The second lesson as outlined in Appendix C, is aimed at students learning safe dance practice, and subsequently a base of dance steps that will increase their knowledge of technical dance practice. Their learning outcomes will be that each and every individual can achieve a range of movement in a safe and confident way. Further, the routine taught will introduce students to musicality and timing of motion to music. They will gain knowledge of how to repeat and learn choreography, which will be essential for all practical work whether it be learning a set piece of solo choreography or performing work.
The third lesson (see Appendix D) within this unit of work involves viewing and subsequent analysis of a major dance choreographers works. Students will achieve practical knowledge of a collection of dances, and additionally for some students gain a first opportunity to view a dance performance.
‘The ‘‘Dance as Art’’ model in education – performance, composition and appreciation – has taught pupils to…create and perform dances, and, through watching professional artists, to learn to respond, enjoy and make discerning judgments’
Brinson (1991) p.163
This curriculum forms a basic design around the ‘dance as art’ model as identified above. The key concepts allow in this section, an appreciation of dance to be formed, as well as ideas of how the body can be used to move, and the complexities of choreography and performance in terms of movement components and dynamics.
The following lessons, 4 and 5 (outlined in Appendices E and F respectively) , aim at the students creating a group choreography that will lead to a performance in lesson 6. ‘Young students who work in groups learn how to compromise…as well as make rapid progress’ (Smith 2006). This two week group work ‘stimulates interest and increases confidence’ (Petress 2004), and allows for a development of the subject and scheme of work within a proactive learning environment. From the prior 3 lessons, students have gained a basic knowledge of safe dance studio practice, practical ideas for dance moves and technical practice. In lesson 6, their performance will allow them to experience performing their work, with those viewing appreciating expectations for an audience.
‘The group produces a product which its members can review prior to presenting it to the whole class, thus diminishing prospects that mistakes will occur at all’
Slavin and Karweit (1981) p.214
The assessment criteria that is stated in Appendix H allows for students to be ‘assessed in a style that is most suitable for their individual needs’ ( Burton, Middlewood and Blatchford 2001) in accordance with the student centred curriculum model. The marking scheme for the assessment is divided into three categories; Choreography, Performance and Analysis, with bands numbered from one to three (one being the students working above the requirements for this level, two being working at the level of the requirements of this level, and three being working towards the requirements for this level). The banding will then allow for the overall categorisation of the students, and from there each individual students learning needs and independent goals can be established. As Skilbeck (1984) emphasizes in his ‘core curriculum idea’, to enable an assessment to be based around varied aspects of learning such as written and physical skill ‘shared decision making between teacher and student’ as to the content of their work, and differentiation between ability in performance and written analysis is epitomized in this student centred approach.
Within the choreography section of the assessment marking, the initial point is ‘the ability to contribute ideas within a group’. This cross curricular specification, applicable with Science laboratory partner work at KS3, Drama group work and Physical Education team play to name but a few, is aimed at establishing how well students can work together, vocally communicate by speaking and listening, and have the confidence to put forward their ideas within a group. Similarly the following point, ‘the ability to listen and respond to others ideas’ is a continuation on the prior point, as equally students must ensure they listen to others ideas and opinions. The next point ‘the ability to use dance moves to create a piece of work’ will establish the prior learning abilities of each individual student, and enable recognition of individual learning goals and requirements. Within a learner-centred approach to teaching, ‘educational needs (can be met) beyond those specified…’ (Burton, Middlewood and Blatchford 2001). Students are able to go beyond what has been taught to introduce their own prior learning where applicable. Finally ‘to research ideas in accordance with the chosen music’ will establish the students musicality, as well as how eager they are to independently research ideas, and from there differentiation and individual needs can be met.
The performance section of the analysis is based around varying abilities within dance performance including technical ability, performance projection, use of space and concentration. These categories will establish guidelines for future progression within dance as the prior knowledge and abilities of practical dance can be observed as the ‘assessment procedures emphasise and reward personal understanding’ (Entwistle 2000) thus prior performance skills will be considered to achieve a truly student centered approach to assessment. Further, a process based curriculum model underpins this approach. Students develop independently on this section as they have established choreography through individual and group research and have then put this into a practical dance piece. Their ability to learn at this level is via practical application of either prior learning and knowledge of dance, or by independent research. Although the teacher will begin by establishing a base for learning by the teaching of basic dance moves, and the identification of safe studio practice, the development from here is process based and consists of the student working as an independent learner.
The final section for student analysis is their own analysis of their performance as well as other groups work. This section provides cognition to the artistic practical expression of the group work, to develop ‘expressions of certain kinds of understanding’ (Best 1992). In order to achieve a balanced set of learning objectives as well as establish differing sections of learning that students may be informed in, the analysis section is a critical part of assessment. Some students may excel and prefer the written evaluating aspects of dance and are able to develop their critical abilities by ‘practicing constructive criticism using dance language and explore the elements that contribute to expression and meaning in dance’ (Dance Benchmarks 2007 NYC education department) , while others achieve more highly in performance related circumstances. On marking of this analysis, the teacher is able to identify which areas the individual student needs to work on, and which areas can be progressed further. This student centred, process based learning is essential within this level of the curriculum in establishing learning guidelines for individuals, as well as differentiating between ideal learning outcomes and achievements.
There are however obvious aspects of other curriculum models that will influence the overall delivery of this curriculum. Although the individual learning for each student can be open ended in terms of how far they progress, an overall target driven model will have to be followed by some means. Due to the common desire for students to have made solid achievements and acquire and fulfill levels of study, commonly desired by the parent, school, governing body, and often by the students themselves, forms of assessment such as this initial baseline assessment are necessary. It also establishes a level in which the student can work towards to achieve higher targets. On the contrary to this, students will have open ended optional study tasks to help them gain a rounded knowledge and thus by means of this achieve a greater knowledge base of dance. Aspects of this unit of study take into account the open ended model of learning, as students are able to research for their choreography in as much detail they like and within whichever sphere of dance they wish to study.
Evaluation
With the discussed introduction of dance as a core subject on entering secondary school, all students, whether wishing to progress and continue this study to higher education or not, are able to explore the subject of dance in a wholly student centred approach, contributing to equality of learning among varying abilities as well as participation by both sexes.
As both male and female students will be present within this design, the controversial issue of males dancers arises. ‘it is a matter of not forcing boys to do dance classes but of allowing them to relax and feel safe to enjoy movement as expression…’ (Ashley 1996). Marsh (2004) discusses the opportunity for a curriculum to provide ‘both females and males with access to a wider range of knowledge, skills and ways of being’, thus enabling both genders to experience that same choice of subjects and decrease the subjectivist view that males should be directed towards ‘manual arts…’ whereas females should ‘attend home economics’. This debate is deep-rooted within our historical society context. The male identity is often challenged in relation to artistic subjects such as art and dance, as more aggressive expression through contact sports has previously been dominant (Meglin, A ;The Journal of Physical Education, 1994). However, within the content for this scheme of work, as well as the overall curriculum design, males are not differentiated in terms of performance ability or choreographic capacity, as with equality in teaching all students should feel united within the learning process, and each student is given time and space to develop independently of target driven goals, creating a free flowing learning environment.
Although equal opportunities must be available for both male and female students, to further create an encouraging learning environment for male dancers, the content design of this curriculum must be emphatically drawn towards the inclusion of male students to provide ‘equal opportunity’ as expanded in Roy Blatchford’s (2001) analysis of the five fundamental truths underlying a school. The choice of audio and visual content for this scheme of work provides opportunity to study strong male leads within the music and dance world.
Roy Blatchford (2001) discusses ‘the ‘five’ fundamental truths that underpin any
flourishing school, and which should serve as the starting points for curriculum and organizational
planning’. In comparison to the designed curriculum for Year 7 students that is being discussed,
these ‘fundamental truths’ are the subject of essential analysis and evaluation in order to create a
fully effective and rounded curriculum that is consistent with a productive learning environment
for all students. Appendix I examines each of these truths in details, however there are overall
considerations that relate to curriculum design to be essentially noted from this.
‘Truth four, ‘equal opportunity’ and a ‘broad range of achievements’ is an area that underpins a student centered curriculum model. In relation to the broad range of achievements, a foremost factor of increasing the range of work available for students to study in further depth is the possible resources available for doing this. Aside from purely independent further learning, funding will be critical for providing opportunities for extended depth of study. As we all know, even adequate budgeting for curriculum based resources can be limited, so how are we to o about extending this to cover non curriculum based work? Burton, Middlewood and Blatchford (2002) experiment with the idea of devolved funding, where ‘students and teachers (via curriculum managers) …become ‘‘involved’’ in the purchasing priorities of the organisation’. This can stem from truth five, allowing the curriculum to be open to views and opinions and thus the involvement of parents and guardians. If a general understanding can be met by all involved as to the further educational values of extending study to independent learners, then perhaps it would be possible to allow financing for these areas. Additional texts for students, the option to have an opportunity to develop their dance technique and performance by workshops, and additional teaching support could all be made possible, linking with the ‘broader educational values’ of truth two.
If student support can be offered as an extra curricular activity, by means of practical dance workshops, outings to see staged productions, discussion based group work and solo expansion of areas desired, students can further gain a broader approach to learning. Learning should not and is not restricted to the classroom lessons. To build a stable learning base by which students can expand and develop themselves as individuals capable of fully expressing their personality, optional areas of study should be at their disposal.
The ‘learning environment’ identified in truth five of Blatchford’s (2001) ‘five truths’ is expanded upon in appendix H, but a key point to consider which relates directly to this curriculum design is the teachers ability to provide stimulating a personalized support to each student. In lesson three, as expanded in appendix D, the use of professional works to demonstrate the range of choreographic devices and performance techniques provides the opportunity for independent student learning, and contextualizes the students prior learning.
A good professional example demonstrates artistic and aesthetic quality in its composition
and its performance. It also has implicit cultural and historical significance.... that in-depth
study of a work, even a small part of it, enhances, consolidates, extends and inspires the
students' own work.
Smith-Autard, (1994) p.38.
This quotation from Smith-Autard demonstrates the ideal that with the use of visual resources within this lesson, inspiration for the students to use these ideas in their own work is provided, creating a ‘learning environment’ that is individually productive.
So why dance in the National Curriculum at Key Stage 3?
‘ Dance makes a distinctive contribution to the education of all pupils, in that it uses the most fundamental mode of human expression – movement…through its use in non-verbal communication, dance gives pupils the opportunity to participate in a way which differs from any other area of learning’
Brinson (1991) p. 161
Brinson (1991) further examines this within his article ‘Dance as Education’. ‘Through artistic and aesthetic education’ dance develops individual perceptual and expressive skills. ‘Through cultural education’ students gain a cultural context to the value of dance within present and historical society. ‘ Through personal and social education’ students are able to work on their individual social skills, as well as group inter-personal relations. ‘Through physical education…’ they are able to improve core body abilities and increase health. These factors are all essential to the development of any student, and provide what Blatchford (2001) identifies in his fundamental truths as a productive safe learning environment with broad educational values. Blatchford’s five truths clearly do not relate specifically to dance, but as dance as a curriculum subject can provide students with his ideals, the broader educational values of dance within the National Curriculum within this stage are epitomized.
‘Curriculum Theorizing’ as discussed by Marsh (2004) identifies common curriculum patterns that can be related to an independent teaching context, aiding the construction of an educational framework. A decentralized approach to school based curriculum development has many benefits, especially in terms of flexibility of assessment. Brown (1990) identifies a key point of flexibility ‘Flexibility: responsiveness to satisfy the changing needs of the local community’. Thus allowing for differentiation of socio-cultural goals within varying schools. In this curriculum design, the socio-cultural needs of the students, especially in terms of prior subject knowledge, is taken into account. Accessibility to a wide range of classes is an initiative that The Arts Council and Mayor Ken Livingstone have been working together towards. Initiatives such as the Pilot scheme at Pineapple studios to introduce young people that would not normally have access to dance to dance is a prime example of the expansion of accessibility to this subject. Thus in a localized area of this school curriculum plan, factors such as these are epitomized in the planning of content.
Appendix A
Year Seven Baseline assessment - Scheme of work
50 minute lessons, one per week, for a six week period leading from September to October half term.
The aim of this scheme of work is to assess the base level of skills the year seven students are entering the school with. The scheme of work will cover six weeks ending with a grade of aptitude for creating, performing and responding and to thus enable each student to receive appropriate progressive teaching methods.
Lesson 1
Aim – To introduce students to the type of work they will be exploring over the coming weeks and what will be expected for the baseline assessment.
1) Explain expectations for Dance - including the format of the lessons, the rules regarding discipline, how dance features within our socio-cultural environment
2) Play a piece of music ( Michael Jackson ‘Thriller’ 1982 Epic Records)
Place the class into mixed sex groups (4 per group) and allow them to discuss the mood of the music and create 3 tableaux images that reflect the style of the piece then create a beginning, middle and ending. From the three still images the students will then be asked to create a moving piece of work that incorporates these three images and uses basic dance steps such as turns and steps.
3) Baseline assessment – explain the aims for the first assessment on group choreography. An explanation of what will be expected will be given: ability to appreciate the mood of the music and its reflection on the images and movement, ability to create a constructive piece of work, and group cooperation.
Lesson 2
Aim - To understand some of the main movement components that are the constituent features of dance.
1) Safe dance practice - a structured warm up will allow students to appreciate how to warm up correctly and safely to avoid injury
2) Basic dance exercises will be taught to enable all students to gain knowledge of some basic dance moves
3) A short routine will be taught to allow students to practice how to learn a dance and develop practical skills
4) A cool down will finish the class to ensure all students appreciate safe dance practice
Lesson 3
Aim - To experience viewing the works of a leading choreographer (Bob Fosse) and have the opportunity to discuss some of the movement components
1) Viewing of Fosse (2002)
2) Observation of particular dance moves and how they are used to reflect the mood of the dance
3) Discussion as to what the students felt were their favourite sections of the dance and what dance moves they observed that they enjoyed
Lesson 4
Aim - Group work on their choreography
1) Warm up to refresh students knowledge of safe dance practice
2) Group choreography work for their baseline assessment
Lesson 5
Aim - Complete group choreography and practice performance
1) Warm up
2) Practice performance skills such as projection, facial expression and eye focus, and finalise the dance
Lesson 6
Aim - Observe all group work
Appendix B
Appendix C
Appendix D
Appendix E
Appendix F
Appendix G
Appendix H
Assessment Criteria for Year 7 Dance Baseline Assessment
Band 1 (Working above the requirements for this level)
Band 2 (Working at the requirements for this level)
Band 3 (Working towards the requirements for this level)
Choreography
The ability to contribute ideas within a group •
The ability to listen and respond to others ideas •
The ability to use dance moves to create a piece of work •
The ability to research ideas in accordance with the chosen music •
Performance
The ability to focus on the set task •
The ability to move the body and dance as choreographed •
The ability to use facial expression, eye focus, and execute dance moves •
The ability to use given space accordingly •
Analysis
The ability to constructively analyse your own work •
The ability to constructively analyse the work of others •
The ability to identify possible improvements •
Appendix I
‘The Five Truths’ Blatchford (2001)
The first truth relates to the learning environment provided for the students. This area lies not only with the school whose provision is to establish this across the board for each department and each subject, but with each individual teacher whose job it is to not only deliver the content and assist with learning needs, but support the student in a stimulating environment. The teacher must be supportive of individual learning goals and encourage progression. Further, the entire class must be taught how to observe work as an audience to ensure students receive beneficial feedback from their peers as well as the teacher. Secondly, the broader educational value of the classes, in respect of providing continuity and stability to students. The classroom should not purely be somewhere where students work to achieve ‘academic’ goals, but where they can learn interaction with others and socio-cultural morals. Both of these ‘truths’ can be achieved with simple but thoughtful curriculum planning. For example, in this unit of study the requirements and expectations of an audience are established. By doing so, students will learn how to act appropriately and respectfully towards others from varying backgrounds, genders, and abilities. Further, the participation in group choreography allows students to interact and share their ideas, listen to others, and create an equal collaboration of knowledge. This draws on to ‘truth’ three, the promotion of achievement and equal collaboration and competition. Although group work provides the base for this unit of work, gentle competition between groups will generally assist students in striving to achieve.
‘Truth four, ‘equal opportunity’ and a ‘broad range of achievements’ is epitomised within a student centred curriculum model where students are given a range of learning opportunities and individual goals and study areas. Regardless of the students level of knowledge, abilities in practical performance or academic analysis, each individual student can gain the teaching required to help with his/her progression. Assessments will take place by means of students achieving their personal goals, whether that be technical performance, creative choreography, thoughtful analysis or leadership, thus enabling truly equal opportunities.
Finally, ‘truth’ five allows for the curriculum to be opened to views and opinions of all those with an interest and involved. By doing so, effective criticism could lead to improved teaching methods suitable to the individual students involved. A truly rounded and connective curriculum may be obvious to those directly involved in the teaching, but parental/ guardian support will assist and greatly develop the students further and broader learning of the subject. As independent learning will play a vital role in this curriculum there will be areas that students and parents will need to fully comprehend about the curriculum in order to gain the appropriate guidance. To involve all in curriculum planning will provide a range of social and cultural ideas. If parents feel involved, students will in turn feel more confident with what they are learning as it will be supported by those close to them.
Appendix J
Scheme of work
The scheme of work for this five week period is expanded upon within the appendices. Appendix A breaks down the lesson planning for this five week period, explaining the content for delivery, and the subsequent appendices B to F expand each lesson. This scheme of work has been designed to allow all students, both male and female, and from the varied cultural backgrounds, to achieve a universal level of learning through the creation of a group choreography. Each lesson expands further on aspects of choreographic devices such a movement components and accompaniment, whilst also giving place to dance within the current cultural performance milieu, and creating context to the students work by the viewing of a collection of Bob Fosse’s pieces (VHS 2002).
Aims and Objectives
The aims and learning objectives for this unit of work are as follows:
1) To achieve choreographic tools that can be used to create a piece of dance work
2) To gain an initial understanding of the current dance repertoire in relation to the work of one choreographer in their social and cultural context
3) To comprehend safe dance practice
Learning Outcomes
From the set aims and objectives stated above, students will be able to create a safe working environment by comprehension of good warm up and cool down techniques, have learnt initial choreographic tools such as certain movement components (locomotion, elevation, turning), and have gained contextual insight into the current dance repertoire enabling them to appreciate renowned dance works in a critical light.
Cross-curricular components
Foremost, the ability for students to develop their creativity by means of practical expression is applicable across the board in terms of other core subjects. Communication skills and interpersonal competence and communication can be achieved by resourceful group work in relation to the assessed group choreography. Speech communication will be achieved through the participation in class discussion, and activities such as the collective input into group choreographic ideas. Nonverbal communication will result from simple warm up activities such as the movement to music, the creation of group tableaux images resulting from listening to the set stimuli. Brinson (1991) identifies these cross-curricular components of dance, exemplifying the ideas to be taught within this scheme of work with particular focus on ‘communication skills…alternative problem solving…active independent learning…context for considering attitudes and values of society…reinforces language development’.
Assessment
The summative assessment that will occur in the performance of the set task in lesson six, after the completion of the set scheme of work. The use of a summative format of assessment will allow for the teacher to gain insight into each individual students level of work, and recognise their level of initial understanding of the subject. Due to the nature of the assessment, being a performance followed by written evaluation, equal opportunities to gain achievable levels are possible as there is an equality between the practical work, both choreographic and performance, as well as written evaluation. Some students will excel in written work, whilst others may prosper from the opportunities of choreography and performance. By the style of this assessment all students are given the opportunity to succeed. Formative assessing will occur throughout the scheme of work, allowing for differentiation within set class work tasks as by doing so, ‘students learning activities can be refocused and redirected…’ (Marsh 2004)
Bibliography
Burton, N., Middlewood, D. and Blatchford, R. (2001) Chapter 2 Models of
Curriculum Organization, in Middlewood, D. and Burton, N. (eds)
(2003) Managing the Curriculum. London: Paul Chapman Publishing,
Fullan, M. (2001) The Meaning of Educational Change. Third Edition. London:
RoutledgeFlamer.
Marsh, C. (2002) Chapter 13 Centrally Based Curriculum Development and
Chapter 14 Decentralized and School-based Curriculum Development,
in Planning, Management and Ideology. Key Concepts for
Understanding Curriculum 2. London: Routledge,
Marsh, C. (2004) Key Concepts for Understanding Curriculum. Oxon:
RoutledgeFalmer.
Walker-Reece, I. and Walker, S. (2003) Teaching, Training and Learning: A
Practical Guide. London: Business Education Publishers.
Electronic Resources
AQA (2005/06) GCE AS/A Level Dance Specification. [Online] [Last accessed
3rd July 2007] Available at: www.aqa.org.uk
