Complete guide to primary dance

121 Pages·2014·16.585 MB·English

by  Lyn Paine

Complete Guide to
Primary
DaNCE
Lyn Paine
National Dance Teachers Association
Human Kinetics
Library of Congress Cataloging-in-Publication Data
Paine, Lyn.
Complete guide to primary dance / Lyn Paine, The National Dance Teachers Association.
pages cm
Includes bibliographical references.
1. Dance--Study and teaching (Primary) 2. Dance--Curricula. 3. Movement education. I. Title.
GV1589.P35 2014
372.86'8--dc23
2013032666
ISBN-10: 1-4504-2850-9 (print)
ISBN-13: 978-1-4504-2850-7 (print)
Copyright © 2014 by Human Kinetics, Inc.
This book is copyrighted under the Berne Convention. All rights are reserved. Apart from any fair dealing for the purposes of
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mechanical, optical, photocopying, recording, or otherwise, without prior written permission of the publisher.
The web addresses cited in this text were current as of October 2013, unless otherwise noted.
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8.6, 8.7) courtesy of Youth Dance England/Photographer: Brian Slater, photos on pages 3 (lower), 4, 6, 18, 20, 30, 32, 34, 39, 75
(lower) 93, 94 (photos 1.4, 1.5, 1.6, 2.4, 2.5, 3.5, 3.6, 4.2, 6.8, 7.5, 9.1, 9.2) © Worcestershire County Council/Photographer: Sue Farr
photos on pages 15, 16, 31, 36, 52, 53, 54, 62, 64, 67, 68, 71, 72, 73, 83, 86, 95, 97, (photos 2.1, 2.2, 3.3, 4.1 5.2, 5.3, 5.4, 6.1, 6.2,
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Contents
Foreword vi
Preface vii
How to Use This Book and Web Resource ix
Acknowledgments xi
1
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Why Dance? 1
Chapter
What Is Dance and What Makes It Unique? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Benefits of Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Key Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Dance and Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Inclusive practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Dance Beyond the Classroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Dance in the Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
high-Quality Dance Outcomes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
2
. . . . . . . . . . . . . . . . . . . . . . .
The Dance model 11
Chapter
Brief history of Dance in education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
performing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Composing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
appreciating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Integrated approach to performance, Composition and appreciation . . . . . . . . 24
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
3
. . . . . . . . . . . . . . . . . . . .
ingredients of Dance 27
Chapter
actions (What the Body Does) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Dynamics (how the Body Moves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Space (Where the Body Moves) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
relationships (how We Dance With Others) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
iii
iv Contents
4
. . . . . . . . . . . . . . . . . . .
From ideas to Dances 35
Chapter
planning the Dance experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
planning for progression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
teaching and Learning Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
types of Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Styles of Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Choreographic Knowledge for the teacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
5
Warming Up, Cooling Down
Chapter
. . . . . . . . . . . . . . . . . . . . . . .
and Safe Practice 49
Warming Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Cooling Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Safe practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
6
. . . . . . . . . . . . . . . . . .
managing the Learning 59
Chapter
establishing an ethos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Managing Behaviour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
establishing routines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Managing the Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
pace and Momentum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Groupings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Differentiation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Non-participants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Dance Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
role of the adult . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Inclusive practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
7
. . . . . . . . . . . . . . . . . . . . . . .
assessing Dance 71
Chapter
assessment for Learning (Formative assessment) . . . . . . . . . . . . . . . . . . . . . . . . 71
Summative assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
how Do Children Develop in Dance? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
expectations for Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Contents v
8
. . . . . . . . . . . . . . . .
Dance and the Curriculum 81
Chapter
Creative Curriculum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Dance and Literacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Dance and Numeracy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Dance and Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Dance and physical education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Dance and the arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Dance and humanities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Dance and Information technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Dance, Design and technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
9
. . . . . . . . . . . . . . . . . . . .
resources for Dance 93
Chapter
Music for Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
professional Dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
professional Dance artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Glossary 101
References 104
Recommended Reading 105
About the NDTA 106
About the Author 107
Foreword
The National Dance Teachers Association curriculum. A wealth of stimulating ideas, units
(NDTA), working in partnership with Human of work and strong cross-curricular links will
Kinetics, welcomes this exciting new publication, assist teachers in ensuring that all young people
Complete Guide to Primary Dance. Lyn Paine in their care will have access to and participate
is a highly experienced dance practitioner and in a high-quality dance experience.
educator with a wealth of experience in primary This comprehensive book and web resource
education. As a result she has produced an encourages the development of creativity, an
invaluable resource, tool kit and reference guide aspiration for excellence in dance education and
to support all those involved in teaching dance to creative approaches to teaching and learning. It
children from 4 to 11 years old. It is appropriate celebrates dance and we believe that all those
for both experienced and non-specialist teachers who use it will have a valuable resource to inform
and those wishing to increase their knowledge their work with children and young people for
and skills. the future.
Complete Guide to Primary Dance provides
Judy Evans and Sue Trotman
a framework for creating, performing and
Joint Chair, NDTA
watching dances, with an excellent insight into
how teachers can plan and manage their dance
vi
Preface
Dance is a unique curriculum subject in that it of promotion, advocacy and broadcasting are
is both physical and expressive. This is what still to be done. Complete Guide to Primary
makes it similar to and different from other phys- Dance provides teachers, teaching assistants
ical activities and art forms. With its own body of and dance leaders with a firm knowledge base
knowledge and clear progression in skills, dance and the confidence to plan and deliver quality
is no “soft” option. By the end of the primary learning experiences that are appropriate to
phase, children should be able to lead warm-up the age and stage of pupils. This book and web
and cool-down activities; perform various styles resource package is full of practical and creative
of dances fluently and with control; perform ideas that will inspire and refresh even the most
confidently and expressively; demonstrate musi- experienced dance teacher. It is also well suited
cality; adapt and refine the way they use space, for dance novices, explaining dance concepts and
dynamics and relationships; work creatively and vocabulary in ways that are easy to understand.
imaginatively to compose solos, duos and group The first three chapters of the book provide
dances; use appropriate vocabulary to describe, theoretical subject knowledge, starting with
evaluate and reflect on their own and others’ a discussion about the fundamental nature of
dances; talk about dance with understanding; dance in chapter 1. Chapter 2 takes a look at the
and recognise that dance makes them healthy. history of dance in education in England over the
In addition, they should have experience in using last 100 years and introduces the model for dance
a range of stimuli (starting points) for dance; in education that is widely used today. Chapter 3
dancing to a range of accompaniment; viewing outlines the key ingredients of dance.
and experiencing dances of various times, places The chapters that follow introduce subject
and types; and viewing professional dance live or knowledge for teaching (in other words, the
on film. A good dance education provides young subject pedagogy, or how to teach dance). Chap-
people with the skills and interests to follow a ter 4 takes the reader through the processes of
range of vocational and academic pathways and planning and teaching and includes a useful
employment opportunities as they grow. section on choreographic knowledge for the
Dance contributes to a balanced physical edu- teacher. Chapter 5 focuses on warming up and
cation programme; it also relates closely to and cooling down and includes some very important
shares a common language with music, drama safe practice content. Chapters 6 and 7 will be
and art. Dance can also support learning across of particular interest to teachers who are new to
the curriculum by bringing stories and poems dance or new to teaching because they focus on
to life in literacy and by enhancing learning managing the learning and on assessing dance
across a range of topics such as those in science in relation to current good practice. Chapter 8
and humanities. In lessons and extracurricular looks at the ways in which dance enhances and
activities (dance is second only to football in enriches the curriculum, and the final chap-
popularity in UK schools), it promotes physical ter introduces a wide range of resources for
and mental health and well-being, and those few dance.
minutes of fame—the thrill of dancing in front The book is full of practical ideas and sug-
of an audience of family and friends—will be gestions as well as tasks for teachers that may
treasured and remembered for the rest of their be used in staff meetings and training sessions,
lives. Dance is both a powerful and empower- for discussions with students, or for personal
ing experience whether we are participating as reflection. A glossary is included to provide ready
performers, choreographers or the audience. No reference for unfamiliar terms.
need for fancy gimmicks or equipment—the body The accompanying web resource exemplifies
is the instrument and movement is the medium. good practice and demonstrates progression in
All that is needed is a space in which to dance. skills. It is full of material that applies and com-
Dance as a curriculum subject can be vulner- plements the teaching instruction in the book. It
able in that many teachers lack the necessary includes the following:
training and there are few resources to support
teaching and learning. I have lost count of the • A complete scheme of work (22 units of
number of times that I have been asked, “What work for use with each age of the primary
sort of dancing do you teach?” as if there were phase) and a template for creating your own
a type or style that is unique to schools. Plenty dance unit
vii
viii preface
• Stories, poems, and other written resources curriculum. Reception refers to the first year of
that supplement the dances explored in primary education where children are 4 to 5 years
select units old. Key Stage 1 (Years 1 and 2) includes children
• Video clips that demonstrate many phases who are 5 to 7 years old, and Key Stage 2 (Years 3
of the dance-making process, from selecting to 6) includes children who are 7 to 11 years old.
ideas for dances to performing a dance The book and web resource draw on and com-
plement materials and strategies developed by
• Photos that illustrate various parts of the
NDTA’s partner organisations, who hold a clear
dance-making process
vision for dance education and its potential for
• Warm-up activities developing young people’s well-being and enhanc-
ing their lives.
This publication was written in the UK and
is based on the English education system and Lyn Paine
How to Use This Book
and Web resource
This book and web resource work together to tations for performance, composition and
offer you a complete guide to teaching dance appreciation (see chapter 7: Assessment).
at the primary level. The book educates you on Three learning outcomes (usually one each
the teaching of dance from a conceptual view- for performing, composing and appreciat-
point, and the web resource equips you to put ing) that are specific to each unit have been
those concepts to work in the classroom with identified in each unit, although in fact the
unit plans, warm-ups, written resources, photos children will meet several others as well.
and video clips. Throughout the text, when web
• Stimulus, resources and accompani-
resource content is referenced, you will see the
ment: Each unit lists at least one stimulus
following icon: that can spark ideas for dance. Some units
of work will have resources that are specific
to them, such as a story or a video clip, that
Unit Plans and Scheme
are included on the web resource. Other
relevant resources and the type of accompa-
of Work
niment (with examples where appropriate)
are recommended as well.
Twenty-two unit plans are organized according to
• Dance content: This section details the key
age group (four units for Reception, six for Years
action, dynamic, spatial and relationship
1 and 2, six for Years 3 and 4 and six for Years 5
content. This information will be helpful
and 6). The dance ideas in these units will provide
in assessing whether the unit will meet
teachers with the confidence to deliver dance,
the children’s needs and enable them to
supported by the subject knowledge and tools
progress.
in the book. The units together form a broad,
• Warm-up: Warm-up activities (general or
balanced and progressive scheme of work for
specific) suitable for the dance idea are
use from Reception to Year 6. They represent a
suggested, and sometimes introductory
range of dance ideas, stimuli and types and styles
tasks are offered.
of dance and each focuses on the development
of specific skills. • Assessment: Assessment opportunities are
Apart from those for Reception, the units are detailed throughout each unit in the Tasks
generally suitable for the two years suggested, section, and the Assessment section at the
which would allow three units per year group. beginning of each unit provides a summary
Those planned for Reception could also be used of the relevant assessment strategies. It
for Year 1, depending on the age and experience is strongly recommended that individual
of the children. Having several units to select achievement in relation to the specific learn-
from allows teachers flexibility to decide which ing outcomes is assessed at the end of each
units are most suitable for their class and which unit. This can be done simply by creating a
units support important cross-curricular dimen- grid of the children’s names and the specific
sions. If more than one teacher in the school learning outcomes and using traffic lights
uses the scheme it is important to plan together (red, amber or green) to indicate the level
to avoid duplication. Ideally dance should be of achievement for each child against each
provided regularly in blocks throughout the outcome. Specific comments about individ-
year—for instance, three six-week or half-term uals could also be noted.
blocks alternating with gymnastics. One unit • Curriculum links: Links to other curricu-
could be used per block, which allows for one lum areas, topics and themes are provided.
or two short one-off lessons to provide contrast,
• Options: Suggestions for simplifying tasks
explore different ideas or focus on specific skills.
or providing further challenge are given
Each unit of work includes the following
where appropriate, as well as additional
sections:
tasks and related activities that may add
• Learning outcomes: Using all the units variety and expand possibilities.
for the age groups suggested will enable • Possible unit structure: Each unit rep-
the children to meet the appropriate expec- resents a medium-term plan comprising
ix