danceworkshop spring 2007 -...

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Dance Workshop – Spring 2007

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Dance Workshop

Spring 2007

Age: 9-11 These programmes are available to order (for UK schools only) on pre-recorded CDs from: BBC Schools’ Broadcast Recordings Tel: 08701 272 272 Monday to Friday 0800 to 1800 Or visit www.bbc.co.uk/schoolradio/howtoorder.shtml for more information Audio on demand. These programmes are also available as audio on demand from the School Radio website for 7 days following the original date of transmission. Refer to programme titles below to find out when programmes are available as audio on demand.

www.bbc.co.uk/schoolradio

© This publication contains only BBC copyright material: its contents may be copied or reproduced for use in schools and colleges without further

permission.

http://www.bbc.co.uk/schoolradio/howtoorder.shtml

http://www.bbc.co.uk/schoolradio

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Dance Workshop

Spring 2007 These programmes are available as audio on demand from the School Radio website. Refer to dates below to find out when each one is available. Unit 1: Timeshift to the 1940s 5 Exploring aspects of World War 2

1. Life on the home front 7

AOD 12/01/2007

2. Flashback 10

AOD 19/01/2007

Unit 2: An end to slavery? 13 Marking the 200th anniversary of the abolition of the slave trade

3. Out of Africa 14

AOD 26/01/2007

4. The long journey 17

AOD 02/02/2007

5. Relationships 20

AOD 09/02/2007

Unit 3: Japan - ancient and modern 23 Exploring the culture of a fascinating country

6. Traditional Japan 24

23/02/2007

7. Modern Japan 26

02/03/2007

8. Japan - old and new 28

09/03/2007

Unit 4: Timeshift to the 1950s 31 Linking to unit 1 but moving forward to an era of optimism...

and rock 'n' roll!

9. Blue suede shoes 32

AOD 16/03/2007

10. Samba and sizzle 35

AOD 23/03/2007

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Introduction

Aims of the series:

• To support non-specialist teachers who have no previous experience of teaching dance or movement

• In addition, to support specialist teachers by providing a rich supply of carefully structured movement ideas

• To give your group a wide and varied exploration of different types of movement

• To foster creativity so that children can respond through movement to music, poetry, story or their own emotions, using their own ideas

• To introduce children to a wide diversity of music • To encourage co-operation and group work within the class • To develop an aesthetic appreciation of dance as an art form. • To encourage better co-ordination, control and balance and other

movement skills • To practise listening, sequencing and movement memory.

Dance and the National Curriculum: Dance Workshop targets the dance objectives of the Physical Education curriculum at Key Stage 2. The National Curriculum outlines: Knowledge, skills and understanding: 1 b) perform actions and skills with more consistent control and quality 2 a) plan, use and adapt strategies, tactics and compositional ideas for individual, pair, small group and small team activities 3 a) identify what makes a performance effective Breadth of study: 6 a) create and perform dances using a range of movement patterns, including those from different times, places, and cultures Dance Workshop is an ideal means to provide these opportunities. Also links to Scotland 5 – 14, Expressive Arts: Physical Education, Levels C/D. Using the programmes: Programmes are available to order (for UK schools and other academic institutions only) on pre-recorded cassettes and CDs. Further information is available at this page of the School Radio website: www.bbc.co.uk/schoolradio/howtoorder.shtml Programmes are also available as audio on demand from the School Radio website for 7 days following transmission (check the contents table above for dates). The audio on demand is a reliable service that allows you to listen to the programme ‘streamed’ over the internet. This means that you can play the programme to your class direct from a computer, or from a hifi by connecting the output of the computer into a suitable input on the amplifier (which offers enhanced sound quality) or by connecting the computer to an interactive white-board.

http://www.bbc.co.uk/schoolradio/howtoorder.shtml

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To listen to the audio files you will need to have installed ‘Realplayer’ on your computer. This commonly-used software is easy to download from the internet if you do not already have it. There are instructions on how to do so at the BBC School Radio website: www.bbc.co.uk/schoolradio/help.shtml Using the audio on demand service is just as flexible as using a pre-recorded cassette or CD of the programmes. You are able to pause the programme whenever you wish and also scroll forwards and backwards through a programme to locate other sections or to listen to sections again. Some tips for teachers:

• Get involved! Your enthusiasm and / or participation will make a huge difference to the children’s overall effort and response.

• Be familiar with the structure of the programmes. Read through these Teacher’s Notes before using a programme and, if possible, listen to the programme or sections of it before using it with the class.

• Listen carefully for instructions. The programmes include a number of pause points where you are encouraged to switch off the programme to either discuss or practise with your group. These pause points are clearly marked in the content grids for each programme (beginning with the words ‘Pause programme’ in bold lettering).

• Take control. Feel free to stop the programme as frequently as you’d like to repeat sections, extend ideas or focus on a particular sequence.

• Keep control. Discipline your class as you normally would a PE lesson or hall activity. Encourage real commitment to producing stylish and creative movement by the end of each session.

• Show off! The finished dances as assembly presentations or end of term performances.

Using these Teacher’s Notes: These Teacher’s Notes include a detailed content grid for each programme. The information includes: Lesson content – detailed information on the actual movements included in each sequence. Teacher guidance – offers practical advice on how to get the best out of the programmes with suggestions for assessment. Hall time: You will need considerably more hall time than the actual length of the programmes. About 40 minutes should be ideal. What to wear: Dress as if for PE: bare feet and shorts and T-shirt, or loose layers that can easily be peeled off.

http://www.bbc.co.uk/schoolradio/help.shtml

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Unit 1: Timeshift to the 1940s

Teacher’s Notes by Barry Gibson. Two programmes exploring movement and dance in the 1940s in Britain, during the Second World War. Introduction: The unit aims to give children an active sense of “being there” sixty-odd years ago, at the time of their grandparents, and a taste and flavour of how movement styles of the 1940s era have changed between then and now. It connects to experiences some children may have encountered or heard about in their own families and communities (e.g. old photo albums, attic exploration, older people’s stories and memories). There is a focus on stimulus from 1940s photographic snaps, gramophone records, radio, big bands and a taste of light-hearted swing and dance-styles such as jive and jitterbug. Working in groups, the children are also encouraged to gain a physical awareness of some more harsh, threatening and dangerous real-life situations “on the home front”, such as a Second World War air-raid as experienced on the ground. Movement vocabulary for 1940s work, like “Digging for victory” and factory work, is contrasted with more relaxed body-language, such as tea-drinking, newspaper-reading, card-playing movements and keeping a night-time lookout. Partner-work in pairs or threes explores static positions, travelling steps, working in unison and in canon (one after another) and the development of dance-motifs in a variety of wartime situations. There are opportunities for choreographing and performing small-group sequences in “Music while you work” and a travelling “Farewells and goodbyes” activity, which relates to evacuation and all the mixed emotions of the time. A large-group “Communications” section focuses on gestures and the body’s physical relationship to 1940s technology and equipment such as typewriters, morse-code and radios, requiring quick, inventive thinking and movement. The programmes’ pause-points and replay-points will encourage children to observe, articulate and evaluate each others’ work. There are numerous books, DVDs and online resources available for the period from which children can discover and gather relevant images to inform their dance. Local museums, libraries and newspapers may have photos about the period in your area, as well as actual artefacts, memorabilia and other evidence (e.g. air-warden helmets, gas-masks, gramophones, civil-defence items, vehicles, clothes, typewriters, posters and old documents of the time). BBC School Radio has provided an online collection of fascinating sound resources, many from the BBC Sound Archive, which includes speeches, eye-witness reports, music and many of the most evocative sounds of the War. It can be found at the following address: www.bbc.co.uk/schoolradio/history/worldwar2audioclipslibrary.shtml

http://www.bbc.co.uk/schoolradio/history/worldwar2audioclipslibrary.shtml

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Series for younger primary age-groups about the period include:

• Time and Tune’s “Evacuees”: www.bbc.co.uk/schoolradio/music/timeandtune_autumn06.shtml First Steps in Drama’s “Escape from the Blitz”: www.bbc.co.uk/schoolradio/drama/firststepsindrama_autumn05.shtml while the BBC TV series “Spywatch” continues to be popular in schools, available in a DVD Plus Pack (via www.bbcactive.com/schoolshop/search.asp ). The BBC’s People’s War website contains a wealth of fascinating and moving real-life stories from around the UK (www.bbc.co.uk/dna/ww2) including some highlighting the social importance of dance in people’s lives at the time. The Imperial War Museum website is an effective starting-point for discovering educational resources available to give a flavour of what everyday life was like at the time (www.iwm.org.uk/upload/package/20/lifeinww2/index.htm) and to support QCA History Unit 9 (World War Two). Music of the 1940s is now widely available at reasonable cost on many CD compilations. Above all, this is a project “across the generations”, so talking with older people in your area and sharing in their recollections can be invaluable. Your class may like to prepare a presentation-with-dance for a group of them and their families, to demonstrate what they have learnt and to recreate movement-styles and dance of the 1940s for real. Several of the step-patterns and dance-styles introduced (such as jive) are further developed in Unit 4 of this term’s Dance Workshop – “Timeshift to the 1950s”.

http://www.bbc.co.uk/schoolradio/music/timeandtune_autumn06.shtml

http://www.bbc.co.uk/schoolradio/drama/firststepsindrama_autumn05.shtml

http://www.bbcactive.com/schoolshop/search.asp

http://www.bbc.co.uk/dna/ww2

http://www.iwm.org.uk/upload/package/20/lifeinww2/index.htm

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Programme 1: Life on the Home Front Programme summary: Warm up: In the Mood In a dusty attic, we discover an old trunk. Inside are an old wind-up gramophone with some 78 rpm records, an old photo-album plus loose black-and-white photos, old clothes, a metal helmet marked “W” and an old radio. We put a record on the gramophone and timeshift to the 1940s for a warm-up with swing, “In the Mood”, and perform taps, clicks and “jitterbug” actions. Walkabout Influenced by 1940s clothes, uniforms and footwear, we walk around the room, as if in a busy street with the sound of distant bombers looming overhead. Photo-snaps 1 In pairs, we take a series of “snapshots” in different 1940s roles and body-shapes, passing an imaginary “camera” between partners. Music while you work Groups devise movements involved in wartime food work (“Digging for Victory”, shop and factory work), changing to relaxation (reading newspaper, listening to radio, drinking tea, playing card-games etc.) Air raid We explore the metal helmet marked “W” (warden), leading to collaboration in a group air-raid sequence. Cool down: Night-time look-out We put on the warden’s helmet for a night-time look-out, with gentle stepping and upper body relaxation.

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CD/Track Music Movement content

Teaching guidance

Evaluation

1/01 and 1/02

Glen Miller Band: In the Mood

Warm up: In the Mood - Foot-taps (left and right) - Finger-clicks, with syncopation - Reaching and bending - Tapping waist with elbow and swinging hips - Step-pattern (see right) - Free arm-movements - Jitterbug and jive actions with hops and kicks

Begin strict-time. Then encourage the children to move with swing-feel The step-pattern goes: “forward left, forward right, back left, back right”

Gradually build up energy Are their movements changing from tight to loose? Are they leaning into the beat?

1/03 Django Reinhardt, Stephane Grapelli and the Quintet of the Hot Club de France: The Lambeth Walk

Walkabout Influenced by stiff, awkward, utility clothes, forces uniforms, lace-up shoes, high-heels and hats, walk about, as if in a busy street.

Change direction often Contrast “polite” movement, with nervous, confused looking-up (towards the sound of bomber-planes.

Are they moving on the beat?

1/04 George Formby: Leaning on a Lampost

Photo-snaps In pairs, take a series of “snapshots” in different roles and body-shapes, passing an imaginary “camera” between partners

Vary serious, formal poses, with still laughing and joking Vary between sitting, standing, leaning etc

Are both partners participating well and swapping the “camera” quickly, on cue?

1/05 Eric Coates: Music While you Work (Calling all Workers)

Music while you Work In groups of 4, 5 or 6, devise movements involved in wartime food (see right). Halfway through change to relaxation and stretches (see right).

Work actions might include: - “Digging for Victory” - Shop/factory Relaxation might include: - Reading - Drinking tea - Playing board-games, cards etc

Are the actions repetitive but also dynamic and varied? Are gestures clear and exaggerated? But not just “miming”, focus on quality of interaction

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CD/Track

Music Movement

content Teaching guidance

Evaluation

1/06 Actuality and sound-effects montage including air-raid sirens and falling bombs

Air Raid - the reality of war. Sequence showing a how a group in an air-raid move from chaos and confusion to order - helping and supporting each other. In small groups (4-6), they develop a “structure” which collapses and is then rescued by the group members working together.

They start back-to-back (facing out), point to approaching bombers, and huddle in 2s and 3s inside a shelter which collapses to the floor (in slow motion). At the all-clear, they rescue each other and return to starting-positions.

Are the group responding well to the audio-stimuli? Do their interactions show emotional content: fear, determination etc? Are they aware of each other’s mutual support and safety needs?

1/07 Glen Miller Band: Moonlight Serenade

Cool down: Night-time look- out As if on fire-watch look-out at night (as an air-raid warden), gently stepping in time, with head-rolls, arm-stretches and upper body relaxation.

Stretches and relaxation with awareness of: - Left-right orientation - Higher/lower

Encourage children to look to the distance, think back, and reflect on the balance of light-hearted and serious issues and 1940s emotions.

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Programme 2: Flashbacks Programme summary: Warm up Performing taps, clicks and “jitterbug” actions to a different old 78 on the gramophone – “Jersey Bounce”. Wartime communications We listen to a sound-sequence as stimulus, then group circles pass “information” from person to person, changing the action, gesture or movement each time, influenced by different 1940s communication technologies Farewells and goodbyes Groups choose actions, gestures and dance-movements to express mixed emotions of people on the move on various forms of transport (e.g. steam-train, bus, tram, bicycle, truck, ship, plane etc) and develop a farewell sequence. Walkabout (Flashback) Influenced by 1940s clothes, walk about, as if in a busy street with threat of distant bombers above. Photo-snaps (Flashback) In pairs, take a series of “snapshots” in different roles and body-shapes, passing an imaginary “camera” between partners. Music while you Work (Flashback) “Digging for Victory”, shop work and factory work, changing to relaxation, reading newspaper, listening to radio, drinking tea, playing card-games etc Farewells and goodbyes (Flashback) Actions, farewell gestures and dance-movements to express mixed emotions of people on the move via steam-train, bus, tram, bicycle, truck, ship, plane etc. Cool down (Flashback) Gently stepping in time, with head-rolls, arm-stretches, upper body relaxation and time to reflect on own thoughts about war.

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CD/Track Music Movement content

Teaching guidance

Evaluation

1/08 The Squadronaires: Jersey Bounce

Warm up - From jitterbug to jive actions - Meet and greet gestures, moving around the room

Step on the beat Make eye contact with one person, meet and greet, then move on

Is there a variety of gestures (waves, handshakes etc)? Gradually build up energy From tight to loose

1/09 Montage of words, radio-sounds, morse-code bleeps, typewriter sounds, etc.

Wartime communications In a group circle, improvise movements suggested by: • Letter-writing • Typewriter • Whispering • Telephone • Radar • Morse-code • Radio-twiddling

Pass “infor-mation” from person to person, changing the action, gesture or movement each time, influenced by the different technologies Just 3-4 seconds each gesture

After improvising, can the group select best elements and develop these into an effective sequence?

1/10 and 1/11

A montage of wartime travel sounds and songs (Gracie Fields: Wish me Luck as you Wave me Goodbye and a band playing Bye Bye Blackbird)

Farewells and Goodbyes In a group, choose actions, gestures and dance-movements to express mixed emotions of people on the move on various forms of transport (e.g. steam-train, bus, tram, bicycle, truck, ship, plane etc). Develop a farewell sequence.

The sequence can include travelling steps, turning movements and farewell gestures

Are they using gesture, attitude and body-shape to reflect mixed emotions (separation, courage, fear etc)?

1/12 Django Reinhardt, Stephane Grapelli and the Quintet of the Hot Club de France The Lambeth Walk

Walkabout (Flashback) Influenced by stiff, awkward, utility clothes, forces uniforms, lace-up shoes, high-heels and hats, walk about, as if in a busy street.

Change direction often Contrast “polite” movement, with nervous, confused looking-up

Are they moving on the beat?

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CD/Track Music Movement

Content

Teaching guidance

Evaluation

1/13 George Formby: Leaning on a Lampost

Photo-snaps (Flashback) In pairs, take a series of “snapshots” in different roles and body-shapes, passing an imaginary “camera” between partners.

Vary serious, formal poses, with still laughing and joking Vary between sitting, standing, leaning etc

Are they swapping the “camera” quickly, on cue? Are the photo-poses held still?

1/14 Eric Coates: Music While you Work (Calling all Workers)

Music while you Work (Flashback) “Digging for Victory”, shop work and factory work, changing to: Relaxation, reading newspaper, listening to radio, drinking tea, playing board-games, cards etc

Encourage actions and movements which are repetitive but also dynamic and varied

Are gestures clear and exaggerated with plenty of interaction?

1/15 Montage as at 1/10 and 1/11

Farewells and Goodbyes (Flashback) A sequence of actions, gestures and dance-movements to express mixed emotions of people on the move via 1940s transport

The sequence can include travelling steps, turning movements and farewell gestures

Are they using gesture, attitude and body-shape to reflect mixed emotions (separation, courage, fear etc)?

1/16 Glen Miller Band: Moonlight Serenade

Cool down (Flashback) Gently stepping in time, with head-rolls, arm-stretches and upper body relaxation.

Developed from Programme 1’s cool-down, with space for thought.

Eyes closed, think back, and reflect on balance of light-hearted and serious issues and emotions

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Unit 2: An end to slavery? Teacher’s Notes by Dee De Wet Three programmes of movement and dance to mark the bicentenary of the abolition of slavery in 1807. Introduction: The unit crosses continents and generations from Africa across the Atlantic Ocean, giving children an experience of cruelties and hardships, while emphasising how dance and music can help restore people’s dignity and resilience. Each week, African or Caribbean rhythms support a warm-up of energetic, bouncy movements, with arms “akimbo” (hands on waist, elbows sticking out), swaying hips, “trudging” (leaning into the floor), lifting and dropping shoulders, contrasted with some light, springy steps. As the series develops, these are combined with shuffling (as if captured slaves, bound with chains and metal collars), forward and backward jumps, and Caribbean elements (limbo-ing, “shimmying” down and up, and trying to ride a donkey!). The narrative begins in West Africa in about 1750, with a village scene combining work-actions (digging, pounding maize and roots, hunting, preparing food) with children’s hide-and-seek games in varied pathways. This leads to a more serious exploration of aggression and the power struggle between “hunters” and “hunted” groups. Clear, strong gestures, twisting and turning, focus and tension, hiding and quivering all play a part. Before or after the first programme, you may wish to relate these themes to discussion of children’s experiences of bullying, victimisation and fear. To see this in the historical context we then visit the 18th-century seaports of England, creating a dance sequence for rich merchants involved in the slave trade, “promenading” the streets with elegant steps, precise, small movements, dignified bows, and sipping tea (with sugar). In the second programme, a journey by stormy sea across the “Slave Triangle” (between Africa, the Southern States of North America, and the West Indies) provides a stimulus for travelling with spiralling, rolling and wave-actions at changing speeds and different levels. By contrast, the reality of slaves packed tightly together in ships in terrible conditions is highlighted in a head-to-toe activity in “unison”. On arrival at sugar plantations in the Caribbean, slaves were put to hard, physical work, so a sugar-cutting activity introduces high lifting and low sweeping movement to a gospel-based chant. This repetition is varied with light, free spinning to West African rhythms, to suggest renewing the zest for life, and the longing for escape.

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The final programme focuses on relationships and the choices we can all make – whether to be cruel and mean, or kind and compassionate to the people around us. Pairs explore still-images for symbolic actions of power and control, leading and following, trust and respect, support and counter-balance. The unit as a whole touches on some difficult and painful questions, emotions and issues; follow-up opportunities for class discussion about our differences and similarities, and mutual respect for them, will be invaluable. The history of slavery-abolition in 19th-century British and American law provides further food for thought. Groups then develop a final dance symbolising freedom and togetherness, combining elements of several previous sequences with a structured circle-dance. Each programme ends with a thoughtful cool-down based on the contrast between captivity and freedom and between tension and relaxation, with circling movements, breathing deeply and reaching upwards. Programme 3: Out of Africa Programme summary: Warm-up: African beat Bouncing on the spot with feet together and apart. Travelling 1: sliding trudging steps, hands on the waist elbows pointing outwards, shoulders swaying. Travelling 2: low level with a curved spine, bouncy knees and shoulders. African Village Actions to represent digging on the farm, hunting, pounding and cooking. Travelling and freezing: hide and seek-running on tiptoe, using different pathways. Sudden low level freezes. Hunters and hunted Travelling: creeping stealthily as the “hunters”. Rising and pointing with the finger at a target. Freezing with fear and shaking and quaking. Class divided into two: One half the “hunters”, the others choose an action from the village scene. A gunshot sound-effect cues the “hunters” group to attack and freeze, and the “hunted” group to freeze with terror, quiver and shake. Rich merchants Travelling: precise dignified steps, upright posture. Gesturing with a huge sweeping bow, and tiny sipping of tea. Working in groups to produce a sequence using canon and unison. Cool down The poignant words of the song help the children to consider the issues as they cool down. Circling the head and relaxing the muscles. Reaching and stretching. Hanging down and breathing deeply.

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content

Teaching guidance

Evaluation

1/17 Medina Djembe (West African Aceklo drumming – field recording by David Fanshawe)

Warm-up: African Beat In individual space, practise bouncing on the spot, feet together and apart, arms by the sides with flexed hands. Travelling with knees bent and trudging (sliding feet along the floor), body upright and hands on the waist with elbows pointing out, swaying rhythmical shoulders. Travelling at a low level with a curved back, bouncy knees and shoulders.

Encourage the children to bounce with soft knees Make sure the movement is rhythmical. Make sure they use all the space and are aware of others. Energetic, lively travelling with soft, bouncy knees and shoulders.

Do the children keep with the beat of the music? Are they moving in and out of each other as they travel? Is the movement soft, springy and energetic?

1/18 to 1/20 Kita Foly (Mandingo music with the “Malinke” rhythm from Kita, Mali, by Cheick Hamala Diabaté) and Mamachor (harvest song featuring Balafon xylophone, field recording by David Fanshawe).

African Village Gesturing digging, moving from a high position to a low. Reaching and stretching in a bow-and-arrow hunting action. Strong powerful pounding. Large circular movements to suggest stirring. High level travelling on tiptoe at speed, with contrasting low level freezes (hide and seek)

Encourage clear contrast in the levels. Make sure the children extend fully when stretching and focus on the part of the body that is leading the action. Use all of the body and exaggerate the movement. Encourage the children to use all of the space as they travel and hold their low-level hide position still.

Is there a clear contrast between levels? Do the children fully extend their movement? Can they travel at speed with clarity and control and then hold a low level position still?

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content

Teaching guidance

Evaluation

1/21 and 1/22

Deep Forest: Savana Dance from the albums “Deep Forest” and “World Mix” (Sony 9399747658928) and various other compilations.

Hunters and Hunted. Travelling by creeping stealthily as the hunter, with powerful rising, to point at an innocent target. Creating a frightened position, filled with tension as the hunted then shiver jerkily and quickly with fear. Divide the class into two groups. The group who are “hunters” creep stealthily. The “hunted” group choose a movement from the village scene to repeat. Sudden freezing of the whole scene cued by a gun shot sound-effect: “Hunters” point menacingly and proudly “Hunted” quake and shake.

Encourage the children to use strong focus and control as they creep stealthily and point. Make sure the freezes are still and filled with tension as the children imagine being hunted. Encourage the use of facial gestures to show fear as the children shiver and quake.

Do the children move expressively? Can they hold a still position with poignancy and portray fear? Do they perform with tension and conviction?

1/23 Thomas Arne: Trio Sonata in G (perfomed by Le Nouveau Quatuor) from the album “A Golden treasury of Baroque Music” (Amon Ra CD-SAR 68, track 25)

Merchants Travelling using dignified precise steps, holding an imaginary cane. Gesturing greeting by a sweeping low bow as they remove an imaginary hat. Using tiny small gestures to suggest sipping tea. Working in groups of 3-5, find a position in free space and rehearse a travelling sequence that leads to a circle formation. Bow to greet, one after the other (in canon).

Make sure the posture is upright and the focus is upwards. Encourage a clear contrast between the huge sweeping and the tiny tea sipping. Make sure their sequence has a clear starting and finishing position.

Can they perform and remember a sequence? Is there clear contrast between the gestures and qualities within the section and compared to the village workers? Does the group work well together?

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Evaluation

The Lighthouse Family: (I wish I knew how it would feel to be) Free. from the album “Greatest Hits” Polydor 0654482 (Track 7)

Cool down Head rolls one way and then the other. Reaching upwards with one arm, fingers outstretched, suddenly clasp the wrist with the other arm and make a fist on the word “free” to suggest captivity. Circle the arm and the body to hang down without tension, hold and breathe deeply.

Release muscle tension. Encourage smooth, sustained movement. Focus on deep breathing.

Are the children relaxed and ready to return to class?

Programme 4: The Long Journey Programme summary: Warm - up Slave shuffle: Imagine feet bound in chains. Travelling using tiny shuffling steps, swaying hips, downward focus. Repeat ways of travelling from last programme. Stormy seas Contrasting qualities - free and bound flow. Travelling sequence - running with wavy arms, spiralling to the floor, rolling softly on the floor, and increasing the speed to suggest a storm. In groups, imagine hands bound in chains, lying head to toe like the slaves. Sit up slowly, hands leading, and slowly sink, rolling the head one way and then the other, in unison. The voyage Class is divided into two. One half perform the sea sequence, the other the slave sequence. The sea group starts on the periphery of the room, the slaves lie head to toe in the centre. Then swap roles. Plantations Contrast qualities of slow sustained movement and fast free spinning. Cutting the cane with large swooping movements, changing from high to low level. Exploring different spins on the spot. Combining both movements into a sequence. Cool down Circling the head, relaxing the muscles, hanging down and breathing deeply, with extra stretches to suggest reaching for freedom. The music of the ‘Free’ song features a different verse to the first programme.

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content

Teaching guidance

Evaluation

2/01 and 2/02

Kita Foly (details as in programme 1) and Coil and Dutz: African Drive

Warm-up African shuffle Hands akimbo, swaying hips, shuffling feet (Imagine being shackled with chains around the ankles) Repeat bouncing and travelling from last week. Practise and rehearse

Encourage the children to make small, quick, shuffling steps. For the shuffling, make sure the head and focus is downwards to reflect despair.

Can the children sway their hips and shuffle? Are they listening carefully and following the music?

2/03 to 2/05 Sam Sklair and Otto Sieben: Below the Deep

Stormy seas Contrasting qualities of bound and free flow. Travelling quickly, with waving arms, spiralling to the floor and rolling. Repeating the sequence in their own time (making the movement faster and more abandoned to suggest the storm.) In groups lying next to each other, head to toe, imagine hands bound in chains. Lift and lower the top half of the body – slowly roll the head from one side to the other, all with bound flow and tension.

Make sure the children keep the quality and clarity as the speed increases. Health and safety: Awareness of others is essential here to avoid collisions. Practise rolling on the floor softly but quickly, to avoid injury. Emphasise trust and respect when working together. Choose good examples to demonstrate.

Was there a clear contrast in the speed of the movements at the beginning of the sequence and at the end? Could the children travel safely; running, spiralling and rolling, being aware of others? Did they link the movements smoothly not interrupting the flow? Did they work cooperatively together?

2/06 Robert Foster: African Spirit

The voyage Divide class in two. One half lie head to toe in the middle of the room and perform the bound flow sequence – the others perform as the sea. Then swap roles.

Take time to organise groups and make sure the sea group does not dance too close to the slaves.

Is there a strong contrast in flow between the two groups? Can they remember and perform the sequences?

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content

Teaching guidance

Evaluation

2/07 to 2/09 Jester Hairston, arranged by Victor Bell: Amen (traditional Gospel) and Kita Foly (details as in programme 1)

Plantations Contrasting the hard work on the plantations with the African-based dances to renew the spirit. Large, slow, sustained sweeping movements - cutting the cane. Rehearse and practise different spins on the spot: - arms outstretched and pivoting - with a curved spine, arms gesturing wings and tiny running steps - exploring other ways of spinning Link both movement phrases to create a sequence.

Make sure the sweeping movement uses contrasting high and low levels. Emphasise the need to spin one way and then the other to avoid dizziness. Make sure the spins move at a fast speed but with control.

Can the children change levels and move slowly and strongly? Are they spinning with control? Was there a clear contrast in quality between the cutting and spinning movements? Are they able to remember and repeat the sequence?

2/10 The Lighthouse Family: (I wish I knew how it would feel to be) Free, from the album “Greatest Hits” Polydor 0654482 (Track 7)

Cool down Repeat last week’s sequence. Add some slow stretches to suggest freedom.

Make sure the children reach and extend to their fingertips. The music of the ‘Free’ song features a different verse to the first programme.

Did they listen carefully and follow the music? Children should feel relaxed.

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Programme 5: Relationships Programme summary: Warm-up: Afro-Caribbean beat As previous warm-ups, plus: Limbo strut – jumping forwards and backwards with feet apart. Tilting the body back when moving forward, and forward when moving back. Arms on the waist and reaching forward, holding imaginary reins. The shimmy - shimmering up and down by wriggling. “Slap the Donkey” - facing sideways, hold an imaginary rein in one hand and gently slap the thigh, rock backwards and forwards. Relationships Working with a partner to develop contrasting relationships, one based on power, the other on trust. 1. Travelling by A leading and B following, sinking to the ground with A initiating the move. A finds a position to depict power, B shrivels. 2. Starting in a sitting position, roll gently backwards and forwards, releasing and supporting weight, helping each other to stand, finding a balanced position. Celebrating freedom After a brief consideration of 19th-century abolition of slavery, groups of four or five find three different still-images to represent breaking free. These may include ideas from “Relationships” (above) and movements from African-Caribbean warm-ups. They will end with group travelling in a circle one way and then the other, for sixteen counts each way. Cool down Circling head, reaching upwards and still, calm breathing. The music of the ‘Free’ song features a different verse to the previous programmes.

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content

Teaching guidance

Evaluation

2/11 and 2/12

Roger Dexter, Alan Bell and Martin David: Caribbean (Percussion) and Kita Foly (details as in programmes 1 and 2).

Warm-up Afro-Caribbean beat In individual space stand with the hands on the waist and feet apart. Practise the limbo strut. Tilt the top of the body backwards and jump forwards. Tilt the body forwards, reach in front as though holding imaginary reins, and jump backwards. “Shimmy” on the spot, feet apart, hands on the waist, wriggle down and hold wriggle up and hold. “Slap the Donkey”- face sideways holding an imaginary rein, feet apart. Rock forwards and back, gently slapping the thigh. Rehearse and add to previous warm-ups

Make sure the body is tilted slightly to avoid injury. Encourage the children to jump with soft knees.

Look for energetic wriggling with clear holds, as the children shimmy down and up.

Focus on a relaxed body with rhythmical rocking.

Are the children keeping with the beat of the music? Is the movement energetic and rhythmical?

2/13 to 2/16 Robert Foster: African Spirit

Relationships Contrasting qualities related to power and trust. Partner work- keeping in contact. Travelling: partner A leads partner B. Partners sink to the ground, with partner A initiating the movement. Partner A finds a position that suggests power. Sitting back to back, rolling backwards and forwards releasing weight to each other. Find a way to come to standing, by helping each other.

Emphasise the importance of trust and respect when working together. It is important to depict the cruelty aspect, while being careful in no way to encourage children to imitate this, or to hurt each other. Encourage the children to work sensitively with each other and choose good examples.

Did partners cooperate and work well together? Was there a clear contrast in the quality and intent in the two sequences? Can they perform the sequence with poignancy and convey power and fear? Can they perform the sequence sensitively, conveying care and trust?

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content

Teaching guidance

Evaluation

2/17 to 2/19

Deep Forest: Forest Hymn from the albums “Deep Forest” and “World Mix” (details as in previous programmes)

Celebrating freedom After a brief consideration of 19th-century abolition of slavery, groups of four or five find three positions or “still-images” that symbolise reaching for freedom. These can use ideas from “Relationships” (above) or movements rehearsed in previous warm-ups. The sequence ends with travelling in a circle, one way and then the other, sixteen counts each way.

Encourage the children to extend fully when reaching for freedom. Make sure the three positions or images change levels. The children should be able to move quickly from one position or image to the next.

Do the groups extend fully with each reaching action? Are they able to remember and repeat the sequence? Do the children cooperate with each other? Does the sequence have a lively celebratory atmosphere?

Do they perform with commitment?

2/20 The Lighthouse Family: (I wish I knew how it would feel to be) Free, from the album “Greatest Hits” Polydor 0654482 (Track 7)

Cool down Head rolls, breathing deeply, and reaching for freedom. The music of the ‘Free’ song features a different verse to the previous programmes.

Relax muscle tension. Encourage the children to breathe evenly and calmly.

Create opportunities for follow-up discussion to appraise own performances and to consider some of the broader emotions and questions involved.

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Unit 3: Japan

Teacher’s Notes by Deborah Bellman Three programmes exploring movement and dance inspired by Japan Introduction: From its first warm-up, this unit contrasts bustling modern Japan’s busy city streets and new technologies with traditional Japanese movement and dance and the cultural importance of well-mannered gestures. The world of Sumo wrestling provides a vigorous introduction to partner-work in the unit, with highly ritualised preparations, including clapping, stamping, low crouching and circling one another, all performed with a strong emphasis on mutual respect. More calmly, the inspiring tradition of incorporating natural landscapes within a Japanese garden offers pairs a powerful stimulus for creating body-sculptures, using different levels, with travelling steps along different pathways. Children visualise this activity for relaxing cool-downs with deep, gentle breathing. It also introduces the elaborate, ancient Japanese Tea ceremony, where partners perform as ‘host’ and ‘guest’ in a slow and deliberate tea-drinking performance. When exploring the colourful and flamboyant traditions of Kabuki acting and dance, children use their bodies and gestures to portray two contrasting ‘stock’ characters – a Samurai warrior (with large twisting and turning movements) and an old man who is sly and cunning (with low, creeping movements and tiny facial expressions). As Japan’s second most popular sport, baseball offers a wealth of ideas for groups to choreograph a sequence combining batting, pitching (throwing), running and fielding – with their timing all carefully co-ordinated to music! Groups also focus on creating silhouettes and outline-shapes to evoke the wide variety of Japanese architecture, both traditional (wacky pointed temples and shrines) and modern (tall, strong skyscrapers and neon-lit streets). Modern toys, games and industry give further opportunities for pairs to mirror each other’s simple robotic actions, and then to experiment with freestyle robotic moves using the whole body.

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6: Traditional Japan Programme summary: Warm up: Whole class travelling with quick, small steps to create feeling of busy, bustling, crowded city streets, stopping with music cue to bow to someone close-by. Sumo wrestling A partner sequence with Sumo preparations - clapping, stamping, bowing, throwing imaginary salt (to purify the ring), then crouching low with bent knees. Japanese Garden: In pairs, a sequence based around a journey through a typical Japanese garden with stones, water, a bridge, shaped plants and trees. Partners form shapes and body sculptures using different levels, linked by chosen travelling-step and pathway. Kabuki: In Kabuki dance the actors are freed from speech to concentrate on and communicate through physical expression. This sequence focuses on characterisation, gesture and controlled movements. Cool down: Meditative and relaxing – lie down, close eyes and retrace steps around an imaginary Japanese garden. CD/Track Music Movement

content

Teaching guidance

Evaluation

2/21 Anthony Quin: Welcome to Japan and Katsutoshi Nagasawa: Autumn Fete

Warm up Whole class travelling with quick, small steps to create feeling of busy, bustling, crowded city streets; stop with music cue and bow to someone close-by.

Contrast busy tiptoe steps with slow, polite bowing gesture (hands together, palm to palm, in front of chest) Keep back straight while travelling and keep looking for spaces to avoid bunching or crowding.

Is the stepping in time with the counts of 8?

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Evaluation

2/22 Armand Amar: Asiatic Temple

Sumo wrestling In pairs. Facing partner on opposite sides of an imaginary circle on the floor – mirroring partner sequence: - clapping, stamping, bowing, throwing imaginary salt (to purify the ring) - crouching low with bent knees (hands resting on thighs or raised up above head, over knees).

In Sumo the loser is the first person to touch the ground with any part of the body, except the soles of feet, or the first to step outside the circle. Encourage large, exaggerated arm circling and swinging movements.

Are they using “mean” faces, to terrify their partner? Does the quality of the movements clearly convey the tension between sumo partners?

2/23 to 2/26 Rick Kenton: Zen Garden

Japanese Garden Stay with partner for a sequence based around a journey through a typical Japanese garden: stones, water (stillness, reflections, movement, sound), bridge, shaped plants and trees. Partners form shapes and body sculptures using different levels, linked by chosen travelling step and pathway.

Keep an eye on spacing, to ensure groups are spread evenly around the room, not all bunched together. Encourage partners to think ahead and be ready for the next part of the sequence to keep it flowing smoothly.

Is their sequence smooth and continuous, as they move from one part of the garden to the next? Do partners work well together to create a well-timed and visually interesting sequence?

2/27 and 2/28

Leonard Eto: Irodori from “Best of Kodo” (Sony Columbia COL 475873 2, track 2) and Stephan North and Anthony Phillips: Samurai

Kabuki In Kabuki dance the actors are freed from speech to concentrate on and communicate through physical expression. This sequence focuses on characterisation, gesture, controlled movements and mime – all vital aspects of Kabuki dance.

Contrast large, twisting and turning movements (Samurai warrior) with a tiny, crooked pose and creeping movements (an old man who is sly and cunning).

Are they using eyes and facial movements effectively, to convey mood and character?

2/29 Rick Kenton: Zen Garden

Cool down Lie down, close eyes and retrace steps around an imaginary garden.

The Japanese word for “Goodbye” is “Sayonara”.

Is everyone calm and relaxed, ready to return to the classroom?

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Programme 7: Modern Japan Programme summary: Warm up Whole class travelling with quick, small steps to create feeling of busy, bustling, crowded city streets. Stop with music cue for a bow or other Japanese action. Baseball Group sequence based on batting, “pitching” (throwing the ball), running/freezing, and fielding/catching the ball. Japanese Architecture Working in groups to create a Japanese cityscape contrasting tall, strong modern skyscrapers and neon-lit streets with wacky shapes of traditional temples and shrines. Toys, games and robots Practise robotic actions, on the spot and then travelling, and develop a robotic mirroring sequence in pairs. Cool down Sitting down with legs crossed in front, hands resting lightly on knees. Empty all thoughts from mind and relax body. CD/Track Music Movement


Evaluation

3/01 Anthony Quin: Welcome to Japan and Katsutoshi Nagasawa: Autumn Fete

Warm up Whole class travelling with quick, small steps to create feeling of busy, bustling, crowded city streets; stop with music cue for a bow or other Japanese action.

Actions could include: Waving a Japanese fan Spinning a paper umbrella

Is the stepping in time with the counts of 8?

3/02 Katsunari Sawada: Concerto Yosare from the album “Music from Japan” (Cooking Vinyl IMC – GUMBO CD 030, track 8)

Baseball Sequence based on: - Batting – swinging bat, leading body round into spins. - “Pitching” (throwing the ball) - Running and freezing - Fielding and catching the ball, using different levels and directions.

Ensure plenty of space Avoid bumping neighbours Listen carefully to the music to get the timing of each activity

The dance-sequence is created in groups of 5-6 - are their actions well co-ordinated and synchronised, as a group, with the music?

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Evaluation

3/03 Jay Michaels and Francis Silkstone: Living Japan

Japanese Architecture Working in groups to create Japanese cityscape contrasting: - Tall, strong modern skyscrapers and neon-lit streets, with: - Wacky shapes of traditional temples and shrines

One person can lead each group during the travelling. A crashing gong in the music provides the cue to make group silhouettes (city outline shapes). Shapes can be linked in a line, or go round in a circle.

Within each group is there plenty of variety between low, high, wide, narrow, square and pointed shapes?

3/04 Aaron Wheeler and Todd Baker: Electro a Gogo

Toys, games and robots Practise robotic actions – on the spot and then travelling. Develop a robotic mirroring sequence in pairs.

Robotic actions could include: - Ball kicking - Box lifting - Drum banging Which are then copied or mirrored by their partners. (About half of the world’s robots are found in Japan – used widely in industry as well as in the manufacture of toys and gadgets.)

Are the robotic actions really jerky? Are the frozen positions really angular?

3/05 John Leach: Japanese Character 3

Cool down Sitting down with legs crossed in front, hands resting lightly on knees. Empty all thoughts from mind and relax body.

Focus on complete stillness as you listen to the calm Japanese music.

Is everyone calm and relaxed, ready to return to the classroom?

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Programme 8: Japan Old and New Programme summary: Warm up Upbeat, energetic exercise routine based on common Japanese company practise of exercising together before starting work. Sumo wrestling The Sumo activity from the first programme of the unit is revisited, with a paired contact-sequence, as if performing a Sumo match within a circular wrestling-ring. Japanese garden Stay with partner to develop the Japanese Garden sequence practised in the first programme of the unit. Japanese Tea Ceremony Partners perform stylised mimes of the Japanese Tea Ceremony including kneeling, sitting back on heels, whisking water and tea in a bowl, bowing to one another (tipping body forwards), holding bowl with right hand, placing it in left palm, turning it clockwise 90 degrees, raising with both hands, then drinking in three gulps. Toys, games and robots Partners recap robotic actions from previous programme before experimenting with freestyle robotic movements using the whole body. Cool down Relaxation and controlled, deep, gentle breathing, while closing eyes to imagine a Japanese garden with plants, trees, sculptures and calm, still waters. CD/Track Music Movement


Evaluation

3/06 Anthony Quin: Welcome to Japan and Steve Byrd: Zen Night (from the album “Asian Grooves”, Connect CN CT 136, track 11)

Warm up Upbeat, energetic exercise routine based on common Japanese company practise of exercising together before starting work.

The routine features: - 8 marching steps on the spot - 4 bouncy star-jumps These are then repeated, with travelling.

Is the marching energetic? Are legs and arms wide apart for the star-jumps?

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content

Teaching guidance

Evaluation

3/07 Armand Amar: Asiatic Temple

Sumo wrestling The Sumo activity from the first programme of the unit is revisited, with a paired contact-sequence, as if performing a Sumo match within a circular wrestling-ring.

Sumo matches are usually very short – often only about ten seconds! Partners must take responsibility and ensure the safety of one another during any contact work.

Are the preparation actions strong and tough, performed with a “mean” expression?


Japanese garden Stay with partner to develop the Japanese Garden sequence practised in the first programme of the unit.

Keep an eye on spacing, to ensure pairs are spread evenly around the room, not all bunched together.

Is their sequence smooth and continuous, as they move from one part of the garden to the next?

3/09 Richard Blackford and Glenn Keiles: Shakuhachi

Tea Ceremony The stylised mimes include: - Kneeling opposite partner, sitting back on heels, with enough space in between to both bow forwards - One partner performs tea making ceremony – adding and then whisking together the water and tea in a bowl - Both partners remain kneeling but sit up to bow to one another - Then the other partner drinks the tea – holding bowl with right hand and placing it in left palm, turning it clockwise about 90 degrees, raising it with both hands, then emptying it in three gulps.

The pace of this section is very slow, careful and deliberate – take your time! Avoid bumping heads! If there’s time, swap roles and repeat. Movements should be small, precise and elegant.

Is the sequence smooth, calm and controlled?

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Evaluation

3/10 Aaron Wheeler and Todd Baker: Electro a Gogo

Toys, games and robots Partners recap robotic actions from previous programme before experimenting with freestyle robotic movements using the whole body.

For the robotic travelling, slide smoothly or step heavily through the spaces.

• Are the robotic actions really jerky?

• Are the frozen positions really angular?


Cool down Relaxation and controlled, deep, gentle breathing, while closing eyes to imagine a Japanese garden again.

Close eyes and visualise: - plants and trees - stone sculptures - calm, still waters of the pond Focus on deep, gentle breathing.

Are minds and bodies calm and relaxed, ready to return to the classroom?

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Unit 4: Timeshift to the 1950s

Teacher’s Notes by Barry Gibson. Two programmes exploring movement and dance in the 1950s, focusing on influences from style and fashion, movies, Latin American ballroom, Rock’n’Roll and experimental “modern dance” of the time. Introduction: The unit begins with “jive”, as developed from the “jitterbug” (see Unit 1, “Timeshift to the 1940s”) and eventually moves towards Rock’n’Roll, showing the change from the grey, austere 1940s to a new energy in music and dance, especially with the arrival of the “teenager”. In Britain, influence from America is reflected in 1950s body language of swaggers and twirls, as seen or recreated in movies like West Side Story and Grease. Teenage confidence and gender differences in 1950s styles, clothes and fashions are actively explored, including the rise of teddy-boys, high heels and make-up. These aspects and attitudes are incorporated in a gentle, structured introduction to Rock’n’Roll moves. Children get a taste of the way that ballroom-dancing at the time became enlivened with Latin American moves and rhythms, in simplified dance-routines and improvisations from “Cha cha cha” and “Samba” styles. Learnt solo here, if you wish, these could be further developed by enthusiasts from your class in partner-work (perhaps using DVD and internet-video materials for demonstrations of holds, steps and variations, see below). In contrast to this red-hot, sizzling dance, each programme cools down to the sounds of Miles Davis’ cool jazz trumpet while the children relax to deep breathing and high and low stretches. Jazz dance also appears when pairs or threes are encouraged to choreograph, practise and perform their own versions of Gene Kelly’s famous “umbrella” sequence from the film Singing in the Rain (including tap-dance patterns, if they like!). In the final programme, groups will explore the world of 1950s “contemporary dance”, with its moving patterns influenced by the shapes, lines and forms of abstract painting and sculpture and by the sounds and textures of experimental music, here a short “prepared piano” piece by John Cage. In preparation, you may like to collect still-images for your classroom walls of abstract paintings and sculpture, plus a range of photos of iconic 1950s performers and scenes from relevant films. Showing extracts from DVDs of films such as West Side Story, Grease and Singing in the Rain (especially the dance sequences) can provide a valuable, motivating, visual stimulus to action and lots of details upon which children can model their own performances. Latin American ballroom moves are shown in a number of commercially available instructional DVDs and videos - some useful online tasters are in the “Learn to Dance” section of www.bbc.co.uk/strictlycomedancing.

http://www.bbc.co.uk/strictlycomedancing

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Detailed step-by-step instructions and photo-illustrations of Rock’n’Roll moves are shown in Paul Bottomer’s book Rock’n’Roll (Dance Crazy Series, Lorenz Books 1998 and 2002, ISBN 1 85967 226 4). Compilation CDs of a broad range of 1950s music are widely available at reasonable cost. DVDs of 50s-based movies may also be available for loan from your local library. You may find that some unusual “abstract” music of the 1950s heard in the series (e.g. Miles Davis or John Cage) provides a useful, occasional accompaniment and mental stimulus to work in subjects such as Maths and Art, highlighting the powerful crossover between visual, auditory and kinaesthetic learning. Group performances of the “fun” dances in this unit could make a great centrepiece for a 1950s assembly, a 1950s disco or a 1950s school show. Some staff or parents may even remember the moves! Programme 9: Blue suede shoes Programme Summary: Warm up: Blue Suede Shoes Jive Movements: • Foot-taps, finger-clicks, • Bending and reaching • Elbow tapping waist, and hip-swings • Steps forward and back (left and right) • Hops, kicks and foot-lifts Swaggers and twirls • “guys” – cool hip-wiggling and finger-clicking • “gals” – skirt-spinning and finger-pointing Cha cha cha Some Latin-influenced ballroom steps with: • Finger-clicking and hip-wiggling • Foot-pattern to the rhythm “BA-BA, cha cha cha” • Travelling in different pathways Singing in the Rain In pairs, as if dancing with an umbrella: • Twirling, spinning, throwing, catching and jumping • Moving around your partner • Combining some of these ideas in a devised routine Rock’n’Roll • In pairs, develop forwards and backwards patterns from the warm-up, while

the top half of the body swings. • Then work up a partner-dance opposite each other (one moving forward

while the other goes back), and introduce underarm turns. Cool down • Breathing deeply • High and low stretches • Head rolling

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content Teacher guidance

Evaluation

3/12 Carl Perkins: Blue Suede Shoes

Warm up: Blue Suede Shoes Movements influenced by jive: - Foot-taps, left and right - Finger-clicks, left and right - Bending and reaching - Elbow tapping waist, and hip-swings - Steps forward and back (left and right) - Hops, kicks and foot-lifts

The routine is a development of the warm-up in “Timeshift to the 1940s” (Unit 1) but now in 4s, not 8s, and faster.

Everyone in a space? Moving in time with the beat? Whole body changing from tight to loose, as you warm up?

3/13 Leonard Bernstein: Prologue from West Side Story

Swaggers and twirls Differentiate 1950s gender movement styles: - “guys” – cool hip-wiggling and finger-clicking - “gals” – skirt-spinning and finger-pointing

Ask children to demonstrate attitudes and actions from shows and movies such as Grease and West Side Story. Not too fast, travel around the room and end with a shake-down.

Are they showing apparent confidence in physical “attitude”? Are their movements also relaxed and “cool”?

3/14 and 3/15

Tony Kinsey: Blue Sapphire Cha Cha

Cha cha cha A quick, simplified introduction to Latin-influenced ballroom steps, dancing solo: - Finger-clicking and hip-wiggling - Foot-pattern (see right) - Then travel in different pathways

The foot-pattern is built on two long notes (left foot steps diagonally and right foot moves next to it), followed by three short, light notes (3 steps – left-right-left – at starting-position)

Are arms held up, level with shoulders, as if flicking maracas? Is the dancing lively and cheeky? Are they using the strong rhythmic beats to build confidence?

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Evaluation

3/16 and 3/17

Gene Kelly: Singing in the Rain

Singing in the Rain In pairs, as if dancing with an umbrella: - Twirling and spinning - Throwing, catching and jumping - Moving around your partner - Combining some of these ideas in a devised routine

Encourage pairs to try performing their patterns: - In unison (both at same time) - Mirrored - In canon (one just after another)

Use the Pause-point at track 17 to practise and develop routines. Replay the music several times for pairs to demonstrate and comment on a range of examples.

3/18, 3/19 and 3/20

Warren Bennett: Rock’n’Bop

Rock’n’Roll In pairs, develop forwards and backwards patterns from the warm-up, while the top half of the body swings. Then work up a partner-dance opposite each other (one moving forward while the other goes back), and introduce underarm turns.

For the forward movement, push elbows down towards the floor, on left then right For the backward movement, the hands move up towards ears, on left then right Bend knees to lift feet Hand-holding is optional!

Are they incorporating swaggers and twirls, then small steps and little kicks?

3/21 Miles Davis: Blue in Green from the album Kind of Blue

Cool down Breathing deeply High and low stretches Head rolling

Encourage slow, deep breathing

Ensure everyone is calm and relaxed, ready to return to the classroom.

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Programme 10: Samba and sizzle Programme Summary: Warm up: Samba • Wiggle hips and bounce • Improvise foot-moves on the spot • Add twirly hand-actions and finger-clicks Abstract choreography Body-shapes and patterns influenced by abstract paintings and sculptures: • In unison • Mirrored (or back to back) • In canon (one after another) • Using counterbalances (two people balancing each other’ weight) – with care! Swaggers and twirls • “guys” – cool hip-wiggling and finger-clicking • “gals” – skirt-spinning and finger-pointing Cha cha cha • Finger-clicking and hip-wiggling • Foot-pattern to the rhythm, “BA-BA, cha cha cha” • Travel in several different pathways Singing in the Rain • Twirling and spinning • Throwing, catching and jumping • Moving around your partner and combining ideas in a devised routine Rock’n’Roll • One partner moves forward while the other goes back • Practise underarm turns. Cool down • Breathing deeply • High and low stretches • Head rolling

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content

Teacher guidance

Evaluation

3/22 Ray Davies: Grasshopper Samba

Warm up: Samba Wiggle hips and bounce Improvise foot-moves on the spot Add twirly hand-actions and finger-clicks

Hold arms up, as if shaking maracas or castanets Keep legs soft Shake and “sizzle” up and down

Are they moving in response to the music’s lively rhythm? Are joints loose?

3/23 and 3/24

John Cage: Second Interlude for Prepared Piano

Abstract choreography In groups of 4-5, devise body-shapes and patterns influenced by abstract paintings and sculptures. They could be performed: - In unison - Mirrored (or back to back) - In canon (one after another) - Using counterbalances (two people balancing each other’ weight) – with care!

If time, you could allow children to hear the strange music twice, before devising their experimental shapes and patterns

Are all balances well-planned to be safe?

3/25 Leonard Bernstein: Prologue from West Side Story

Swaggers and twirls - “guys” – cool hip-wiggling and finger-clicking - “gals” – skirt-spinning and finger-pointing

Not too fast, travel around the room and end with a shake-down.

Are their movements confident, relaxed and “cool”?

3/26 Tony Kinsey: Blue Sapphire Cha Cha

Cha cha cha Finger-clicking and hip-wiggling Foot-pattern to BA-BA, cha cha cha Travel in several different pathways

Remember two long notes BA-BA (left foot steps diagonally and right foot moves next to it), then three short cha cha chas (3 steps – left-right-left – at starting-position)

Arms held up, level with shoulders, as if flicking maracas? Is the dancing lively and cheeky?

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Evaluation

3/27 Gene Kelly: Singing in the Rain

Singing in the Rain Twirling and spinning Throwing, catching and jumping Moving around your partner Combining some of these ideas in a devised routine

Lilt from side to side

Do the movements have a laid-back swing feel?

3/28 and 3/29

Warren Bennett: Rock’n’Bop

Rock’n’Roll One partner moves forward while the other goes back Practise underarm turns.

Bend knees to lift feet Hand-holding is optional - Let go if you get in a tangle!

Are they incorporating swaggers and twirls, then small steps and little kicks?

3/30 Miles Davis: Blue in Green from the album Kind of Blue

Cool down Breathing deeply High and low stretches Head rolling

Encourage slow, deep breathing

Ensure everyone is calm and relaxed, ready to return to the classroom.

danceworkshop spring 2007 -...

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