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Transcript of Leaving Certificate Applied -   Web viewLeaving Certificate Applied. Arts Education: Dance

Leaving Certificate Applied

Leaving Certificate Applied

Arts Education:


Modules 1&2

In-service Handouts

Sharon Phelan

Table of Contents

Leaving Certificate Applied Dance Programme


Dance Appreciation


How to Organise a Dance Lesson


Dance : An Interdisciplinary Approach


Literacy through Dance


Task Ideas


Sample Lesson Plans: Folk Dance


Sample Lesson Plans: Contemporary Dance




Dance Terms


Leaving Certificate Applied



Elective Modules: Dance One & Dance Two

Module Description

Task Work



General Recommendations

Key Principles

Integration across the Curriculum

Basic Skills

Active Teaching Learning Methodologies


Links with the Community

Module One: Units

Anatomical / Physiological Elements & Dance

Body Parts, Body Shapes, the Body Travelling





Dance Appreciation

Module Two

Development of Module One

Dance Vocabulary Broadens

Dance Appreciation becomes more intellectual

Students acquire further chorographic Skills as they explore Dynamics & Accompaniment


Module One

Module Two: Units

Anatomical / Physiological Elements & Dance






Dance AppreciationAnatomical / Physiological Elements & Dance

During Warm Up / Cool - Down

Centre the body when stretching and remember to mirror the students

Raise the pulse rate by incorporating travelling actions into the warm-up

Stay in one place generally when stretching

Allow for equal repetition on both sides

Use even tempo music

The Body

Body Parts

Hands, feet, the head, fingers

Body Shape

Straight, wide, long, narrow, wide


Travelling, turning, rolling, stillness, jumping

Symmetry / Asymmetry

Flow of movement

Simultaneous or successive


Personal Space & General Space

Personal Space

Reach up/ down

Forward / backward


General Space

Search for an open space in a crowded area

High, Medium & Low Levels

Jump high

Dive low

Air Patterns

Rise up

Sink down

Open out

Close in

Advance forward

Retreat backwardFloor Pathways


Zig zag

CurvedDynamics: The Energies of Movement





ErraticSpace & Dynamics

Expansive / Constrained Space using the same dance piece note the difference






Accompaniment: Music, Percussion, and Sound Effects


The relationship of music to dance is an intimate one. Music, through its pulse and rhythm, provides a driving force and an overall structure. Its influence can be positive or negativethe ideal relationship mutually supportive.

Blom et al

Music can provide the background to a piece- it can establish a mood, highlight particular actions, provide parameters

Music can dictate the piece-students can choose to go with or against the music

Music can reflect the piece- culturally, artistically, socially

Look into the possibility of using live musicians-the school band, or a talented member of staff, parent or student


Students can use bodhrans, drums, chimes, spoons, breathing rhythm, to provide a background, dictate or to reflect a particular dance style. Some suggestions might include:

Using a variety of sounds, African bongo rhythms, Jazz, Piano music, mood music, sound effects, film music, orchestral and popular beat. Students can experiment with using drums, shakers, bells, and guitars, tambourines, keyboards as accompaniment

Allowing the students to practice playing out a definite 4/4 rhythm accenting the first beat. The tutor changes the accent and ads syncopation, passing this around the group. Students hold the original rhythm until new one comes along

Tutor divides groups into threes and fours - giving each group a variation of the 4/4 rhythms to play. They continue on to play together with their individual grouping and individual rhythm structure

Body rhythms are added, when rhythms are familiar to everyone


Sounds can be vocal-singing, shouting, humming.

Let the students use sound effects [e.g. waves and wind] as stimuli for dance.

Students can appreciate the role played by sound effects in contemporary dance performances-integral or complimentary

Allow the students to work in partnersOne student, [A], moves freely. The other, [B] charts the rhythm as h/she listens to the beat. Then, the pair devises a sequence to fit that particular rhythm. In this case, movement has dictated the rhythm


Different Stimuli

Kinaesthetic A single piece if movement [a shape, phrase, gesture] becomes the kinaesthetic stimulus from which the movement piece is derived

E.g.: Using the word Dodge create a variety of shapes


Music, percussion, sound, silence, words, songs etc

Auditory stimuli may accompany & / or inspire dance pieces

An Example:

Listen to an auditory stimulus

On a sheet of paper map the music [?] piece

Use movement words which describe your interpretation; strong, slow, jerky

Using both the drawing & the auditory stimulus to create short movement phrases


Pictures, sculptures, artefacts

Movement is created from observation

Visual stimuli can be a response from nature / man made objects

The stimulus itself can influence the pathways, dynamics [etc] of the piece


A specific idea, an unfolding story, poem

For Example

Use a poem of preference

Literally perform the actions, which you read in this poem

Now, use abstraction to develop this literal movement into symbolic movement

Select / Refine the movements to create a performance piece

Tactile The movements are inspired by touch The tactile stimulus produces a kinaesthetic response, which can inspire further movement

Different Ways of Movement



The Body;Different accompaniment

Sound, silence, percussion. Music

Relationships: Groups, Pairs and Individuals


Sequencing the order in which the movement appears; the movement within the phrasethe phrase within the sectionthe ordering of the sections the order of the movements, phrases, sections support the stimulusTransitions Hold the piece together; movements, phrases, sections

Each transition should be logical, short & simple

Define phrases within sections & the sections themselves Must evolve out of one phrase / section & introduce the nextRepetition

Used effectively, clarifies the theme Can emphasise certain movements, motifs Can be used with variation Using different dynamics, body parts, spatial designs, timeVariation & Contrast

Provide interest


Variation & contrast in motif, phrases, sections

Variation & contrast in space, dynamics, timeChoreography



Theme & Variation

Rondo [abacada]


An Aesthetic / artistic situation, where the Dancer enjoys dancing the specific piece for its own sakeCriteria:

Ability to communicate the stimulus with the audience

Commitment to the Dance being delivered; Energy, Effort & Enthusiasm

Effective choices of movements, forming [sequencing, repetition, transition] & compositional structures [AB, ABA]Dance Appreciation

Leaving Certificate Applied

Dance Appreciation

Resource PackTable of Contents

Leaving Certificate Applied Dance Appreciation Units

Key Underlying Principles

A Basic Background to Dance Appreciation

Sample Dance Appreciation Assignments

Leaving Certificate Applied Dance Appreciation Units

Dance One

Unit 7: Dance Appreciation

The student will be able to:

Actively notice and pay attention to dance as an art form

Describe a performers/choreographers use of the body, timing and space

Appreciate other students work, and comment constructively, with due regard for their creative efforts

Dance Two

Unit 9:Dance Appreciation

The student will be able to:

Identify appropriate/inappropriate use of body parts and shapes, ways of travelling, space, energy and time in movement pieces

Appreciate different dance pieces individually and in group situations and through written and oral work

Investigate when, how, why and where people dance, through questionnaires, surveys, interviews, the internet etc

Present his/her dance research findings to different audiences

Observe two video recordings of different dance styles and discuss orally the similarities, and