Express (DA:Pr4.1)
a. Develop partner and ensemble skills that enable contrasting level changes through lifts, balances, or other means while maintaining a sense of spatial design and relationship. Use space intentionally during phrases and through transitions between phrases. Establish and break relationships with others as appropriate to the choreography.
b. Use syncopation and accent movements related to different tempi. Take rhythmic cues from different aspects of accompaniment. Integrate breath phrasing with metric and kinesthetic phrasing.
c. Connect energy and dynamics to movements by applying them in and through all parts of the body. Develop total body awareness so that movement phrases demonstrate variances of energy and dynamics.
Embody (DA:Pr5.1)
a. Embody technical dance skills (for example, functional alignment, coordination, balance, core support, clarity of movement, weight shifts, flexibility/range of motion) to retain and execute dance choreography.
b. Develop a plan for healthful practices in dance activities and everyday life including nutrition and injury prevention. Discuss implementation of the plan and how it supports personal performance goals.
c. Collaborate with peers to establish and implement a rehearsal plan to meet performance goals. Use a variety of strategies to analyze and evaluate performances of self and others (for example, use video recordings of practice to analyze the difference between the way movements look and how they feel to match performance with visual affect). Articulate performance goals and justify reasons for selecting particular practice strategies.
Present (DA:Pr6.1)
a. Demonstrate leadership qualities (for example commitment, dependability, responsibility, and cooperation) when preparing for performances. Demonstrate performance etiquette and performance practices during class, rehearsal and performance. Post-performance, accept notes from choreographer and apply corrections to future performances. Document the rehearsal and performance process and evaluate methods and strategies using dance terminology and production terminology.
b. Evaluate possible designs for the production elements of a performance and select and execute the ideas that would intensify and heighten the artistic intent of the dances.
Express:
We accomplished Standard DA:Pr4.1a through the dancers’ work with their small groups of three for Part 1, their larger family groups in Part 2, and eventually their work with partners in Part 3. The dancers used their space to create feelings of both separation and intimacy when appropriate. As dancers worked with their partners they experimented with lifts, falls and balances, broadening their spectrum of movement, space and shape.
Most of the dancers involved in this project already possessed well-developed musical skills, which made meeting Standards DA:Pr4.1b and c pretty easy. Dancers often identified rhythmic and musical cues that inspired a variety of qualities in their movements.
Dancers used a wide variety of movements based on the musical cues they chose to dance to. The use of different songs provided opportunities for the story’s different sections to tie together. The first song they chose was calmer with an even beat, rhythm, and tempo. The dancers made use of rhythms and change between smooth continuous movements and strong percussive movements. The second song was faster, more percussive, and the words and feel of the song has strong, powerful energy. The dancers’ movement qualities changed to become more aggressive and heavy or strong.
Embody:
Unfortunately, some of my students throw themselves around the room with little concern for their bodies when they are choreographing. These particular kids also seem to be the ones who complain most about injuries and pain in their bodies. I have one student who has many years of experience and a strong knowledge of dance technique, but will sacrifice true control in the hopes of finishing a triple pirouette. He tries to use sheer force and momentum to get himself around, and very rarely have I seen him finish a turn and remain in control of his body.
But because I am determined to help my dancers understand their bodies and why awareness is important, I often focus my warmups and classes on this. I use anatomical terms as I guide experiences to help students identify areas in their body that they are using/must engage.
So...where does the creative process come in? I find that having the dancers do some research on technical concepts such as alignment, balance, flexibility, etc. gives them an opportunity to take ownership of their learning (DA:Pr5.1a and b). I like to incorporate the Creating standard by having students create a combination to teach the class. They must use appropriate vocabulary and demonstrate an understanding of their bodies as they describe how to execute the combination properly.
At the beginning of every year, my extra-curricular group researches proper warm-up practices (DA:Pr5.1b and c). Using the information they gain, they develop a warm-up structure and exercises that we practice at the beginning of every rehearsal following that. They experiment with different techniques and theories, and we discuss how each experience helps or hinders the rest of the class time. I also have them explore muscle groupings and functions, which also aids in building body awareness and vocabulary.
Thanks to exercises like these, my rehearsals for this group are almost completely student-run. I left them with a substitute for a week while I went to speak at a conference last fall, and it turns out they accomplish more when I am NOT there, than when I am. HA! Before I left, we as a group laid out a plan for what I expected them to accomplish, and they came up with tasks that would get them to their goals. Really, they created the entire plan on their own and I merely advised here and there. It’s remarkable what your students can accomplish when they take responsibility for their rehearsals. (Leadership! Which leads me to…)
Present:
This type of leadership (DA:Pr6.1a and b) brings so much joy to my heart. As educators, it’s really our job to put ourselves out of a job, right? Most of our performances and rehearsals are run by student leaders. They initiate leading the warm-ups before dance concerts, and they manage the backstage area, their costumes, and the maintenance of the dance floor when it’s laid out onstage. They also do well to bring new dancers into the fold and show them the ropes. Most of my dance leadership comes from the extra-curricular performance group. They only meet twice per week, but they are focused and committed (see Embody). Sometimes they get so excited about prepping for dance concerts that they’ll create a headshot board or a lobby display for the shows.
They also document their work with videos and journals. We video every draft of their dances so they can review and refine their work, and every week I try to ask them reflection questions about their work that they can write about in their journals. We also have the privilege of performing in places on and off campus that are not in our theater, which provides new challenges and interesting ideas. Many dancers perform solos or choreograph for small groups, which means they are responsible for deciding what their lighting looks like, what costumes they’ll wear, and what music to use. These students coordinate with a student lighting designer to reach a final product that they will perform for the community.
As I’m writing this, I’m realizing that I am really really lucky to be teaching where I teach, and to have the flexibility to foster these skills in my students. But this kind of leadership has taken years and years to develop. I’ve had to create a culture where this is a priority for students, and that can be tricky in the dance world where students typically have less of a voice.
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