Dancing Towards Respect Part One: Respect for Yourself Years 11-13 Level 6-8 Duration: 12-16 lessons

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  To treat with consideration
  
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  To treat with esteem, or high regard
  
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  To recognise
  
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  To honour
  
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  To look up to
  

Paul Ekman, (2003) Emotions Revealed. London: Phoenix

Included in this unit are two possibilities for NCEA assessment.

Many schools have multiple levels in their dance classes and for this reason the unit allows for all students to participate in every activity, with a specific NCEA assessment opportunity for Levels One Dance 1.1 (AS 90001), Part 1 and Level Two Dance 2.2 (AS 90294) at the end of the unit.

Level Three students could use this work to develop ideas for Dance 3.1 (AS 90594): Produce a Dance for Performance, or work together to produce a sequence to be performed for Dance 3.2 (AS 90595): Perform a Solo or Duet Dance Work to an Audience. (The achievement standards for these are not included).
Key Competency

Thinking and Managing Self

Students will critically reflect upon and analyse the way they respond to a variety of situations. They will consider different points of view and explore different ways to react to emotions such as anger and sadness. They will create movement and still shapes to represent selected emotions.

A repeated gesture or phrase that is developed in a variety of ways and is like a signature to a dance

A dance device where a motif is developed by making the movements larger in space or time

A dance device where a motif is developed by adding detail to a move, such as a hand gesture or an arm movement

A dance device where a motif is developed by including new movement material into the motif (e.g. a roll)

Post Box question sheets (Pages 42-49)

A wide range of music is listed below. Select as appropriate for the students.

Develop and demonstrate their dance skills in at least one selected dance genre/style and explore the use of a variety of dance technologies.

Select and use choreographic devices, structures, processes and technologies to develop and give form to dance ideas.

Describe, explain and respond to the ways in which dance uses elements, devices, structures, the performers, and production technologies to communicate ideas, feelings and experiences.

Assessment opportunities are suggested throughout this unit.

Assess only those most appropriate for your students. It is not necessary to assess every Learning Outcome.

LO1: Students can identify selected emotions and situations in which these emotions may occur

LO2: Students can create group and solo still shapes based on emotions

LO3: Students can create movement along air and floor pathways to represent emotions

LO4: Students can develop a motif using the dance devices of augmentation and embellishment

LO5: Students can develop expression in their dancing by performing movement based on emotions, and reactions to emotions

LO6: Students can compose movement sequences based on balances and the idea of emotions

LO7: Students can participate in activities about self-respect

Activities One to Seven focus on emotions.

Many of the activities require group work. Although the aim is for students to begin to recognise and understand their own emotions it is also for them to feel safe and secure while participating in the activities. No student should be left to flounder alone, nor should ‘fingers be pointed’.
Emotions

Activity 1. What we do when…

All human beings experience similar biological reactions to certain emotions.

The causes of the emotions may differ from person to person and between cultures, but the biological reactions and the facial expressions are almost the same.

These reactions were thought to help protect early humans in the dangerous times in which they lived. The necessity for ‘flight or fight’ (the body instinctively preparing itself to either stay and defend itself or to run away) was crucial for survival. The way we live today is very different from those early times. In most parts of the world, the dangers are much reduced, but we still experience those same biological reactions.

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  Before showing the class the biological reactions chart, ask the students what they think their bodies ‘do’ when they are angry, afraid, disgusted, sad, happy and surprised.
  

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  Show them the chart and have them practise the facial expressions to match each emotion in front of mirrors (if possible).
  

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  Give each student the ‘What does an emotion look like?’ handout. They are to draw the facial expression on the head of a person experiencing the emotion indicated.
  

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  They then draw a body shape under the head to match the emotion. Students need to consider the overall body position. Will the body be in an open shape or a closed shape?
  

An open body shape could be more upright and strong, with the head held erect and the arms held away from the torso. A closed body shape could be hunched, bent or curled with the head lowered, and arms close to or across the chest/torso.

Ekman, P. (2003). Emotions Revealed. London: Phoenix

Goleman, D. (1995). Emotional Intelligence. New York: Bantam Books
Activity 2. Worksheet One: What does an emotion look like?

Use knowledge of your own emotions and the information from the ‘Emotions: Biological Reactions and facial expressions’ page to:

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  Draw/sketch a facial expression for each emotion
  
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  Draw/sketch a body shape to match each emotion
  

Students organise themselves into groups of four. Working in pairs, they exchange their Activity 2 ’What does an emotion look like?’ worksheets with the other pair. Using the sketches, they select one. One student becomes the ‘clay’ ready to be moulded and the other student becomes the sculptor who tries to arrange the ‘clay’ into the exact body shape shown on the sketch.

The ‘clay’ stands in a neutral position.

The sculptor taps with a finger a body part on the ‘clay’, which they pretend attaches an invisible string from the sculptor’s finger to that body part. The sculptor can then slowly ‘pull’ the string with the body part attached into the required position. Gradually the selected emotion will begin to appear from the ‘clay’. The facial features should be left until the rest of the body is in place.
When each of the lumps of ‘clay’ has been moulded into an emotion, the sculptors try to guess the emotion being expressed of the other pair.

The sculptors could also move around the other groups and guess the emotions.

Each emotion could also be photographed for analysis later.

The pairs then swap roles and repeat the exercise.

Working in groups of four as for Activity 3, they repeat the activity but one sculptor moulds the other three into one tableau. The sculptor will need to consider the positions of each of the pieces of clay and their relationship to each other.

How will each piece of clay be positioned?

Will they be in contact with each other?

Where will they each be focussed?

What body bases will they use?

Photographs of each tableau should be taken at the completion of each tableau, to be analysed later.

What emotion can you see?

What information tells you this?

Where are they focussed?

What body shapes are they using?
Assessment Opportunity: LO2: Students can create group and solo still shapes based on emotions
Activity 5. Mirror an Emotion

Working in pairs (or threes as required), one student moves in slow motion into one of the six emotions explored so far (anger, fear, disgust, sadness, happiness and surprise). The partner mirrors the movements as accurately as possible, and then takes over leading into another emotion.

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  Hold each emotion shape for eight seconds before the new leader begins the transition into the next emotion shape
  

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  Change levels during the transition between each emotion shape
  

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  Try not to talk
  

After some rehearsal, make groups of two pairs, and have one pair perform while the other watches and tries to identify the emotions being expressed. Discuss what they saw and then swap roles.

LO2: Students can create group and solo still shapes based on emotions

There are many, many emotions. The six discussed so far have been chosen as ‘starters’. The next activities involve classifying emotions into groups or families and then attempting to identify them.

Organise students into groups of three or four and give each group a pack of the cards below. They are to organise the cards into families of similar emotions, with the emotions in capital letters as ‘heads’ of the families.

Show the students one of the cards.

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  Describe this pathway
  
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  If you were moving along a pathway like this, what might you be feeling?
  
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  How do you know?
  
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  What movements could you be using?
  
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  How fast would you be travelling?
  
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  What could be a reason for you to be feeling this way?
  
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  What is going to happen when you arrive at the end of the pathway?
  

Repeat with the other cards.

What types of movements could we use when we are: angry; sad; happy; in love; surprised or embarrassed?

What did you see?

What emotions were being expressed?

How did you know?

LO3: Students can create movement along air and floor pathways to represent emotions

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  Each student selects one card and keeps it hidden from the other students
  

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  They then use masking tape to stick the card on the back of one of their class members, without telling them what the emotion written on the card is.
  

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  Student must identify the emotion card on their back by:
  
  • 
    Moving around the room to some lively music. They could use different types of locomotor movement as suggested by the teacher or improvised by the students.
    

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  The teacher stops the music and students pair up with the nearest person next to them.
  

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  They read the cards on each other’s backs without verbalising them.
  

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  Again without verbalising, the students take turns to perform a likely pathway and movements associated with the emotion written on their partner’s back, as explored in the previous activity (The Pathway of an Emotion)
  

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  The music begins again and the activity is repeated, changing partners each time the music stops.
  

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  After four or five times stop the game. Each student should now have had at least four different interpretations of their unknown emotion and have performed at least four possible pathways and movements associated with those emotions.
  

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  Ask the students to guess what their emotion is and take their card off to check.
  

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  Questions: Did you guess your ‘emotion’ or guess one in the same ‘family’? What movements and facial expressions did the people who helped you use? What pathways did they use?
  
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  Express the emotion your way
  

Think about the situation you were in at the time.

What made you feel the emotion?

What action did you take?

Was this an appropriate or inappropriate way to react?

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  Make up a sixteen-count movement sequence as follows:
  
  • 
    Counts 1-4 A still shape to represent your emotion
    
  • 
    Counts 5-8 Four steps along a pathway that describes your emotion and uses relevant locomotor movement
    
  • 
    Counts 9-12 Locomotor or non-locomotor movement to represent the situation that caused the emotion
    
  • 
    Counts 13-16 A still shape to represent your reaction to your emotion
    

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  In pairs or in groups of three, the students rehearse their sequences together – each performing their own sixteen-count sequence but with other performers. (In this way, students who are not yet confident solo performers will still be performing their own choreography but the audience’s attention will not just be upon them.)
  

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  Questions for the audience:
  

What emotions were expressed?

How did you know?

Describe their opening still shape?

What was the most memorable moment?

This activity can be repeated using different emotion cards and with students choreographing their sixteen-count sequences in pairs.

Worksheet Two

LO1: Students can identify selected emotions and situations in which these emotions may occur.

Paul Ekman Emotions Revealed

Benjamin Franklin

Diane Tice

Daniel Goleman

What can you do when you know you are in a situation where you are going to become very angry with someone?

Here are some possible suggestions. Discuss the effectiveness or value of each one.

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  Tell yourself to STOP!
  
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  Concentrate on staying calm
  
  • 
    Take a deep breath
    
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    Think about something happy that occurred today
    
  • 
    Think about something good about the person
    
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    Feel your pulse
    
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  Think about why you are angry
  
  • 
    What actually happened?
    
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    Was it your fault?
    
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    Is your reaction fair?
    
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    Did the person intend to do what they did?
    
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    Does someone need to apologise?
    
  • 
    If you apologised would you feel better?
    
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  Distract yourself
  
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    Break eye contact with the person
    
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    Look at the ground
    
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    Turn on an angle to the person
    
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    Walk away
    
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  Try and think about the situation from the other person’s point of view
  
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  Try and explain how you feel and why
  
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  Leave the situation
  
  • 
    Go for a walk
    
  • 
    Call a friend or family member
    
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  Go back and discuss it later with the person when you next see them
  

Now look back to Worksheet Two. Add to the last column some of the suggestions discussed that may be useful for you.

What can you do when you know you are in a situation where you are going to become anxious or worried about something?

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  Relax
  
  • 
    Breathe slowly
    
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    Flex the muscles in different parts of your body and then relax them. Flex and relax your face, neck, shoulders, arms, hands, fingers, chest, buttocks, legs, feet, toes
    
  • 
    Lie down and listen to some relaxing music
    
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  Think about why you are anxious/worried
  
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    Will the event really occur?
    
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    Is it useful to keep on worrying?
    
  • 
    What can I do to make the situation easier?
    
  • 
    What can someone else do to make the situation easier?
    
  • 
    Make a list of steps to take
    
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  Think about something else – a distraction
  
  • 
    Watch a DVD
    
  • 
    Ring a friend
    
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    Do some exercise
    
  • 
    Read a book
    

What are some other possible solutions?

Share your ideas with the whole class and add any that you think may be useful to Worksheet Two.

This activity uses the dance devices of augmentation and embellishment and the dance elements of time and energy.

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  Perform a simple wave action. This becomes a motif.
  
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  Wave to the person next to you
  
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  Wave with your other arm
  
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  Wave with one arm and then the other arm, quickly and then in slow motion
  
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  Begin waving one hand on a low level and keep waving as you rise slowly to tip toe
  
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  Begin your wave as far to the right as you can reach and continue it with your left hand as far to the left as you can reach
  
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  Wave frantically as if you are trying to gain someone’s attention, beginning on a low level and finishing on a high level
  

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  Wave with both hands at the same time
  
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  Add a wiri as you wave
  
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  Change the air pathway of your wave from side to side to a zigzag to the floor
  
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  Use your foot to wave at the same time as your hand
  

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  The students select a situation from the choices above, or they may make up their own ones
  

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  Create a group tableau to represent the emotion
  
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  Create a short mime sequence to describe the situation that caused the emotion
  
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  Create an abstract movement phrase for the situation:
  
  • 
    Select three important actions from the mime sequence
    
  • 
    Augment or embellish each action. Be as imaginative as possible.
    
  • 
    Accent (or perform with more strength) a movement from each action
    
  • 
    Perform each action using a different amount of ‘weight’ (heavy, weak, light, firm)
    
  • 
    Change the quality of each action – explore the words: explosive, collapse, sharp, vibratory (as if a person is sobbing)
    
  • 
    Link each action with transitions that use movements and pathways that relate to the situation
    
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  Mime a short sequence that describes a helpful tactic for dealing with the emotion
  
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  Create an abstract movement phrase for the tactic by:
  
  • 
    Selecting three important actions from the mime sequence and augmenting or embellishing them
    
  • 
    Linking each action with transitions that use movements and pathways that relate to the situation
    
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  Complete the dance with a tableau of how you may feel after ‘dealing’ with the situation in a successful way.
  

Rehearse the dance and perform for the class.

What did you see?

What did the dancers do?

Describe what happened in the dance?

What movements did they use to communicate the idea?

How did they communicate their tactic?

How do you think they felt after ‘dealing’ with their situation?

Could they have done anything else?

What was most effective and why?

Assessment opportunity:

LO4: Students can develop a motif using the dance devices of augmentation and embellishment

LO5: Students can develop expression in their dancing by performing movement based on emotions, and reactions to emotions
Activity 12. Respect

One meaning of respect is ‘to treat with consideration’.

The following activity can be organised as a general class discussion, a small-group discussion or a ‘Post Box’ activity as explained below.

Questions:

What does respect mean to you?

Does everyone deserve respect? Why/why not?

What is self-respect?

Is self-respect important? Why/why not?

In what ways would a person with little self-respect treat him or herself?

How does a person develop self-respect?

How might a person behave who has no self-respect?

In what ways would a person with little self-respect treat other people?
Post Box – Respect

Equipment: Eight question sheets, many small pieces of paper and eight containers

(See Pages 41-49)

LO7: Students can participate in activities about self-respect

Daniel Goleman

Students working individually:

1. 
   Explore balances with a body base of:
   

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  Two feet
  
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    Leaning as far forward as possible
    
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    Leaning as far back as possible
    
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    Leaning to one side
    
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    Legs bent, legs straight
    
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    On toes
    
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    On heels
    
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    On outside or inside of feet
    
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  One foot (arabesques)
  
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    Lifted leg to the back, side, front, crossed in front, bent and straight
    
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    Grounded leg straight, bent
    
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    Spine twisted
    
  • 
    Interesting arm positions
    
  • 
    Focus on different body parts, on the floor, out into general space, to the ceiling
    
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  One foot and one hand
  
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  One knee and one foot
  
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  One knee
  
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  One knee and one hand
  
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  Bottom
  

b) What other possibilities are there?

3. 
   Explore holding one balanced position, moving slowly off balance, suspending the position until the last possible second, before ‘falling’ smoothly while changing the body base into a new balance.
   

Improvise a short sequence of four balances with four different body bases accompanied by some slow music.

Repeat the sequence with some faster music – ensuring that the balances and falls are controlled at all times

3. 
   Using a motif
   

Tilt off balance for eight counts; use the momentum to travel in a light run across the floor for eight counts and take eight counts to reform into the motif.

Repeat with different off balance tilts, travelling directions and locomotor movements.

Music, light drumming or the shaking of a tambourine could accompany this activity.

3. 
   Now imagine your motif is your ‘neutral’ emotion – one where you are calm and controlled.
   

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  Think of a situation where you became angry and create a shape that you can move into from your neutral one that represents this. What does the shape look like? Should it be angular or smooth? What arm positions will you choose? Where is your focus?
  
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  Next, imagine the tilting is your way of changing from a calm state into an angry state. ‘Grow’ into your ‘angry’ shape.
  
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  Change the tempo and weight: Travel very quickly along a straight pathway using strong and angular movements as if you are very angry and then slow down and make your movements softer, as if you are using a tactic to control your anger.
  
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  Change the accent: Repeat the above, but accentuate at least two movements to help communicate the idea of anger.
  
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  Gradually ‘grow’ back into your neutral shape (motif) – calm and controlled.
  

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  Repeat with situations where you became happy, sad, embarrassed and anxious, using a different pathway for each one.
  
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  Repeat in the 32-count pattern as for Activity d)
  

3. 
   Work with a partner. Perform as you did for Activity e) but now accommodate another person. Begin close together and explore moving away and returning as you perform the movements associated with each emotion.
   

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  Try to make the different emotion shapes as clear as possible
  
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  Try connecting your emotion shapes with your partner’s.
  

LO4: Students can develop a motif using the dance devices of augmentation and embellishment

LO5: Students can develop expression in their dancing by performing movement based on emotions, and reactions to emotions

LO6: Students can compose movement sequences based on balances and the idea of emotions

All of the Learning Outcomes have been included in this assessment sheet. It is not necessary to assess every Learning Outcome. Use only the ones that are most relevant for your students.

(Part One only. Part Two and Part Three can be achieved in Units Two and Three of this resource.)

This assessment resource has been written to assess learning gained from Part One of Dancing Towards Respect – ‘Respect for Yourself’.

This assessment resource has been written for students to compose a solo dance in an ABA structure, but it could be adapted for a duet.

Resource requirements:

1. 
   The teacher will need a set of cards that have an emotion written on them. To enable students to demonstrate their learning from the unit it is important that all the emotions are positive ones, e.g. happiness, love, pride etc. (See Page 12 of ‘Respect for Yourself’)
   
2. 
   Appropriate music provided by the teacher from which the students can choose accompaniment.
   
3. 
   Authenticity sheets for students to sign as verification that the composition is their own work if the teacher has not observed the process.
   
4. 
   A video camera to record work for formative feedback and moderation purposes.
   

Additional information:

It is important that students do not know ahead of time that the movement sequence for Section A will be manipulated to make Section B. This knowledge can constrain their movement selection and make the process of composing contrasting movements more difficult. Therefore all instructions should be given orally until step 5 where the students begin to refine and rehearse their dances. Then the instructions sheet can be used as a check.

It could make the process of composing Section B more accessible for students if they begin composing by just turning Section A into the opposite emotion. Once they have experimented with this, introduce ideas about tempo, quality, accent, weight and size of movement. Reinforce that the order of the movements cannot be changed.

Judgments should be made holistically on the weight of evidence provided by the student. For example, if most aspects of the choreography are fulfilled and produce a dance that looks interesting and imaginative, the lack of an imaginative balance at the end should not affect the result. However, the intent of the brief as described in the boxed section of the student instructions must have been achieved.

‘It’s About Balance’

Student Instructions Sheet
This is one of three opportunities you will have this year to compose a movement sequence to gain AS 90001. This sequence is a solo sequence that will be danced by you.
To achieve excellence in this standard you must select and combine movements in original and imaginative ways to make a dance sequence about controlling emotions.
Although this achievement standard is assessing your choreography, you will need to perform your sequence well so that your choreography looks effective. The movements need to be clear and precise, showing that your sequence is rehearsed and not improvised.
You will be given some time in class to develop your sequence. You may also wish to work on it in your own time. It must be at least 45 seconds long, but it is recommended that you aim for 1 minute.
No costume is required for the performance of the sequence but appropriate clothing should be worn. You will be given a choice of music or you may perform without music.
Your sequences will be assessed within normal class time in the dance room with front facing away from the mirrors. The performances will be videoed for moderation.
The Brief
You are to compose a solo sequence that is at least 45 seconds long, which uses an ABA structure and contrasts in the time and energy of the movements, to show two opposite emotions.
Your sequence should also:

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  Finish both Section ‘A’s in a controlled and imaginative balance
  
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  Use tilt, suspension, falling off-balance and momentum to represent a change in the emotion shown in Section A – Transition 1
  
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  Use changes in tempo, accent, weight and quality to contrast the Section A emotion from the Section B emotion
  
• 
  Include a short abstract movement phrase to represent a way of dealing with an emotion – Transition 2
  

Steps in the Process

1. 
   Your teacher will give you a card that has an emotion written on it. You are to compose a phrase or short sequence of movement (about 15 seconds in length) that shows the emotion.
   

Finish this phrase in an interesting balance shape that represents the emotion.

This is Section A of your composition.

2. 
   You will then repeat the movement from your A section, but by changing the time and energy of the movement, you will create a new phrase/sequence of movement that shows the opposite emotion. For example, if you were given happiness on your card you will now be changing your composition to be about sadness. Pride could become embarrassment, and friendliness could become hostility. Finish the phrase in a still shape that represents the emotion you have been expressing.
   

This is Section B of your composition.

3. 
   The next step is to create a transition between Section A and Section B. The movement in this transition represents something that has happened to change the emotional state shown in Section A to the contrasting emotion shown in Section B. From the balance shape performed at the end of Section A, use tilt, suspension, falling-off-balance, and momentum to show this.
   

4. 
   Another transition is needed between Section B and Section A. To create this transition phrase you will move from the still shape at the end of Section B to show a tactic or diversion that can help to change from the emotional state in Section B back to the emotional state shown in Section A. To do this you will first mime the movement and then abstract that movement into a dance phrase.
   

5. 
   You can now put together, refine and rehearse your dance ready for assessment. It has the following structure:
   

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  Section A – Movement that shows an emotion, finishing in a balanced shape
  
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  Transition 1 – A catalyst that changes the emotion
  
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  Section B – Section A repeated with time and energy changes and finishing in a still shape, to show a contrasting emotion
  
• 
  Transition 2 – Abstract movement that shows a tactic to reverse the emotion
  
• 
  Section A – The original phrase, finishing in a balanced shape
  

Assessment Schedule: Dance 1.1 AS90001 ‘It’s About Balance’
Evidence	Achievement	Achievement with Merit	Achievement with Excellence
The students present an original composed solo movement sequence, which is appropriate to the brief and is at least 45 seconds long.	Clearly demonstrates contrasting emotions using an ABA structure with transitions between sections. The sequence shows appropriate use of: An asymmetrical balanced shape at the end of each Section A. E.g. A body base of one foot with one arm raised above the shoulder Transition 1: Tilt, suspension, off-balance and momentum. E.g. A tilt forwards with minimal suspension into a short run Variations in time and energy E.g. If the emotions are happiness and sadness, Section B is performed slower and the movements are weaker and less defined Transition 2: Mime and abstract movement E.g. A still shape from Section B, followed by small arm movements to mime the turning of a page in a book, followed by a large arm movement swinging from one side of the body to the other	Clearly demonstrates contrasting emotions using an ABA structure with transitions between sections in an interesting movement sequence composition. The sequence shows deliberate and effective use of: A clearly asymmetrical balanced shape at the end of each Section A. E.g. A body base of one foot with the torso leaning towards one side, and purposeful use of other body parts in the shape Transition 1: Tilt, suspension, off-balance and momentum. E.g. A tilt to one side or backwards, with an extension of the body shape during the suspension, flowing into a movement involving a different body base and arm gestures Variations in time and energy E.g. If the emotions are happiness and sadness, Section B is performed slower and heavier, with more than one accented movement and a collapse to the floor Transition 2: Mime and abstract movement E.g. A still shape from Section B, followed by a change in facings, small arm and head movements to mime the turning of a page in a book, followed by a turn into a dynamic leap	Clearly demonstrates contrasting emotions using an ABA structure with transitions between sections in an imaginative movement sequence composition. The sequence shows skilful and perceptive use of: A strongly asymmetrical balanced shape at the end of each Section A. E.g. A body base other than the feet, with purposeful use of the torso and other body parts in the shape Transition 1: Tilt, suspension, off-balance and momentum. E.g. The torso initiates a tilt to one side, with a purposeful extension of the body shape during the suspension, flowing into a turn, fall, roll or slide Variations in time and energy E.g. If the emotions are happiness and sadness, Section B is performed with a decreasing tempo, heavily accented movements, a vibratory movement (perhaps to represent sobbing) and a collapse to the floor Transition 2: Mime and abstract movement E.g. A still shape from Section B, followed by a movement initiated by the torso to flow into a change of levels, performing small arm and head movements to mime the turning of a page in a book, followed by an imaginative roll

DANCE 2.2 Choreograph a Solo Dance Number AS90294, Version 2 ‘It’s About Balance’

Student Brief

You are to compose a 1-minute solo sequence in an ABCA structure, based upon work completed during the ‘Respect for Yourself’ dance unit.

Your sequence will show a contrast from balance to off-balance and back to balance, which will represent times when you are calm and in control of your emotions, times when you are not and the regaining of that balance.
Section A: A short sequence, including a balance and a movement phrase or gesture, to represent yourself when you are calm and in control of your emotions. This is a motif.

Section B: Use the dance devices of augmentation and insertion to develop the motif from Section A to represent a change of emotions. You must move from balance to off-balance, a moment of suspension and include movement along a pathway that clearly communicates the new emotion.

Section C: Use the dance devices of embellishment and insertion to develop the motif from Section A to represent a method you could use to control your new emotional state, such as a diversion or tactic. Include movement that clearly communicates the idea of the diversion or tactic and shows a regaining of balance.

Section A: A repeat of the opening of the sequence, finishing in a balance.

Your sequence must:

• 
  Be at least 1 minute long
  

• 
  Be in an ABCA structure
  
• 
  Use the dance devices of augmentation, insertion and embellishment to develop a motif
  
• 
  Travel along a clear pathway using movements related to an emotion
  
• 
  Include a movement phrase to represent a diversion or tactic to employ when controlling your emotions.
  
• 
  Use balanced and off-balance movements
  
• 
  Begin and end in a controlled and imaginative balance
  

You must also complete the Choreographic Intent worksheet (Page 34). This must be handed to your teacher prior to your assessment.

Vocabulary
Motif

A repeated gesture or phrase that is developed in a variety of ways and is like a signature to a dance

Augmentation

A dance device where a motif is developed by making the movements larger in space or time

Embellishment

A dance device where a motif is developed by adding detail to a move, such as a hand gesture or an arm movement

Insertion

A dance device where a motif is developed by including new movement material into the motif (e.g. a roll)

Diversion/tactic

A activity to use to control your emotions, such as going for a walk, calling a friend, relaxation exercises or reading a book

Suspension

Moments in time where you are off-balance before gaining balance, such as the top of a roller coaster, before it travels down the track

The assessment will be on ______________ in Room _________

Your sequence will be videoed to confirm assessment judgements.
The music will be ____________ or you may perform in silence.
You must wear clothing that is suitable for dance.

You may choose a costume or clothing appropriate for your idea if you wish.

DANCE 2.2 Choreograph a Solo Dance Number AS90294, Version 2 ‘It’s About Balance’

Choreographic Intent Name ___________________
My balanced shape The pathway I chose

I chose the balance shape to represent me when I am feeling calm because:

______________________________________________________________________________________________________________________________
A description of my motif:

______________________________________________________________________________________________________________________________

I developed the motif by:

______________________________________________________________________________________________________________________________

I chose the pathway because:

______________________________________________________________________________________________________________________________

The 'tactic' I chose to 'control' my emotions and a description of how I represented this:

_______________________________________________________________

______________________________________________________________________________________________________________________________

My final balance How I feel about my choreography

DANCE 2.2 Choreograph a Solo Dance

Number AS90294, Version 2

Directory: resources
resources -> General text for tender (recommendations) for Pilkington Profilit™ Contents Page
resources -> North Carolina Inclusion Initiative Mapping Where Children with ieps are Being Served Purpose
resources -> Practice learning
resources -> The Rise of Video Games Section “Word” Matt Spencer
resources -> Request for proposal contract form for the transit industry
resources -> Request for Proposal [insert date]
resources -> The University of York 13th 16th April 2004
resources -> Biological and Biomedical Sciences Program Community Education Initiative
resources -> Region III standing regional response team (rrt) meeting williamsburg, Virginia Thursday, January 12, 2012
resources -> Efca eastern District and TouchGlobal, the crisis response ministry of efca

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