BC Education - Dance 11 and 12

Organizing for Instruction

There are several educational, social, and technical issues to consider before starting a dance program. The following is a general guide to issues common to all areas of dance.

Considerations for Planning

The view of dance education embodied in the Dance 11 and 12 curriculum reflects the belief that instructional approaches should:

emerge from and reflect the diverse dance experiences of people throughout the world
allow all students to be actively involved in the arts through opportunities to create, respond to, and present dance throughout their school years
reflect the variety of media and contexts through which people experience dance

A balanced program in dance performance should include a range of experiences. In particular, teachers should ensure that they include artistic styles representative of the cultural make-up of the community. These experiences can serve as the basis for exploring concepts as articulated by the dance curriculum. As students refine their use of the skills and structures of the art form—their creativity and production skills, their perceptions and responses, and their knowledge of the role of the arts in society—they are afforded greater possibilities for a wider variety of experiences.

Three broad, interrelated approaches relevant to dance classes are creating (students create their own dances), performing (students prepare and present a dance), and responding (to live, recorded, or print presentations). These three approaches should be addressed in any dance program, whether the emphasis is performance or choreography.

The following information on creating, performing, and responding to dance is adapted from Dance 10, 20, 30: Curriculum Requirements (Saskatchewan Education, June 1997).

Creating Dance

The creative process of exploration, selection, combination, refinement, and reflection in dance allows students to be active learners. As they create, students are experiencing, gaining knowledge, experimenting, and facilitating at the same time. Often there is a social dimension involving students working with partners or in groups. Both process and product should be valued: students need opportunities to practise their abilities to take creative risks, alone and in groups, without always aiming for a predetermined quality standard. The creative process in choreography includes the following components:

consideration of choreographic intent
selection and sequence of elements of movement
application of the principles of design to develop a choreographic form
consideration of roles—such as gender, culture, and status
selection or design of music and stagecraft

Teachers play an interactive role when facilitating students' creative development—coaching, guiding, and discussing with students as they engage in creative exploration. Depending on the particular requirements and students' prior experiences, initial activities in creation may need to be more highly structured in order to allow students to gain confidence with the skills and processes of dance.

The considerations listed in the Creating Dance chart are common to creating in any dance class.

**Creating Dance**
Discuss objectives and establish criteria. Establish a warm, accepting, and non-judgmental atmosphere in which students can feel safe and free to take creative risks. Begin with an appropriate warmup and conclude with a cooldown . Provide opportunities for individual and group activities. Use a variety of stimuli to inspire students' imaginations and assist in the development of their creations (e.g., picture banks, scent, music, poetry; current focus or issue; a given historical or cultural context ). Use a variety of images of issues and topics of interest to students to encourage them to explore several possibilities. Note that imagery can also limit students if used incorrectly—it is not always appropriate to ask students to "be" something, as this often results in superficial or stereotypical mimicry rather than creative exploration. Use a range of professional and student-created accompaniment, such as recorded or live music, percussion instruments, found instruments, body percussion, and soundscapes. Encourage students to understand that stillness can be a valid element of choreography. Provide opportunities for students to reflect on and assess their work. Arrange time for students to respond to their peers' work. Help students extend and redirect their experiences. Encourage them to talk about their projects to their mentors, to view dances that illustrate the same principles they have used, to attend live performances, to adapt or expand their original ideas to create new compositions, to polish their compositions for performance, or to apply their creations to other fine arts disciplines (e.g., use a dance choreography as a stimulus for music composition).

Performing Dance

One of the most effective ways to learn about dance is to experience it through personal performance. Whether formal or informal, performing allows students to develop their abilities in all areas of the curriculum: skills and techniques, expression and creation, and context . Opportunities to perform their own and others' work enable students to shape and refine their ideas toward a more polished production and to integrate their knowledge and attitudes with their technical skills.

Performance is an integral part of learning in any fine arts subject. Students gain personal satisfaction and accomplishment when they are given opportunities to prepare, polish, and present their own work. Presentation for peers, parents, or the public provides a focus and an end point to the creative problem-solving process. Whenever their work is to be presented, it is important for students to be involved in the selection and decision-making process. All students, not just the most able ones, must be given opportunities to perform.

When designing activities related to performance, consider opportunities for students to develop and apply their knowledge and skills related to the following:

appropriate warmup and preparation activities
technique appropriate to the genre
ability to follow the choreographer, and to direct the ensemble themselves as appropriate
ability to maintain an individual role within the ensemble while respecting others' contributions
interpretation and effect
performance skills and etiquette (as appropriate to the given situation)
commitment to the rehearsal process (including individual and ensemble, and out-of-class practice as appropriate)
organization and implementation of the performance format
application and, where appropriate, design of elements of stagecraft (e.g., sound, video, lighting, sets, costumes, staging)

Responding to Dance Presentations

Opportunities for viewing live and recorded dance performances are integral to dance education. These opportunities enable students to become totally involved in the artwork—engaged visually, aurally, emotionally, intellectually, and physically.

Responding to dance is an interactive process. Students will bring their own varied perspectives and associations, including their unique cultural and personal backgrounds, to the presentation. Because these perspectives are personal and will vary from student to student, an atmosphere of trust and respect must be established. A safe and nurturing environment will help students feel comfortable about expressing their personal opinions. Students need to know that each of their unique perspectives will be represented and will enhance other students' response experiences.

In providing opportunities for students to respond to dance presentations, teachers should consider and encourage a variety of aesthetic responses, including:

emotions—feelings evoked by the presentation
associations—with previous personal, social, and cultural experiences
intellect—analysis and interpretation

The steps suggested in the Responding to Dance chart may help teachers structure formal response activities. When considering the information on the chart, note also that it is entirely appropriate for students to have an intuitive response to the work without always having to attribute an analytical qualification.

**Responding to Dance**
These steps may be combined or rearranged to suit the situation. 1. Preparation—establish the focus for viewing the work. 2. First impression—encourage students to respond spontaneously (no wrong answers). 3. Description—ask students to describe what they saw and heard. 4. Analysis of content and effect—encourage students to: examine how the components (e.g., movements, performers, music, stagecraft) worked together to achieve certain effects identify evidence of particular cultures, styles, or time periods represented in the work use appropriate vocabulary to describe elements and techniques, form, and design consider the expectations for the given context (e.g., Is this a final production or a work-in-progress? Student or professional? Live or video? What level of performance should be expected for the particular situation?) 5. Interpretation—encourage students to: reflect on and discuss what the work means to each of them analyse how their responses are influenced by their own experiences and perceptions of the world 6. Background information—ask students to research (or provide) information about the contributors to the dance (e.g., performers, choreographer, producer) and the historical and cultural context within which the work was created and presented. This might include: the origin of the dance the purpose of the work (e.g., social, ritual, ceremonial, celebratory, occupational) the geography and climate of the creator's country of origin the beliefs and customs of the culture or society any historical events that might have influenced the dance any symbolism used in the dance 7. Informed judgment—ask students to consider their first impressions, and whether or not their initial opinions have changed as a result of discussions, research, and reflection.

Working with the Arts Community

All aspects of learning in dance may be greatly enriched when arts practitioners—such as performers, choreographers, musicians, stagecraft technicians, producers, administrators—from the community are involved. Teachers are encouraged to provide these experiences for their students whenever possible.

The broad nature of dance as envisioned by this curriculum requires students to be exposed to a variety of dance forms. To broaden the range of opportunities for students, teachers may wish to enlist the help of the community. It is particularly useful to use experts when presenting culture-specific material to avoid misrepresentation, offence, and misappropriation of culture.

When working with guest artists, teachers should:

familiarize themselves with school and district policies and procedures for involving guest instructors in the classroom (e.g., reference checks)
arrange for a meeting to discuss appropriate learning outcomes and expectations, and to decide which areas of the curriculum are to be addressed
ensure that age-appropriate material is used
prepare students for the experience (e.g., discuss etiquette and the expectations for process, provide relevant background information)
determine the needs of the presenter (e.g., music, space, lighting)
debrief with students and guests

In Dance 11 and 12, students should also have opportunities to work as arts practitioners themselves, creating dances with or for use by peers, younger students, and the community at large. When students are working as choreographers or dance teachers, encourage them to consider the following:

What classroom management problems might arise and how should they be handled?
What are students at that grade level able to reasonably accomplish?
What safety factors must be kept in mind?
Which warmup and cooldown activities need to be incorporated?
Is the work appropriate for a school setting?
Do you have a choreographic plan for working through and sequencing the work?
Who will be responsible for designing and incorporating stagecraft elements?
What are your criteria for success?

Teachers and students should consider the following community resources for broadening the range of learning opportunities in dance:

professional studios, performance companies, and associations
college and university fine arts departments
school and public libraries
dance teachers' associations
community, provincial, and national arts councils
arts regulating and policy-making authorities
cultural associations
Aboriginal organizations and performance groups
continuing education programs
community and recreation centres
arts periodicals and publications
local radio and television stations (for access to audio-visual equipment)
arts broadcasting (television, radio, film boards)
arts and cultural festivals
Internet web sites for the fine arts

Dance Education and Students with Special Needs

Dance—as are all fine arts—is a rich experience and a form of communication that provides opportunities for self-expression appropriate for all students. Although sensory impairments, physical or intellectual disabilities, and other special needs may limit the extent to which some students can participate, teachers can develop creative ways to include all students in the study of dance. Sample strategies include:

non-locomotor movement activities for students with physical disabilities
opportunities for students with hearing impairments to experience music and sound through vibration and vision
opportunities for students with visual impairments to experience art through touch

Most of the instructional and assessment strategies in this IRP can be used with all students, including those with special needs. Some strategies may require adaptations to ensure that students with special needs can successfully achieve the prescribed learning outcomes. Modifications can be made to the prescribed learning outcomes for students with Individual Education Plans. See Appendix C for further details.

Gender Equitable Instruction

Creative expression through dance is appropriate for both young women and young men. To assist in creating a positive learning environment for all students, consider the following:

Recognize that a diversity of learning styles requires a diversity of teaching strategies.
Include strategies and resources relevant to both male and female students.
Assume that both females and males can be committed to personal expression in dance.
Encourage both young women and young men to participate in all dance activities.
Ensure that young women and young men are not stereotyped as to choice of form of artistic expression.
Include emphases on the contributions of both male and female artists and their works.
Critically examine the images and roles of men and women portrayed in various art forms for sex-role and sexuality stereotyping.
Demonstrate the relevance of the fine arts to careers and everyday life in ways that appeal to all students in the school or class.

Sensitive Content

As in other subject areas, the study of dance can involve dealing with issues and topics that may be a source of sensitivity or special concern for some students or their parents (e.g., the arts in religious contexts, social pressure on adolescents, human sexuality, standards of personal behaviour, assertive communication). The following are some suggested guidelines for dealing with sensitive issues:

Inform parents of the objectives of the curriculum before addressing any sensitive issues in the classroom and provide opportunities for them to be involved in their children's learning.
Be aware of district policy and procedures regarding instruction involving sensitive issues (e.g., policy for exempting students from participation in classroom activities).
Use the services of support systems and professional networks for teachers.
Be aware of district policy and procedures regarding photographing or videotaping students for purposes of assessment or presentation.
Be aware of federal copyright law and district licensing agreements for the reproduction of printed materials and the use of recorded music and videos.
Avoid dealing with controversial issues until class members have had enough time together to become comfortable with each other and to have learned an appropriate process for addressing those issues.
Obtain the support of the school administration before engaging in any potentially sensitive instruction.
Inform an administrator or counsellor when a concern arises.
Be aware of provincial policy and legislation related to matters such as disclosure in cases of suspected child abuse.
Be aware of warning signals for eating disorders, suicide, and child abuse (e.g., excessive perfectionism, compulsive exercising, depression, very low or high body weight, wearing loose clothing, irregular attendance, vague medical excuses).
Obtain appropriate in-service training, or consult with those in the school who have relevant expertise (e.g., the teacher counsellor) before beginning instruction in a new, unfamiliar, or potentially sensitive area of study.
Establish a classroom environment that is open to free inquiry and to various points of view. Promote critical thinking and open-mindedness and refrain from taking sides, denigrating, or propagandizing one point of view. Assure students of their rights to emotional and physical safety (e.g., allow them to opt out of activities or discussions that cause personal discomfort).

Teachers are especially encouraged to consult with administrators and district personnel on the topic of instructional touching. In dance classes, teachers use touch frequently as a means of instruction, to identify, encourage, aid in visualization, correct, and facilitate muscle memory. However, physical touch can be problematic in the public school system, where teachers feel especially vulnerable to misunder- standing and public censure. In addition, students who have experienced physical or sexual abuse, or whose cultural practices do not include touching by non-relatives, may respond negatively to touching in this context . When establishing guidelines for instructional touching, teachers and administrators may wish to consider the following points:

Talk to students about the value of touching and how it can help them in their learning.
Demonstrate on your own body frequently so students will be aware that touching is one of your teaching tools.
Ask students for their permission before touching them.
Touch briefly, using the back of the hand, the flattened palm, or the fingertips.
Never touch a student correctively unless others are present and watching.
Where possible, stop short of touching, and mime the action parallel to the student's body.
Learn to read students' non-verbal cues. Let students know that they can talk to you privately if touching makes them uncomfortable.

Another concern is the appropriateness of musical and visual repertoire, whether as focus for response or as a stimulus for creation. While the fine arts curricula advocate opportunities for students to present, respond to, and discuss their own preferences, teachers should ensure unsuitable material is not presented if an appropriate context has not been established (e.g., obscenities, images of violence, gender roles, cultural stereotypes). It is recommended that teachers review students' selections before allowing them to be presented, and prepare to focus discussion on any sensitive issues that may arise. In addition, materials for particular occasions or contexts (e.g., Christmas songs, Halloween masks, ritual dances, national anthems, political protest songs) may be religiously or culturally objectionable for some students. Teachers should ensure that a range of contexts in repertoire are represented, and should be prepared to offer alternative strategies as required.

Safety Considerations for Dance Instruction

To ensure a safe learning environment, teachers should address the following questions prior to, during, and after an activity has taken place:

Are students aware of established rules and procedures for safety (e.g., moving in the designed space with control and respect for others, hearing conservation, proper warmup routines)?
Is the activity suitable to the student's interest, confidence, ability, and physical condition?
Has the instruction been sequenced progressively to ensure safety?
Are students being properly supervised?
Are the facilities conducive to the safety of students?
Have students been given specific instruction about how to use the facilities and their bodies appropriately (e.g., safe use of apparatus, proper warmup and cooldown )? Do they fully understand the instructions?
Are students aware of the location and safe use of power switches and fuse boxes?
Are students wearing clothing and footwear appropriate for the activity?
Is the equipment suitable and in good repair?

In addition to physical safety, teachers should consider the emotional safety of students when planning a dance program. Be sensitive to individual students, be prepared to respond to unique situations, and develop creative strategies to deal with rivalry, stress, harassment, fear of failure, stage fright, and so on. Teachers should also be aware of activities that may cause emotional or psychological stress for individual students (e.g., blindfolding, working in closed environments), and be prepared to offer alternative strategies as necessary.

Revised: January 25, 1999

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