DANCE

Grade 5
Table of Contents

• Key Concepts

• The Dance Classroom

• Lessons
1. Elements and Principles Review – Blast to the Past
ƒ Dance Elements Checklist
ƒ Dance Principles Checklist
ƒ Unity, Variety and Contrast Rubric
2. Body Alignment – The Dancer’s Position
3. Isolations and the Development of Style – I’ve Got Style
ƒ Worksheet/Checklist Isolations and Single/Double Dance Steps
4. Phrasing and Style – Baby, You’ve Got Style
ƒ Phrasing Worksheet/Checklist
5. Phrasing and Style – Back in Style
ƒ Canon Worksheet
6. Forming and Phrasing – Adding On…
ƒ Dance Elements Checklist
ƒ Canon Worksheet
ƒ Group Dance Study Worksheet
7. Reproduction and Memorization – Hip, Hip…Hurrah!!
ƒ Recalling and Reproducing Movement Rubrics
8. Building Dances – Hip, Hip…Hurrah!!
ƒ Performance Rubric
ƒ Participation Rubric
ƒ Sequence Checklist
9. Staging and Performance – Hip, Hip…Hurrah!!
ƒ Arranging and Staging Dancers Handout
ƒ Performance Rubric
ƒ Group Composition and Creativity Rubric
ƒ Group Participation in Rehearsal Rubric
ƒ Dance Illustrations

• Dance Elements

• Grade 5 Dance Core Learnings

• Dance Glossary
 Key Concepts
Based on the California State VAPA Standards
(found in the Core Learnings at the end of this section)

Grade 5
Dance

Vocabulary: time, space, force/energy, choreography, unity, variety, contrast, phrase,

transition, jazz, ballet, turnout, parallel, first and second position (ballet), isolation, style

Skills and Knowledge: name, identify, distinguish, create, demonstrate, use:

Dance Skill and Choreography

• Proper focus, and body control, alignment and placement
• Create and combine dance sequences into dance studies showing smooth transitions,
variety, unity and contrast
• Dance elements to change the original intent of a dance phrase
• Create and perform a two or three part dance study using form (canon, ABA, AB)

Cooperate and collaborate in creating and performing

• Describe the choreographic (creative) process (brainstorm, explore, create, establish
order, etc.).
• Discuss the impact of music, costume, use of space, pattern, formation, and relationship
on the audience
• Memorize and perform dance studies and a full dance piece

Cultural and traditional dance

• Identify and perform unique isolation movement
• Applying style to movement sequences
• Recognizing dance styles, genres and their origination

Expression, mood, feeling in dance

• Express emotional responses through exaggeration
• Change the feeling of a dance sequence or study through manipulating body and facial
expression
 THE DANCE CLASSROOM
The Classroom Setting:
• Push tables, chairs and other potentially dangerous objects out of the way or conduct
dance class in a multipurpose room. An outside space free of obstacles is acceptable.
• Grass areas are favorable to concrete to ensure safety but beware of distractions.
• Creating a space in the front or back of the room will allow for small group work.
• Use aisles for teaching straight line with leaping, running, etc. Make aisles from tables or
chairs.

Exercise control over you actions and emotions

• Emphasize the need to focus and concentrate on movement in class.
• Facilitate a creative environment by using paring and small groupings.
• Allow for plenty of space in which to conduct games and activities.
• Use the word “freeze” to begin or end an activity then wait for all to freeze.
• Use a control devise such as a bell, whistle, drum, etc. to get students’ attention, take
positions, etc.
• Use repetition and mimicking so that students will internalize concepts.
• Use a slow, calm, and low voice to present an idea and refocus student’s actions.
• Have students practice running, skipping, walking, climbing, prancing, leaping, etc. in
place to control activity and movement.
• Teach slow motion and exaggerated gestures to calm student activity.
• Perform collapse and falling movements in slow motion to reduce the risk of injury.
• After presenting a dramatization, have a plan to focus audience’s and actors’ attention to
listen and get ready for the next dramatization.
• Ask dancers to sit down in place while you or the audience is giving comments.
• Keep peer evaluation positive.
• When control issues arrive, ask students to share what could be done in the future to
exercise more control.
• Create other strategies that manage the “chaos” that comes with movement activities.

Use movement expressively and safely

• Provide or create ample space in which students may move and play.
• Divide students into small practice groups.
• Encourage the use of practicing opposite, reverse or contradictory actions so students
will better understand contrast.
• Model expressive voice and body movement and encourage similar mimicking and
repetition.
• Use imagery, voice and language to inspire students to act expressively.
• Challenge students to defend their dramatic intentions and artistic interpretations.
• Create opportunities for students to participate with you in front of the class.

Use listening and observation skills

• Teach students to develop audience skills.
• Ask students to recall what they saw, heard, felt, etc. immediately after a presentation.
• Students should practice being a good audience by watching quietly or responding
appropriately during class demonstrations.
• Allow students to practice the roles of both dancer and audience as often as possible to
reinforce skills.
• Begin and end instruction and activities with “freeze” and with silence.
• Make signals for starting and stopping action clear and consistent for all students.
• Use side coaching and good questioning strategies.
• Emphasize dance words.
Build social skills: trust cooperation and respect
• Work in a variety of groupings. (e.g., pairs, small and large groups).
• Encourage brainstorming, collaboration and input from all students.
• Allow students to make shared decisions with you and each other.
• Create a non-competitive environment where all students have a chance to explore and
express themselves without ridicule or teasing.
• Allow mistakes to happen without retribution. Be willing to try new things.
• Use questions instead of comments to open up student creativity.

Believe what you are doing

• Choose strong images to share with students. Picture books and use of language help
students strongly identify with roles and characters.
• Be a good role model when demonstrating physical skills to students. Be enthusiastic and
realistic.
• Connect to past experiences and use the five senses: hear, see, touch, taste, smell.
• Use constant reinforcement of a student’s creative expression.
• Be quick to point out student’s spontaneous movement in dance terms.
 DANCE - GRADE 5
ELEMENTS AND PRINCIPLES REVIEW

Blast to the Past

Lesson 1
Recommended: Review Gr. 4 Lessons, especially #1, 7, 8 and 9 prior to teaching this lesson.
Due to the comprehensive nature of this lesson, it is recommended that the modeling and guided practice be
taught in two separate sessions.

CONTENT STANDARDS
1.4 Incorporate the principles of variety, contrast, and unity with dance studies.
1.5 Use appropriate dance vocabulary to describe dances.

TOPICAL QUESTIONS
• How do I identify and describe movement in a dance?
• What are the three elements of dance and how do I identify them in a dance?
• How are the principles of choreography and how do I identify them in a dance?

OBJECTIVES & STUDENT OUTCOMES

• Identify, analyze and describe a short work of combined dance phrases using the elements (time, space,
force/energy, shape) and principles (repetition, transition, unity, variety and contrast) of dance.

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Principles of Dance Composition Checklist
o Dance Elements Checklist
o Student response to inquiry
• Feedback for Student
o Teacher response
o Principles of Dance Composition Checklist
o Dance Elements Checklist

WORDS TO KNOW
• axial movement: movement anchored to one spot by a body part. Only the available space in any direction
is used while the initial body contact is being maintained. Movement is organized around the axis of the
body and is not designed for travel from one location to another. Also known as non-locomotor movement.
Examples include stretching, bending, turning in place, gesturing.
• locomotor: movement progressing through space from one spot to another. Basic locomotor movements
include walking, running, galloping, jumping, hopping, skipping, sliding, leaping.
• pathway: a line along which a person or a part of the person, such as an arm or head, moves (e. g., her
arm took a circular path, or he traveled along a zigzag pathway). Usually considered a spatial element.
• force/energy: an element of dance characterized by the release of potential energy into kinetic energy. It
utilizes body weight, reveals the effects of gravity on the body, is projected into space, and affects emotional
and spatial and intentions. The most recognized qualities of movement are sustained, percussive,
suspended, swinging, and collapsing.
• space: an element of dance that refers to the immediate spherical space surrounding the body in all
directions. Use of space includes shape, direction, path, range, and level of movement.
• time: an element of dance involving rhythm, phrasing, tempo, accent, and duration. Time can be metered,
as in music, or based on body rhythms, such as breath, emotions, and heartbeat.
• repetition: the duplication of movement or movement phrases within choreography, usually done to make
an impact or statement
• phrasing: the way in which the parts of a dance are organized
• transition: the bridging point at which a single movement, the end of a phrase, or even the end of a larger
section of a dance progresses into the next movement, phrase, or sequence
• unity: the feeling of wholeness in a dance achieved when all of the parts work well together
• variety in dance: a quantity or range of different things. To maintain audience interest, the composition
choreographer must provide variety within the development of the dance. Contrasts in the use of space,
force, and spatial designs as well as some repetition of movements and motifs provide variety.
• contrast: to set side by side to emphasize differences. In dance two contrasting movements might differ in
energy; space (size, direction, level); design (symmetrical/asymmetrical, open/close); timing (fast/slow,
even/uneven); or two or more different themes or patterns

MATERIALS
• Computer
• Optional: Projection Device
• CD Dance Video Clips #1 and 2 (available from the VAPA office)
• Dance Elements Checklist (included)
• Dance Principles Checklist (included)
• Unity, Variety and Contrast Rubric (included for subsequent lessons)

RESOURCES
• VAPA Core Learnings
• Video Clips CD or DVD (available from the VAPA office)
• For a comprehensive look at dance elements and principles of choreography, go to
http://www.sasked.gov.sk.ca/docs/artsed/dance102030/danceappdxb.html

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Explain that the students will be viewing two different video clips, labeled as Lesson #1 on the CD/DVD.
• Video Clip #1 is a high-energy jazz dance. Video clip #2 is a modern/interpretive dance. Each is very
different in style and technique. (This will give students an exposure to dance style and genre).
• View both video clips with students.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Arrange students in pairs and give each two Dance Elements checklists, (One for each video.)
• Briefly review the movement (axial and locomotor) and elements (time, space/shape and force/energy) of
dance on the handout. (Refer to Gr. 4 lesson #1)
• Play the video clips two or three more times, giving students ample time to circle the elements they see in
each clip. You may prefer to focus on a single category at a time. Example: play the video and ask
students to identify only the locomotor movements. Replay the clip and identify only the energy/forced
used.
• Share observations using the Dance Elements Checklist as a reference. Replay the clip as many times
as necessary while students identify, justify and discuss what they viewed.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Review vocabulary for the principles of phrasing, repetition, transition, unity, variety and contrast.
Refer to Grade 4 lessons #7, #8 and #9. (See also Principles of Dance Checklist for Teachers included in
this lesson).
• Distribute two Principles of Dance checklists to each student pair. (One per video clip.)
• Watch the two video clips and identify the principles used in the two dances using the checklist.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
o Replay the video clips and discuss with students how variety and contrast was demonstrated. You may
 want to focus on one category (unity, variety or contrast) at a time.
o Share observations using the rubric as a reference. Replay the clip as many times as necessary while
students identify, justify, identify and discuss observations.
• Discuss how the elements and principles of dance work together to create a dance. (e.g., dance elements
in varying combinations create interest, variety, contrast; tying one movement idea to another requires
transition)

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal experiences.)
• Watch any television program or video that includes dance.
• Using the checklists to record dance elements and movements.
• Evaluate and record how unity, variety and contrast were demonstrated.
• Share at the next class meeting.
• Option: Do some research and write a paper or create an oral presentation on the importance of variety in
science.
• Make connections to science in classification exercises.
 Dance Elements Checklist
Unity and Variety are created when using these elements in combination

Name(s) ______________________________________ Clip # ______________

Axial Movements
Bend Stretch Twist
Turn Reach Stomp
Curl Turn Fall
Sit Kneel Lunge
Tilt Coil Hang

Locomotor Movement
Run Leap Gallop
Skip Jump Walk
Hop Slide Leap
March Tip-toe Roll
Crawl Slither Scoot

Force/Energy and Quality of Movement

Heavy Light Sharp
Smooth Shaky Choppy
Flowing Push Pull
Sink Melt Collapse
Glide Float Burst
Sway Bounce Dab
Dart Dash Flick
Flop Stroll Stagger
Wiggle Waddle Romp
Fly Clomp Scurry
Lumber Wobble Punch
Swirl Lope Flitter

Time
Fast Moderate Slow
Freeze Suspend Sustain

Space and Shape

Wide Narrow Curled
Open Closed Wide
Narrow Symmetry Asymmetry

Levels:
High Medium Low

Pathway:
Curve Straight Zigzag
Spiral Lines Circles
Forward Backward Sideways
Diagonal Over/Under/Through
 Principles of Dance Composition Checklist
For the Teacher
(distribute to students if desired)

Definitions and Discussion Points: The principles of dance refer to the ways in which the
elements are constructed to create a choreographic work. They include:

• Repetition: permits an audience to see the movements in more detail, allowing

them to become familiar with the movement vocabulary the choreographer is
using. Repetition can also be used to give movements emphasis. When used
effectively, repetition can help create unity by relating sections of a dance to each
other. It should be noted that some dances use repetition to create a mesmerizing
effect or a tension contrast Phrasing (Sequencing and development): refer to the
ordering of movement (sequencing) in a meaningful way (development). When
movements are purposefully connected to each other, they gain significance and
take on meaning. This is similar to a word gaining significance when it is placed in
a phrase or sentence. As the dance unfolds, each movement and choreographic
idea should grow logically out of the previous one. This creates continuity, helping
the audience follow the intent of the dance.
• Transitions: are needed when movements and dance phrases are connected.
Transitions should work toward the intent of the dance composition by connecting
the movements and dance phrases in a meaningful way. Transitional movements
should promote continuity.
• Unity: When all the parts work together to contribute to the whole dance, there is
unity. Every movement, no matter how brief, should work toward the intent of the
composition. Unity is achieved when the removal of any portion of the composition
damages the whole dance.
• Variety: within a dance composition can engage and hold an audience's interest.
Variety can be incorporated in several ways, as illustrated in the following
examples: selecting unlike movements to create variety; varying dance phrases in
length and structure; varying spatial, dynamic, body, or relationship aspects when
movements or phrases are repeated; or presenting movements in retrograde
(doing a movement backwards, similar to playing a film backwards).
• Contrast: can be achieved by combining and/or juxtaposing unlike movements.
Movements can differ in action, body, dynamic, space, or relationship concepts.
• Optional: Climax and Resolution: All dances need to begin somewhere, build
toward something, and come to a resolution (beginning, middle, and end). When a
dance builds in intensity and interest and reaches a high point, the high point is
called a climax. A climax can be created in many ways. For example, dance
phrases can increase in intensity of energy and speed to a high point before
decreasing to a lull, or a narrative can build toward a highlight or a turning-point
before being resolved. The resolution of a climax reveals the importance of what
has occurred previously in the composition. Climaxes can be resolved in a variety
of ways; for example, the climax could dissolve, be converted into something else,
or be replaced by something else.

Taken in part from http://www.sasked.gov.sk.ca/docs/artsed/dance102030/danceappdxb.html

 Principles of Dance Composition Checklist
Name _________________________________________ Clip # __________________

.
Dance Principle Your thoughts, clues and evidence
Repetition
• Which movements were similar or like?
• Did you notice a particular section that was
repeated?
• Did repeating the movement make a point?
• Did the repetition make the dance boring or
interesting?

Phrasing
• Do the dance sections make sense in the
order they appear?
• Does the dance show flow and continuity?

Transition
• Do the dance phrases connect together
smoothly?
• Does the dance make sense the way it is
constructed?

Unity
• Do all parts of the dance are work together?
• Does the dance have a feeling of wholeness?
• If any one part of the dance was removed,
would the dance be damaged?

Variety
• Unlike movements used to create variety
• Varied dance phrases in length and structure
• Varied spatial, dynamic, body, or relationship
aspects when movements or phrases are
repeated
• Movements done in retrograde. (doing a
movement backwards, similar to playing a
film backwards)

Contrast
• The juxtaposition of movements with distinct
differences, (e.g., high/low, curved/straight,
sudden/strong, solo/group, etc.)

And movements that are different in

• action
• body
• dynamic space
• relationship concepts
 Unity, Variety and Contrast Rubric

Name(s) _________________________________________________ Video Clip # ______________

Category 4 Advanced 3 Proficient 2 Basic 1 Below Basic

Unity Dance study Dance study demonstrates Dance study demonstrates all Dance study demonstrates
demonstrates all three all three parts. Transitions three parts but transitions are all three parts, but
parts integrated into a 48 are apparent but may not be rough between sections. transitions are unclear.
count (three 16 count smooth. Group is prepared. Group is somewhat prepared. Group may stop and start,
sections). Transitions are show confusion and are
smooth and group is well not well prepared.
prepared and rehearsed.

Variety Dance study displays Dance study displays variety Dance study displays some Dance study displays
variety showing subtle showing subtle differences in variety showing subtle some variety in dance
differences in dance dance elements. There is differences in dance elements. elements. There is some
elements. There is clarity clarity in 3 of the original 4 There is clarity in 2 or 3 of the clarity in 1 or 2 of the
between the original 4 movements and the original 4 movements and the original 4 movements and
movements and the audience easily perceives audience perceives the the audience perceives the
audience easily the variations. variations with assistance from variations with assistance
perceives the variations. the teacher. from the teacher.

Contrast Dance study displays Dance study displays Dance study displays a weaker Dance study displays a
contrast using a wide contrast using a wide and contrast, with less dynamic weak contrast, with little
and dynamic opposing dynamic range of opposing opposition of dance elements. dynamic opposition of
range of dance elements. dance elements in 3 of the 4. There may be repetition with dance elements. There
There is clarity between There is clarity between the only 2 or the original may be repetition with only
the original 4 movements original 4 movements and movements showing clarity. 1 or 2 or the original
and the audience easily the audience easily The audience perceives the movements showing
perceives the variations. perceives the variations. variations with teacher clarity. The audience
assistance. perceives the variations
with teacher assistance.
 DANCE - GRADE 5
BODY ALIGNMENT

The Dancer’s Position

Lesson 2
This lesson is a precursor to teaching isolations, balance and control.

CONTENT STANDARDS
1.1 Demonstrate focus, physical control (e.g., proper alignment, balance), and coordination in performing
locomotor and axial movement.

ESSENTIAL QUESTIONS
• How do I align my body for dance?
• Why is appropriate posture and alignment important for the dancer?
• How do I describe and demonstrate first and second position parallel and turnout in dance?

OBJECTIVES & STUDENT OUTCOMES

• Demonstrate proper body alignment and placement. (e.g., feet, knees, hips, stomach, ribs, chest,
shoulders, head, etc.)

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Student demonstration of correct posture and breathing
o Student response to inquiry
• Feedback for Student
o Teacher feedback
o Peer feedback

WORDS TO KNOW
• alignment: the correct position or positioning of the parts of the body relative to one another for dance
• first position: a ballet term meaning the stance (feet) is approximately 6 inches apart. The toes can be
either turned away from the midline of the body with heels together (called turn out) or the feet can be
parallel (facing forward) (called parallel first) position.
• second position: a ballet term meaning the stance (feet) is shoulder width apart, weight evenly
distributed on both feet. Second position can be done in turn out or in parallel position.
• turn out: outward rotation of the hip joint so that the toes are turned away from the body but the heels
are together
• dancer’s position: the proper stance to ready the student for dance

MATERIALS
• Positions of the feet and arms in Ballet (included)
• Variety of cultural music selections: African, Latin or Native American available at the IMC (Christy
Lane’s Multicultural CD) or from the VAPA office.
• For explanation and pictures of correct and incorrect posture and alignment for dance go to
http://library.thinkquest.org/12819/text/alignment2.html
• Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix CD’s
are easily available at most music stores and from Amazon.com. iTunes has many selections of pop
and rock music with a strong beat that you can listen to before purchasing for $.99 per song. Students
could bring in music they listen to at home, but be sure to check the lyrics first.

RESOURCES
• VAPA Core Learnings
• Alignment and Posture website: http://library.thinkquest.org/12819/text/alignment2.html
• Internet iTunes and other websites for music (Amazon.com)

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Review vocabulary and positions to be used in this lesson.
• Discuss with students the reasons why alignment and posture are important to dance: balance, muscle
development, and prevention of injury
• Students become aware of body placement and alignment in the following positions:
o Stand tall and rigid like a marine at “attention”. Feet should be together. Try to lean from side to side.
o Raise the shoulders up to the ears and maintain “attention” position and try to lean back and look up.
o Release the body tightness and allow the posture to slump (round shoulders and back, let chin come
forward). Maintain a standing position, feet together, and focus eyes on the floor. Let arms relax and
swing.
o Keeping the slouched posture, move the feet shoulder-width apart (approximately 14-16 inches).
o Coach the students to lift and stand tall without slouching, arching the lower back (swayback) or
allowing the body to become rigid.
o Repeat one or two more times. Use a full length mirror or large window if available for students to
view themselves.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• If able, view the website http://library.thinkquest.org/12819/text/alignment2.html and review with
students.
• Explain that dancers must have good alignment in order to dance correctly, safely and with balance and
control.
• As you explain the placement of each body part, (descriptions are below) model and ask students to
mimic.
o Say: “The correct dancer’s position looks like this.” (use the descriptions below) and ask students to
demonstrate as a group.
¾ Place feet approximately 4-6 inches apart (known as first position) with weight evenly distributed
on both feet, ankles not rolled in or out. Shift weight from foot to foot or roll ankles to demonstrate
mal-alignment. Demonstrate with feet in turnout and in parallel position.
¾ Position knees straight but not locked. Ask students to press knees back and hold tight, then relax
to get this position.
¾ Hips should be squared not sitting off to the right or left.
¾ Tummy is lifted and held up. Do NOT suck in your stomach. Look for evidence of released pelvis
or “sway back”.
¾ Chest should be open. Shoulders should not be squeezed back too far as to pinch the shoulder
blades. Ask students to round in and open up the chest and shoulders to get this position.
¾ Shoulders should be pressed down not lifted up to the ears. Have students raise and squeeze the
shoulders tightly, then press them down to get this position.
¾ Head and eyes should be straight ahead. No tilting to the side, down or lifted up.
• Mix up the order of the body positions to see if students can remember the correct alignment.
• To check for understanding, ask students to incorrectly place each body part and then ask them correct
the position (e.g. push forward the hips, then replace; squeeze the shoulder blades together, then
replace).
• Further check for understanding by asking students to verbalize what they are doing and demonstrate
for each other.

• Note: Remind students to breathe. Standing in correct alignment is not natural for most people
and the concentration often causes students to hold their breath which could cause fainting!

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

ƒ Ask students to find their space in the room and stand in the dancer’s position. (Decide beforehand
 which foot position the students will demonstrate: first or second, parallel or turnout position).
ƒ Ask students to breathe deeply two times before starting the music.
ƒ Play a variety of musical selections and ask students to move appropriately (style: African, Latin or
Native American, slow, fast, sharp, in personal and general space, etc).
ƒ When the music stops, students immediately freeze in an interesting shape. You may add criteria for the
shapes. (e.g., change level, wide, narrow, large, small, geometric, etc.)
ƒ Direct students to return to the dancer’s position and breathe deeply two times.
ƒ Repeat using a few more musical selections until students get the idea of correct alignment.
ƒ Make corrections in posture and alignment as you proceed through the exercise.
ƒ Listen for the two breaths as students hold the dancer’s position.
ƒ Coach students to take their weight off-balance by leaning or tilting forward, backward and sideways,
moving quickly, spinning, etc., while maintaining control, being able to freeze immediately in a shape
without any movement. Students should avoid falling down, bumping into someone or something, etc.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
• Review the correct placement for each body part by asking for volunteers to verbalize and demonstrate
the following positions:
o Feet
o Knees
o Hips
o Tummy
o Chest
o Shoulders
o Head
• Ask students the following:
o “Was breathing difficult while learning to stand correctly? Why?” (Discuss the impact of
concentration and focus as a distracter to breathing)
o “What can you do to make sure you breathe while rehearsing dance postures and movement?”
o “Why is correct alignment and posture important for the dancer?”

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal
experiences.)
• Practice standing in the dancer’s position off and on throughout your day.
• Walk from place to place with correct alignment and journal how this felt.
• Did you remember to breathe?
• Begin a Dance Journal where students will keep track of their progress throughout the series of lessons.
• Science connection: research the importance of oxygen to the body and the reason for breathing
during exercise.

DANCE POSTIONS (Ballet Example)

The toes in first and second position do not have to be turned out as widely as shown.
For this lesson it is recommended that a fist width or two between the toes will be
sufficient to demonstrate turnout. Positions can also be done with the feet in parallel
position.
http://centerstagedance1.com/images/positions1.jpg

Alignment of Posture and Turnout

 Alignment and Posture for Dance

http://library.thinkquest.org/12819/text/alignment2.html

Proper alignment of posture and turnout are necessary for balance, muscle development, and
prevention of injury in dance.

Posture, that is, carriage of the body, is very important for a dancer. Poor alignment puts
stresses and strains on the joints and muscles of the lower back and legs, causing muscles to
work beyond their natural capacities, joints to carry more weight, and ligaments to lose their
elasticity.

The muscles in the back and abdomen should be held, but not in a tense manner. Dancers are
often told to "stand straight," but this does not mean that the dancer should hold his or her spine
as if a pole was going through it. There is a slight curvature to the spine, especially where the
spine meets the pelvis. In addition, one should not stand as if in military stance; the arms and
head should rest comfortably above the rib cage.

When one refers to alignment, one generally thinks of the head, spine and pelvis and usually
forgets about the legs and feet. Problems in the legs, such as hyper- extended knees and over
turnout of the feet, often lead to injuries in elsewhere in the body.

Hyper- extended (sometimes called swayback) knees puts extra pressure on the backs of the
knees, places one's weight on the heels, and causes the pelvis to tip forward (Hammond, 132).
Practicing carefully in a parallel position, the dancer can work toward solving this problem by
holding the knees stable, but not locked, repositioning weight towards the ball of the foot, and
tilting the pelvis to a vertical position.

Over turnout in the feet can also lead a dancer to injury. Ballet nearly always calls for turnout;
modern and jazz do so only occasionally. Turning out the legs allows one to lift ones legs higher
and creates a beautiful line. Unfortunately, many dancers become overzealous in their turning
out, which can lead to a variety of problems.

Turnout should come from the ball-and-socket joint at the hip, not from the knees or the ankles.
The knees should always point over the toes, the feet should never roll over the arches, and the
pelvis should not feel pushed or tilted forward. If you should notice that you are doing any of the
above-mentioned things or if you feel pain in any of these areas, simply move your toes to a
slightly more turned in position. Do not try to correct the rolled in arches or the tilted pelvis by
muscling your way through combinations: you will only put more strain on the other, making
injury even more likely.
 DANCE – GRADE 5
ISOLATIONS AND THE DEVELOPMENT OF STYLE

Lesson 3
I’ve Got Style!
Recommended: Read The History and Origins of Ballet and Jazz Dance (attached)
prior to teaching this lesson.
This lesson is one in a series of 3 parts.
Lesson 5 will complete the dance study.

Content Standards
1.1 Demonstrate focus, physical control, (e.g., proper alignment, balance) and coordination in performing
locomotor and axial movement.
1.2 Name and use a wide variety of movements. (e.g., isolations/whole body)

TOPICAL QUESTIONS
• What knowledge and performance skills do I need to solve problems in dance?
• How do I create artistic dance forms, styles and genres from different cultures and time periods?
• How do I identify and classify artistic dance forms, styles and genres from different cultures and time
periods?

OBJECTIVES & STUDENT OUTCOMES

• Students will combine and perform isolations with axial and locomotor movements (e.g., walk and/or turn
doing a variety of head or shoulder movement) while demonstrating proper alignment Students will
identify,
• Students will discern between and perform the skills and style of ballet and jazz dance.

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Student observation and performance
o Worksheet/checklist
• Feedback for Student
o Teacher and peer feedback
o Worksheet/checklist

WORDS TO KNOW
• isolation: separating (isolating) body parts or moving one body part at a time
• technique: the procedure and/or skill used in dance usually demonstrated through basic movement
• ballet: a form of dance characterized by a defined system of steps, poses, and graceful movement
including leaps and spins
• jazz dance: a style of dance which uses the technique and terminology of ballet terms, but employs
isolation, syncopation and typically, strong, energetic movement
• style: distinctive and identifiable movements in dance performed in such a way to express a particular
attitude or time period, often used in combination
• first position: a ballet term meaning the stance (feet) is approximately 6 inches apart. The toes can be
either turned away from the midline of the body with heels together (called turn out) or the feet can be
parallel (facing forward) (called parallel first) position.
• second position: a ballet term meaning the stance (feet) is shoulder width apart, weight evenly
distributed on both feet. Second position can be done in turn out or in parallel position.
• turn out: outward rotation of the hip joint so that the toes are turned away from the body but the heels are
together
• dancer’s position: the proper stance to ready the student for dance
• parallel position: the proper stance to ready the student to dance but the feet are in parallel first position,
rather than first position turnout

MATERIALS
• Origins of Ballet, Jazz and Hip Hop/Break Dance Information (included)
• CD or DVD of Video Clips (available from the VAPA office)
• Worksheet/Checklist Isolations and Single/Double Dance Steps
• Computer (optional: projection equipment)
• Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix CD’s
are available at most music stores and from Amazon.com. iTunes has many selections of pop and rock
music with a strong beat that you can listen to before purchasing for $.99 per song. Students could bring
in their own musical selections, but be sure to check the lyrics for language.

RESOURCES
• CD/DVD of Video Clips available from the VAPA office that accompany this lesson series
• History of Jazz Dance: http://www.hkbu.edu.hk/~pesubj/purple/e_jazz/ejz_bri.htm and interactive video
http://www.ket.org/artstoolkit/dance/preview/dance-dancesense109_excerpt.htm

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Briefly review lessons #1 and #2 including positions and terminology.
• Share the attachments on Jazz and Ballet with the class before teaching this lesson. Hip-hop will be
covered in lesson 7.
• Arrange students in pairs.
• Play each of the three video clips (labeled lesson #3 on the CD/DVD) two times each and ask students to
observe the similarities and differences between the dance styles: ballet and jazz/hip hop. You might use
a Venn Diagram or other graphic organizer.
• Share observations and discuss how the dancer uses his body in each dance genre. (e.g., jazz dance is
typically quicker, sharper, uses isolations, is grounded and movement is freer looking whereas ballet is
lifted, on the toes, graceful and exacting in movement technique.)

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Tell students that certain movements done in a particular manner create style.
• Isolations (moving one body part independently) are kinds of movement that create style, particularly
in Jazz and Hip Hop.
• Ask students to find their personal space, standing in second position, in parallel dancer’s position.
• Start with the following simple isolation movements:
o Turn the head to the right side and back to the center; then to the left side and back to the center.
Move the head up and down always returning to the center.
o Move the shoulders up and down, forward and back, together and one at a time, alternating, always
returning to center.
o Pop (bend sharply) the knees together at the same time and one at a time, alternating left and right,
return to center.
o Turn the toes in together at the same time and one at a time (alternating left and right) return to
center.
o Move the ribcage (this can be difficult)
¾ to the side: Raise the arms extended straight out from the shoulders, bending knees slightly.
Reach as far as possible to the side with the rib cage without moving the hips, tilting or lunging
from side to side.
¾ back: Ask students to pretend they have been “socked in the stomach”. Place the fingers on the
diaphragm, exhale quickly (saying the word out or shhhhh will accomplish this) and pull the ribs
in.
¾ forward: Reverse the imagery (being pushed forcibly on the mid-back) or pretend there is a
stick attached to the chest that forcibly pulls your chest and ribcage forward.
o Move the hips:
 ¾ Keep the knees slightly bent, lift each hip up and to the side. Repeat on the other side,
remembering to always stop in the center. Swing hips from side to side without stopping in the
center (this is called pass through).
¾ Hips can also be circled around to the right and left. You May want to avoid forward and
backward movement of the hips and proceed directly to circling.
o Move the feet:
¾ Flex by pulling toes toward knee, point by extending ankle and toes to the floor and circle the
foot both inward and outward.
o Rehearse isolations several times, stopping in the center and passing through.
o Perform these movements with music that has a strong beat.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Combine isolations (head, shoulder, ribcage, hips and knees) and dance steps (walk, single and double
basic) in combinations.
• Teach the following steps:
o Single basic: step right to the side, touch right, repeat on the left
o Double basic: step to the right, step together with the left, step to the right, touch left.
ƒ Have the class repeat each step for 8 counts as needed.
• Divide the class into groups of five or six and distribute a worksheet to each group (included).
• Each group is to come up with a way to incorporate head, shoulders, ribcage, and hips incorporating the
two dance steps and the walk. (e.g., walk forward and move head from side to side for 4 counts, then
add shoulders for another 4 counts; double basic step moving shoulders up and down or hips right to
left).
• Allow some time for students to explore movements and improvise.
• Allow each group to demonstrate their steps and movements while the rest of the class is the audience.
• Use moderate tempo pop/rock type music with a strong beat.
• Options: Have one group teach the class the movements they have created or have groups teach each
other. Explore ways to combine two groups’ movements into a single combination.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
• Ask students:
o “Identify the isolations used in each group.”
o “Which dance steps and isolation movements seemed to go well together? Why?”
o “Which dance steps did not seem to work as well? Why?
o “What is difficult about combining isolations and dance steps?”
o “What did you and/or your group do to make the combinations easier?”
o “In what ways do isolations make the three dance steps (walk, double and single basic) more
interesting?”
o “Which dance genre uses isolations as a significant part of its movement style?” (Jazz)
• Play the video clips once more (from the warm-up), and ask the students to identify the differences in the
movements between ballet and jazz dance.

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal
experiences.)
• Describe how historical events relate to dance forms and make relevant historical or cultural
connections. (e.g., the rebellion of the 1960’s was represented in popular social dances with a move
from partners to individual expression,)
• Select one of the following:
o Research a major dance style or form and discuss what happened in history to inspire its creation.
(e.g., Modern Dance, Jazz, Tap, Social Dance, Hip Hop and Break Dance, etc.)
o Discuss how immigrants of different ethnic groups to the United States contributed their traditional
movement and rhythms to the development of unique dance styles such as tap, jazz, blues, and
swing dance.
o Read about a famous jazz dancers or choreographers and write a short summary.
 Worksheet/Checklist
Isolations and Single/Double Dance Steps

Group # ____ Names ______________________________________________

________________________________________________________________

Single Basic Step The isolations our group added were:

Double Basic Step The isolations our group added were:

Single Basic Step Yes we can do the steps No, we cannot do it and the
(place an “x” in one of the and the isolations at the isolations at the same time
boxes to the right) same time for 16 counts for 16 counts

Double Basic Step Yes we can do the steps No, we cannot do the steps
(place an “x” in one of the and the isolations at the and the isolations at the
boxes to the right) same time for 16 counts same time for 16 counts
 The Origin of Ballet
http://danceelement.org/aboutballet.aspx

The art of ballet did not emerge until the late 1400s in Italy. Italy began the ballet
tradition, but it was the French that enabled it to blossom. Incorporating aspects of Italian ballet,
French ballet gained prominence and influenced the dance genre internationally. To this day,
the majority of ballet vocabulary originates from French.
In the last century, the United States also developed its own ballet traditions, most
notably with choreographer George Balanchine. Although interest in contemporary dance has
expanded to include modern dance, jazz, flamenco and other forms, ballet has endured the test
of time and is still taught and performed.
The word ballet comes from French and was borrowed into English around the 17th
century. The French word in turn has its origins in Italian balletto, a diminutive of ballo (dance).
Ballet ultimately traces back to Latin ballere, meaning to dance.
Ballet originated in the Renaissance court as an outgrowth of court pageantry in Italy,
Aristocratic weddings were lavish celebrations. Court musicians and dancers collaborated to
provide elaborate entertainment for them. Ballet was further shaped by the French ballet de
cour, which consisted of social dances performed by the nobility in tandem with music, speech,
verse, song, pageant, decor and costume. When Catherine de' Medici, an Italian aristocrat with
an interest in the arts, married the French crown heir Henry II, she brought her enthusiasm for
dance to France and provided financial support.
A ballet of the Renaissance would look nothing like a performance of Giselle or Swan
Lake at the Bolshoi. Tutus, ballet slippers and pointe work was unheard of. The choreography
was adapted from court dance steps. Performers dressed in fashions of the times. For women
that meant formal gowns that covered their legs to the ankle. Early ballet was participatory, with
the audience joining the dance towards the end.

Ballet Technique
Ballet, especially classical ballet, puts great emphasis on the method and execution of
movement. A distinctive feature of ballet is the outward rotation of the thighs from the hip. The
foundation of the dance consists of five basic positions, all performed with the turnout. Young
dancers receive a rigorous education in their school's method of dance, which begins when they
are young and ends with graduation from high school. Students are required to learn the names,
meanings, and precise technique of each movement they learn. Emphasis is put on building
strength mostly in the lower body, particularly the legs, and the core (also called the center or
the abdominals) as a strong core is necessary for many movements in ballet, especially turns,
and on developing flexibility and strong feet for dancing en pointe.

Ballet Methods
Ballet techniques are generally grouped by the area in which they originated, such
as Russian ballet, French ballet, Italian ballet. Although there are some small regional
variations, the 'rules' and movement vocabulary of ballet remain the same throughout
the world. The different training techniques of ballet are designed to produce a different
aesthetic quality from a student. This is particularly noticeable in the high extensions
and dynamic turns of Russian ballet, whereas Italian ballet tends to be much more
grounded, with a heavy focus on fast intricate footwork (eg., the Tarantella is a well
known Italian folk dance, which is believed to have influenced Italian ballet.)
 History of Jazz Dance
http://www.hkbu.edu.hk/~pesubj/purple/e_jazz/ejz_bri.htm

Jazz dance originated from the African American vernacular dance of the late 1800s to the mid-
1905s. An early popular "jazz dancer" was vaudeville star Joe Frisco in the 1910s. He danced in
a loose-limbed style close to the ground while juggling his derby and cigar.

Until the middle of 1950s, the term "jazz dance" often referred to tap dance, because tap dancing
(set to jazz music) was the main performance dance of the era. During the later jazz age, popular
forms of jazz dance were the Cakewalk, Black Bottom, Charleston, Jitterbug, Boogie Woogie,
swing dancing and the related Lindy Hop.

After the 1950s, pioneers such as Katherine Dunham took the essence of Caribbean traditional
dance and made it into a performing art. With the growing domination of other forms of
entertainment music, jazz dance evolved on Broadway into a new, smooth style taught today and
known as Modern Jazz, while tap dance continued to evolve on its own. The performance style
was popularized by Bob Fosse’s work, such as Chicago, Cabaret, Damn Yankees, and The
Pajama Game.

Today, jazz dance is present in many different venues and different forms. Jazz dance thrives in
dance schools and remains an essential part of musical theater choreography; it is sometimes
interwoven with other dance styles as appropriate for the particular show. Jazz dancing can be
seen in some music videos, and even a number of Las Vegas showgirls are jazz dancers.

Technique
To excel in jazz dance, the dancer must master ballet technique because it consists of slower
movements that strengthens body and improves balance. This is also beneficial for jumps and
turns where correct posture is necessary to properly complete the jump and/or turn. Jazz
dancers' strong and sharp movements are aided by ballet technique. Jazz dance can take many
different paths. It is often competed in large groups in its more traditional form, but can also cross
over into other styles of dance to be lyrical or contemporary. It can also be highly influenced by
hip hop styles.

Jazz relies heavily on originality and improvisation. Many jazz dancers have different takes on
the dance, incorporating different styles into the dance. An important factor of jazz is expression.
Good jazz routines express the music through dramatic and grandiose body movements.
Some basic moves include: ball change, twist, pivot step, touch step, Piqué passé, stag leap,
jete`, pencil spin, barrel turn, fan kick, jazz walk, jazz run, hip walk, chasses, cat walk and the
catch step.

Notable directors, dancers and choreographers:

• Jack Cole, considered the father of jazz dance technique. He was a key inspiration to Matt
Mattox, Bob Fosse, Jerome Robbins, Gwen Verdon, and many other choreographers.
• Bob Fosse, a noted jazz choreographer who created a new form of jazz, inspired by Fred
Astaire and the burlesque and vaudeville styles.
• Gus Giordano, a highly influential jazz dancer and choreographer.
• Eugene Louis Faccuito (aka Luigi), a dancer who created a warmup routine designed to
prepare his body for dancing after being paralyzed in a car accident.
• Jerome Robbins, choreographer for a number of hit musicals, including Peter Pan, The King
and I, The Pajama Game, Fiddler on the Roof, Gypsy, Funny Girl, and West Side Story. He
also directed the last four. He also founded the ballet company Ballets USA.
• Gwen Verdon, known for her roles in Damn Yankees, Chicago, and Sweet Charity.
 Origin of Hip- Hop and Break Dance
http://media.www.thehurricaneonline.com/media/storage/paper479/news/2005/02/01/Edge/Wha
ts.Bigger.Than.HipHop.Music.The.Cultural.Movement-847417.shtml

Hip hop is a cultural movement that began among urban Africans, Jamaicans
and Latinos in the Bronx borough of New York City during the early 1970s, and has
since spread around the world. Breaking is one of the major elements of hip hop culture,
commonly associated with, but distinct from, "popping", "locking", "hitting", "ticking",
"boogaloo", and other funk styles that evolved independently in New York during the
late 20th century.
It was common during the 1980s to see groups of people in a playground,
basketball court, or sidewalk with a radio performing break-dancing shows for a large
audience. While breaking in its current form began in the South Bronx alongside the
other elements of hip-hop, it is similar in style to and may possibly derive from the
Capoeira form of dancing/martial arts, which was developed by slaves in Brazil.
"Hip-Hop" as a form of dance is becoming more popular. Derived from, but not
wholly consisting of, break dancing moves, it is a dance without any limitations to
positions and is an expression of how a dancer feels on the inside. The style of hip-hop
dance incorporates a lot of fast paced combinations and rhythm. Hip-hop is very casual
and fun. The modern moves and energy make it a great form of fun and exercise for
teens and pre-teens of today. Certain shoes can be worn at some studios, preferably
the dance sneaker or jazz shoes.
 DANCE - GRADE 5
PHRASING AND STYLE

Baby, You’ve Got Style!!

Lesson 4
Part two of three, this lesson may take 2 sessions to complete.

CONTENT STANDARDS
1.2 Name and use a wide variety of movements. (e.g. isolations/whole body)
1.5 Use appropriate dance vocabulary to describe dances.
2.1 Create, memorize, and perform complex sequences of movement with greater focus, force/energy, and
intent.

TOPICAL QUESTIONS
• How do I create style in dance?
• What is performance quality and why is it important to dance?
• What is my responsibility in performing?

OBJECTIVES & STUDENT OUTCOMES

• Students will combine and perform axial and locomotor movements simultaneously with isolations. (e.g.,
walk and/or turn doing a variety of head or shoulder movement, etc.)
• Students will create style by selecting and performing appropriate movement.
• Students will memorize dance sequences to develop muscle memory and kinesthetic awareness skills.

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Student Phrasing Worksheet/Checklist
o Student response to inquiry
• Feedback for Student
o Teacher feedback
o Peer feedback
o Phrasing Worksheet/Checklist

WORDS TO KNOW
• phrasing: the way in which the parts of a dance are organized
• performance quality: a confident presentation of one's body and energy to communicate movement and
meaning vividly to an audience. (also known as projection)
• isolation: separating (isolating) body parts or moving one body part at a time
• style: a way of doing something, especially a way regarded as expressing a particular attitude or time
period (i.e. jazz, hip-hop, or lyrical styles of dance).

MATERIALS
• CD Player
• CD’s Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix
CD’s are available at most music stores and from www.Amazon.com. iTunes has many selections of
pop and rock music with a strong beat that you can listen to before purchasing for $.99 per song.
Students could bring in their own musical selections, but be sure to check the lyrics for language.
• Computer (optional: projection device)
• CD/DVD of Video Clips (available from the VAPA office)
• Phrasing Worksheet and Checklist (included)
RESOURCES
o VAPA Core Learnings
o CD/DVD of Video Clips (available from the VAPA office)

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Review the previous lesson on isolations.
• Select one of the three video clips from lesson #3 and have students observe and identify the types of
isolations they see.
• Allow students to watch the clip two more times as needed.
• Discuss the findings as a group making sure all isolations are identified.
• Ask for student volunteers to imitate a movement or series of movements that they saw on the video clip.
• Ask for volunteers to teach the movements to the class.
• Use the video clip as a guide as necessary.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Have students find their personal space and review the following: (coach and correct as needed)
o the dancer’s position and correct alignment (lesson 2)
o isolations (lesson 3)
o single and double basic steps (lesson 3)
• Teach a movement phrase in two parts, A and B:
Part A: Beginning with the right foot, do two double basic steps (refer to lessons 3), step-together-step-
touch to the right then to the left (4 counts each for 8 counts total).
Part B:
ƒ Beginning with the right foot, walk forward 4 steps, do two single basic steps starting to the right (8
counts).
ƒ Beginning right, walk backwards 4 steps and do two single basic steps (8 counts).
• You have now created a 24-count phrase.
• Rehearse this phrase several times until students have the sequence memorized.
• Play some upbeat, moderate to moderately quick popular music appropriate for this age group.
• Add body isolations
o As a group ask students to give suggestions for isolation movement to add to the footwork (refer to
lesson 3).
o Begin with part A. Select and add student suggestions and review.
o Continue to add various isolations to the two sections of part B.
o Rehearse each section several times.
o Rehearse all three parts together as many times as it takes for students to memorize most of the
phrase without and with music.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Discuss the idea of performance quality as being an important part of how a dance looks simply by the
way the dancers move and use their facial and body energy. Performance quality often gives dance a
definite and identifiable style. (Refer to vocabulary).
• Gather students together and play the video clip(s) again asking students to pay particular attention to the
style of the movements and the performance quality of the dancers. (e.g., intensity, sharpness, strength,
smile, aggressive, flowing, etc.)
• Ask students to make special note of any particular movements or ways of moving they liked and might
be interested in recreating.
• To make the dance’s style more, use a variety of musical selections: slow, flowing music, with or without
lyrics for as ballet style; contemporary music with a strong beat for jazz or hip-hop.
• Divide the class into groups of four to six.
• Ask each group to add any other movements they feel would make their particular dance phrase more
interesting. (e.g., students could change levels, change pathway, add multiple layers of isolations; head,
shoulders and arms done together, etc.)
• Note: students may not change the original AB steps or the agreed upon isolations that were
added in the modeling section of this lesson but must add to or embellish upon the original.
• Give students ample time to explore movement, make artistic choices, incorporate into the phrase and
rehearse.
• Allow students to revisit the video clips to get ideas.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
• Ask students:
o “How did stylizing the movement and adding performance quality change the phrase?” (e.g., it made
the dance more difficult, fun, tiring, etc.)
o “What was challenging about selecting, making choices and adding additional movement to your
phrase?” (Students may comment on how difficult it was to find and agree upon movement ideas,
more difficult to memorize, etc.).
• Ask students to rehearse the phrase for the next lesson.

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal
experiences.)
• Describe how dancing requires good health-related habits. (e.g., individual and group goals for flexibility,
strength, endurance, stress management, nutrition)
• Making extensions to the importance of rehearsal to performance:
ƒ Ask students to research and write a short narrative about why rehearsal is an important part of
performing?
 Phrasing Worksheet/Checklist
Isolations and single/Double Dance Steps

Group # _____ Names _________________________________________________

____________________________________________________________________

Part A Double Basic Step The isolations our class added were:

Part B walk forward Single Basic Step The isolations our class added were:

Part B walk backward Single Basic Step The isolations our class added were:

Describe the movements or performance

qualities you added to change the phrase.

What did we do with our phrase to create

style? What performance quality did we
choose?

Part A Double Basic Step Yes we can do the step and No, we cannot do it and the isolations
(place an “x” in one of the the isolations at the same time at the same time for 8 counts
boxes to the right) for 8 counts

Walk Forward and Single Yes we can do the steps and No, we cannot do the steps and the
Basic Step the isolations at the same time isolations at the same time for 16
(place an “x” in one of the for 16 counts counts
boxes to the right).

Walk Backward and Single Yes we can do the steps and No, we cannot do the steps and the
Basic Step the isolations at the same time isolations at the same time for 16
(place an “x” in one of the for 16 counts counts
boxes to the right)
 DANCE - GRADE 5
PHRASING AND STYLE

Back in Style!
Lesson 5
Part three of three (this lesson will take 3-4 sessions to complete).

CONTENT STANDARDS
1.2 Name and use a wide variety of movements (e.g. isolations/whole body).
1.5 Use appropriate dance vocabulary to describe dances.
2.3 Describe and incorporate simple dance forms in dance studies (e.g., AB form, canon).

TOPICAL QUESTIONS
• What is canon?
• How do I create canon in dance?
• How is canon important to dance?

OBJECTIVES & STUDENT OUTCOMES

• Students will combine and perform axial and locomotor movements simultaneously with isolations. (e.g.,
walk and/or turn doing a variety of head or shoulder movement)
• Students will analyze and describe a dance study using the elements. (time, space, force/energy, shape)
• Students will memorize dance sequences to develop muscle memory and kinesthetic awareness skills.
• Students will perform a two-part sequence in round (canon) form.

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Canon Worksheet
o Student answers and performance
o Student feedback from videotape demonstration
• Feedback for Student
o Canon worksheet
o Teacher feedback
o Performance
o Viewing videotape and self-evaluation

WORDS TO KNOW
• AB form: a two-part compositional form with an A theme and a B theme. The binary form consists of two
distinct, self-contained sections that share either a character or quality (such as the same tempo.
• canon: a passage, movement sequence, or piece of music in which the parts are done in succession,
overlapping one another, also referred to as a round
• phrasing: the way in which the parts of a dance are organized
• dance study: a short work of dance that investigates a specific idea or concept and shows a selection of
movement ideas, can be improvised or composed
• performance quality: a confident presentation of one's body and energy to communicate movement and
meaning vividly to an audience (also known as projection)

MATERIALS
• CD Player
• CD’s Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix
CD’s are available at most music stores and from Amazon.com. iTunes has many selections of pop and
rock music with a strong beat that you can listen to before purchasing for $.99 per song. Students could
bring in their own musical selections, but be sure to check the lyrics for language.
 • CD, DVD of Video Clips (available from the VAPA office)
• Canon Worksheet (included)
• DVD Player or Computer
• Video Camera
• Optional: Tape Recorder

RESOURCES
• Video Clips that accompany lessons available from the VAPA office
• “Row, Row, Row Your Boat” music and lyrics: http://www.manythings.org/pp/row_your_boat.html or
http://www.break.com/index/row_row_your_boat.html

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Lead the class warm-up with alignment and isolation exercises using some upbeat rock music.
• Review the original dance phrase from lesson #3 (single and double basic steps in combination).
• Give students time to review the dance phrases from lesson #3.
• Note: this activity may take an entire class period if students still have challenges with execution in
alignment, isolations or memorization.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Note: This series of activities will take one class period to complete.
• Discuss canon in music as being a composition or passage in which a melody is imitated by one or more
instruments or voices at fixed intervals of time. The round, Row, Row, Row Your Boat, is an example of a
choral canon (refer to materials for music).
• Arrange students in three groups and have students sing “Row, Row, Row Your Boat” in a round, voices
coming in every 4 counts. Then try coming in every two counts.
• Direct Group 1 to start. Group 2 comes in after the initial “row, row, row your boat” with Group 3 coming
beginning 2-4 counts after Group 2.
• Sing the song in its entirety 3 times or as needed for understanding.
o Option: Tape record singing the round or you can do this with smaller groups so that some are singing
and others are listening.
• Ask students to describe the repetition of the words and rhythms coming in at different times.
• Discuss that in dance, a canon means to repeat the same movement at different times.
• Divide the class in half and take turns watching each group do the wave. Tell students the wave is like a
canon in dance.
• Try the wave with concepts such as light and strong, fast and slow, sudden and sustained. Discuss the
quality and effectiveness of each canon.
• Try doing the wave with different body parts or the whole body. Brainstorm a variety of variations (E.g.,
rolling of the head, flip of the hand, kick of the leg, etc.).
• View the four video clips marked on the CD or DVD as lesson #5and #6 have students identify canons
being performed.
• Moving back through the clips, ask students to describe the canons:
o “How many counts long was the canon?”
o “How many counts passed before the next group repeated the canon?”
• There will be many combinations of canons in the two clips. Chart these combinations for students to use
in future choreography.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Apply the concept of canon to the dance phrase that was taught in lessons #2-4.
• Divide the class in half. Have one half watch while the other half demonstrates.
• Divide the demonstrating group into two smaller groups.
• Ask demo Group 1 to begin part A while demo Group 2 remains motionless.
• After demo Group 1 completes part A and freezes (the first 8 counts), then ask demo Group 2 to
demonstrate part A while Group 1 remains motionless.
• Have demo Group 1 do the entire sequence without stopping and demo Group 2 comes in 8 counts later.
• Continue the sequence without stopping. Group 1 will be finished with the phrase 8 counts before Group
2.
• Rehearse the canon with and without music.
• Switch groups and repeat. The watching group will now demonstrate while the others watch.
• Discuss the challenges of performing a canon. (e.g., knowing when to start, focusing on counting, etc.)
• Move students into their original groups of four or six and have them rehearse their phrases using the
canon form between parts A and B.
• Note: students may have challenges trying to do the isolations and additional body movements. Walk
among the groups and assist as needed.
• Each group will demonstrate the phrase in canon.
• Videotape each performance.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
• If videotaping, review the taped demonstrations and ask students to comment on their performance.
• Ask Students:
o “What were your successes?”
o “What were the challenges of performing the phrases in canon?” (e.g., focus, concentration,
memorization, etc.)
o “What improvements would you make for next time?”
• Ask students:
o “What is form in dance and why is it important?” (e.g., creates variety, interest, difficulty, etc.)
o “What does canon mean in music? In dance?”
o “Why is canon used in a dance?” (Creates interest, makes a point or statement using movement,
provides focus or movement, creates variety by changing the elements, i.e. level, time, shape,
pathway, etc.)

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal experiences.)
• Continue with the extensions from lesson #4
• Create two movements that employ a level change to be used in canon. Share during lesson 6.
 Canon Worksheet

Name _____________________________________ Video Clip # ___________

How many canons did you see in the

video?

How many counts did each group wait

before starting their part of the canon?

Using your vocabulary and knowledge

of the dance elements;
• How was the canon choreographed
(what did the dancers do)?
• How did the canon benefit the
dance?

In your opinion;
What did you find interesting about the
canon?

In your group’s canon performance,

what the group do well and what could
be improved?
 DANCE - GRADE 5
FORMING AND PHRASING

Adding On...
Lesson 6
This lesson will take 2-3 sessions to complete.

CONTENT STANDARDS
1.5 Use appropriate dance vocabulary to describe dances.
2.6 Demonstrate cooperation, collaboration, and empathy in working with partners and in groups. (e.g.,
leading/ following, mirroring, calling/responding, echoing, opposing, etc.)
4.1 Use dance vocabulary to identify and support personal preferences for dances observed or performed.
5.4 Demonstrate social skills that enable students to become leaders/teachers and followers/learners.

TOPICAL QUESTIONS
• What is canon and how do I identify and create it in a dance study?
• What do I like best, creating and teaching or learning and performing and why?
• How do I work with my group to make choreographic decisions?

OBJECTIVES & STUDENT OUTCOMES

• The students will analyze and describe a dance study using the elements (time, space, force/energy,
shape) and form of dance (AB and canon).
• The students will brainstorm, create, memorize and perform original movement in a small group.
• The students will exhibit cooperation and collaboration through group problem solving activities.

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Student Worksheet for Group Dance Study
o Student Canon Worksheet
o Student performance
• Feedback for Student
o Student Worksheet for Group Dance Study
o Student Canon Worksheet
o Teacher feedback
o Videotaped performance

WORDS TO KNOW
• AB form: a two-part compositional form with an A theme and a B theme. The binary form consists of two
distinct, self-contained sections that share either a character or quality (such as the same tempo.
• canon: a passage, movement sequence, or piece of music in which the parts are done in succession,
overlapping one another (a.k.a. round)
• phrasing: the way in which the parts of a dance are organized
• dance study: a short work of dance that investigates a specific idea or concept and shows a selection of
movement ideas. It can be improvised or composed

MATERIALS
• Dance Elements Checklist (attached)
• Canon Worksheet (attached)
• Group Dance Study Worksheet (attached)
• CD Player
• CD’s Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix
 CD’s are available at most music stores and from Amazon.com. iTunes has many selections of pop and
rock music with a strong beat that you can listen to before purchasing for $.99 per song. Students could
bring in their own musical selections, but be sure to check the lyrics for language.
• CD/DVD of Video Clips that accompany lessons available from the VAPA office
• Video Camera

RESOURCES
• Video Clips that accompany lessons available at the VAPA office
• VAPA Core Learnings
• CD’s Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix
CD’s are available at most music stores and from Amazon.com. iTunes has many selections of pop and
rock music with a strong beat that you can listen to before purchasing for $.99 per song. Students could
bring in their own musical selections, but be sure to check the lyrics for language.

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Review the single and double basic step combinations from previous lessons.
• Add claps or arm motions, jumping, turning, etc. to the warm-up (e.g. begin right, step-together-step reach
across with left arm and touch left foot to the side).
• Review isolations of head, shoulder, ribcage, hips, knees and feet. (e.g., flex, point and circle)
• Play suitable up-beat music.
• Perform some of these steps in a canon. Refer to lesson #5.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• Refer to the extension from lesson #5 create two movements two counts in length, (one count per
movement) that employ a level change to be used in canon.
• Review canon video clips from lesson #5 if necessary.
• Examples include:
o reaching up high with the arms (count 1) and quickly dropping down to a crouched or tucked
position (count 2)
o arms and body start low on one side of the body (count 1), reach up and over is a swooping motion
to end up low on the opposite side of the body (count 2)
o from a standing position, drop down into a crouch position (count 1) and jump up into 2nd position
arms up in a high “V” (count 2)
o spin (count 1) and pose (count 2)
• Give students some time to create a two-count movement that can be transformed into an 8-count canon.
• Ask students to share what they have created and then teach the canon to the rest of the class.
• After the class has learned the canons, arrange 4 volunteers in a line, either side-by-side (a row) or one
behind the other (a column), and perform a 2-count canon for a total of 8 counts. (Each dancer has 2
counts).
• Try out several of the canons created by the students with more groups of 4 volunteers until all the canons
have been seen.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Tell the students they will choose a canon they liked best (their own or another group’s) to add to their AB
phrase from the previous lessons. (You may have to review the canons again).
• Student groups may place this canon anywhere in the AB phrase, before, after one of the sections or at the
end.
• Each group will perform their phrase for the class with the addition of the canon.
• Play upbeat music for the performances.
• Videotape each group.

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
• If videotaping, review the tape and ask students to evaluate their success.
o “What did your group do well and what could be improved?”
o What do I like best, creating and teaching or learning and performing and why?
• Student tasks:
o “Identify where the canon was placed in each group’s performance.”
o “How did the canon make the dance phrase interesting?” (e.g., changed the timing, level, direction,
dynamics, etc.)
• For each small group:
o “How many sections does your dance study currently have and in what form is it?” (Answer: 3
sections. The form identifier will vary depending upon where the canon is in the dance.)
o “How can you create more variety and contrast within your dance study?” (Answer: change the
direction, locomotor vs. axial movement, dynamics, speed, level, quality, etc. of the movements
already in the dance)

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal experiences.)
• Give each student a Dance Elements Checklist. Use this checklist for reference.
• Ask each group to think about one part of their dance that could be manipulated to create variety and one
part of the dance that could be manipulated to create contrast. Refer to Gr. 4 lessons #7 and 8) Have
student list possible ways to accomplish these tasks.
• Encourage groups to meet outside of class time to brainstorm ideas.
 Dance Elements Checklist
Axial Movements
Bend Stretch Twist
Turn Reach Stomp
Curl Turn Fall
Sit Kneel Lunge
Tilt Coil Hang

Locomotor Movement
Run Leap Gallop
Skip Jump Walk
Hop Slide Leap
March Tip-toe Roll
Crawl Slither Scoot

Force/Energy and Quality of Movement

Heavy Light Sharp
Smooth Shaky Choppy
Flowing Push Pull
Sink Melt Collapse
Glide Float Burst
Sway Bounce Dab
Dart Dash Flick
Flop Stroll Stagger
Wiggle Waddle Romp
Fly Clomp Scurry
Lumber Wobble Punch
Swirl Lope Flitter

Time
Fast Moderate Slow
Freeze Suspend Sustain

Space and Shape

Wide Narrow Curled
Open Closed Wide
Narrow Symmetry Asymmetry

Levels:
High Medium Low

Pathway:
Curve Straight Zigzag
Spiral Lines Circles
Forward Backward Sideways
Diagonal Over/Under/Through

• Variety and contrast are created when using these elements in combination.
 STUDENT CANON WORKSHEET

Group Number Where was the canon placed in each Using dance elements and vocabulary,
group’s performance? describe how the canon made the dance
phrase interesting?”
1

8
 Student Worksheet for Group Dance Study

Where did your group place the canon?

“How many sections does your dance study currently have and
in what form is it?” (Answer: 3 sections. The form identifier will
vary depending upon where the canon is in the dance.)

How can you create more variety and contrast within your
dance study? Give some examples. (Refer to the dance
elements checklist for ideas).
 DANCE - GRADE 5
REPRODUCTION AND MEMORIZATION

Lesson 7
Hip-Hop…Hurrah!!
Part 1: This lesson will take approximately 2-3 sessions to complete.

CONTENT STANDARDS
2.1 Create, memorize and perform complex sequences of movement with greater focus, force/energy and
intent
5.1 Describe how historical events relate to dance forms. (e.g., the rebellion of the 1960’s was represented
in popular social dances with a move from partners to individual expression)

TOPICAL QUESTIONS
• How do I learn, recreate, and perform sequences from a videotaped dance?
• How do I analyze and improve my performance using a rubric?
• What is hip-hop dance, where did I come from, and why is it important to young people of today?

OBJECTIVES & STUDENT OUTCOMES

• Students will learn, recreate, memorize and perform dance sequences from a video clip.
• Students will research a major dance style and discuss what happened in history to inspire its creation.
(Hip Hop, Break and Jazz Dance)

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Student performance
o Recalling and Reproducing Movement Rubric (for the teacher)
o Student answers to inquiry
• Feedback for Student
o Performance feedback
o Recalling and Reproducing Movement Rubric (for the student)
o Teacher feedback

WORDS TO KNOW
chasse: ballet term meaning to chase; a step-together-step forward moving locomotor step
pivot: a turning movement, usually in quarter or half turn increments
lunge: a strong movement forward or sideways where the lead leg is bent and the training leg is straight; the
weight is shifted to the lead leg
isolation: to separate and move one body part at a time

MATERIALS
• CD/DVD of Video Clips that accompany lessons (available from the VAPA office)
• The seven steps are on the Reproducing Hip Hop video clip. Also included are 3 clips of simple hip hop
steps (kick-ball-change, single and double basic steps and pivots), and simple hip hop movements; one
Hip-Hop Beginner instructional clip and a clip for the advanced hip hop (or eager) student who wants to
learn more.
• Recalling and Reproducing Movement Rubric for the Teacher (included)
• Recalling and Reproducing Movement Rubric for the Student (included)
• CD or DVD Player or computer
• CD’s Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix
CD’s are available at most music stores and from Amazon.com. iTunes has many selections of pop and
rock music with a strong beat that you can listen to before purchasing for $.99 per song. Students could
 bring in their own musical selections, but be sure to check the lyrics for language.
• Video Camera and TV Monitor

RESOURCES
• CD/DVD Video Clips available at the VAPA office
• VAPA Core Learnings

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
Note: There are several video clips for this lesson. The seven steps are on the Reproducing Hip Hop video
clip. Also included are 3 clips of simple hip hop steps (kick-ball-change, single and double basic steps and
pivots), and simple hip hop movements; one Hip-Hop Beginner instructional clip and a clip for the advanced
hip hop (or eager) student who wants to learn more.

• Review with students the origin, culture and characteristics of hip hop and break-dancing.
° Hip hop is a cultural movement that began among urban Africans, Jamaicans and Latinos in the Bronx
borough of New York City during the early 1970s, and has since spread around the world. Breaking is
one of the major elements of hip hop culture, commonly associated with, but distinct from, "popping",
"locking", "hitting", "ticking", "boogaloo", and other funk styles that evolved independently in New York
during the late 20th century. It was common during the 1980s to see groups of people in a playground,
basketball court, or sidewalk with a radio performing break-dancing shows for a large audience. While
breaking in its current form began in the South Bronx alongside the other elements of hip-hop, it is
similar in style to and may possibly derive from the Capoeira form of dancing/martial arts, which was
developed by slaves in Brazil. "Hip-Hop" as a form of dance is becoming more popular. Derived from,
but not wholly consisting of, break-dancing moves, it is a dance without any limitations to positions and
is an expression of how a dancer feels on the inside. The style of hip-hop dance incorporates a lot of
fast paced combinations and rhythm. Hip-hop is very casual and fun. The modern moves and energy
make it a great form of fun and exercise for teens and pre-teens of today. Certain shoes can be worn at
some studios, preferably the dance sneaker or jazz shoe.
• Tell students they are going to learn seven (7) combinations from a video that they will later form into a
dance to be performed.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

Information for the teacher
• The steps learned in this lesson are the chasse, kick-ball-change, a series of weight changing steps,
rib/torso/hip isolations, pivots and lunges.
• The dance combinations the students will learn from The Reproducing Hip Hop video clip are:
1. Take It Forward
2. Press Back
3. Jump, Hit, Around
4. Kick and Step
5. Hip Around
6. Samba
7. Stomp it Down
• Each combination shown on the video follows instructional format. Each combination is 8 counts in length.
After the artist teaches the combination, it is shown again in performance mode.
• This is repeated for all 7dance combinations.

Procedure
• Tell students that they will be watching the video and will reproduce the combinations.
• Note: Identifying student leaders that already have dance training or that can catch on quickly will benefit
students in the class.
• Begin with the first combination (Take it Forward).
• You may have to stop the CD/DVD or play it in slow motion for students to grasp the step and be able to
 reproduce them.
• Repeat the instructions as many times as needed, using student leaders to assist the students with
learning, reproducing and memorizing the combination.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Rehearse the combinations with you, the teacher, counting and student leaders in front of the group as
leaders-demonstrators.
• Repeat several times rotating the lines of students to the front so that all get a chance to see the leaders.
• Break the class into smaller groups, select a leader for each group and rehearse the combinations.
• Videotape each group two times (this will be used later as a progress evaluation).

DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
• Bring the class back together and divide them into 2 groups.
• Distribute Recalling and Reproducing Movement Rubric for the Student and review with the students.
• Option 1:
o Group 1 performs the combinations while Group 2 watches.
o If the class is mature enough, ask them to offer general praises and suggestions for improvement
based on memorization, expressions and performance.
o Switch groups and repeat the process.
• Option 2:
o Group 1 is to perform the combinations while Group 2 watches.
o After watching the group’s demonstration, play the Reproducing Hip-Hop video clip while students in
the audience check for performance accuracy using the rubric.
o You might want group 1 to perform one more time after the audience looks at the video.
o If the class is mature enough, ask them to compare the live performance with the videotape. Offer
praises and suggestions for improvement based on the comparison.
o Switch groups and repeat the process.
• Option 3:
o Each group performs and is videotaped.
o Show the videotape of each group and ask the dancers to assess themselves using the rubric.
o After each group has had a chance to evaluate their performance play the Reproducing Hip-Hop video
clip so they can make a comparison.
o Ask students to reflect on how they might improve their performance using the space provided on their
rubric.

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal
experiences.)
• Research and write a 1-2 page essay on one of the following topics:
o a well-known hip hop or contemporary jazz dancer
o a well-known hip hop or jazz choreographer
o the role of dancing for today’s young people
 Recalling and Reproducing Movement Rubric (for the teacher)

3 Proficient 2 Basic 1 Below Basic 0 Not Attempted

Student recalls and Student produces the Student cannot No response.
reproduces the phrase with accurate perform the phrase
phrase accurately rhythm, movement, accurately with
with ease direction and clarity or body
sequence so that it is alignment.
clearly recognizable

Student performs Body articulation Student’s Student does not

with confidence, and shows differences movements, perform.
demonstrated clear from the original rhythm, direction
articulation with all phrase as and sequencing
parts of the body. demonstrated. are not
demonstrated
correctly.

Student response is Student response is Student response No response

quick and easily hesitant. is random.
communicated.
There is no
hesitation between
movements
 Recalling and Reproducing Movement Rubric (for the student)

Stellar Fantastic Good job Keep

Working
Dancer can remember Dancer can remember Dancer can’t Dancer
and repeat the and perform the phrase remember or perform does not
phrase(s) accurately with accurate rhythm, the phrase perform.
and easily so that it movement, direction accurately. The
looks exactly like the and sequence so that it movements don’t
video looks mostly like the look very much like
video what is on the video.

Dancer’s performance Dancer’s performance Dancer’s Dancer

is confident and all and body looks performance, does not
parts of the body look different from the video movements, rhythm, perform.
good and exactly like direction and
the video. sequencing are not
correct.

Dancer does not Dancer sometimes Dancer hesitates Dancer

hesitate when hesitates when quite often when does not
performing any of the performing phrases performing the perform.
phrases phrases

How can I improve my performance?

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________
 DANCE - GRADE 5
BUILDING DANCES

Lesson 8
Hip-Hop…Hurrah
Part 2: This lesson will take 2-3 sessions to complete.

Note: When students are working in groups, use the Group Participation in Rehearsal Rubric to evaluate
participation and engagement. Students may also evaluate themselves using this rubric.

CONTENT STANDARDS
2.2 Invent multiple possibilities to solve a given movement problem and analyze problem-solving strategies
and solutions.
2.6 Demonstrate cooperation, collaboration, and empathy in working with partners and in groups (e.g.,
leading/ following, mirroring, calling/responding, echoing, opposing).
4.1 Use dance vocabulary to identify and support personal preferences for dances observed or performed.

TOPICAL QUESTIONS
• How do I use select steps and combine them into a sequence that flows?
• How do I work with others to make artistic decisions?
• How do I identify and analyze dance combinations?
• How does my cooperation in rehearsal affect my performance?

OBJECTIVES & STUDENT OUTCOMES

• Students will use a variety of dance steps to create two movement combinations and will justify their
artistic choices.
• Students will demonstrate active listening skills and incorporate each other’s ideas into movement
sequences.
• Students will exhibit cooperation and collaboration through group problem solving activities.

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
o Performance Rubric
o Participation Rubric
o Sequence Checklist
o Group performance

• Feedback for Student

o Videotape
o Teacher feedback
o Peer feedback
o Sequence Worksheet
o Performance Rubric
o Participation Rubric

WORDS TO KNOW
• dance sequence: the order in which a series of movements and shapes occurs
• transition: the bridging point at which a single movement, the end of a phrase, or even the end of a
larger section of a dance progresses into the next movement, phrase, or sequence
• unity: the feeling of wholeness in a dance achieved when all of the parts work well together
• variety in dance: a quantity or range of different things. To maintain audience interest, the composition
choreographer must provide variety within the development of the dance. Contrasts in the use of space,
 force, and spatial designs as well as some repetition of movements and motifs provide variety.

MATERIALS
• Sequence Checklists for the Observers and Performers (included)
• Individual Performance Rubric (included)
• Group Participation in Rehearsal Rubric (included)
• Video Camera and Monitor
• CD Player
• CD’s Music options: Michael and Janet Jackson are good choices, as is Madonna, Dance and club mix
CD’s are available at most music stores and from Amazon.com. iTunes has many selections of pop and
rock music with a strong beat that you can listen to before purchasing for $.99 per song. Students could
bring in their own musical selections, but be sure to check the lyrics for language.
• CD of Hip-Hop Video Clips (accompanies lesson and available from the VAPA office)

RESOURCES
• World Wide Web Video Clips from YouTube.com
• VAPA Core Learnings

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Allow groups approximately 5 minutes to review their dance from lesson 6. (Students might need to refer
to their worksheets from the lesson).
• Ask each group to share any changes they made in variety and contrast.
• Distribute Participation Rubric and review. Remind students they will evaluate themselves and their
group using the rubric. Teacher should also use the rubric to evaluate level of participation.

MODELING (Presentation of new material, demonstration of the process, direct instruction)

• As a class, review the 7 combinations learned from the CD in lesson #7 (approximately 10 minutes).
• Select three (3) combinations from the 7 in the video and arrange them into a different order (sequence).
(E.g., 1. Jump, 2. Hit Around, 3. Samba)
• Select one group to volunteer to demonstrate this new arrangement of combinations.
• Using the volunteers’ original dance from lesson 6, assist dancers with adding this new combination into
their dance while the other groups watch.
• Involve the rest of the class in the process of placing the new sequence into the original dance.
• Ask the volunteer group to now perform their dance with this new combination.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

• Have the class move into their original small groups and distribute a Dance Sequence Checklist to each.
• Ask students to follow the same procedure as in the Modeling section and apply it to their own routines.
1. Arrange one new combination using three (3) of the combinations from the DVD.
2. Use the checklist to record your choices.
3. Place this new combination in the original dance.
• Monitor groups and assist with creating the combination and placing within the original dance.
• Videotape the rehearsal.
o Students can access the rehearsal video to see their progress or as an aide to recall artistic choices
they made.
o Students can use the rehearsal videos as part of their process portfolio.
• As students are ready, create and add an additional 3- part sequence. Students will now have two (2)
new 3-part sequences to add to their dance).
• Note: As an ongoing process, allow students access to the Hip Hop Video Clips from lesson #7 as
needed for review.
DEBRIEF AND EVALUATE (Identify problems encountered, ask and answer questions, discuss
solutions and learning that took place. Did students meet expected outcomes?)
• Distribute another Sequence Checklist to each group.
• In turn, each group will perform their dance to popular music of the group’s choice. (Have music
available to select from or ask students to bring in their own).
• Each group in the audience will record the arrangement of the combination(s) they see in each of the
dances.
• Videotape each group’s performance.
• At the end of each performance, give the audience time to identify and record the two new combinations
performed in the dance, and where they were placed within the original dance.
• Ask each group to share their observations.
• If there are discrepancies in answers (errors in recording or the steps were performed poorly so that the
audience could not identify), ask the dancers to share.
• Ask the dancers and the audience what could be done to correct the combination(s) or give the dance
more clarity. (Note: Determine maturity level of class before asking students to critique each other).
• Ask the following of the Audience:
o “Did the new combinations give flow to the dance?”
o “Were the transitions weak or abrupt? How might this be corrected?”

• For the Performing group:

o Explain how you made decisions on which steps to use for the combinations and where they
were placed in the dance. (Don’t forget to record on the worksheet).
o Distribute the Performance Rubric to each dancer and review.
o View the videotape and assess your performance (what was successful and what could be
improved).
o If maturity exists within the group, allow dancers to share with each other.
o Record your comments in a journal or process portfolio.
o Teacher and class can evaluate ensemble (whole group) using the Performance Rubric.
o

EXTENSION (Expectations created by the teacher that encourages students to participate in further
research, make connections and apply understanding and skills previously learned to personal
experiences.)
• Revise dance steps and transitions as needed.
• Brainstorm a variety of ways to add expression and projection (body and face) into the dance.
o Use varying energies and dynamics as well as mood and feeling (sad, angry, silly, happy,
serious, etc.) as inspirations for expression and intent for the dance.
• Memorize and rehearse the dance (with energy and expression) in preparation for the performance.
• Teacher Note: review the Arranging and Staging Dancers diagram at the end of this lesson in
preparation for lesson #9.
 (For the Dancers)
Sequence Checklist and Worksheet

Group # __________

Names: ______________________________________________________________________

Write the name of the combinations in sequence as they appear in your dance

Steps Combination 1 (What were Combination 2 (What were

the 3 combinations used from the 3 combinations used from
the video and in what order did the video and in what order did
they occur?) they occur?)
1. Take It Forward 1. 1.
2. Press Back
3. Jump, Hit, Around
4. Kick and Step 2. 2.
5. Hip Around
6. Samba
7. Stomp it Down 3. 3.

.
Justify your answers:

1. Why did the group choose those combinations?

2. Where were the combinations placed in the dance?

3. Why did you place the combinations there?

 (For the Observers)
Sequence Checklist Reproduce as needed.
Write the name of the combinations in sequence as they appear in the dance.

Group # __________

Steps Combination 1 (What were Combination 2 (What were

the 3 combinations used from the 3 combinations used from
the video and in what order did the video and in what order did
they occur?) they occur?)
1. Take It Forward 1. 1.
2. Press Back
3. Jump, Hit, Around
4. Kick and Step 2. 2.
5. Hip Around
6. Samba
7. Stomp it Down 3. 3.

Describe where the

combination placed in the
dance?

Group # __________

Steps Combination 1 (What were Combination 2 (What were

the 3 combinations used from the 3 combinations used from
the video and in what order did the video and in what order did
they occur?) they occur?)
8. Take It Forward 1. 1.
9. Press Back
10. Jump, Hit, Around
11. Kick and Step 2. 2.
12. Hip Around
13. Samba
14. Stomp it Down 3. 3.

Describe where the

combination placed in the
dance?
 Performance Rubric

Category 4 Advanced 3 Proficient 2 Basic 1 Beginning

Physical Excitement, commitment Movement is correctly Lack of focus is evident with Students is not focused,
Control & and intensity in performance. executed, controlled and transitions, levels, directions demonstrates poor control or
Coordination Clearly articulates balance balanced. Dynamics and and rhythms being unclear. balance. Student is unable to
and control. Movements are attention to detail is lacking. Student seems to “go through sustain movements to
dynamic and demonstrated the motions” demonstrating complete sequences and
with attention to detail. some lack of control, balance, phrases.
and technique. Dynamic
movement is not evident.
Sequencing & All steps are performed Steps and sequence can be Portions of steps, sequences Student seems lost or
Memorization correctly and in proper performed most of the time and placement in formation demonstrates incorrect dance
sequence, with some guidance from are followed with frequent steps.
Clear and correct dance peers or teacher. Some cues provided by peers or
formation and spacing. Often problems with holding place teacher.
takes the lead role and helps in formation.
others with minimal help
from the teacher.

Beat & Beat and rhythm clearly and Demonstrates beat and Beat and rhythm is Student is “out of step” and
Rhythm consistently maintained rhythm most of the time. inconsistent and fluctuates at movement is not in time or
throughout the dance. times. rhythm with the music or with
others.

Focus, Effort, Eyes and face are used Eyes and face are used Eyes and face are used some Eyes and face are involved in
Expression consistently and most of the time. of the time. Student will the dance. Shows little or no
appropriately to Approaches dance with a participate. Movements are enthusiasm. Movement is
communicate expression to positive attitude. Performs uncommitted, small and close very hesitant or not attempted
the audience. Performs with with clarity and assurance. to the body, are tentative and at times.
clarity, confidence, self-conscious.
excitement and feeling.
 Group Participation in Rehearsal Rubric

Category 4 Advanced 3 Proficient 2 Basic 1 Beginning

Listening Student listens when Student listens when Student does not listen Student does not listen
others talk, incorporates others talk but can when others talk. Prefers when others talk, is always
and builds off the ideas of sometimes talk too much. to do most of the talking talking and often interrupts
others. Speaks a fair not letting others speak. others not allowing them to
amount. speak.

Sharing Often takes the lead role Relays some basic Relays very little Does not relay any
and helps others with information to others in the information to the group information to others in the
minimal help from the group and possibly to and prefers to follow group.
teacher. Shares ideas with others outside the group. directions.
others in and outside of the
group.

Cooperation, Preparation Rarely, if ever argues. Is Rarely argues. Rarely Sometimes argues. Usually argues with those
and Ensemble Work not disruptive. Upholds displays disruptive Occasionally displays in the group. Displays
their part in the group behavior. Upholds their disruptive behavior. disruptive behavior
(performance, attendance, part in the group Upholds their part in the frequently. Upholds their
fitness, health, etc.). (performance, attendance, group (performance, part in the group
Completes work, fitness, health, etc.). attendance, fitness, health, (performance, attendance,
memorizes movements. Completes work and etc.), completes work and fitness, health, etc.),
memorizes movement memorizes movement completes work and
most of the time. most of the time. memorizes movement
infrequently.

Engagement Student is totally motivated May need to be brought Frequent reminders are Does not focus and follow
to participate. Always back to task at times. Can needed to maintain focus instruction. Is easily
focused on task and stay focused and follows on the dance. Student distracted. Student rarely,
encourages others to directions fairly well. infrequently contributes by if ever contributes ideas or
remain on task. Proactively Student proactively offering ideas or asking asks questions.
contributes by offering contributes by offering questions.
ideas, asking more ideas and asking questions
questions and offering at least once per
solutions more than once rehearsal.
per rehearsal.
 For the Teacher
Arranging and Staging Dancers

A partial list

Patterns and
Formations x x x x x x x x x x xxxx x x x x
x x x x x x x x x xxx x x
x x x x x x x x x x xx x x
x x x
x x
Windows Block Wedge x x x xx

Circle
x xxxxxx
xx Ð xxx xxx
xx xx
Ï xx xx
xxxxxx x
xx xx
Moving in Exchanging sides xx xx
diagonal lines Exchanging sides

Center Soloist

xx xx xx
x xx xx
Ô Ó
xx Ò Ñ xx
xx xx
Follow the
leader Cross and re-cross;
Changing corners
 GRADE 5 - DANCE
STAGING AND PERFORMING

Hip-Hop…Hurrah!
Lesson 9
Part 3: This lesson (which is more of a unit) will take 3-6 sessions to teach and about 2-3 weeks to
rehearse culminating in a performance.

Note: When students are working in groups, use the Group Participation in Rehearsal Rubric to evaluate
participation and engagement. Students may also evaluate themselves using this rubric.

CONTENT STANDARDS
2.1 Create, memorize, and perform complex sequences of movement with greater focus, force/energy,
and intent.
2.2 Invent multiple possibilities to solve a given movement problem and analyze problem-solving
strategies and solutions.
2.6 Demonstrate cooperation, collaboration, and empathy in working with partners and in groups (e.g.,
leading/ following, mirroring, calling/responding, echoing, opposing).
4.3 Identify the special and challenging characteristics of the experience of dancing for an audience.

TOPICAL QUESTIONS
• What is a formation and why are formations important to dance?
• How do I demonstrate personal responsibility when performing a dance?
• What criteria do I use to evaluate my performance and that of my group?
• How do I prepare to perform a dance before a live audience?

OBJECTIVES & STUDENT OUTCOMES

• Students will incorporate staging and formation into a dance.
• Students will exhibit cooperation and collaboration as they create, memorize and perform a dance.
• Students will evaluate their own performance as well as their group’s performance using rubrics.
• Students will discuss preparation for performance, what stage fright is and how to overcome it (being
well prepared, practicing strong visualization, proper performance etiquette, and strong dancer
relationships in rehearsal, etc.).

ASSESSMENT (Various strategies to evaluate effectiveness of instruction and student learning)

• Feedback for Teacher
• Performance Rubric (included)
• Group Composition and Creativity Rubric (included)
• Group Participation in Rehearsal Rubric (included)
• Dance Illustrations (for whole group dance)
• Dance formation worksheet
• Feedback for Student
• Teacher feedback
• Audience/peer feedback
• Videotaped performance
• Performance Rubric (included)
• Group Composition and Creativity Rubric (included)
• Group Participation in Rehearsal Rubric (included)
• Dance formation worksheet
WORDS TO KNOW
• Refer to vocabulary from lessons #1-8
• work: a piece of choreography or a dance
• choreography ("dance writing"): the creation and composition of dances by arranging or inventing
steps, movements, and patterns of movements
• formation: the pattern into which a number of people are arranged
• ensemble: a group of dancers who perform together with roughly equal contributions form all members

RESOURCES
• The Choreographic Process internet source @ www.skatingaheadofthecurve.com

MATERIALS NEEDED
• Arranging and Staging Dancers Handout (included)
• Performance Rubric (included)
• Group Composition and Creativity Rubric (included)
• Group Participation in Rehearsal Rubric (included)
• Dance Illustrations (for whole group dance)
• Paper and Pencil
• CD/DVD of Video Clips (available from the VAPA office)

WARM UP (Engage students, access prior learning, review, hook or activity to focus the student for
learning)
• Teacher Note: This lesson may take up to two class period.
• Give student groups 5 minutes to review their dances from lesson 8.
• Offer student groups a chance to demonstrate how and defend their expression choices for their dance
(from the extension in lesson 8).

MODELING (Presentation of new material, demonstration of the process, direct instruction)

Preparing the Dancers:
• Distribute paper and pencil to each student.
• View video clips marked lesson #9 formations so that students can observe how a dance moves from
formation to formation (how dancers are arranged in sections of a dance).
• Use the freeze feature of your DVD player to give students a chance to discuss and draw the
formations to be used in their own dance.
• Ask students to draw three or four different formations in succession as they appear in the dance they
are observing.
• Point out to students how the dancers move through each formation change.
o Note the type of step used, transition from one formation to the next, and how these changes make
the dance more interesting rather than having the dancers stand in the same place as they dance.
o Also note how the dance’s transitions and formations have different numbers of dancers: solo, duet,
trio, small group and large group which also make the dance spatially more interesting.
• Discuss the purpose of rehearsal (whole-group, small group and individuals) is to prepare the dancers
to:
o Memorize choreography
o Make execution of steps clean and more exact (arm and leg motion, staying on the beat, etc.)
o Maintain correct spacing in the formation and between each other, timing during unison and canon
movements
o Improve dancer confidence (e.g., holding head up, demonstrating focus to the audience,
expression and body energy, etc.)
• Distribute the Performance Rubric and review the criteria for performance.

Preparing to stage the dance:

Part One: Becoming familiar with formations
• Divide students into small groups or pairs and provide copies of the Patterns and Formations handout.
• Tell students that creating patterns and formations to a dance creates variety and contrast, adds
interest and dimension, and provides focus.
• Review the types of patterns on the handout as well as those drawn previously in the warm up section,
and. List and discuss if needed.

Part Two: Practicing formations (refer to handout)

• Ask for a volunteer group and arrange the dancers into a “window” formation.
• Ask the dancers to move this formation by walking to another type of formation (e.g. follow the leader
into a “wedge” formation or condense into a “wedge” formation).
• Ask for another volunteer group to demonstrate two or three formation changes (e,g. start with 3
dancers in two corners of the space and cross to form a circle or start in a block (two lines) and cross
through so that the back line ends up in the front, front lines ends up in the back).
• Choose a third volunteer group and have a dancer stand in the middle of a circle of dancers (creating a
solo focus) then walk to another pattern of your choosing.
• Repeat with many types of patterns and formations until students get the idea of keeping their personal
space and relationship between and among others while holding and changing formations.
• Option: Try to change formations while performing the dance moves rather than just walking from
formation to formation.

Part three: Staging the dance (whole group)

Note: Instructions are based on a class of 30 students and smaller groups of five (t5) people (refer to
Dance illustrations handout)
1. Start the entire group in a simple “window formation” with all dancers facing forward (4 rows).
2. Create 8 counts of canon from front to back (each row takes two counts) changing level from a
standing shape to a medium or low shape.
3. Hold three (3) counts, then create a return canon (starting from back to front, with a single count
movement) changing level from the /medium/low shape to standing (counts 4-7 hold count 8).
4. Begin the middle section of the dance by selecting 32-48 counts of dance (four to six 8 count
phrases) that dancers already know from previous lessons. (Dancers can assist you with making
selection of their favorite combinations).

Working in the formations (walk through formation changes)

1. Formation #1: Move groups 2, 3, 4, 5, and 6 back and to the sides, leaving group 1 center. *This is
where each group will be performing their original dance.
2. Formation #2: Rotate all groups counterclockwise using an 8 count walking transition. Group 2 is
now in the center, group 1 takes group 6’s place, group 6 takes group 5’s place and so on. Make
sure to spread groups away from each other to give the center group some space to move and
better focus.
3. Repeat step two (2) five more times so that all groups have been in the center.
4. Formation #3: After the last group has performed, rotate the formation one last time arranging
students in a block of 28 and select two student volunteers that would like to be soloists that will
perform in front of the ensemble.
5. Have the ensemble create and execute another canon from front to back for 8 counts (two
movements for 2 counts). Then freeze in a shape for 8 counts.
6. Formation #4: Perform a cross through, switching the right and left sides of the ensemble (the two
solo dancers can stay in front and dance or join in the cross pattern).
7. Formation #5: Move the ensemble back in to the “window” formation and repeat the opening 32-48
counts of dance.
8. Finish the dance with a 4 count movement in canon (each row has 4 counts, for a total of 16
counts), from front to back.
9. Ensemble freezes in shapes on count 17 that either unifies (all do the same shape) or contrasts
(employ levels, small groupings, partners, etc.). *Note: This ending will allow your students to show
more creativity as they work together to create an interesting effect.
10. Rehearse the formation changes several times, walking from one to the other, so that dancers
 memorize the sequence and become familiar with their placement and relationship in the formation
and with each other.

GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)

Small Group Practice
• Distribute the Group Composition and Creativity Rubric and discuss. Students will use this as a guide
as they make artistic choices for their dance.
• Now that the dance is staged for the entire group, have each of the smaller groups add formations to
their own piece of the dance.
• Have dancers refer to the video clips and/or to the patterns and formations handout for ideas or
encourage them to create their own.
• Allow plenty of time for students to explore ways of changing placement within their dance to create
variety and interest.
• Encourage dancers to expand their original dance if they are motivated. Limit additions to 32 counts (4
groups of 8 counts).
• Dancers should rehearse their original dance with formation changes several times for memorization.

Ensemble Practice
• As an entire group, rehearse the section of the dance several times where the small group rotation and
performance.
• Rehearse the entire dance without music: (Beginning canon, ensemble dance sequence, rotation and
original dance sequences, solo dancers and line crosses, ending combination, canon and ending
shape).
• Rehearse the dance often prior to performance with music until dancers have it memorized and the
movement is executed cleanly.

Preparing the Dancers for Performance

• Before the live performance, discuss with students the aspects of performance etiquette:
o Avoid talking while on stage
o Avoid excessive movement, like touching the hair, scratching the face or tugging at clothing. All
these things are usually signs of performance anxiety.
o Reassure students that being prepared: having the dance memorized, practicing with full energy
(dancers call this dancing “full out”), smiling and looking up and out to the audience each time the
dance is rehearsed will reduce their anxiety of performing.
o Also discuss ways they can help give encouragement and reassurance to each other during
rehearsal (by assisting others, being responsible to their group, knowing the dance steps and
their place in the formations, etc.).

The Performance
• Perform the finished dance for a live audience. Multiple performances are best so that students get a
chance to lessen performance anxiety and build their performance skills.
• Use the performance and rehearsal rubrics to assess personal and group performance.
• Use the composition rubric as an ongoing tool to keep students on track with designing the dance
sequences and choreography.
ƒ Options:
ƒ Consider wearing costumes, different hairstyles, hats and any props for the dance.
ƒ Student groups can design and create their own costumes and accessories for their own group or
for the entire group.
ƒ A single piece of music can be played, or you can let each group select their own music for their
part of the dance. Of course, this will take some editing and extra time.

DEBRIEF & REFLECT (Identify problems encountered, ask and answer questions, discuss solutions
and learning that took place, did students meet outcomes?)
• Watch the videotape of the performance and ask students to make comments: whole group, small
 group and finally, personal performance.
• Discuss with the students the feelings they had before and after each performance.
o Did their anxiety lessen the more they performed?
o Did their performance improve or decline? (Improvement would fetch answers such as getting
used to being in front of people, more practice helped with memorization, it was fun and more
enjoyable after the first time, enjoyed the applause and attention, etc.
o Performance could decline due to illness, lack of enjoyment with performing before a live
audience, boredom, costume problems, scared, made a mistake, etc.).
o What did you like best and least about performing?
• Discuss with students the process of creating a completed dance from beginning to end (inspiration,
brainstorm and explore movement ideas, rehearse, perform, receive feedback and evaluate, revise
work, perform.
o Ask the students, and memorization are solidified. Tools such as repetition, variety, contrast, and
transitions are employed to the movement phrases to create desired effects)

EXTENSION (Expectations created by the teacher that encourage students to participate in further
research, make connections, and apply understanding and skills previously learned to personal
experiences)
• Have student groups complete their process portfolio with video clips of their rehearsals, performances,
critiques, notes, pictures, etc.
• Write a paper on how is the choreographic process related to creative writing.
 Dance Illustrations
(Based on 30 dancers)

OPENING FORMATION 1:

X X X X X X X X
X X X X X X X
X X X X X X X X
X X X X X X X
Group 1

Groups are broken up as follows

X X X X X X X X
Group 3 Group 4 Group 5
X X X X X X X

X X X X X X X X
Group 2 Group 1 Group 6
X X X X X X X

1st performing group

Rotate groups counterclockwise

Formation 2: Block – Perform an 8-count canon, hold 8 counts then switch using a
locomotor movement.

X X X X
X X X
X X X X
X X X
X X X X
X X X
X X X X
X X X
 Arranging and Staging Dancers

Patterns and
Formations x x x x x x x x x x xxxx x x x x
x x x x x x x x x xxx x x
x x x x x x x x x x xx x x
x x x
x x
Windows Block Wedge x x x xx

Circle
x xxxxxx
xx Ð xxx xxx
xx xx
Ï xx xx
xxxxxx x
xx xx
Moving in Exchanging sides xx xx
diagonal lines Exchanging sides

Center Soloist

xx xx xx
x xx xx
Ô Ó
xx Ò Ñ xx
xx xx
Follow the
leader Cross and re-cross;
Changing corners
 Performance Rubric

Category 4 Advanced 3 Proficient 2 Basic 1 Beginning

Physical Excitement, Movement is Lack of focus is Students is not
Control & commitment and correctly evident with focused,
Coordination intensity in executed, transitions, levels, demonstrates poor
performance. Clearly controlled and directions and rhythms control or balance.
articulates balance balanced. being unclear. Student Student is unable
and control. Dynamics and seems to “go through to sustain
Movements are attention to the motions” movements to
dynamic and detail is lacking. demonstrating some complete
demonstrated with lack of control, sequences and
attention to detail. balance, and phrases.
technique. Dynamic
movement is not
evident.

Sequencing All steps are Steps and Portions of steps, Student seems lost
& performed correctly sequence can sequences and or demonstrates
Memorization and in proper be performed placement in formation incorrect dance
sequence, most of the time are followed with steps.
Clear and correct with some frequent cues
dance formation and guidance from provided by peers or
spacing. Often takes peers or teacher.
the lead role and teacher. Some
helps others with problems with
minimal help from holding place in
the teacher. formation.

Beat & Beat and rhythm Demonstrates Beat and rhythm is Student is “out of
Rhythm clearly and beat and rhythm inconsistent and step” and
consistently most of the fluctuates at times. movement is not in
maintained time. time or rhythm with
throughout the the music or with
dance. others.

Focus, Effort, Eyes and face are Eyes and face Eyes and face are Eyes and face are
Expression used consistently are used most used some of the time. involved in the
and appropriately to of the time. Student will dance. Shows little
communicate Approaches participate. or no enthusiasm.
expression to the dance with a Movements are Movement is very
audience. Performs positive attitude. uncommitted, small hesitant or not
with clarity, Performs with and close to the body, attempted at times.
confidence, clarity and are tentative and self-
excitement and assurance. conscious.
feeling.
 Group Composition and Creativity Rubric

Category 4 Advanced 3 Proficient 2 Basic 1 Beginning

Movement Axial (including isolations) Axial (including Axial (including Axial (including
and and locomotor movements isolations) and isolations) and isolations) and
Composition are used effectively and are locomotor locomotor locomotor
thoughtfully placed in the movements are movements are movements are
original dance. Dancers
employ the elements
used throughout used in an used but
(speed, use of space, the original dance. unbalanced way dancers remain
shape, force and energy), Dancers revert to (more of one type of safe by
which are clearly evident familiar movements movement than reproducing
Students meet all some of the time. another). Movement familiar
choreography requirements Attempts are made does not explore or movement.
*(refer back to lessons 2-8 to incorporate the employ range of Dancers
for choreography elements. Students dance elements. struggle to meet
requirements). meet most Dancers meet some choreography
choreography choreography requirements.
requirements. requirements.

Pathways, Dancers use an extensive Dancers attempt Dancers use one or Pathways and
Patterns variety of pathways and pathways and use two pathways and patterns are not
and incorporate well-defined basic patterns and patterns in their apparent in the
Formations patterns and formations in formations in their original composition. original
their original composition.
original composition.
composition.

Creativity .Dancers’ ways of moving Dancers will Dancers have Dancers use
show strong improvisation discover new difficulty inventing common
and exploration skills. connections and new ways to move movement,
Students are willing to take possibilities as and will rely upon familiar patterns,
risk. Movements are highly
original and carried out
movement is the familiar Dancers and simple
well. invented. Will take will often adapt formations
some risk and options from others borrowed from
movements show and will take very others or media.
fair variety and small risk. Dancers
contrast. Movement, patterns frequently re-
and formations are use movements,
limited and may patterns and
show repetition. formations over
and over again.

Style & Dancers consistently Dancers will Dancers are Dancers show
Expression demonstrate stylistic demonstrate progressing towards little attempt to
moves, , holds the head stylistic moves at the demonstration of stylize moves
up, focuses attention to times. Will hold stylistic moves. and lack
audience, uses head up, focus to Dancers lack confidence
appropriate projection audience, uses confidence on and throughout the
(smile, etc.) enthusiasm appropriate off throughout the dance.
and energy. projection, energy dance.
and enthusiasm
most of the time.
 Group Participation in Rehearsal Rubric

Category 4 Advanced 3 Proficient 2 Basic 1 Beginning

Listening Student listens when Student listens Student does not Student does not
others talk, when others talk but listen when listen when others
incorporates and can sometimes talk others talk. talk, is always talking
builds off the ideas of too much. Prefers to do and often interrupts
others. Speaks a fair most of the others not allowing
amount. talking not letting them to speak.
others speak.

Sharing Often takes the lead Relays some basic Relays very little Does not relay any
role and helps others information to information to the information to others
with minimal help others in the group group and in the group.
from the teacher. and possibly to prefers to follow
Shares ideas with others outside the directions.
others in and outside group.
of the group.

Cooperation, Rarely, if ever Rarely argues. Sometimes Usually argues with

Preparation argues. Is not Rarely displays argues. those in the group.
and disruptive. Upholds disruptive behavior. Occasionally Displays disruptive
Ensemble their part in the group Upholds their part in displays behavior frequently.
Work (performance, the group disruptive Upholds their part in
attendance, fitness, (performance, behavior. the group
health, etc.). attendance, fitness, Upholds their (performance,
Completes work, health, etc.). part in the group attendance, fitness,
memorizes Completes work (performance, health, etc.),
movements. and memorizes attendance, completes work and
movement most of fitness, health, memorizes movement
the time. etc.), completes infrequently.
work and
memorizes
movement most
of the time.

Engagement Student is totally May need to be Frequent Does not focus and
motivated to brought back to task reminders are follow instruction. Is
participate. Always at times. Can stay needed to easily distracted.
focused on task and focused and follows maintain focus on Student rarely, if ever,
encourages others to directions fairly well. the dance. contributes ideas or
remain on task. Student proactively Student asks questions.
Proactively contributes by infrequently
contributes by offering ideas and contributes by
offering ideas, asking asking questions at offering ideas or
more questions and least once per asking questions.
offering solutions rehearsal.
more than once per
rehearsal.
 Formation Worksheet: Original Group Dance

Group # ______ Names ___________________________________________

________________________________________________________________

Diagram of formation used Where formation appears in our dance

1.

2.

3.

4.
 DANCE ELEMENTS

TIME
• Speed – fast, slow, freeze, suspend
• Rhythm – pulse, beat, pattern, syncopate

SPACE
• Place – self or personal, general space
• Size – big, small, far, near
• Level – high, middle, low
• Direction – forward, backward, left, right, up, down, diagonally
• Pathway – straight, curved, zigzag

FORCE/ENERGY
• Weight – strong, heavy, light
• Energy – sharp, smooth, shaking, swinging, etc.

MOVEMENT CONCEPTS
• Locomotor – walk, run, leap, gallop, slide, crawl, roll, creep, slither, alone
and in combinations
• Axial – bend, twist, stretch, reach, swing, push, pull, fall, melt, sway, turn,
spin, dodge, kick, poke, life, carve, curl, lunge, slash, dab, punch, flick, float,
glide, press, wring, shake, rise, shrink, burst, wiggle, explode, etc.
 San Diego Unified School District
Visual and Performing Arts Department
California State Content Standards
Core Learnings

Dance
Grade 5

1.0 Artistic Perception

Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills
Unique to Dance
Students perceive and respond, using the elements of dance. They demonstrate movement skills, process
sensory information, and describe movement, using the vocabulary of dance.
1.1 Demonstrate focus, physical control (e.g., proper alignment, balance), and coordination in
performing locomotor and axial movement.
• Identify and use focus for intent (e.g., eyes and body fixed on or toward a stationary or moving,
real or imaginary object in space).
• Demonstrate improved body control while changing focus during locomotor movement.
• Demonstrate proper body alignment and placement (e.g., feet, knees, hips, stomach, ribs, chest,
shoulders, head).
• Maintain balance while changing center of gravity while turning (360 degrees) and changing
direction.
• Demonstrate coordination while performing locomotor and axial movement when changing
direction, levels and speed.

1.2 Name and use a wide variety of movements (e.g. isolations/whole body).
• Identify and perform movements unique to each part of the body (isolation).
• Identify and perform refined isolation movement of the ribs and hips.
• Combine and perform axial and locomotor movements simultaneously with isolations (e.g., walk
and/or turn doing a variety of head or shoulder movement).

1.3 Demonstrate a great dynamic range in movement utilizing space, time, and force/energy
concepts.
• Demonstrate ability to perform a combination that utilizes a variety of extreme opposing
dynamics, including force/energy, speeds, space, shapes, and rhythms. (e.g., sharp and
extended upper body movement while jumping followed by a smooth swooping turn)

1.4 Incorporate the principles of variety, contrast, and unity with dance studies.
• Identify a short work of combined dance phrases that explore an idea or concept (dance study).
• Modify a dance study (using the dance elements), by changing the quality of movement in a
variety of ways: oppositional, connected, similar and related, etc.

1.5 Use appropriate dance vocabulary to describe dances.

• Analyze and describe a dance study using the elements (time, space, force/energy, shape) and
principles of dance (unity, variety and contrast).

2.0 Creative Expression

Creating, Performing, and Participating in Dance
Students apply choreographic principles, processes, and skills to create and communicate meaning through
the improvisation, composition, and performance of dance.
2.1 Create, memorize, and perform complex sequences of movement with greater focus,
force/energy, and intent.
• Create movement sequences that clearly demonstrate purpose or meaning through the use of
 fully articulated variations in energy/force that work well together (dynamics).
• Demonstrate ability to communicate intent through the effective use of focal point, concentration
and eye contact (focus).
• Memorize dance sequences to develop muscle memory and kinesthetic awareness skills.

2.2 Invent multiple possibilities to solve a given movement problem and analyze problem-solving
strategies and solutions.
• Use a variety of combinations of the dance elements to create a minimum of four responses to
movement instructions and discuss the process taken to create each solution (brainstorm,
explore, create movements, and establish movement order).

2.3 Describe and incorporate simple dance forms in dance studies (e.g., AB form, canon).
• Identify the two distinct parts of an AB form in several dances.
• Create a two-part (AB form) dance sequence.
• Perform a two-part sequence in round (canon) form.

2.4 Demonstrate principles of opposing weight and force/energy, balance and counterbalance, or
cantilever.
• Participate in trust exercises, including weight sharing with a partner and in a group.
• Demonstrate with a partner opposing forces of push and pull, while changing the center of
gravity in stillness and when moving (balance and counterbalance).

2.5 Convey a wide range of feeling and expression through gestures, posture, and movement.
• Express a minimum of three different emotional responses using exaggerated upper body
expression (gesture).
• Express a minimum of three different emotional responses using exaggerated full body
expression (posture).
• Express a minimum of three different emotional responses using a combination of gestures and
postures, with locomotor movement.

2.6 Demonstrate cooperation, collaboration, and empathy in working with partners and in groups
(e.g., leading/ following, mirroring, calling/responding, echoing, opposing).
• Brainstorm, create, and perform original movement in a small group.
• Demonstrate active listening skills and incorporate each other’s ideas into a movement
sequence.
• Demonstrate effective leading and following skills while creating and performing in a group.

3.0 Historical and Cultural Context

Understanding the Historical Contributions and Cultural Dimensions of Dance
Students analyze the function and development of dance in past and present cultures throughout the world,
noting human diversity as it relates to dance and dancers. Historical and cultural context should be
embedded throughout the curriculum (all materials studied should represent different cultures and time
periods)
3.1 Describe how and why a traditional dance may be changed when performed on stage for an
audience.
• Compare a traditional dance in its natural setting with the same dance prepared for the stage.
• Discuss how the function of the traditional dance changes when it is transferred to the stage.
(e.g., use of space including formations, perspective and viewing, energy changes, elaborate
costumes and musical accompaniment, the focus of the performer and relationship to the
audience, etc.)

3.2 Identify and perform folk/traditional, social, and theatrical dances done by Americans in the
eighteenth and nineteenth centuries.
• Recognize and perform court style dances (e.g., hand holding, promenade, curtsey/bow
 gestures; minuet, gavotte, etc.).
• Recognize and perform round, square, and processional dances with partners, lines, and small
groups.
• Explore traditional dance forms of African, Native American and Hispanic cultures in America.
• Recognize theatrical dance as born from court dance and ballet.

3.3 Select traditional dances that men, women, or children perform and explain the purpose(s) of
the dances.
• Discuss the role of males and females in traditional dances and influences that may have
contributed to change over time and across cultures.

4.0 Aesthetic Valuing

Responding to, Analyzing, and Making Judgments About Works of Dance
Students critically assess and derive meaning from works of dance, performance of dancers, and original
works based on the elements of dance and aesthetic qualities.
4.1 Use dance vocabulary to identify and support personal preferences for dances observed or
performed.
• Analyze a performance, make a judgment and defend personal preference by using the
following dance vocabulary: use of dance elements and principles, style, costume, music, focus,
presentation, communication.
• Compare and discuss differences of opinion with peers.

4.2 Apply specific criteria to analyze and assess the quality of a dance performance by well-
known dancers or dance companies (e.g., technical skill, musicality, dynamics, mood).
• Read several dance critiques in a professional dance magazine or newspaper and highlight and
outline the criteria the critic used to evaluate a performance.
• Research well known dancers indicating their styles of performance.
• Create a rubric using dance vocabulary to identify the technical skills of the dancer (power,
strength, flexibility, agility, facial and body expression, focus, and involvement with the
choreography.

4.3 Identify the special and challenging characteristics of the experience of dancing for an
audience.
• Discuss what stage fright is and how to overcome it (being well prepared, practicing strong
visualization, proper performance etiquette, and strong dancer relationships in rehearsal, etc.).
• Discuss preparation for performance in a variety of performance venues and spaces (small,
intimate spaces vs. large auditorium, a variety of dance surfaces).
• Discuss how the proximity of an audience can impact dancers (e.g., energy, focus, distractions).
• Discuss the impact live vs. taped musical accompaniment can have dancers.

4.4 Explain how outstanding dancers affect audience members emotionally or intellectually.
• Observe and discuss how exemplary dancers use nuance in their body and facial expression
(tone, color, fine distinctions in energy and expression) to illicit emotional responses (e.g. fear,
happiness, sadness, anger, and love).

5.0 Connections, Relationships, Applications

Connecting and Applying What is Learned in Dance to Learning in Other Art Forms and Subject
Areas to Career.
Students apply what they learn in dance to learning across subject areas. They develop competencies and
creative skills in problem solving, communication, and management of time and resources that contribute to
lifelong learning and career skills. They also learn about careers in and related to dance.
5.1 Describe how historical events relate to dance forms (e.g., the rebellion of the 1960’s was
represented in popular social dances with a move from partners to individual expression).
• Research a major dance style or form and discuss what happened in history to inspire its
creation (e.g., Modern Dance, Jazz, Tap, Social Dance, Hip Hop and Break Dance).
 • Discuss how immigrants of different ethnic groups to the United States contributed their
traditional movement and rhythms to the development of unique dance styles such as tap, jazz,
blues, and swing dance.

5.2 Describe how dancing requires good health-related habits (e.g., individual and group goals
for flexibility, strength, endurance, stress management, nutrition).
• Discuss how important it is to a dancer to refrain from harmful substances (tobacco, drugs,
alcohol and junk food) that will diminish the ability to maintain proper strength, endurance, and
mental acuity.
• Discuss why it is important to talk about problems and frustrations in creating and rehearsing
dance before they become overwhelming.
• Analyze and discuss how dance and movement can release frustration and excess energy in
positive ways.

5.3 Cite examples of the use of technology in the performing arts.

• Analyze and discuss how lighting, sound, and special effects are used in a professional dance
performance (live or video taped).

5.4 Demonstrate social skills that enable students to become leaders/teachers and
followers/learners.
• Exhibit cooperation and collaboration through group problem solving activities.
• Demonstrate ability to lead and follow by teaching and learning each other’s choreography.
 DANCE GLOSSARY

AB form - a two-part compositional form with an A theme and a B theme. The binary form consists of two
distinct, self-contained sections that share either a character or quality (such as the same tempo).
ABA form - a three-part compositional form, in which the second section contrasts with the first section. The
third section is a restatement of the first section in a condensed, abbreviated, or extended form.
accent - a strong movement or gesture.
aesthetic criteria - standards applied in making judgments about the artistic merit of a work.
alignment - the relationship of the skeleton to the line of gravity and base of support.
axial movement - movement anchored to one spot by a body part. Only the available space in any direction
is used while the initial body contact is being maintained. Movement is organized around the axis of the
body and is not designed for travel from one location to another. Also known as non-locomotor
movement. Examples include stretching, bending, turning in place, gesturing.
balance - a state of equilibrium referring to the balance of weight or the spatial arrangement of bodies.
Designs may be balanced on both sides of center (symmetrical) or balanced off center (asymmetrical).
ballet - a classical Western dance form that originated in the Renaissance courts of Europe. By the time of
Louis XIV (mid-1600s), steps and body positions underwent codification.
body image - an acceptance of one's body as it is in a positive way, with recognition of the possibilities of its
capabilities and limitations.
canon - a passage, movement sequence, or piece of music in which the parts are done in succession,
overlapping one another.
choreography ("dance writing") - the creation and composition of dances by arranging or inventing steps,
movements, and patterns of movements.
contrast - to set side by side to emphasize differences. In dance two contrasting movements might differ in
energy; space (size, direction, level); design (symmetrical/asymmetrical, open/close); timing (fast/slow,
even/uneven); or two or more different themes or patterns.
counterbalance - a weight that balances another weight. In dance it usually refers to one or more dancers
combining their weight in stillness or in motion to achieve a movement or design that is interdependent.
Any limb moving in one direction must be given a counterweight.
dance - movement selected and organized for aesthetic purposes or as a medium of expression rather than
for its function as work or play.
dance forms - the organization or plan for patterning movement; the overall structural organization of a
dance or music composition (e. g., AB, ABA, call and response, rondo, theme and variation, canon, and
the interrelationships of movements within the overall structure).
dance phrase - a partial dance idea composed of a series of connecting movements and similar to a
sentence in the written form.
dance sequence - the order in which a series of movements and shapes occurs.
dance study - a short work of dance that investigates a specific idea or concept and shows a selection of
movement ideas. It can be improvised or composed.
dynamics - the energy of movement expressed in varying intensity, accent, and quality.
focus - in general, a gathering of forces to increase the projection of intent. In particular, it refers to the
dancer's line of sight.
folk/traditional dance - dance associated with a nationalistic purpose, usually performed today as a
surviving portion of a traditional celebration and done for social gatherings or as recreation.
force/energy - an element of dance characterized by the release of potential energy into kinetic energy. It
utilizes body weight, reveals the effects of gravity on the body, is projected into space, and affects
emotional and spatial relationships and intentions. The most recognized qualities of movement are
sustained, percussive, suspended, swinging, and collapsing.
genre - a particular kind or style of dance, such as ballet, jazz, modern, folk, tap.
gesture - the movement of a body part or combination of parts, with emphasis on the expressive aspects of
the move. It includes all movements of the body not supporting weight.
improvisation - movement created spontaneously that ranges from free-form to highly structured
environments, always including an element of chance.
intent - the state of having one's mind fixed on some purpose.
isolation - movement done with one body part or a small part of the body. Examples are rolling the head,
shrugging the shoulders, and rotating the pelvis.
jazz dance - dance marked by movement isolations and complex, propulsive polyrhythms. It is an outgrowth
of African-American ragtime, jazz, spirituals, blues, work songs, and so forth and is considered an
American dance style.
kinesthetic principles - physics principles that govern motion, flow, and weight in time and space,
including, for example, the law of gravity, balance, and centrifugal force.
locomotor - movement progressing through space from one spot to another. Basic locomotor movements
include walking, running, galloping, jumping, hopping, skipping, sliding, leaping.
modern dance - a type of dance that began as a rebellion against steps and positions and values
expressive and original or authentic movement. It is a twentieth-century idiom.
motif - a distinctive and recurring gesture used to provide a theme or unifying idea.
movement pattern - a repeated sequence of movement ideas, a rhythmic movement sequence, a spatial
design on the floor or in the air, or a specific relationship or grouping of people.
movement problem - a specific focus or task that serves as a point of departure for exploration and
composing, usually with specific criteria.
musical phrasing - the grouping and articulation of a group of notes that form a logical unit.
musicality - attention and sensitivity to the musical elements of dance while creating or performing.
partner and group skills - skills that require cooperation, coordination, and dependence, including imitation,
lead and follow, echo, mirroring, and call and response
pathways - a line along which a person or a part of the person, such as an arm or head, moves (e.g., her
arm took a circular path, or he traveled along a zigzag pathway)
phrasing - the way in which the parts of a dance are organized
principles of composition - the presence of unity, continuity (transitions), and variety (contrasts and
repetition) in choreography
projection - a confident presentation of one's body and energy to communicate movement and meaning
vividly to an audience. It also refers to performance quality.
pulse - the underlying and consistent beat
repetition - the duplication of movements or movement phrases within choreography
retrograde - the act of taking a sequence of choreography and reversing the order from back to front.
rhythm - a structure of movement patterns in time; a movement with a regular succession of strong and
weak elements; the pattern produced by emphasis and duration of notes in music.
shape - the positioning of the body in space: curved, straight, angular, twisted, symmetrical, or asymmetrical
skills - technical abilities; specific movements or combinations
social dance - dance done in a social setting. It is traditionally referred to as ballroom dance but includes all
popular social dances performed with or without partners.
space - an element of dance that refers to the immediate spherical space surrounding the body in all
directions. Use of space includes shape, direction, path, range, and level of movement. Space is also
the location of a performed dance.
spatial - of or relating to space or existing in space.
stylistic nuance - a subtle difference in style of meaning; the subtle or slight movements that identify the
distinct characteristics of a particular performer or the dances of a particular choreographer or period.
tap dance - a type of dance that concentrates on footwork and rhythm. This type of dance grew out of
American popular dancing, with significant roots in African-American, Irish, and English clogging
traditions.
technique - the physical skills of a dancer that enable him or her to execute the steps and movements
required in different dances. Different styles or genres of dance often have specific techniques.
tempo - the speed of music or a dance
time - an element of dance involving rhythm, phrasing, tempo, accent, and duration. Time can be metered,
as in music, or based on body rhythms, such as breath, emotions, and heartbeat
transition - the bridging point at which a single movement, the end of a phrase, or even the end of a larger
section of a dance progresses into the next movement, phrase, or sequence
unison - dance movement that takes place at the same time in a group
unity - the feeling of wholeness in a dance achieved when all of the parts work well together
variety in dance - a quantity or range of different things. To maintain audience interest, the composition
choreographer must provide variety within the development of the dance. Contrasts in the use of space,
force, and spatial designs as well as some repetition of movements and motifs provide variety.
work - a piece of choreography or a dance