Appendix G: Planning Your Program

• Dance 8
• Dance 9
• Dance 10

• How the Arts Mirror and Influence Society
• The Arts Within Cultures and Across Time
• Musical Theatre
• Design
• Filmmaking
• Arts in the Media

ORGANIZING FOR INSTRUCTION

Teachers may wish to deliver the prescribed learning outcomes using a unit plan approach. Units in dance may be based on:

• genre (e.g., jazz, modern, folk)
• theme (e.g., purposes of dance, roles of women and men, role of dance in contemporary culture)
• methodology (e.g., musical theatre, multimedia, choreography)

When planning a dance program and sequencing lessons, teachers may want to consider whether they have:

• addressed the learning outcomes
• set appropriate goals
• included opportunities for the students to explore and express themselves through dance
• included opportunities for students to research ideas and topics
• included opportunities for both individual and group work
• included opportunities for students to reflect on their own work
• included opportunities for looking at and responding to dances of others
• included a range of cultural content
• addressed a range of learning styles
• addressed students´ needs and abilities
• included activities and strategies relevant for both male and female students
• connected the lesson to things relevant to students and their communities
• made plans for assessing the extent to which students are achieving the learning outcomes

DANCE
Presentation and Performance	Creation and Composition	Dance and Society	Elements of Movement

MUSIC
Thoughts, Images, and Feelings	Context Historical and Cultural	Structure Elements of Expression Elements of Melody Elements of Rhythm Form and the Principles of Design

DRAMA
Exploration and Imagination Critical Analysis Expression and Trust	Context Social and Cultural Making Connections	Drama Skills Body and Voice Drama as Metaphor Elements and Structures Role Technique Making Connections Context Expression and Trust

VISUAL ARTS
Image-Development and Design Strategies Creating/Communication Perceiving/Responding	Context Creating/Communication Perceiving/Responding	Visual Elements and Principles of Art and Design Creating/Communication Perceiving/Responding	Materials, Techniques, and Processes Creating/Communication Perceiving/Responding

The following table outlines dance types within each of the five categories of Ethno-Cultural, Social, Historical, Modern, and Theatrical. These are examples only; the actual possibilities are limitless. This is only one method of categorizing dances, individual dances may be related to more than one category, and other categories would be equally relevant.

TABLE OF DANCE TYPES

Type	Examples
Ethno-cultural	singing games (e.g., hokey-pokey, ring-around-the-rosie) religious or ceremonial (e.g., Aboriginal spirit dance, liturgical dance) folk (e.g., French-Canadian, Newfoundland step-dance, square dance, Scottish country dance, trepak, Congolese) classical (e.g., Chinese ribbon dance, kathakali)
Social	trend (e.g., funk, hip-hop, Texas line dancing, nightclub dancing) ballroom (e.g., waltz, foxtrot, tango, rumba, cabaret, jive, swing)
Historical	baroque renaissance minuet Charleston twist disco lambada hip-hop
Modern	creative classical (e.g., Graham, Bausch) post-modern
Theatrical	tap muscial theatre dance drama ice dance ethno-cultural (e.g., kabuki, bharata natyam, Scottish highland)

In planning dance experiences, teachers should ensure that they include dance styles representative of the cultural makeup of the community. Teachers may also wish to create links with other subject areas and the cultures being studied (e.g., social studies, other fine arts). The following suggests additional connections to other subject areas using the four curriculum organizers for dance:

Elements of Movement

• music: elements of metre, rhythm, tempo
• visual arts: use of line, patterns, and so on
• physical education, science, career and personal planning: anatomy, health, fitness, safety

• drama, music, visual arts: creative structures and processes in other arts compared to dance; fine arts as a means of expression and communication
• music: relationship of dance to the expressive elements of music
• music: relationship between dance form and music form (e.g., AB, ABA, call and response)
• drama, English language arts: use of stagecraft and media

• drama, music, visual arts: structures in other fine arts
• music: relationship between music form and dance form (e.g., AB, ABA, rondo)
• drama, music: rehearsal and performance process and etiquette
• drama: elements of stagecraft
• social studies: contexts
• languages: value of an additional language for learning dances from other cultures
• English language arts: revision and editing process in writing

• music, drama, visual arts: compare within the same historical or cultural context
• social studies, home economics: historical and cultural contexts, costumes
• career and personal planning: careers and lifelong opportunities in dance
• physical education: "artistic sports" (e.g., figure skating, synchronized swimming, aerobics, gymnastics)

In order to meet the needs of the widest possible range of learners, teachers are strongly encouraged to use a variety of instructional strategies when planning and implementing a dance program.

Types of instructional strategies and learning styles include:

• direct instruction (e.g., structured overview, lecture, demonstration, didactic questions)
• indirect instruction (e.g., problem solving, case studies, inquiry, concept mapping)
• independent learning (e.g., research, computer-aided instruction, home work, learning centres)
• experiential learning (e.g., field studies, experiments and exploring, games)
• interactive instruction. (e.g., co-operative learning groups, debates, problem solving, interviewing, role play, improvisation)

Three broad strategies relevant to dance classes are dancemaking (students create their own sequences or dances), set dance (students learn an established dance such as a folk dance, ballroom dance, or a choreographed piece), and responding to dance (live or video presentations).

TIPS FOR DANCEMAKING

Dancemaking requires students to be active learners. As they create dances, students are experiencing, gaining knowledge, experimenting, and facilitating at the same time. Often there is a social dimension where students are working with partners or in groups. To facilitate students´ learning in the creation of dance, teachers need to be interactive­coaching, guiding, and discussing with the students. The following tips may help the teacher:

• Establish a warm and accepting atmosphere where students feel safe and free to take risks. Show enthusiasm. Join the students in the activities whenever appropriate to help establish trust.
• Set ground rules to keep the lesson running smoothly. For example, students should know if they are to start and stop on a signal from the teacher, where the boundaries of the dance space are, and so on.
• Begin with an appropriate warm-up and conclude with a cool-down.
• Use themes and topics of interest to the students.
• Coach the students while they move, speaking in a clear and loud voice so that they can hear. Say words in a manner that conveys their meaning, encouraging students to respond in a particular way (e.g., "s-t-r-e-e-e-e-e-e-t-c-h").
• Use images to stimulate the students´ imaginations and assist in the development of their elements of movement. Use a range of adjectives and adverbs. Use a variety of images to encourage students to explore several possibilities. Remember that imagery can also limit students if used incorrectly (e.g., avoid asking students to "be" something as this often results in mimicry rather than movement exploration).
• Use visual aids and other representations to convey ideas whenever appropriate.
• Use a range of accompaniment, such as recorded or live music, percussion instruments, student-created accompaniment, body percussion, and soundscapes.
• Encourage the value of stillness where appropriate. Stillness is not a state of "not doing," but can have equal validity in the choreography.
• Use repetition. Students gain satisfaction from learning a phrase of movement and repeating it. Allow opportunities for refinement.
• Be generous with praise for students´ efforts.

TEACHING A SET DANCE

The following tips may help in teaching a set dance:

• Begin with a warm-up and end with a cool-down. Both may incorporate steps to be used in the dance.
• Separate the dance into the steps and the pathway. Begin by teaching the steps, describing and demonstrating each separately. Steps are done slowly at first, using counts, then at the proper tempo.
• Teach one part of the basic step pattern at a time. When two parts have been learned, combine them to establish continuity of the dance.
• Explain the floor pattern. Have the dancers walk through the floor pattern. Then combine the steps with the floor pattern, first without music, then with music. (Remember that not all dances have a set floor pattern.)
• Use key words and counts to cue the steps and directional changes, and to alert students (e.g., "ready"). This helps students keep the main rhythmic pattern and encourages them to gain a sense of the whole.
• Overlook small errors in favour of establishing a movement sense for the dance itself­its transitions, its vigour, and uniqueness.
• Encourage students to identify the music phrases in the dance. Most traditional folk dances, for instance, are phrased similarly to the music. Being familiar with the accents and general qualities of the music will help students´ movement memory.
• Encourage vigorous activity so that students become involved in the experience and have little time to worry about things such as who their partner is.
• Encourage opportunities for solo, line, circle, scatter, or group formations of three and four. This dispels the idea that one must have a partner to dance. Restrict choice when partners are needed (e.g., ask students to dance with the person standing opposite, the person closest). Encourage frequent and rapid change of partner.
• Once the whole dance has been learned, repeat several times to increase fluency and enjoyment.
• If the dance is to be performed in a formal or public setting, allow opportunities for all students to perform, and not just the most able dancers.

RESPONDING TO DANCE PRESENTATIONS

Viewing live or recorded dance presentations should be an active experience for audience members. Teachers should encourage students to become totally involved in the dance­engaged visually, aurally, emotionally, and physically.

Students will bring their own varied perspectives and associations, including their unique cultural and personal backgrounds, to the dance presentation. Because these perspectives are personal and will vary from student to student, an atmosphere of trust and respect must be established. Students should be encouraged to express their personal opinions, knowing that their unique perspective will enhance other students´ viewing experiences.

Different people respond in different ways to the same dance presentation. In addition, one person can, and in most cases should, respond in more than one way. The following are three levels of response:

• emotional­this refers to feelings evoked by a dance presentation
• associative­this refers to associations one makes with the dance or with images in the dance, and may have a personal or cultural basis
• formal intellectual level­this refers to responses one has after a formal analysis and interpretation of the dance presentation

When structuring a formal response activity, teachers may wish to include the following steps:

• preparation­teacher establishes the focus for viewing the dance
• first impression­students respond spontaneously, and there are no wrong answers
• description­students take inventory of what they saw and heard
• analysis
  • examine how the movements, costume, dancers, stagecraft were combined and arranged to achieve certain effects
  • analyse by looking at the connections among the elements of movement and principles of composition, and the form of the dance, using appropriate terminology
  • identify cultural elements represented in the dance
• interpretation
  • students reflect on and discuss what the dance means to each of them
  • students analyse how their responses are influenced by their own experiences and perceptions of the world
• background information­students learn about the choreographer, the dance, and the dancers
• informed judgment­students refer back to their first impressions and support their initial opinions of the work, or develop and support a new opinion of the dance (based on their discussions, research, and reflection)

When analysing, interpreting, and researching the background of dances of various cultures and societies, students could consider the following topics:

• the origin of the dance
• the purpose of the dance (e.g., social, ritual, ceremonial, celebratory, occupational)
• the geography and climate of the dance´s country of origin
• the beliefs and customs of the culture or society
• any historical factors that might have influenced the dance
• the symbolism, if any, used in the dance

Whether dancemaking, learning set dances, or responding to dance, students´ opportunities for learning may be greatly enriched when guest choreographers or dancers 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 enables teachers and students to begin where they are most comfortable. It is important to note that teachers are not expected to teach dances with which they are unfamiliar. 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 dances in order to avoid misrepresentation, offence, and misappropriation of culture.

When working with guest choreographers and dancers, teachers should:

• arrange for a meeting to discuss appropriate learning outcomes and expectations, and to decide which areas of the curriculum are to be addressed (e.g., include focusses on the elements of movement, and the historical, cultural, and societal contexts)
• prepare students for the experience (e.g., discuss the expectations for process and etiquette, and provide useful background information)
• determine the needs of the choreographer (e.g., music, space, temperature)
• debrief with students and guests

• What are the dancers able to reasonably accomplish at that grade level?
• What safety factors must be kept in mind?
• Which warm-up and cool-down activities need to be incorporated?
• Is the music appropriate for a school setting and will it motivate dancers to move?
• What is your plan for working through and sequencing parts of the dance?
• What are your criteria for success?

• professional dance studios, companies, and associations
• community, provincial, and national arts councils
• college and university fine arts departments
• school and public libraries
• dance teacher associations
• cultural associations
• community and recreation centres
• arts periodicals and publications
• arts broadcasting (radio, television)
• continuing education programs
• cultural festivals
• Internet web sites for dance

When planning a dance program, consideration must be given to health and safety issues, sensitive content, and facilities and materials.

Creating 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., move in the designed space with control and respect for others, recognize hazards in the dance area)?
• Is the activity suitable to the student´s gender, interest, confidence, ability, and physical condition?
• Has the instruction been sequenced progressively to ensure safety?
• Are students being properly supervised?
• Have students been given specific instruction about how to use the facilities and their bodies appropriately?
• Are the facilities and equipment suitable and in good repair?
• Are students wearing clothing and footwear appropriate for the activity?

Sensitive Content

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., dance in religious or cultural 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).
• Be aware of provincial policy and legislation related to matters such as disclosure in cases of suspected child abuse.
• 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 warning signals for eating disorders, suicide, and child abuse (e.g., excessive perfectionism, compulsive exercising, depression, very low or high body weight, or avoidance of wearing standard dance attire).
• 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.
• 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.
• Promote critical thinking and open-mindedness and refrain from taking sides, denigrating, or propagandizing one point of view.

• Talk to the students about the value of touching and how it can help them in their dance learning.
• Demonstrate on your own body frequently so students will be aware that this 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.

Although several components of the curriculum can take place in regular classrooms with desks (e.g., learning about the historical and cultural contexts of the dance), the movement components of the curriculum require a special environment. When choosing or designing a facility for the physical components of the curriculum, consider the following:

• Does the facility have a resilient floor with protection from dirt and foreign objects?
• Is the space open and unobstructed (including a high enough ceiling)?
• Is there adequate lighting, heating, and ventilation?
• Are there mirrors (with curtains) and barres?
• Do you have access to video equipment and an adequate sound system?
• Do you have access to storage (for equipment, costumes)?
• Do you have access to props (e.g., ribbons, hoops, umbrellas, stretchy bags, masks, balloons, ropes)?

The following list of dance-related career areas suggests some of the options that teachers and students might want to investigate.

Performance

Concert

• ballet companies
• contemporary dance company
• independent, freelance
• culture-specific company
• historical form

• freelance
• film, video, television
• musical theatre
• advertising
• industrials
• night clubs
• amusement parks, cruise ships, and tourist attractions

• own dance company
• freelance, independent
• artistic director or assistant
• choreologist, répétiteur
• industrials
• videos, film and television
• musical theatre
• festivals, spectacles (e.g., Olympics, Canada Day)

• private studio
• public or private school system
• college and university
• conservatory
• community centre
• dance company
• rehearsal director

• company management
• tour management
• facility management (e.g., theatre, community centre, parks and recreation program)
• front-of-house management
• marketing, publicity
• fundraising, development
• educational programming
• financial administration
• community arts council
• festival organizer
• artist´s representative or agent
• producing
• concession, usher
• archivist
• retail
• security
• notater

• lighting design
• sound design
• set design
• costume design
• stage management
• technical direction
• lighting and sound operator
• carpentry
• electrician
• painter
• wardrobe management
• cutter, sewer
• millinery
• wigmakers
• shoemaker
• film and video production, post production
• film and video operator

• kinesiologist
• dance therapist
• sports medicine practitioner
• Pilate
• Alexander technique practitioner
• Feldenkrais practitioner
• yoga

• journal
• newspaper
• magazine
• biography
• historical
• academic
• broadcast journalism
• industrial
• publicity and promotion
• development
• communications specialist

Table of Contents

Province of British Columbia
Ministry of Education
Curriculum Branch © 1995 Copyright

Maintained by: Fine Arts Coordinator - Dance

Revised: January 25, 1999

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