will use only skin level contact and will dance with only one partner, working towards muscle level contact and having multiple partners. OGL: The student will use both skin and muscle level contact, dancing with at least three partners. AGL: The student will show clarity and confidence in movement while using both skin and muscle level contact and will dance with more than three partners. 3.6 Discussion/Closure (4) “Great job today! We did some very advanced contact improv and weight sharing, and you all were able to stay open, committed, spontaneous, investigative, present, aware, creative, and generous throughout this class. How did it feel to be responsible for someone else’s weight?” Teacher lets students respond. “How did it feel to let someone else be responsible for your weight and making sure you did not fall?” Teacher lets students respond. “Awesome! Yes, it can be scary to have so much responsibility, but when we are brave and focused, we can be successful in just about anything we try to do in dance and in life. Tomorrow, we are going to take everything we have learned throughout this week and have an improv jam. Come prepared to dance your hearts out!”

Name: ______Date: ______

Class: ______Lesson: Introduction to Improv

4 - Exemplary 3 - Mastery** 2 - 1 - Basic Developing Participation In addition to The student is The student The student mastery, the focused, fulfills the falls short of student takes a enthusiastic, stated fulfilling the leadership role and expectations stated in class either in collaborative in with one – expectations the creative this creative two with three (or process or in learning exceptions. more) class experience. exceptions. discussions. They contribute ideas and feedback if requested as well. Daily In addition to The student is The student The student Improvisational mastery, the focused, fulfills the falls short of Movement student explores enthusiastic, stated fulfilling the Exercises further and expectations stated additional or collaborative in with one – expectations optional daily two with three (or improvisational improvisational exceptions. more) elements. movement exceptions. exercises. They are engaged and ask questions when needed. Daily In addition to The The student The student Culminating mastery, the culminating fulfills the falls short of Exercise / culminating exercises are stated fulfilling the Performance exercise explored and expectations stated incorporates performed with with one – expectations additional or energy and two with three (or optional clarity. The exceptions. more) improvisational student is exceptions. elements. committed to their performance and shows

complete understanding of concepts covered each day. Final Improv In addition to The final jam is The student The student Jam mastery, the explored and fulfills the falls short of culminating performed with stated fulfilling the exercise energy and expectations stated incorporates clarity. The with one – expectations additional or student is two with three (or optional committed to exceptions. more) improvisational performance exceptions. elements. and shows complete understanding of concepts covered throughout the week.

Additional Comments: Total: ______/16

Eight improvisational concepts covered throughout unit: o using breath to initiate movement o utilizing the elements of dance (body, energy, space, time) o mirroring/moulding o flocking/following o environmental inspiration o interdisciplinary inspiration (music) o skin level contact (spherical contact) o muscle level contact (weight sharing)

Mississippi College and Career Readiness Standards for Dance Met in Curriculum

Standards CREATING PERFORMING RESPONDING CONNECTI NG Week One: X X X Introduction of Modern through Dance Styles that Share a Movement Vocabulary (I) Week Two: X X X Introduction of Modern through Dance Styles that Share a Movement Vocabulary (II) Week Three: X X X Modern Dance Technique (I) Week Four: X X X Modern Dance Technique (II) Week Five: X X X Modern Dance Technique (III) Week Six: X X X X Modern Dance History Week Seven: X X X Improvisation Week Eight: X X X Basics of Composition Week Nine: The X X X X Collaborative, Creative Choreographic Process

Contextual Research

Introduction

Imagine walking into calculus class, but not knowing your multiplication tables.

Excitedly entering a creative writing class, but then realizing you never learned what a metaphor is. And even sitting in an anatomy class, with no knowledge of which bone the femur is, yet your classmates have moved past the skeletal system, and into the muscular one. Imagine entering these learning experiences, and quickly having all of your enthusiasm stripped away and replaced with frustration, anxiety, and humiliation.

This is what many secondary students experience upon entering a college dance class or auditioning for a company for the first time – they are not college and career ready in dance. These students have not received the comprehensive education needed to be successful in these areas, which affects them not only in the cognitive and psychomotor domains, but in the affective area as well. Educators have a responsibility to ensure that their students are successful in whatever they choose to pursue, but many do not fulfill that requirement, which is absolutely unacceptable.

In order for students to meet Mississippi College and Career Readiness (MCCR)

Standards for Dance and the National Core Arts (NCA) Standards in Dance, they must be able to use dance to create, perform, respond, and connect, and the use of education and training in modern dance theory and technique is one of the most effective practices that can be used to ensure students are meeting those standards. However, this instructional practice often comes with complications. Modern dance training and education are essential, and secondary students should have access to it, but many do not. Often the few intermediate-level secondary students who are granted exposure to modern dance find

difficulty in transitioning from one genre to another, such as ballet to modern, because modern dance requires a complete shift in the use of the spine and dropping of the weight. It is absolutely the dance educator’s duty to teach modern dance theory and technique in a way that fosters student motivation. In other words, what determines success in learning depends not only on what is taught, but the way in which it is contextualized for the students experiencing it.

The aim of the creation of this curriculum and my defense of it is to provide dance educators with a guide for introducing modern dance theory and technique to the intermediate dancer in secondary education in a way that fosters motivation in students and not only meets State and National standards but exceeds them. In the following discussion, I will begin with a review of literature that relates to this topic. I will then use these sources to prove that the curriculum I designed and provided (pg. 1), “Moving and

Grooving: Beginning Modern Dance Theory and Technique for the Intermediate Dancer in Secondary Education”, is effective at meeting its goals of being both comprehensive and motivational.

Review of Literature

For my literary research, I found sources that come from arts and dance education writers that are experts in their field, with some outside sources from the general education domain. Dance education is specific and valuable, and it is important to me that the sources I refer to are as well.

I began using the National Core Arts Standards for my Dance Education course work in the Spring of 2015. The National Core Arts Standards in Dance outline the

benchmarks that should be met by each grade level through the artistic processes of creating, performing, responding, and connecting. The NCA standards in dance are important for my research because the standards provide a guideline for planning, instruction, and assessment of the expectations set for each grade level.

In addition to my use of the NCA standards, it was also crucial to refer to the

Mississippi College and Career Readiness Standards for Dance. The document covers such topics as: The Purpose of the Arts Learning Standards, The Mission of Arts

Education, Arts Integration, Artistic Literacy, Overview of the Arts Learning Standards,

Benefits of the Arts in Education, Foundations and Goals, Understanding the Arts

Learning Standards, and Guide to the Arts Learning Standards. (MDE 4) These MCCR standards directly correlate to the NCA standards, and give a framework to creating, performing, connecting and responding. The MCCR standards served as a clear source for the expectations of proficient, accomplished, and advanced high school students in dance.

The article “Higher Order Thinking in the Dance Studio” from the Journal of

Dance Education provided insight on the inclusion of higher-order thinking skills in the dance classroom. In order for a curriculum to meet the standards, it must cater to higher- order thinking skills, and this article, by Ann-Thomas Moffett, explains how and why dance educators can do that.

I also looked over the section “An Overview: Brain-Compatible Dance

Education” from Brain-Compatible Dance Education, by Anne Green Gilbert. This section includes a succinct and clear list of Gilbert’s Ten Principles of Brain-Compatible

Dance Education: “present meaningful curriculum”; “provide an enriched environment”;

“give meaningful feedback”; “include opportunities for emotional engagement”; “allow for social interaction”; “present developmentally appropriate curriculum”; “allow students to take charge of their learning”; “provide both novel and repetitious experiences”; “offer a curriculum that is holistic and sequential”; and “provide information about proper nutrition”. (Gilbert 11) These principles allowed me to ensure that the curriculum I wrote was brain-compatible, and therefore effective and efficient. In addition, this book gave information on brain-based learning and brain-compatible dance education and their value.

Another source I have used in my research is the chapter “Kinesthetic Arts” from

Arts with the Brain in Mind, by Eric Jensen. The source goes into detail on such topics as: the location of the brain, the difference of kinesthetic learning, and the roles of dramatic, industrial, and recreational arts. This source is helpful to my research because it advocates for and finds value in kinesthetic learning, which is found in dance.

I read the chapter “Creating a Curriculum” from Dance Teaching Methods and

Curriculum Design, by Danielle M. Jay and Gayle Kassing, to further my knowledge in the creation of curriculum in dance education. This source gave me insight in areas such as designing the dance program curriculums, writing dance curriculums, and developing and evaluating curriculums. This source is crucial to my research, because from the beginning of my creative work it gave me the information needed to plan, develop, and create a valuable curriculum in modern dance theory and technique.

“Relationships Matter: Fostering Motivation Through Interactions” from Voices from the Middle, by Erika Daniels and Ron Pirayoff, is a journal article that explains the importance of creating positive relationships with students and motivating them to

enhance academic success. It gives information on topics such as: Understanding the

Whole Child, Class Climate, and Collaboration with Colleagues. (Daniels and Pirayoff

19) This source confirmed my belief that it is not what we teach, but the way in which we teach it that most influences the affective domain in students.

The dissertation, “A Choreographers Approach to a Dancer’s Creativity in a

Collaborative Choreographic Process”, by S.M. Oetgens van Waveren Pancras Clifford discusses the collaborative choreographic process, which helped me clarify my personal definition of one. In my curriculum, I discuss the creative, collaborative choreographic process often, so it is important that I am able to define one.

The book Teaching Dance as Art in Education by Brenda Pugh McCutchen has been extremely helpful in my research in many ways. The most important section of the book for my research has been “Part II: Clarifying the Content of K-12 Educational

Dance (The Cornerstones).” Although these cornerstones – (1) Dancing and Performing,

(2) Creating and Composing, (3) Knowing History, Culture, and Context, and (4)

Analyzing and Critiquing – are not worded as simply as create, perform, connect, respond, they directly align with both the NCA and MCCR Standards. (McCutchen 125-

291) Another helpful section is “Investigating the Arts Savvy Curriculum, Instruction, and Assessment Triad”. (McCutchen 357) In the chapter, McCutchen discusses the teaching triad: curriculum (what is taught), instruction (how it is taught), and assessment

(how well it is taught and learned). (McCutchen 357) In order to reach the peak of teaching effectiveness, it is crucial that curriculum, instruction, and assessment align with each other. I am using this source to ensure that all three aspects of the teaching triad are aligned in my curriculum.

Another source I found was the chapter “Your Role as Dance Educator” from

Dance Education Tips from the Trenches by Cheryl M. Willis, which summarizes the responsibilities of the dance educator, including organizing a program, communicating, creating goals, teachers as humans, making clear relationships, teachers as therapists, and taking care. This source brings humanity and specificity to the role of dance educator, which was important for me to consider in this writing.

The National Dance Education website (ndeo.org) includes a plethora of subjects, materials, and resources that support the value of dance education. For my research, the page “Dance Education in the United States” gave insight into what a comprehensive dance education looks like.

The chapter “How to Create an Effective Assignment” from The First Days of

School, by Harry K. Wong and Rosemary T. Wong, discusses how to create assignments that exceed the standard for effectiveness from a general education standpoint. Often, in order for dance to have value in education, it must be considered a from a general education standpoint. By considering the guidelines set by the Wongs for general education, my curriculum became more valuable and reliable.

The article “Overview: State Definitions of College and Career Readiness” by

Anne Mishkind from American Institutes of Research is a comparison of states’ definitions of ‘college and career readiness’. It advocates for a consideration of college and career as equals because “the overarching skills and strategies required for students of all ages entering colleges and careers are consistent.” (AIR 2) This article helped me to further clarify my personal definition of ‘college and career readiness’.

Next, the article, “Collaborative Choreography: A Critical Inquiry into Designing

Creative Interactive Systems”, by Kristin Carlson, Thecla Schiphorst, and Steve DiPaola, is about using technology as a “collaborator rather than as a tool”. (Carlson, Schiphorst,

DiPaola 46) This article allowed me to further define a creative, collaborative choreographic process.

Ballet and Modern Dance: A Concise History, by Jack Anderson, gives an overview of ballet and modern dance history. The chapter, “The Phoenix of Modern

Dance” gave me the ability support some of the claims I make about modern dance.

Intrinsic and Extrinsic Motivation: The Search for Optimal Motivation and

Performance, edited by Carol Sansone, discusses both intrinsic and extrinsic motivation and their effect on student performance. This book gave me insight on how student motivation can affect academic performance, as well as how to best motivate students in the classroom.

Finally, in support of my thesis, I will draw from my own curriculum, “Moving and Grooving: Beginning Modern Dance Theory and Technique for the Intermediate

Dancer in Secondary Education.” The curriculum and my defense of it rely on each other to further explain, support, and conceptualize their counterpart.

Exceeding Standards and Fostering Motivation

MCCR standards in dance, they must be able to create, perform, respond, and connect; the use of education and training in modern dance theory and technique is one of the most effective and efficient practices that can be used to ensure students are meeting those standards.

More than most other dance styles, modern dance has the innate ability to meet the standards of Creating, Performing, Connecting, and Responding. An example of this is the collaborative, creative choreographic process often found in modern dance.

Oetgens van Waveren Pancras Clifford writes:

Types of collaboration between a choreographer and a dancer can differ greatly within and between each choreographic process: What a choreographer asks from a dancer and in what way, how much freedom of interpretation a dancer has or can take within the given movement, structure or task, and how much room there is for collective decision-making, are a few examples. (4)

In the “creating” domain, the MCCR Standards cite that individual or collaborative choreographic experiences are necessary to meet the standards set. In order to exceed those standards, it is necessary for students to have experience in both individual and collaborative choreographic processes. (61) In my experience of a variety of dance styles

(ballet, tap, jazz, musical theatre), no other genre gives the opportunity for collaboration in the choreographic process like modern dance does. In “Collaborative Choreography:

A Critical Inquiry into Designing Creative Interactive Systems”, Kristin Carlson,

Thecla Schiphorst, Steve DiPaola write, “Contemporary choreographic process is often distributed, relying on interactions between the choreographer and dancer to develop and evaluate movement material through exploration of different bodies.” (46) In “Moving and Grooving” at weeks seven through nine (see Curriculum, pg. 34), students are given both individual and collaborative choreographic experiences, both of which are necessary

to exceed the standards. Specifically, in Week Seven: Improvisation, students are given a taste for both individual and collaborative choreographic processes because the first day’s theme is using yourself as inspiration, while the second day’s theme is using others and outside sources as inspiration. The next week, they participate in an incredibly individualized composition course, then the curriculum ends in a creative, collaborative choreographic process.

Clearly, modern dance theory and technique are necessary in order to meet both

NCA and MCCR standards, however, secondary students can be resistant to studying this genre of dance, especially if they do not have experience in it. This is why it is crucial that dance educators motivate their students to learn. Erika Daniels and Ron Pirayoff write:

Teaching students to care about academic success requires more than deep knowledge of academic content and a clear understanding of effective pedagogical strategies—although both are essential. Truly effective teachers combine knowledge about content, pedagogy, and motivation to create learning environments that both allow and encourage students to thrive. It is also important for teachers to be aware of and attentive to their own waxing and waning motivation. (19)

Daniels and Pirayoff advocate for carefulness in instruction, as the experiences students have with educators can completely alter their mindset. (20) In the book “Intrinsic and

Extrinsic Motivation: The Search for Optimal Motivation and Performance”, Carol

Sansone argues, “The information that students seek depends on what they want to know, and what they want to know depends on what they want to achieve, or, in other words, on their achievement goals.” (164) In the context of the effect of motivation on student achievement of the MCCR and NCA standards, if, when instructing, educators are inherently encouraging students to develop goals in creating, performing, responding, and

connecting, they will actively seek the information that allows them to meet (and exceed) those standards. After gaining the information they seek, the will feel more confident in their ability, which increases motivation, and in turn decreases the resistance in learning a new genre of dance. In other words, it is not necessarily what is being taught, but the way in which it is being taught that most affects students; if a teacher pairs effective instruction with profitable content, students are motivated, and standards are exceeded.

The Mississippi College and Career Readiness Arts Learning Standards for Dance cite several philosophical foundations and lifelong goals for artistic literacy and for arts in education, which can be considered a means of motivation for education in general – not just dance – because whether or not students choose to pursue dance, they are gaining necessary skills to be contributing, well-educated member of society. (MDE 8) The philosophical foundations and lifelong goals cited are: “The Arts as Communication”;

“The Arts as Creative Personal Realization”; “The Arts as Culture, History, and

Connectors”; “The Arts as Means to Wellbeing”, and “The Arts as Community

Engagement.” (MDE 8) When taking these foundations and goals into consideration, it is clear that modern dance theory and technique have the means to support student development, motivation, and learning in artistic literacy, as I will explore below.

In terms of “The Arts as Communication” and “The Arts as Creative Personal

Realization”, as MCCR philosophical foundations and lifelong goals, modern dance theory and technique gives learner the ability to “use a variety of artistic media, symbols, and metaphors to independently create and perform work that expresses and communicates their own ideas, and are able to respond by analyzing and interpreting the artistic communications of others,” as well as “enable[s] individuals to discover and

develop their own creative capacity, thereby providing a source of lifelong satisfaction” because it encourages the creative, collaborative choreographic process, in which dancers and choreographers work together to create art. (MDE 8, Clifford 4) This is found in week seven and eight in “Moving and Grooving” with the instruction of improvisation and composition, both having individual and collaborative experiences (see Curriculum, pg. 35). With deep historical roots, found both in cultural dance and the breakaway from ballet, modern dance theory and technique provide a means for individuals to

“understand artwork from varied historical periods and cultures, and actively seek and appreciate diverse forms and genres of artwork of enduring quality/significance,” which falls into the category of “The Arts as Culture, History, and Connectors” as philosophical foundations and lifelong goals (MDE 8). This is explored in week six of “Moving and

Grooving”, with an entire week dedicated to modern dance history. (see Curriculum, pg.

31) Modern dance theory and technique can ensure “The Arts as Means to Wellbeing” as a philosophical foundation and lifelong goal because “participation in the arts as creators, performers, and audience members (responders) enhances mental, physical, and emotional wellbeing” and dance education as a whole specifically caters to the individual’s cognitive, psychomotor, and affective domains. MDE (8) Jack Anderson, in

“Ballet and Modern Dance”, advocates that “[modern dance] is not so much a system or technique as an attitude toward dance, a point of view that encourages artistic individualism and the development of personal choreographic styles.” (153) By nature, modern dance is accessible (there is no ‘mold’ that dancers have to fit into) and can lead

“individuals to collaborate and connect with others in an enjoyable inclusive environment as they create, prepare, and share artworks that bring communities together” in relation to

the philosophical foundations and lifelong goals found in “The Arts as Community

Engagement.” (MDE 8) These foundations and goals aid in the motivation of the student because they develop lifelong goals, encourage learning, and are found throughout the curriculum, but the educator must present instruction in a positive, encouraging way for it to truly motivate students.

In order to reach the peak of effectiveness in exceeding both the MCCR and NCA standards, educators must guarantee that their planning, instruction, and assessment align.

Without alignment, it is impossible to even meet the both sets of the standards, which are reciprocal, let alone exceed them. McCutchen states, “What is taught (curriculum), how it is taught (instruction), and how well it is taught and learned (assessment) become the interdependent, inseparable three-part process you use to teach dance in education.” (357)

The National Dance Education Organization (NDEO), a leading authority in dance education states:

A comprehensive education includes improvisation, technique, choreography, performance, observation and analysis. Exposure to dance history and cultures, kinesiology and anatomy, and movement theories further enriches the dance educational experience. (NDEO)

In planning, in order to meet the MCCR standards, alignment with instruction and assessment means the consideration and inclusion of improvisation, composition, and dance history, in addition to technique and performance, as that merits all-inclusive learning. The meeting of the standards requires a comprehensive education, which can only be achieved if these areas are included in the beginning stages of curriculum development, planning. If educators plan on including improvisation, composition, and dance history in their instruction, students can later be assessed on whether or not, through these areas, if MCCR standards have been met. “Moving and Grooving”

provides week-long units in improvisation, composition, and dance history which shows that all areas were carefully considered in planning. (see Curriculum, pgs. 31, 35, 39)

In instruction, educators must rely on the Ten Principles of Brain-Compatible

Dance Education to properly contextualize the material they have planned, as well as

“create the most beneficial learning environments” for students. The principles are:

“presenting meaningful curriculum”; “providing an enriched environment”; “giving meaningful feedback”; “including opportunities for emotional engagement”; “allowing for social interaction”; “presenting developmentally appropriate curriculum”; “allowing students to take charge of their learning”; “providing both novel and repetitious experiences”; “offering a curriculum that is holistic and sequential”; and “providing information about proper nutrition”. (Gilbert 11) Referencing these principles allows educators to instruct based on “current research of how the brain learns”, which provides the most effective instruction possible. (Gilbert 32) “Moving ang Grooving” addresses most of these facets of brain-compatible dance-education. For example, one aspect that is present in the curriculum is “provide both novel and repetitious experiences”. (Gilbert

13) Novel experiences are evident in week seven of the curriculum, which has a focus on improvisation as well as week six of the curriculum, which provides a lesson on Merce

Cunningham and ‘Chance Dance”. (see Curriculum, pgs. 31, 35) Repetitious experiences happen often in weeks three through five, which include an in-depth experience of modern dance technique. (see Curriculum, pg. 15) More of Gilbert’s principles can be found throughout the curriculum and are addressed in a variety of ways. (see Curriculum, pg. 3)

In assessment, aligning planning, instruction and assessment means assessing

whether or not all six levels of Bloom’s Taxonomy are reached – knowledge, comprehension, application, analysis, synthesis and evaluation. (McCutchen 366)

McCutchen writes:

Your job is to see that learners acquire and know basic facts comprehend information, apply what they learn, analyze aspects of dance, synthesize individual parts into a new whole, and evaluate performance. You are the one that operationalizes Bloom’s Taxonomy in your classroom to stretch boundaries, diversify instruction, and optimize thinking ability. (80)

Assessment can be informal and formal, as well as formative and summative. Assessment in the context of levels of cognitive function allow educators to evaluate whether or not their previous planning and instruction has been effective; in “Moving an Grooving”, all levels can be easily and readily identified. If all levels are identified in a lesson, unit, or curriculum upon evaluation, then it has the capacity to be successful. Students remember when they define modern dance terminology and recall basic modern dance concepts.

(see Curriculum, pg. 15) To understand, students describe and perform basic modern dance concepts. (see Curriculum, pg. 15) Students show application through demonstrating understanding of basic modern dance concepts through implementing them into performance and choreography (see Curriculum, pg. 35). Students analyze in the process of finding connections between modern dance and a variety of other subjects

– history, anatomy, mathematics, etc. (see Curriculum, pg. 31) In a variety of ways, students evaluate and assess the work of peers and selves, as well as provide supportive evidence for all evaluations. (see Curriculum, pg. 43) Finally, and definitely students create. (see Curriculum, pgs. 35, 39) With the assistance of the teacher, students work to create an original choreographic work, utilizing concepts learned throughout the nine weeks. Easily, and undoubtedly, through participation in a modern dance curriculum,

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students are able to meet the MCCR and NCA standards of Creating, Performing,

Connecting, and Responding. Because “Moving and Grooving’ so readily aligns planning, instruction, and assessment, it definitely provides students with the ability to exceed both the MCCR and NCA standards.

Modern dance education and training is absolutely necessary to meet and exceed the MCCR and NCA standards because it, especially in the context of the curriculum

“Moving and Grooving”, gives students experiences that are not as readily available in other genres of dance. Transitioning to modern dance can be difficult because opening the door to new experiences can cause secondary students to be anxious and lose confidence in themselves. Overall, success in education depends on the way in which material is planned, instructed, and assessed – educators must meet and exceed the standards, but foster motivation in students as well.

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Appendix A: Teaching Philosophy

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Teaching Philosophy

Dance changes lives. I have seen and experienced this first hand, and I see it in the students I teach. I am so honored that I have been given the opportunity to share dance, a life-altering discipline, with students. As an educator, I know that there are countless benefits to having dance in the classroom, which is why I feel it is crucial that dance is a part of every child’s education. Dance education is worthwhile and holistic in many ways. It is an alternative and valuable way of learning for students who have difficulty in the traditional classroom. In addition, the high expectations that teachers have for their students in dance brings focus and determination that benefits all parts of their lives. Finally, dance teaches the whole student — mind, body, and spirit. Everything

I do in the classroom supports the idea of dance having the ability to affect and improve all aspects of a student’s life. That is the foundation of what I strive to do as a dance educator.

An alternative and valuable way of learning, dance is a crucial part of education.

It can cater to students who have trouble in the classroom, as well as improve the quality of learning that is happening for all students. Dance clearly caters to Howard Gardner’s

“Multiple Intelligences” and because of that, truly has the capacity to teach all different types of students. Dance education is influential because not only can it open the door for diversity in learning styles, it can also help students understand what makes them and their classmates distinguishable, exciting, and one of a kind in every way. Often, addressing diversity can be difficult for some students. Dance makes the topic of diversity so much easier to discuss and overcome. Above all, dance in education has the innate ability to teach students how to celebrate and honor, instead of simply recognizing

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and tolerating, diversity in the classroom.

Dance challenges students mentally, physically, and spiritually. Through that, students can learn the importance of hard work, striving to do their best, pursuing excellence, and resiliency. These qualities are not only important in dance education and can be easily transferred to other parts of life. Growing up, I had a dance teacher,

Benjamin Warner, who used to always tell me, “Work hard for more, don’t settle for less.” Of course, he was referring to my work in his class, however, I was able to take that advice and apply it to many areas of my life (and still do today). I hope to always inspire my students to be the best they can be with the idea of not settling and never being totally satisfied with where they are — grateful for what they have accomplished, but never settled. I always have high expectations for my students and expect them to learn what they do in the classroom and apply that knowledge to their everyday lives. It is vital to me that my students are not only good dancers, but that they are good people too.

Dance is never easy, and my challenge for them is to rise above that and create beautiful, wonderful, earth-shattering art. My students are taught to never settle for good when great is possible, which is also something that I strive for in my personal life.

The arts have a remarkable way of connecting our emotions to the work we do.

When we are emotionally connected to something, even when it is difficult, it helps us to grow to become better people. That is why I believe the arts are an imperative part of education. I specifically advocate for dance because in dance, a student can learn how to manage stress, express their emotions, and empathetically relate to other people all in one lesson. That is something that cannot be done in other subjects. Here are some of the other things that dance can teach: how to do a pirouette, but also in the same hour how to

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be a respectable member of society that accepts people's differences. Dance can teach students the different punctuation marks, and also how the earth orbits around the sun. In math, students will learn about angles through practicing arabesques. The next period, in a dance class, students will learn how to propel their bodies through the space, while they learn how Martin Luther King, Jr. propelled the Civil Rights Movement forward.

Students learn how to take care of their bodies and how to take care of others. The possibilities in dance are endless, and that should not be taken for granted.

A teacher’s knowledge, skills, and disposition are what allows them to teach the whole student, which is why they are an inherent part of what it means to be an educator.

I am constantly working towards making sure that my knowledge, skills, and disposition exceed what is expected of me as a master teacher. Harry K. Wong once said, “Those who dare to teach must never cease to learn.” My coursework at the University of

Southern Mississippi has greatly prepared me to be an effective teacher, as well as my experiences outside of the classroom designed to supplement my educational training.

Two of the most impactful experiences I have had as a dance education student at

Southern Miss were researching, planning, creating, and executing an outreach program,

“Dancing for Diversity”, that catered to teaching K-12 students about diversity through dance and serving as a Lead Intern for the 2017 Mississippi Dance Festival, where I helped to plan, organize, and run an educational experience for students, parents, and other educators. I always expect my students to do their best work, and I know for that to happen, I must always do my best work too. My best work can only be done by constantly expanding my knowledge, using that knowledge to teach all types of students well, challenging my students to be better, and teaching each and every part of them. No

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matter what you are doing in a dance classroom, you are engaging and expanding your mind, body, and soul. That is a fact that should not be taken lightly because it is incredible and inimitable.

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Appendix B: Curriculum Vitae

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Curriculum Vitae

CURRICULUM VITAE (04/13/18) KATHERINE BROOKE JEROME K. Brooke Jerome | [email protected] | 901-334-8956

EDUCATION

Academic 2014-2018 The University of Southern Mississippi, Hattiesburg, MS B.F.A. Dance Education K-12, with Honors

Modern Dance Technique: Stacy Reischman Dance Styles: Brianna Jahn Fletcher, Kelly Ferris Lester, Shellie Nielsen, Angie Simmons, Meredith Early, Rebecca McArthur, Rhythmic Analysis: Kelly Ferris Lester Elizabeth Lentz-Hill, Lauren Soutullo Smith, Brianna Jahn Experiential Anatomy for Dancers: Elizabeth Lentz- Hill Ballet Technique: Julie Hammond White, Rebecca McArthur, Lauren Soutullo Smith, Meredith Early, Introduction to Somatics in Dance: Kelly Ferris Angie Simmons Lester

Student Teaching Experience: Julie Hammond White Junior Choreographic Project: Rebecca McArthur

Senior Capstone: Elizabeth Lentz-Hill Dance Composition: Stacy Reischman Fletcher, Kelly Ferris Lester, Meredith Early Practicum in Dance Education: Julie Hammond White Dance Improvisation: Elizabeth Lentz-Hill

Methods in Dance Education K-12: Julie Hammond Repertory Dance Company: Kelly Ferris Lester, White Meredith Early

Methods of Teaching Dance II: Julie Hammond Freshman Repertory: Coco Loupe White Performance Project: Brianna Jahn Psychology and Education of the Exceptional Child: Dr. Cimmie Switzer, Ph.D. Dance Production: Kelly Ferris Lester, Rebecca McArthur Classroom Management: Dr. Bridgette L. Davis, Ph.D. Performance Project: Brianna Jahn

Tests and Measurements: Dr. Thomas J. Lipscomb, Ph.D., Kerri Fontenot

21st Century Dance Forms: Rebecca McArthur

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Additional Training

2018: American College Dance Association Conference, Natchitoches, LA • Modern Dance Technique: AnnaMarie Ewert-Pittman • Gyrokinesis: Brett Garfinkel • Arts Advocacy Roundtable: What Do You Need to Survive in Your Environment?: Tina Mullone • Partner Stretching and Massage: Erin Rockwell • Smash, Grab, Shape! – An Approach to Dance Composition: Stephanie Thibeault

2017: National Dance Education Organization Conference, San Antonio, TX • NDEO 101: Navigating the Conference: Rick Southerland, Suzie Henneman • Creating Artistic Communities: Take it to the People: Jennifer Edmonds- Jones, Margot Faught • The Possibility Project: Empowering Teens to Create a Better World: Stephanie Simpson • Gender and Equality in Dance: Are We There Yet?: Wendy Oliver, Doug Risner, Eliza Larson, Karen Schupp, Carolyn Hebert Pam Musil • Ballin’ in the Socket: Experiential Anatomy: Anne Wilcox • Having a Successful College-Level NHSDA Program: Gretchen McLaine • Reconsidering Hierarchical Structures: Promoting Agency in Pedagogical and Artistic Practices: Rachel Barker, And Javian, Tammy Carrasco • Dance Diversity: Why Tap?: Anita Feldman • What to Publish: Developing an Article for Dance Education in Practice: Frederick Curry, Miriam Giguere, Susan Gingrassio, Elizabeth McPherson • Equitable Pedagogical Strategies that Support Diverse Learning in Children’s Dance Education: Stacy Wisniewsk

C3 Dance Festival, Belhaven University, Jackson, Mississippi • Advanced Modern Technique: Emily Wright • Creating Energy for Community Engagement: Charlotte Smelser, Melody Moody Thortis, Emily Tschiffely • Choreo-Performance Workshop: “My Body Performs or a Clean Piko”: Elizabeth Lentz-Hill • NHSDA Love Your Body Week: Creating Body-Positive Dance Environments: Emily Wright

American College Dance Association Conference, Auburn, Alabama

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• Jazz Vernacular: Brianna Jahn • Improvisation: Wayne Smith • Cunningham Technique: Brett Garfinkel • Gyrokinesis: Brett Garfinkel • Modern Dance Technique: Stacy Reischman Fletcher • Musical Theatre Tap: Karyn Tomczak • Rhythm Tap: Jill Nee • Dance Fitness/Conditioning: Lauren Soutullo Smith • Tap Technique and Repertory: Courtney World • Copasetic Tap Repertory: Amanda Clark • DanceAbility International: Brigitte Rogers • Embodied Action in Practice: Samantha Johnson

Project: Motion Modern Dance Collective Classes, Memphis, TN Modern Dance Technique: Amelia Renee Byrd, Louisa Koeppel, Rebecca Rose Cochran, Kenneth Johnson

Master Classes, Hattiesburg, MS Hip Hop Technique: Jeremy Guyton

Master Classes, Hattiesburg, MS Modern Dance Technique: Lucy Vurusic Riner, Michael Estanich

Master Classes, Hattiesburg, MS West African-Fusion Dance: Jason Aryeh

Master Classes, Hattiesburg, MS Modern Dance Technique: Zachary Whittenburg

Master Classes, Memphis, TN Musical Theatre Technique and Repertory: Whitney Branan

Master Classes, Memphis, TN Tap Technique and Repertory: Whitney Branan

2016: American College Dance Association Conference, Hattiesburg, Mississippi Rhythm Tap Technique: Rebecca Morgan Tap Technique: Adrienne Wilson Dance and Language Common Core Literacy: Nancy Ng

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Project: Motion Modern Dance Collective Classes, Memphis, TN Modern Dance Technique: Amelia Renee Byrd, Louisa Koeppel, Rebecca Rose Cochran, Kenneth Johnson

Master Classes, Hattiesburg, MS Modern Dance Technique: Courtney World

Master Classes, Hattiesburg, MS Dance Improvisation: Pearlann Porter

Master Classes, Hattiesburg, MS Capoeira: John Grant Tchádeggada

Master Classes, Memphis, TN Advanced Tap Technique and Repertory: Whitney Branan

Master Classes, Memphis, TN Musical Theatre Technique and Repertory: Whitney Branan

2015: Project: Motion Modern Dance Collective, Memphis, TN Modern Dance Technique: Bethany Wells, Wayne Smith, Louisa Koeppel, Rebecca Rose Cochran

Master Classes, Hattiesburg, MS Modern Dance Technique: Deshona Pepper Robertson

Master Classes, Hattiesburg, MS Modern Dance Technique: Lucy Vurusic Riner, Michael Estanich

2014: Project: Motion Modern Dance Collective, Memphis, TN Modern Dance Technique: Bethany Wells, Wayne Smith, Louisa Koeppel, Rebecca Rose Cochran

Master Classes, Hattiesburg, MS Hip Hop Technique: Aysha Upchurch

Master Classes, Hattiesburg, MS Modern Dance Technique: John Allen

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RESEARCH AND CREATIVE ACTIVITY

Scholarly Research

2018: Dancing for Diversity: The Creation of a K12 Outreach Program Mississippi Honors Conference, Jackson, MS Lead presenter; poster presentation, competitive selection process

2017: Dancing for Diversity: The Creation of a K12 Outreach Program National Dance Education Organization Conference, San Antonio, TX Lead presenter; poster presentation, competitive selection process

2017: Dancing for Diversity: The Creation of a K12 Outreach Program University of Southern Mississippi Undergraduate Research Symposium, Hattiesburg, MS Lead presenter; poster presentation, competitive selection process

Teaching Experience

2015-2018: Dance Instructor, Young Actors Guild, Memphis, TN

2014-2018: Instructor, Performing Arts of Germantown, Germantown, TN

2017: Teaching Assistant, Methods of Dance Education, The University of Southern Mississippi, Hattiesburg, MS

2017: Written and Oral Communication Tutor, Senior Class, The University of Southern Mississippi, Hattiesburg, MS

2017: Technique Specialist, Pom Squad, Christian Brothers High School, Memphis, TN

2017: Teacher, Outreach Program, Sacred Heart Catholic School, Hattiesburg, MS

2014-2017: Director, Choreographer, and Instructor, Broadway in Your Backyard, DeSoto Family Theatre, Southaven, MS

2014: Dance Instructor, LRP Studios, Inc, Southaven, MS

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Choreography

I Have Seen the Mountaintop (2018) 2018 Black History Month Showcase, Young Actors Guild, Memphis, TN

High School Musical, Jr. (2017) Broadway in Your Backyard Series, DeSoto Family Theatre, Landers Center Theatre, Southaven, MS

Cinderella, Kids! (2017) Broadway in Your Backyard Series, DeSoto Family Theatre, Landers Center Theatre, Southaven, MS

Another Way of Being (2017) 2017 Spring Studio 115 Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Dancing for Diversity: Connection (2017) Outreach Concert Excerpt, 2017 USM Dance Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Oklahoma! (2016) DeSoto Family Theatre, Landers Center Theatre, Southaven, MS

Alice in Wonderland, Jr. (2016) Broadway in Your Backyard Series, DeSoto Family Theatre, Landers Center Theatre, Southaven, MS

Shrek, Jr. (2016) Broadway in Your Backyard Series, DeSoto Family Theatre, Landers Center Theatre, Southaven, MS

So Be It (2016) 2016 Sophomore Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Mulan, Jr. (2015) Broadway in Your Backyard Series, DeSoto Family Theatre, Landers Center Theatre, Southaven, MS

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Performance

Half Empty/Half Full (2017) Choreographed by Noelle Billings 2017 Fall Studio 115 Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Visualizing Vista (2017) Choreographed by Karley Wasaff 2017 Fall Studio 115 Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Trajectory (2017) Choreographed by Kelly Ferris Lester 2017 Fall Dance Concert, USM Mannoni Performing Arts Center, Hattiesburg, MS 2018 American College Dance Association South Conference, Northwestern State University, Natchitoches, LA

“move lightly and quickly, so as to appear and disappear, flicker" (2017) Choreographed by Katie Pinkard 2017 Spring Studio 115 Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS 2017 High School Dance Day, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Concentric Caleidoscope {Version B} (2017) Choreographed by Kelly Ferris Lester 2017 Spring Dance Concert, USM Mannoni Performing Arts Center, Hattiesburg, MS

Everybody Rock! (2017) Choreographed by Brianna Jahn 2017 USM Dance Fall Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

DuBard School Gala (2016) Performer for Speakeasy Theme Choreographed by Brianna Jahn 2017 DuBard School Gala, USM Thad Cochran Center, Hattiesburg, MS

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2017 Belhaven Exchange, Belhaven University, Hattiesburg, MS

Fleshed Out: The Body Politic (2016) Pre-event Performer Choreographed by Brianna Jahn 2017 Fleshed Out: The Body Politic Interdisciplinary Series, USM Scianna Hall, Hattiesburg, MS

How to Hope 17 Ways (2016 [Premiere 2015]) Choreographed by Brianna Jahn 2015 USM Dance Fall Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Invitations (2016) Choreographed by Katie Pinkard 2016 Sophomore Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Causality (2015) - apprenticeship Choreographed by Shaquille Hayes 2015 Spring Dance Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Two Between the Story (2015) - apprenticeship Choreographed by Sarah Macaluso 2015 Spring Dance Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Games of the Wicked (2015) Choreographed by Taylor Krupp 2015 USM Dance Spring Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Ruby Tuesday (2015) Choreographed by Kelly Ferris Lester 2015 USM Dance Spring Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS there is no word for arrival (2014) Choreographed by Coco Loupe

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2015 USM Dance Fall Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

Dance Production Experience

2017: Full Construction Backstage Crew, 2017 Fall Hub Dance Collective Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2017: Studio 115 Concert Head of Backstage Crew, 2017 Spring Repertory Dance Company Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2017: Spring Dance Concert Head of Backstage Crew, 2017 Spring Repertory Dance Company Concert, USM Mannoni Performing Arts Center, Hattiesburg, MS

2017: Student Showcase House Management, Head of Backstage Crew, 2017 Spring Student Dance Organization Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2016: Student Showcase House Management, Head of Backstage Crew, 2016 Fall Student Dance Organization Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS House Management, Head of Backstage Crew, 2016 Spring Student Dance Organization Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2016: Studio 115 Concert Head of Backstage Crew, 2016 Spring Repertory Dance Company Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2016: Spring Dance Concert Head of Backstage Crew, 2016 Spring Repertory Dance Company Concert, USM Mannoni Performing Arts Center, Hattiesburg, MS

2015: Student Showcase

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House Management, Head of Backstage Crew, 2015 Fall Student Dance Organization Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS House Management, Head of Backstage Crew, 2015 Spring Student Dance Organization Student Showcase, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2015: Studio 115 Concert Head of Backstage Crew, 2015 Fall Repertory Dance Company Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2015: Fall Dance Concert Head of Backstage Crew, 2015 Fall Repertory Dance Company Concert, USM Mannoni Performing Arts Center, Hattiesburg, MS

2014: Studio 115 Concert Soundboard Operator, 2014 Spring Repertory Dance Company Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2014: Spring Dance Concert Assistant Stage Manager, 2014 Spring Repertory Dance Company Concert, USM Mannoni Performing Arts Center, Hattiesburg, MS

2014: Studio 115 Concert Head of Backstage Crew, 2014 Fall Repertory Dance Company Concert, USM Theatre and Dance Building Studio 115, Hattiesburg, MS

2014: Fall Dance Concert Assistant Stage Manager, 2014 Fall Repertory Dance Company Concert, USM Mannoni Performing Arts Center, Hattiesburg, MS

Company Affiliations

2015-2017: University of Southern Mississippi Repertory Dance Company, choreographer and performer

2015-2017: University of Southern Mississippi Repertory Dance Company II, choreographer and performer

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Service

2014-2018: Member, Delta Gamma Fraternity

2017-2018: President, USM Student Dance Organization Undergraduate Student Representative, National Dance Education Organization Advisory Board

2017: Publicity, Fleshed Out: The Body Politic Lead Intern, Mississippi Dance Festival Teaching Assistant, Methods of Dance Education, USM

2016-2018: Student Ambassador, USM College of Arts and Letters

2016-2017: President, Resident Assistant Advisory Board Treasurer, NDEO Liaison, and Service Chair, USM Student Dance Organization Junior Class Representative, USM Dance Student Advisory Council

2016: Golden Eagle Welcome Week Group Leader, University of Southern Mississippi Technical Crew, American College Dance Association Festival Adjudicated Concerts

2015-2017: Resident Assistant, USM Department of Housing and Residence Life Backstage Crew, USM Student Showcase

2014: Freshman Council, Freshman Associates, USM Student Government Association

Awards and Recognitions

2014-2018: Awarded Academic Excellence Scholarship, University of Southern Mississippi Awarded Supplemental Educational Opportunity Grant, University of Southern Mississippi Awarded Pell Grant, University of Southern Mississippi Awarded Mississippi Tuition Assistance Grant, University of Southern Mississippi

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2015-2017: Awarded Dance Department Service Scholarship, Department of Theatre and Dance, USM

2017: Awarded Dance Department Scholarship, Department of Theatre and Dance, USM

2017: Awarded Eagle Wings Research Grant, Center for Undergraduate Research, USM

2017: Inducted into National Honor Society for Dance Arts

2017: Inducted into Order of Omega Honor Society

2014 - 2016: Awarded Emily Hendryx Memorial Scholarship, St. Paul Catholic Church, Memphis, TN

2015: Inducted into Lambda Sigma Honor Society

2014: Awarded Anna Travis Memorial Scholarship, Mid-South Fair Youth Talent Contest, Memphis, TN

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Appendix C: Artifacts – Curriculum Development Notes

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Curriculum Development Notes

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McCutchen, Brenda Pugh. Teaching Dance as Art in Education. Human Kinetics, 2006.

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Mishkind, Ann. “Overview: State Definitions of College and Career Readiness.”

American Institutes for Research. PDF.

“Mississippi College and Career Readiness Arts Learning Standards for Dance.”

Mississippi Department of Education, 2017. PDF.

Moffett, Ann-Thomas. “Higher Order Thinking in the Dance Studio.” Journal of Dance

Education, vol. 12, no. 1, 2012, pp. 1-6.

“National Core Arts Standards in Dance.” National Dance Education Organization. PDF.

Sansone, Carol. Intrinsic and Extrinsic Motivation: The Search for Optimal Motivation

and Performance. Academic Press, 2000.

Willis, Cheryl M. Dance Education Tips from the Trenches. Human Kinetics, 2004.

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