Course Profile Dance,
Grade 9 open, Catholic
Unit 3
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
Lead Board
Dufferin-Peel Catholic District School Board in collaboration with the Upper Canada District
School Board and their coordinating partners.
Course Profile Writing Team
Ursula Nahatchewitz, Dufferin-Peel Catholic District School Board - Lead Writer
Kelly Child, District School Board of Niagara
Laurel Brown, Waterloo District School Board
Jane Deluzio, Toronto District School Board
Laura Libralato, Toronto Catholic District School Board
Carolle Mageau, Rainbow District School Board
Karen Hypes
Debra Kapp
Janice Stone
Betty Telford
Earl Haig Secondary School
Etobicoke School of the Arts
Rosedale Heights
Unionville School for the Arts
Support and Consultation
Gerry Woodman, Dufferin-Peel Catholic District School Board
Catholic Curriculum Cooperative for Central Ontario
Institute for Catholic Education
Unit 3: Focus on Composition
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5
Unit Developer(s)
Colleen Friedman, Dance Educator and Choreographer
Carmelina Martin, Peel Board of Education
Development Date: May 1999
In this unit, students use improvisation to vary established movement patterns and to develop an idea or theme. They combine the basic elements of the dance form(s) into sequences. Through their compositions, they demonstrate the basic movement skills of the dance form(s) studied. Students have opportunities to physically explore and interpret God’s self-disclosure as found in Sacred Scripture and in the teachings of the Catholic Church. They focus and develop ideas of their own and others in a creative collaborative effort with a view to develop their own Christian leadership. Throughout the unit, they continue to observe and identify a broad spectrum of dance and apply safety principles. Students continue to explore spiritually-based themes, ideas, and content as introduced in Units 1 and 2 where applicable and appropriate. They describe dance works, using the language of dance criticism, and reflect on their own work and that of others.
Ontario Catholic School Graduate Expectations: CGE 2a, b, c, d, 3e, 4a, b, c, d, e, f, g.
Strand(s): Theory, Analysis, Creation
Overall Expectations: TTV.05X, TCV.01X, .02X, TAV.O1X, .02X, .03X.
Specific Expectations: TT2.01X, TC1.02X, .03X, .04X, TC2.01X, .02X, .03X, .04X, TC3.04X, TA1.01X, .02X, TA3.02X, .03X.
|
Activity 1 |
Introduction to Composition: An Integrated Arts Approach |
225 minutes |
|
Activity 2 |
Experimenting and Manipulating |
750 minutes |
|
Activity 3 |
Composition: Using a Source (Poetry) |
300 minutes |
|
Activity 4 |
Group Studies/Video Documentation |
300 minutes |
|
Activity 5 |
Presenting and Reflecting |
225 minutes |
All activities should be adapted to the dance form(s) being studied in the course. Accommodations for students should also be adopted as outlined in the Course Overview.
Activity 1: Teacher arranges for students to buy scrapbooks one week prior to unit. Teacher researches and creates a music library, prepares warm-up activities, visual art material, and recipe cards. Teacher prepares materials for assessment and evaluation.
Activity 2: Teacher prepares music, props, and observation material and arranges for guest. Teacher ensures safety precautions for site-specific work and prepares materials for assessment and evaluation.
Activity 3: Teacher researches poetry or sources (e.g., biblical references, spiritual music, etc.) to be used and arranges for a video workshop. Teacher prepares warm-up activities and materials for assessment and evaluation.
Activity 4: Teacher prepares observation materials and warm-up activities and organizes video and music equipment. Teacher prepares materials for assessment and evaluation.
Activity 5: Teacher gathers materials for assessment and evaluation.
Units 1 and 2
Formative assessment in this unit consists primarily of teacher observation with the aid of checklists/rubrics for task completion, creative problem solving, understanding of compositional approaches, classroom protocol, safe practices, etc. Throughout the unit the students engage in self-assessment as well as receive feedback from their peers. Evaluation of the creative process and compositional work takes place at the end of the unit.
Assessment/evaluation
strategies suggested in this unit:
1. A rubric is provided to assist the teacher with assessment of the students' approach to class work throughout the unit. (Appendix G)
2. A rubric is provided for evaluation of the Dance Scrapbook created by the students to document their compositional process. (Appendix H)
3. A rubric is provided to assist teachers in the evaluation of the students' creative process throughout the unit. (Appendix J)
4. Students engage in self-assessment of their compositional work in Activity 4. (Appendix K)
5. Teachers evaluate the students' compositional works in Activity 5. (Appendix L)
6. A rubric is provided to assist teachers in the evaluation of the Visual Arts Collage created by the students as part of the compositional process. (Appendix N)
See resources listed in Units 1 and 2.
1. Beatty, Patricia. Form Without Formula. Toronto: Underwhich Editions, 1985. ISBN 0886580374
2. Blom, Lynne Anne and L. Tarin Chaplin. The Intimate Act of Choreography. Pittsburgh: University of Pittsburgh Press, 1982. ISBN 0822934639
3. Blom, Lynne Ann and L. Tarin Chaplin. The Moment of Movement - Dance Improvisation. Pittsburgh: University of Pittsburgh Press, 1988. ISBN 0822935864
4. Cheney, Gay. Basic Concepts in Modern Dance - A Creative Approach. Princeton, New Jersey: Princeton Book Company, Publishers, 1989. ISBN 0916622762
5. Copeland, Roger and Marshal Cohen. What is Dance? - Readings in Theory and Criticism. New York: Oxford University Press, 1983. ISBN 0195031970
6. Deitering, Carolyn. The Liturgy As Dance. New York: The Crossroads Publishing Company, 1984. ISBN 0824506545
7. Edwards, Harvey. The Art of Dance. Boston, Toronto: Little, Brown/A Bulfinch Press Book, 1989. ISBN 0821217348
8. Ellfeldt, Lois, and Edwin Carnes. A Primer for Choreographers. California: National Press Books, 1967. ISBN 0881333506
9. Ewing, William A. Breaking Bounds: The Dance Photography of Lois Greenfield. San Francisco: Chronicle Books, 1992. ISBN 0811802329
10. Franklin, Eric. Dance Imagery for Technique and Performance. Windsor: Human Kinetics, 1996. ISBN 0873229436
11. Gibran, Kahlil. The Prophet-Kahlil Gibran. Gibran’s Masterpieces. New York: Alfred A. Knopf, Inc., 1986. ISBN 394-404289
12. H'Doubler, Margaret N. Dance: A Creative Art Experience. Madison: University of Wisconsin Press, 1962. ISBN 0299015246
13. Hawkins, Alma M. Creating Through Dance. Englewood Cliffs, New Jersey: Prentice-Hall Inc., 1964. ISBN 0916622665
14. Humphrey, Doris. The Art of Making Dances. New York: Grove Press Inc., 1959. ISBN 0871271583
15. Judy Jarvis: A Tribute. Archival Collection at Dance Collection Danse, Toronto.
16. Morganroth, Joyce. Dance Improvisations. Pittsburgh: University of Pittsburgh Press, 1987.
ISBN 0822935503
17. Tufnell, Miranda and Chris Crickmay. Body, Space, Image. Toronto: Virago Press Limited, 1990. ISBN 1853811319
18. Walsh, Neale Donald. Conversations With God: An Uncommon Dialogue. Book 1. New York, New York: G. P. Putnam & Sons, 1995. ISBN 0399142789
19. The Women of The Gospel. Boston, Massachusettes: The Daughters of St. Paul, 1975.
ISBN BS2445.D38
Appendix G - Rubric: Approach to Class Work
Appendix H - Assignment and Rubric: Dance Scrapbook
Appendix I - Glossary of Compositional Terms and Manipulations
Appendix J - Assessing the Creative Process
Appendix K - Self-Assessment
Appendix L - Rubric: Evaluation of Compositional Work
Appendix M - Poetry: Running
Song
Appendix N - Rubric: Group Visual Arts Collage
Time: 225 minutes
In this activity students are introduced to dance composition through an integrated arts approach. Students engage with other art forms such as music, literature, media, and visual arts and begin to see relationships between dance composition and composition in other art forms. This activity reinforces areas studied previously and provides a multi-dimensional learning experience. The activity aims to meet the needs of a range of students while extending personal exploration and artistic growth. Students employ problem-solving skills on creative tasks while broadening their definition of dance. Each class focusses on four major phases: Moving, Thinking, Creating, and Reflecting. Students receive a balance of technique and creative work in the form(s) being studied.
Ontario Catholic School Graduate Expectations: CGE 2a, b, c, d, 3e.
Strand(s): Theory, Analysis, Creation
Overall Expectations: TTV.01X, TCV.02X, TAV.03X.
Specific Expectations: TT2.01X, TT3.03X, TC1.02X, TC1.03X, TC1.04X, TC2.01, TC2.03X, TC3.04X, TA1.01X, TA1.02X, TA3.03X.
· Choose an evocative piece of music with no lyrics. The piece may be spiritual, e.g., Solitudes and/or Nature Series.
· Arrange for a tape/CD player with good sound.
· Prepare large pieces of paper; (newsprint is acceptable).
· Provide markers for drawing.
· Prepares words on cardboard cards; (tip: a set of magnetic, action words would be useful and quick).
· Prepare small recipe cards with the following symbols on them: p, #, Õ, ´, one for each student.
· Prepare a stack of blank paper, glue sticks and zip-lock bags.
· Prepares Plasticine.
Units 1 and 2
Note: This unit provides a base of materials to draw from and can be applied to any dance form, e.g. Modern, Jazz, Ballet, Afro-Caribbean dance, or Social dance.
I Thinking and Moving: The Imaging Group p # Õ ´
· Students meet in a circle on the floor.
· Teacher distributes one of the above symbols to each student.
· Teacher makes sure that there is a balanced distribution of each symbol.
· Groups divide according to their symbols and are directed to work in an assigned area of the room.
· Each group is given materials to work with while listening to music.
Group p: use magnetic words
Group #: use markers and newsprint
Group Õ: use Plasticine
Group ´: use their bodies
II Thinking and Creating: Imaging the Music
· Students work individually on this section of the activity.
· Students listen to the music with eyes closed while lying on the floor.
· Students listen to the music a second time and this time image the music with the materials provided, for example:
Group p: each student uses magnetic, action words to interpret the music; students may also arrange the words in a way that expresses their interpretation of the music.
Group #: each student uses markers and newsprint to draw lines, shapes, and symbols that interpret the music.
Group Õ: each student uses Plasticine to sculpt shapes or forms to interpret the music.
Group ´: each student uses his/her body to experiment with movement that interprets the music.
· Students individually respond to the music by exploring these materials.
· Students do not interact in their imaging group while creating and responding to the music.
III Creating: The Mixed Group
Teacher mixes the groups by having one person from each group form a new group, i.e.,
New group: p # Õ ´
Students bring their music imaging explorations to the new group. Each person has expressed the music in a different way, some visually with drawing and sculpting, some using words/language, and some using movement.
· In the new groups each student shares and explains his/her exploration with the others.
· Teacher informs the students that they are to create a movement sequence that expresses or incorporates each student's explorations and ideas.
For example:
p From words: reaching movements
# From sculpture: a curving shape
Õ From drawings: part of a floor plan
´ From movement: three movements that are done in unison
· The movement sequence should be 30 seconds - 1 minute long.
· Music plays softly in the background while students are creating.
· Music accompanies the movement sequence when it is shared.
· Teacher reminds students of the tools for creating dance.
· Teacher prompts the students with the following elements:
|
Shapes |
Think of the body as a moving, breathing sculpture. |
|
Time |
How quick, slow, or sustained are the body movements? |
|
Space |
Where does the movement travel in space (forward, backward, diagonally, sideways)? |
|
Energy/ Quality |
What are the dynamics of the movement? Is it light, strong, sharp, or flowing? |
· Students are given time to discuss, brainstorm ideas, make decisions, create, and rehearse their studies.
IV Introduce Scrapbook
· Teacher gives each student the scrapbook handout (see Appendix H - Assignment and Dance Scrapbook Rubric).
· Teacher reads the assignment handout and rubric aloud and answers questions to help clarify the assignment.
V Reflecting: Teacher-Guided Scrapbook Entry
· Teacher arranges for students to buy scrapbooks one week prior to unit.
· Teacher hands out paper and glue sticks or little zip-lock bags to students.
· Teacher arranges for a camera to photograph student sculptures (optional).
· Each student finds a clever way to include his/her music imaging exploration in the scrapbook, for example:
Group p: used magnetic words; therefore they can copy the words on the page and arrange the words on the page the way a poet would shape his/her words on a page. They may want to use color; therefore, have the markers available.
Group #: used markers and newsprint; therefore students can fold up their newsprint and paste it on the paper provided and then paste it in their scrapbook.
Group Õ: used Plasticine; therefore students can flatten their sculptures, put them in zip-lock bags, and staple them in or take a photograph of the sculpture to keep a 3-D aspect.
Group ´: used their bodies; therefore students can sketch or write out a description of their movement phrases or take pictures.
VI Moving and Creating: Sharing the Study: An Integrated Arts Approach
· Two groups join with each other.
· One group shares its study while the other group watches.
· The group sitting down is given several sheets of blank paper per student and a marker.
· As the first group shares its study, the observing group members, without looking down at their pages, draw what they see. The drawings can be lines, shapes, or symbols that represent shape, space used, feelings, etc.
· Encourage the students to avoid analysing or evaluating the movement and focus on the mood, messages, and images it makes.
· Switch roles.
VII Reflecting and Thinking
· Students lay their drawings on the floor and walk around the room looking at all drawings.
· Students return to their own drawings.
· Students paste these drawings into their scrapbook and respond to the following questions in writing.
In the observing and drawing exercise, what did you notice about how you look at movement?
· Do you look at lines of movement or the space that it takes?
· Do you look at the shape it creates in space?
· Do you think of movement in terms of how it makes you feel?
· What is the relationship between the spiritual essence of the creation and your artistic expression?
1. Teacher assesses students' understanding of composition through observation.
2. Teacher assesses the students' approach to the work through observation (see Appendix G - Approach to Class Work).
#2, 3, 4, 9
Appendix G - Approach to Class Work
Time: 750 minutes
While attention is being given to the daily practice of the dance form(s) being studied, students also investigate different compositional forms. The activities enhance the students' understanding of composition by relating it to movement vocabulary, words, images, texture, sound, and objects. In addition, students explore the use of creating a mood or atmosphere in composition by using props or objects (e.g., icons, religious symbols, artwork, scripture, passages, literature, etc.). This activity challenges their decision-making skills through solo, duet, and group works.
Ontario Catholic School Graduate Expectations: CGE 2a, b, c, d, 3e.
Strand(s): Theory, Analysis, Creation
Overall Expectations: TTV.01X, .05X, TCV.01X, .02X, .03X, .04X, .05X, TAV.01X, .02X, .03X.
Specific Expectations: TTI.04X, TT2.01X, TT3.03X, TC1.O0X, TC1.03X, TC1.04X, TC2.01X, TC2.02X, TC2.02X, .03X, TC3.04X, TA1.02X, .03X.
· Collect and prepare a rich source of stimuli such as visual stimuli, reading materials, text, objects, pictures, video, etc.
· Prepare video clip samples of compositional and choreographic works in the dance form being studied as well as in other dance forms so that students are exposed to a broad spectrum of dance.
· Prepare observation materials, such as video documentation, observational checklists and compositional rubrics for assessment.
· Collect drawing materials (markers, chalk, and pencil crayons).
· Prepare several styles of music, for example, classical, world music, percussion, pop/alternative, jazz, soundscapes, sound effects, spiritual, new age, etc. (The goal is to provide a rich library of music and sound choices for students to respond to and use later for final compositional pieces.)
· Prepare a large box or corner in the room for prop collection such as different sized balls, fabric, hoops, balloons, cups, chairs, etc.
· Make photocopies of glossary; (see Appendix I - Glossary of Compositional Terms and Manipulations).
· Optional: Arrange guest artist to come in for performance and discussion.
Activity 1
Note: Prepare a warm-up for each class that uses improvisational or movement technique drawing from the dance form being studied. Either style of warm-up includes breathing to focus on important factors such as body and spatial awareness, to calm or prepare the body for movement, and to develop a sense of working from the inside out. Imagery could be used as a source of inspiration and motivation for the movement (which is an important factor in composition).
The following exercises are divided into five sections and should be taught subsequently to bring students' attention to concepts and help spark students' imagination. In addition, they allow students to focus on the experience instead of on dance steps or phrases. It is imperative that the atmosphere created in class be one of acceptance, support, and safety. Finally, stress that there are no right or wrong choices in the exploration exercises. Methodologies utilized in each of the parts (A to E) reflect a detailed and varied creative approach.
I Thinking: Thinking about Space
· Teacher shows a short video clip that relates to space.
· Teacher shows pictures of dance as another example of space. For example, dance photography by Lois Greenfield would be useful and her photography as another art medium would be a rich addition to the unit.
· Teacher facilitates a brief discussion on what the students noticed in the video and photographs that relate to how space is used.
II Moving: Warm-up using Improvisation
Students are directed to respond to the space in the room.
See empty space,
move into it,
around it, through it...
Mold or sculpt
your body,
around the space,
in the space...
Hold your shapes briefly...
Then move to the
next space,
Find ways to inhabit the space in the room,
inhabit the chair, the bench, the doorway, a wall....
III Creating: An Exploration in Pairs
· Students pair off.
· Students label themselves A and B.
· Partner A moves into the space and creates a still shape/body sculpture.
· Partner B moves toward Partner A and sees the space created by his/her shape and creates a shape within or around the space Partner A has created.
· Partner A now moves away, creates another sculpture in the room and Partner B responds.
· This repeats several times.
· Leaders switch roles with Partner B leading first.
· Teacher encourages students to continue to explore their space in unexpected and safe ways.
IV Thinking, Moving, and Creating: Changing the Perspective
· Pairs join up to make a group of four.
· One pair moves, one pair observes.
· Teacher plays three contrasting pieces of music while moving pairs are exploring.
· Students continue exploring the space as before, with one partner leading and the other responding; however, this time they respond to the music as well.
· Students observing move around the room looking at their partners from different perspectives such as from under a chair, on top of a bench, from the doorway, from close up, from far away, from behind, or from the side of the room.
· Students move around the room with their scrapbooks, observing and writing words and images that describe the sculptures they see their partners making.
Sample: Words
students may use to describe what they see:
Partners twisting,
Folding into one another,
Pausing to reach.
· Switch the pairs and repeat with three different pieces of music.
V Reflecting
· Students gather in their groups of four on the floor with their scrapbook and discuss the experience and words from their scrapbook.
· Whole class gathers on the floor and reports briefly on what they discussed in their small group.
· Teacher records the words used to describe their explorations (later to be used to create a warm-up using the students' words as imagery).
Assessment/ Evaluation strategies used:
1. Teacher assesses students' approach to class work and material (see Appendix G - Approach to Class Work).
Note: Constantly draw upon words, images, phrases, shapes, and lines from students’ scrapbooks to feed into the class warm-up. For example, words may be used in this warm-up because they connect to the previous lesson. Words, images, phrases, shapes, and lines can be used with any kind of dance form or improvisation.
Sample: Using Words
taken from student scrapbooks:
|
Ballet |
Reaching/extending arms in port de bras. Reaching/extending toes in tendue. |
|
Jazz dance |
Twisting the spine in a jazz stretch. Twisting upper bodyaround in a circle. |
|
Afro-Caribbean dance |
Circling around a partner. Circling around the room. |
|
Modern dance |
Folding the spine forward. Folding the arms. |
|
Social dance |
Pausing to focus on your partner. Pausing with music. |
|
Improvisation |
Reaching in big and small shapes. Circling arms lightly. Folding in and out of shapes that curve and twist. |
I Moving: Warm-up/Technique
· Teacher constructs a simple warm-up focusing on body parts in the technique being studied. Teacher uses the words in the students’ scrapbooks as imagery for the movements students do.
· Teacher constantly reinforces the connection of language/imagery and movement.
Sample: Jazz
Warm-up
Words recorded by teacher from student scrapbook: twisting, folding, circling, reaching, and pausing...
Twisting the upper body in opposition to stationary hips,
Folding the spine slowly towards the floor,
Circling the arms in port de bras quickly and slowly,
Reaching battements,
Pausing to balance in jazz first.
II Thinking and Creating: Drawing from Words
Students draw the words in their scrapbooks and give the words themselves a sense of movement.
Sample
twisting Folding reaching
III Thinking and Creating: Introducing the ABA Form
· Teacher introduces the concept of an ABA form through an Integrated Arts approach:
Sample 1: Picture
Postcard
o n o
A B A
Sample
2: Music: Pop/jingles
Sample 3: Colours: Purple Yellow Purple (e.g.
Easter)
· Students then choose two words they have drawn in their scrapbook; for instance, bending and circling.
· Teacher instructs students to quickly create a shape of their first word on the spot (this is A).
· Teacher instructs students to quickly create another shape of their second word on the spot (this is B).
· Teacher then instructs students to repeat first shape (A).
IV Thinking, Creating, and Moving: A Short and Simple Independent Movement Study using Words and the ABA Structure
· Students use their two words to create a movement phrase using the ABA form.
· Students are also given the following parameters:
A = a frozen shape on the spot;
B = travelling in the space;
A = returning to the original shape on the spot in a different place in the room.
V Moving: Sharing the ABA Study
· Four or five students, at a time, share their studies with the class.
VI Reflecting
· Students gather in a circle on the floor.
· Teacher asks students to think of one word they saw in any of the studies they observed that particularly stood out for them.
· Each of the students shares in the circle the word that stood out for him/her, while he/she was watching the studies.
· Teacher asks students to bring other examples of ABA form for the next class (poetry, music, magazine pictures, or artwork).
Assessment/Evaluation strategies used:
1. Teacher assesses students' approach to class work and material (see Appendix G - Approach to Class Work).
I Sharing Examples of an ABA form
Students meet in a circle and share their examples of the ABA form they researched.
II Thinking: Introduction to Glossary of Compositional Terms and Manipulations
· Teacher distributes Glossary of Compositional Terms and Manipulations to each student.
· Teacher reads through each of the terms with the students.
· With each form, teacher encourages broad examples. For instance: canon the wave at a baseball game; theme and variation, Beethoven's fifth symphony; repetition, rap music. (Appendix I)
III Moving and Creating: A Study using one Compositional Form
· Students choose a partner to begin the next choreographic study.
· Students choose one form to work with and combine their independent studies from last class into a duet (approximately one minute long).
IV Reflecting: Sharing and Reflecting on the Study
· Students present their work two at a time for the class.
· Teacher directs a discussion whereby students identify the compositional form they observed.
Assessment/Evaluation strategies used:
1. Teacher assesses students' approach to class work and material (see Appendix G – Approach to Class Work).
I Thinking and Moving: Creating with Props
Note: Arrange for a presentation by an Independent, Company Artist if possible or video clip that specializes in prop/site specific work with dance (e.g., Dancemakers Video Series, Judy Jarvis, etc.). This helps create a base and provide an introduction for the following studies (optional). Teacher has a collection of simple props or objects available for use in the classroom. Teacher includes a variety of stimuli such as balloons, balls, cups, fabric, hoops, chairs, etc. Teacher emphasizes safety in using all materials.
Sample: Teacher
demonstrates with silk fabric
· Students gather in a circle with eyes closed.
· One student at a time takes a short period of time to feel the fabric.
· Teacher encourages student to think of its texture, shape, size, etc.
· On the count of three students open their eyes and begin to move like the object; (it can be done on the spot with eyes closed at first).
II Moving, Thinking, and Reflecting: Improvisational Warm-up using Texture and Shape
Teacher-led exercise:
Begin to move like
the fabric...
How would you
move? Lightly? Strongly?
Move
in circles; create lines in the space. Would you move directly in the room or
indirectly? How would you shape your body and use space? Explore all movement
possibilities...
· Students gather in circle once again to discuss their movement explorations and their individual impressions of the fabric.
· Qualities of movement and texture are discussed and related to movement vocabulary.
III Thinking, Creating, Moving, and Reflecting: Movement Conversations with a Prop
Sample: Using a
Prop
· Students choose one prop from teacher's collection box.
· In partners, students pass one prop back and forth to each other in silence.
·