Page 55 - The Ontario Curriculum, Grades 9 and 10: The Arts, 2010

A2.2 construct a short dance composition based on a given stimulus (e.g., explore creative ways to use a prop [such as a ball, body bag, large piece of fabric, hockey bag, or stick] as the stimulus and starting point for a short dance composition; use a process or form observed in nature as the basis for a short dance composition; create a short dance based on images from nature in Aboriginal art)
Teacher prompt: “If your prop is meant to be a symbol for something in your dance, how can you structure your dance to clarify the meaning of your prop?”
A2.3 use experimentation to enhance the commu- nicative power of their dance compositions (e.g., create short dance compositions on the same theme both with and without the use of a defined structure, recipe, or stimulus, and assess the expressive potential of each approach)
Teacher prompts: “What are the benefits and the challenges of using and not using a given structure, recipe, or stimulus to create a dance composition? In which instance is the movement material more interesting, and why?” “What are some familiar movements we associate with different animals? How might you experiment with other types of movements for communicat- ing new or different ideas about the animals?”
A3. Dance Techniques
By the end of this course, students will:
A3.1 apply an understanding of the movement vocabularies used in a variety of dance forms from around the world (e.g., explore and practise the basic movements found in dance forms under the umbrella term“jazz”, including African dance, swing dance, Luigi jazz, and hip hop or break- dancing)
Teacher prompt: “How are jazz dance charac- teristics such as syncopation, individual style, and improvisation reflected in African dance? How might you integrate them into a dance sequence you are creating?”
A3.2 demonstrate accurate memorization and reproduction of dance sequences from verbal, visual, and/or auditory cues (e.g., demonstrate accurately and in the correct order the components of a plié exercise that has been modelled for them; repeat the exercise, making any necessary self-corrections)
Teacher prompts: “How does observing correct and incorrect models help you self-correct your technique? What other visual cues do you use to help you reproduce movement?” “When learning movement, do you watch the whole body moving when the teacher is demonstrating or do you focus on one body part at a time?”
A3.3 arrange and present a sequence using the dance vocabulary and technique from a specific dance form (e.g., in small groups, rearrange and perform a jazz combination)
Teacher prompt: “What are some of the chal- lenges you think you might face when pulling apart a known phrase and re-sequencing it?”
A4. Performance
By the end of this course, students will:
A4.1 revise and refine movement to enhance dance presentations and performances (e.g., revisit choreography or dance phrases they created and apply teacher and peer feedback to their next work)
Teacher prompt: “What is the value of getting feedback from both the teacher and your peers? Do you feel it improves your dance execution? Why, and in what way?”
A4.2 apply an understanding of stagecraft in the presentation and performance process (e.g., explore the function of lighting, sound/music, cos- tume, and setting in dance; research the clothing worn in the 1930s to inform their costume choices for a swing dance piece)
Teacher prompt: “What factors affect your deci- sions about the costumes, stage settings, and other supports you need for a performance?”
A4.3 apply an understanding of techniques for projecting moods to enhance meaning in dance rehearsals and performances (e.g., use the eyes, facial expression, and direction of gaze to support and enhance the message of the dance)
Teacher prompt: “What message is conveyed by a lowered gaze during a performance? What message is conveyed by an alert, focused expression? Which message would be more appropriate to this particular performance?”
CREATING, PRESENTING, AND PERFORMING
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Dance
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