Course Profile   Dance, Grade 9 open, Public

 

Course Overview

 

Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum.  These materials were created by writing partnerships of school boards and subject associations.  The development of these resources was funded by the Ontario Ministry of Education.  This document reflects the views of the developers and not necessarily those of the Ministry.  Permission is given to reproduce these materials for any purpose except profit.  Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.

 

Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.

 

© Queen’s Printer for Ontario

 

Acknowledgments

 

Public District School Board Writing Team – Dance

 

Lead Board

 

            Upper Canada District School Board

            Management Team:       Eleanor Newman

                                                Brenda King

                                                Dorothy Stewart

                                                Dona Cruickshank

 

Course Profile Writing Team                                          Co-ordinating Partners

 

            Jane Deluzio, Toronto DSB                                Andy Ringlet, Renfrew County DSB

            Laurel Brown, Waterloo Region DSB                 Marg Stewart, Limestone DSB

            Carolle Mageau, Rainbow DSB                          Helen Beck, Hastings & Prince Edward DSB

            Kelly Child, District School Board of Niagara      Kit Rankin, Halton DSB

            Ursula Nahatchewitz, Dufferin-Peel RCSSB       Anne Clifton, Halton DSB

            Colleen Friedman, Dance Educator and Choreographer

            Carmelina Martin, Dufferin-Peel DSB

           

Contributors

 

Karen Hypes, Debra Kapp, Janice Stone, Betty Telford, Earl Haig Secondary School, Etobicoke School for the Arts, Rosedale Heights, Unionville School for the Arts

            Susan McNaughton, Toronto DSB

 

Course Overview

DANCE, OPEN, GRADE 9

 

Identifying Information:

 

School:                                                            Course Developers: 

                                                                        Laurel Brown, Waterloo DSB

                                                                        Kelly Child, DSB of Niagara

                                                                        Jane Deluzio, Toronto DSB, Project Leader

                                                                        Carolle Mageau, Rainbow DSB

                                                                        Ursula Nahatchewitz, Dufferin-Peel CDSB

Department:

District:

Course Title:  Dance

Grade: Nine                                                   Development Date: April 1999

Course Type:  Open                                        Course Revisor(s):

Ministry Course Code:      ATC 10

Credit Value:  One                                          Revision Date:

 

 

Description/Rationale

 

In dance, the medium of expression is movement and the instrument is the human body.  Dance education goes beyond studying a repertoire of movements to offering an understanding of the principles and concepts that govern and define the art.  Expectations are organized into three strands: Theory, Creation and Analysis.

 

Unit Titles (Time and Sequence)

 

Unit 1

Elements of Dance

20 hours

 

Unit 2

Introduction to the Form: JAZZ

25 hours

 

Unit 3

Focus on Composition

30 hours

 

Unit 4

Focus on Self and Community

11 hours

 

Unit 5

Focus on Performance

24 hours

 

 

Unit Organization

 

Unit 1:  Elements of Dance

Time:  20 hours

 

Description:

 

Students will explore and demonstrate their understanding of the basic elements of dance – space, shape, time and energy – and will combine them into sequences.  Students will improvise, experiment with and develop these elements. They will demonstrate knowledge of appropriate conventions as they relate to the classroom, and to being performers and audience members. Throughout the unit, students must apply safety principles in the dance environment and in the execution of these movement skills.  They will observe and identify a broad spectrum of dance as well as begin to reflect on their own work and the work of others.

 

Strands:           Theory, Creation, Analysis

Overall Expectations: TTV.01X, TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 02X, 03X.

Specific Expectations: TT1.02X, 03X, 04X, TT2.01X, 05X, TT3.01X, TC1.01X, 02X, 03X, 04X, TC2.01X, 03X, TC3.01X, 02X, TA1.01X, TA3.02X.

 

Unit 2:  Introduction to the Form(s) being Studied – JAZZ

Time:  25 hours

 

Description:

 

In this unit, students will be introduced to the basic movement skills in the dance form(s) being studied.  They will identify the terminology associated with each.  They will explain the historical and cultural significance of the dance form(s) being studied.  Throughout the unit, students will apply safety principles learned in Unit 1 as well as learn to use the new technique in a safe manner.  They will observe and identify a spectrum of dance within the selected form(s).  Students will continue to use appropriate classroom conventions as both performers and audience members as well as to reflect on their own work and the work of others.

 

Strands:           Theory, Creation, Analysis

Overall Expectations:            TTV.01X, 04X, 05X, TCV.01X, 02X, 03X, 04X, 05X, TAV.01X, 03X, 04X.

Specific Expectations:            TT1.02X, 03X, 04X, TT2.01X, 02X, 03X, 04X, 05X, TT3.01X, 02X, 03X, TC1.01X, 02X, 03X, 04X, TC2. 01X, 02X, 03X, TC3.01X, 02X, 04X, TA1.01X, 02X, TA2.01X, 02X, TA3.01X, 02X, 03X.

 

Unit 3:  Focus on Composition

Time:  24 hours

 

Description:

 

In this unit, students will improvise to vary established patterns and to develop an idea or theme.  They will combine the basic elements of the dance form(s) into sequences.  They will describe dance works, using the language of dance criticism and will reflect on their own work and that of others.  Through their compositions, they will demonstrate the basic movement skills of the dance form(s) studied.  Throughout the unit, they will continue to observe and identify a broad spectrum of dance and to apply safety principles.

 

Strands:           Theory, Creation, Analysis

Overall Expectations:            TTV.01X, 05X, TCV.01X, 02X, 03X, 04X,)5X, TAV.01X, 02X,             03X.

Specific Expectations:             TT1.04X, TT2.01X, 04X,TT3.03X, TC1.01X,02X, 03X,04X, TC2.01X, 02X, 03X, 04X, TC3.01X, 02X, 04X, TA2.02X, TA3.01X, 2X, 03X, 04X.

 

Unit 4:  Focus on Self and Community

Time:  11 hours

 

Description:

 

In this unit, students will demonstrate basic library research skills, using available information technologies. They will describe how dance contributes to their physical, and social well-being, define good hygiene and healthy eating habits.  They will explain the historical and cultural significance of the dance form(s) being studied.  They will explain how skills developed in dance can be applied in a variety of careers.

 

Strands:           Theory, Analysis

Overall Expectations: TTV.0X, 03X, 04X, TAV.04X, 05X.

Specific Expectations: TT1.01X, TT2.04X, 06X, TA1.04X, TA2.01X, 02X, TA3.01X, 04X.

 

Unit 5:  Focus on Performance

Time:  30 hours

 

Description:

 

In this unit, students will demonstrate an understanding of fundamental presentation and performance skills.  They will perform in settings which are appropriate for the students and for the pieces being performed.  In their pieces, they will demonstrate the basic movement skills of the dance form(s) being studied.  They will apply safety principles in their performances.  They will observe and identify a broad spectrum of dance in performance and they will describe dance works, using the language of dance criticism. They will reflect on their own work and the work of others in performance.

 

Strands:           Theory, Creation, Analysis

Overall Expectations: TTV.01X, 02X, 04X, 05X,TCV.01X, 02X, 03X, 04X, 05X,                        TAV.01X,02X, 03X,05X.

Specific Expectations: TT1.02X, 03X, 04X, TT2.01X, 02X, 03X, 04X, TC3.01X, 02X, 03X, 04X, TA1.01X, 02X, 03X, 04X, TA3.02X, 03X.

 

Course Notes

 

1. Overview

 

This course has been designed for schools where there is only one dance course offered in grade nine. Teachers in performing arts schools whose students take more than one dance course will adapt this structure to a more intensive approach.

 

It is recommended that the first two units be taught concurrently to avoid a three-week intensive focus on the elements of movement which may frustrate those students who have selected the grade nine course in order to immerse themselves in a particular dance style. It is essential, regardless of the form being taught, that students become familiar with the basic elements of any dance form and with the compositional approach to dance in the first unit of study.

 

Units 2, 3, and 5 should be adapted to the form(s) being studied in the course. For example, in a jazz course, the students will learn jazz technique and compose and perform jazz; in an African dance course, the students will compose and perform African dance pieces using African dance technique learned in Unit 2 and throughout the course.

 

Teachers should consider weaving the first few classes of unit 4 throughout the earlier units in order to introduce information and concepts which the students will need  to prepare the work expected from them in Unit 4.

 

Teachers should note that it is an expectation for grade nine students that they perform in appropriate settings. For some students, the only setting in which it is appropriate for them to perform is inside their classroom for their peers. For other students, performances may take place at feeder schools, school functions or community events. The teacher’s professional judgment must be exercised with a sensitive understanding of the needs of the students. 

 

2. Safety

 

Teachers must introduce students to the principles of safety in dance from the first class and must insist that safe practices be observed within their dance classrooms at all times. It is assumed within these units that each and every class begins with a warm-up and ends with a cool-down. Specific warm-up and cool-down activities have been provided occasionally but not always due to the space restrictions of this document. Teachers must take their students’ physical development into consideration in order to set realistic technical goals.  Teachers should also continually monitor the students’ technical practices in the classroom to ensure the students’ safety. Safe practices include the development of healthy attitudes toward body image, eating, nutrition, gender, appearance, and personal hygiene.

 

Because touch is essential to the art of dance, teachers must establish a safe classroom environment  in which the students are aware of their responsibility to respect the comfort levels of others.

 

3. Classroom Space

 

Teachers are required to teach dance in a variety of spaces, some of them less than ideal.  It is essential that students have sufficient room to perform exercises and patterns without jeopardizing their own safety or the safety of others and that they dance on a floor which will not cause  injury, either short or long-term.  For example, students should not dance on cement, splintered wood or uneven surfaces. There should be sufficient ventilation and appropriate temperatures for safe movement, i.e., not too cold. Students should have access to showers and a change room facility.  Music should not be played consistently at a high volume.  Equipment in the classroom must be inspected regularly, i.e., barres, mirrors, lighting equipment.

 

4. Accompaniment

 

Teachers will use a wide variety of accompaniment according to what is available to them. Some teachers may work with musicians on a daily or an occasional basis. Suggestions are listed in the Resources.  Teachers should be aware of copyright regulations (SOCAN) for the use of  recorded and/or live music in performance.  Teachers should also consider having students develop dance pieces without music.  Senior music students may be able to develop appropriate music to accompany pieces for performance.  At times, it may be appropriate to have students accompany pieces with sounds or text, or a combination of these.

 

 

5. Equity

 

Respect must be paid to the cultural, economic, gender and social makeup of the class.  Teachers must ensure that the curriculum is inclusive by choosing resources and classroom materials which are multicultural in nature, and reflect the diversity of Canadian society.

 

Since dance reflects the history of social and cultural attitudes, the study of dance provides an opportunity to examine the changing roles of men and women in culture and in society. Teachers must ensure that course content and delivery are appropriate for both males and females.

 

6. Accommodations for Special Needs Students 

 

The dance program must allow the integration of exceptional students. Exceptionalities are defined in the Education Act as behavioural, communicational, physical, intellectual and multiple.

 

Individualized Educational Plans (IEP) must be devised to meet the needs of exceptional students.  For example, technique for students who use a wheel chair may focus on ways of using the upper body and moving the chair through space. It is suggested that teachers elicit the assistance of the personnel in the Special Education and Student Services Departments at the school and board level.

 

Assessment must be modified to accommodate a student’s degree of exceptionality. Teachers will adjust safety procedures to accommodate the needs and activities of exceptional students. E.S.L. students may require modification of instruction and assessment. E.S.L. specialists should be consulted for assistance. For gifted students, programs in dance should stress the acquisition of advanced knowledge and the development of critical and problem-solving skills in the creation and presentation of dances.  Students should be encouraged to use their imaginative and intellectual abilities and to develop fluency of movement and control of the body to a high degree.

 

7. World Dance and a Canadian Context

 

Grade nine teachers may select from 20 possible dance courses.  A course may consist of one or more “world dance” forms. All dance is “world dance,” all dance forms being cultural in nature. Students should understand the form(s) being studied within the context of their community, Canada, and elsewhere in the world. For example, students of jazz should look at Canadian jazz and its African roots within the American context. Students should examine  jazz styles in their community whether they are a fusion of African/Carribean/breakdancing as in hip hop, a fusion jazz which combines jazz with Irish step dancing as  in “Lord of the Dance” or a fusion of jazz with contemporary Tamil social dance. Teachers must emphasize a global perspective of dance.

 

8. School  and the Community

 

The dance program provides ideal opportunities for developing relationships between the school and the community. Teachers may invite dance artists to give lectures, demonstrations, choreographic input, etc. Field trips enable the students to view professional dance, performances in other schools and attend workshops, master classes, and lectures. Involving parents and other members of the community strengthens and enriches the program. 

 

It is particularly important in communities in which such opportunities are not available that the school bring resources into the community. Teachers and school administrators, working in cooperation with provincial organizations (e.g., Ontario Arts Council) and cultural groups can organize classes, video presentations, etc. and can invite dance artists to live and teach in the community for a limited time.

 

9. Career Planning and Life Skills

 

Dance programs can provide opportunities for students to develop life skills that are of value in many types of employment or careers. It should be clear to students that the secondary school dance program is not pre-professional training that leads directly to a career in dance.  Some students may wish to take further training that prepares them for a professional career; others may wish to pursue a career in related fields, such as administration, production, and stage, costume or set design.  Teachers should provide these students with information on realistic career planning, including the kinds of preparation necessary for entrance into particular fields in dance and in related occupations.  Students in grade nine can be made aware of future opportunities in cooperative education available in later years.

 

Teaching/Learning Strategies

 

Teachers will bring their own background and expertise to the development of specific content for the course and they will apply their own teaching and learning strategies. Because the study of dance is a very personal experience, teachers should try to involve students in the planning process wherever possible. In all dance courses, teachers should impress upon their students the necessity for being punctual and for following accepted class procedures in dance.

 

Teachers may wish to use different strategies throughout this course to suit  students’ needs. Some strategies include: brainstorming, discussion, reporting, listing, teacher-demonstration, constructive

criticism and correction, written and oral assignments, scrapbooks, journals, logs, lectures, questioning, researching, reading, quizzes, seminars, guided exploration, improvisation, exercises, games, mirroring, videotaping, pairing/sharing, co-operative group learning, and activity centres.

 

Although the expectations for the three strands are listed separately, instructional strategies should ensure that theory and analysis are taught primarily through creation. The students should experience dance as much as possible in the course.

 

Assessment/Evaluation

 

The Ministry of Education requires that 30% of the evaluation for establishing a student’s level of achievement be acquired through a cumulative performance task near the end of the course. Unit 5 is written to contain this evaluation. The dance performance task challenges the students to compose a dance piece and perform it for an appropriate audience (which may be for their peers inside the classroom), using the knowledge and skills developed throughout the course.

 

Although the expectations for all dance courses are now organized into three strands, Theory, Creation and Analysis, dance teachers are accustomed to thinking of dance expectations within the framework of:  theory, technique, composition and performance.  Technique expectations are now contained within Theory, and Composition and Performance expectations are now contained  within Creation.  When designing activities, teachers must ensure that all expectations are taught, assessed and evaluated by the end of the course. 

 

At the same time, assessment and evaluation of dance expectations are expected by the Ministry to be communicated to the students within the framework of the four categories being used by all subjects:

•     Theory (Knowledge and Understanding)

•     Thinking/Inquiry

•     Communication

•     Creation (Application)

 

This means “rationalizing” the assessment/evaluation information gathered through the strand framework into the category framework.

 

Suggested weighting for Summative Evaluation in Grade 9 Dance:

Theory: 35-45 %                       Creation: 40-50%                      Analysis: 15-25%

 

Weighting Devised for this Course Profile

Theory: 40%                 Creation: 40%               Analysis: 20%

 

Throughout the course: 70%

Theory (includes Technique)                                          30%

Creation (includes Composition and Performance)           20%

Analysis                                                                        20%

 

Final Performance Task                                             30%

Theory (includes Technique)                                          10%

Creation (includes Composition and Performance)           20% (10% for crative process and 10% for product)

 

 

Assessment/Evaluation Tool Summary

 

 

Area