TRENTON PUBLIC SCHOOLS
CURRICULUM GUIDE: Dance Performance Skills I-VI (High School)
Dance Performance Skills I-VI: Course Description
Dance Performance Skills is for advanced dancers with an interest in refining their skills as a performer. The course will be authentically aligned with the professional norms of a dance company. Students will perform and generate dance works for a variety of programs to be presented in the Trenton community. Additional after school rehearsals and performances required. This course can be repeated for credit. The prerequisite for this course is the passing of Dance II and a student entry audition. Instructor's approval required.Pacing Guide
Unit # / Unit Name / Approximate Pacing Schedule1 / Advanced Study of Dance Technique / 4 weeks
2 / Performance / 12 weeks
3 / College & Career Connections / 2 weeks
*Units may be modified to fit student skills, ability, interest, and the variance in semester duration based on the district calendar.
Unit 1: Advanced Study of Dance Technique
Students will use ballet technique, somatic principles, yoga, and Pilates to deepen their understanding of functional alignment. Due to the audition-based nature of this class, teacher may reference some skills from the Dance II-IV Unit 2 Curriculum Guide to address varying levels of student achievement.
Grade level: 9TH-12TH grade
Big Idea: Dancers understand how their bodies work and how they need to care for them.
Stage 1: Desired ResultsGoals:
National Core Arts Standards
Perform
Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.
DA:Pr4.1.II a. Dance alone and with others with spatial intention. Expand partner and ensemble skills to greater ranges and skill level. Execute complex floor and air sequences with others while maintaining relationships through focus and intentionality.
DA:Pr4.1.II b. Perform dance studies and compositions that use time and tempo in unpredictable ways. Use internal rhythms and kinetics as phrasing tools. Dance “in the moment.”
DA:Pr4.1.II c. Initiate movement phrases by applying energy and dynamics. Vary energy and dynamics over the length of a phrase and transition smoothly out of the phrase and into the next phrase, paying close attention to its movement initiation and energy.
Anchor Standard 5: Develop and refine artistic techniques and work for presentation.
DA:Pr5.1.III a. Apply body-mind principles to technical dance skills in complex choreography when performing solo, partnering, or dancing in ensemble works in a variety of dance genres and styles. Self-evaluate performances and discuss and analyze performance ability with others.
DA:Pr5.1.III b. Research healthful and safe practices for dancers and modify personal practice based on findings. Discuss how research informs practice.
Enduring Understandings:
· Dancers use the mind-body connection and develop the body as an instrument for artistry and artistic expression.
Essential Questions:
· What must a dancer do to prepare the mind and body for artistic expression?
· How does a dancer sustain healthful practices to support their dance training?
What Key Knowledge and Skills will Students acquire as a result of this unit?
Content:
Students will know: / National Core Arts Standards: / Skills: Student Learning Objectives
Students will be able to:
1. The structure of a dance class warm-up based upon sound anatomical and physiological principles. / DA:Pr5.1.III a. / 1a. Analyze and justify why dynamic stretching actions are appropriate for warm up exercises
1b. Analyze and justify why static stretching actions are only appropriate to be performed after the body is warm
2. What their individual body needs and create an individualized warm up plan. / DA:Pr5.1.III b. / 2a. Perform basic yoga sequences
2b. Perform basic Pilates sequences
2c. Perform the Bartenieff Fundamentals patterns of connectivity (Breath, Core to Distal, Head Tail, Upper Lower, Body Half, Cross Lateral)
2d. Identify personal issues of soreness, misuse, misalignment, and weakness
2e. Research and perform exercises to target identified issues of soreness, misuse, misalignment, and weakness
2f. Research healthful and safe practices for dancers
2g. Select and justify appropriate cross training activities for their personal movement practice
2h. Create a personalized warm up and conditioning plan based on researched findings that can be implemented before class.
3. The major muscles and bones used in various body mechanics. / DA:Pr5.1.III b. / 3a. Identify the major muscles and bones used in various body mechanics.
3b. Initiate movement from bony landmarks
3c. Initiate movement from major muscle groups.
3d. Conclude and justify why knowledge of major muscles and bones used in various body mechanics is important for a dancers healthful practice.
4. Discipline specific vocabulary as they appear in ballet (cecchetti positions of the body, glissade, assemblé, sissonne, échappé, pas de chat) / DA:Pr5.1.III a. / 4a. Perform and identify the Cecchetti positions of the body (Croise devant, A la quartieme devant, Ecarte, Efface, A la seconde, Epaule, A la quatrieme derriere, Croise derriere)
4b. Perform a glissade by traveling the working foot from 5th position and gliding the other to it.
4c. Perform an assemblé when the working foot glides out of 5th position, enters the air, and the other leg comes to meet it in the air.
4d. Perform a sissonne jumping from two feet to one foot.
4e. Perform an échappé by jumping from 5th position, to 2nd position, returning back to 5th position.
4f. Perform a pas de chat, a traveling jump, by raising one leg to passé, picking the other up as soon as possible, and then landing in 5th position.
5. Use time, shape, and energy efficiently while performing / DA:Pr4.1.II a.
DA:Pr4.1.II b.
DA:Pr4.1.II c. / 5a. Perform phrases with complex changes in time, space, and energy.
Stage 2: Assessment Evidence
What evidence will show that students understand?
Performance Task Option #1: Creating a Self Guided Practice
Task: After researching and embodying different training practices, develop a personalized warm up and conditioning plan. Students’ work will be assessed on the corresponding rubric.
Other Assessment Evidence: Do nows, class notes, tactile feedback, kinesthetic witnessing, in-progress showings, viewing assignments
SLO / 1a. Analyze and justify why dynamic stretching actions are appropriate for warm up exercises
1b. Analyze and justify why static stretching actions are only appropriate to be performed after the body is warm
2a. Perform basic yoga sequences
2b. Perform basic Pilates sequences
2c. Perform the Bartenieff Fundamentals patterns of connectivity (Breath, Core to Distal, Head Tail, Upper Lower, Body Half, Cross Lateral)
2d. Identify personal issues of soreness, misuse, misalignment, and weakness
2e. Research and perform exercises to target identified issues of soreness, misuse, misalignment, and weakness
2f. Research healthful and safe practices for dancers
2g. Select and justify appropriate cross training activities for their personal movement practice.
2h. Create a personalized warm up and conditioning plan based on researched findings that can be implemented before class.
3a. Identify the major muscles and bones used in various body mechanics.
3b. Initiate movement from bony landmarks
3c. Initiate movement from major muscle groups.
3d. Conclude and justify why knowledge of major muscles and bones used in various body mechanics is important for a dancers healthful practice.
NCAS / DA:Pr5.1.III a., DA:Pr5.1.III b.
Performance Task Option #2: Ballet Technique Assessment
Task: Students will perform a pre-choreographed ballet dance phrase(s). Students’ work will be assessed on the corresponding rubric.
Other Assessment Evidence: Do nows, journals, class notes, tactile feedback, kinesthetic witnessing, LMA analysis of movement phrase, self assessment and reflection, ballet terminology journal
SLO / 4a. Perform and identify the Cecchetti positions of the body (Croise devant, A la quartieme devant, Ecarte, Efface, A la seconde, Epaule, A la quatrieme derriere, Croise derriere)
4b. Perform a glissade by traveling the working foot from 5th position and gliding the other to it.
4c. Perform an assemblé when the working foot glides out of 5th position, enters the air, and the other leg comes to meet it in the air.
4d. Perform a sissonne jumping from two feet to one foot.
4e. Perform an échappé by jumping from 5th position, to 2nd position, returning back to 5th position.
4f. Perform a pas de chat, a traveling jump, by raising one leg to passé, picking the other up as soon as possible, and then landing in 5th position.5a. Perform phrases with complex changes in time, space, and energy.
NCAS / DA:Pr4.1.II a., DA:Pr4.1.II b., DA:Pr4.1.II c., DA:Pr5.1.III a.
6
TRENTON PUBLIC SCHOOLS
CURRICULUM GUIDE: Dance Performance Skills I-VI (High School)
Unit 2: Performance
This unit facilitates the process of creating and performing dance works. Students will be involved in the creative process of creating a performance work in collaboration with their teacher. More responsibility is shifted toward the students as they collaboratively engage in developing movement material, developing a rehearsal plan, developing audience engagement activities, and self-assessing their work.
Grade level: 9TH-12TH grade
Big Idea: Performance is an interactive experience between performer and audience.
Stage 1: Desired ResultsGoals:
National Core Arts Standards
Creating
Anchor Standard 3: Define and complete artistic work
DA:Cr3.1.II b. Develop a strategy to record a dance using recognized systems of dance documentation (for example, writing, a form of notation symbols, or using media technologies).
Perform
Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.
DA:Pr4.1.III a. Modulate and use the broadest range of movement in space for artistic and expressive clarity. Use inward and outward focus to clarify movement and intent. Establish and break relationships with other dancers and audience as appropriate to the dance.
DA:Pr4.1.III b. Modulate time factors for artistic interest and expressive acuity. Demonstrate time complexity in phrasing with and without musical accompaniment. Use multiple and complex rhythms (for example, contrapuntal and/or polyrhythmic) at the same time. Work with and against rhythm of accompaniment or sound environments.
DA:Pr4.1.III c. Modulate dynamics to clearly express intent while performing dance phrases and choreography. Perform movement sequences expressively using a broad dynamic range and employ dynamic skills for establishing relationships with other dancers and projecting to the audience.
Anchor Standard 5: Develop and refine artistic techniques and work for presentation.
DA:Pr5.1.III c. Initiate, plan, and direct rehearsals with attention to technical details and fulfilling artistic expression. Use a range of rehearsal strategies to achieve performance excellence.
Anchor Standard 6: Convey meaning through the presentation of artistic work.
DA:Pr6.1.III a. Demonstrate leadership qualities (for example commitment, dependability, responsibility, and cooperation) when preparing for performances. Model performance etiquette and performance practices during class, rehearsal and performance. Enhance performance using a broad repertoire of strategies for dynamic projection. Develop a professional portfolio (resume, head shot, etc.) that documents the rehearsal and performance process with fluency in professional dance terminology and production terminology.
DA:Pr6.1.III b. Work collaboratively to produce dance concerts in a variety of venues and design and organize the production elements that would be necessary to fulfill the artistic intent of the dance works in each of the venues.
Enduring Understandings:
· Choreographers use a variety of sources as inspiration and transform concepts and ideas into movement for artistic expression.
· Choreographers and dancers analyze, evaluate, and document their work to improve the quality.
· Dance performance is an interaction between performer, production elements, and audience that heightens and amplifies artistic expression.
Essential Questions:
· Where do choreographers get ideas for dances?
· How do choreographer and dancers collaborate to create dances?
· What must a dancer do to prepare the mind and body for artistic expression?
· How does a dancer heighten artistry in a public performance?
· How does the individual and ensemble prepare for a performance?
What Key Knowledge and Skills will Students acquire as a result of this unit?
Content:
Students will know: / National Core Arts Standards: / Skills: Student Learning Objectives
Students will be able to:
1. How to prepare for a dance performance (create phrase material, evaluating production elements, enacting performance etiquette) / DA:Cr3.1.II b.
DA:Pr4.1.III a.
DA:Pr4.1.III b.
DA:Pr5.1.III c.
DA:Pr6.1.III a.
DA:Pr6.1.III b. / 1a. Create movement phrases utilizing artistic criteria/limitations (criteria can be set by teacher or student depending on the exact performance project)
1b. Experiment with changes in space, time, dynamics, and relationship to refine the artistic intent of a work
1c. Assess which changes in space, time, dynamics, and relationship were the most effective.
1d. Participate in the rehearsal process as active and productive members of the ensemble
1e. Justify why performance etiquette exists and how it aids the individual and ensemble in the rehearsal process
1f. Evaluate, assess, and create an action plan to obtain possible designs for the production elements
1g. Analyze feedback from video self reflection and peer feedback during the rehearsal process
1h. Produce a rehearsal plan based off of the analysis of feedback
1i. Lead small group and independent rehearsals of the performance work
1j. Develop a system to document the dance and the artistic process
1k. Research effective pre-performance and post-performance audience experiences
1l. Create pre and post performance audience experiences based on research
1m. Research how to plan for the mental and physical exhaustion of touring
1n. Evaluate how the work can evolve after each performance
Stage 2: Assessment Evidence
What evidence will show that students understand?
Performance Task Option #1: Creating the Performance Material
Task: The students and teacher will collaboratively generate artistic material for a performance. Through the process students will select source stimuli, lead improvisation, and experiment with varying the phrase work utilizing the elements of dance. Through the process students will create and perform movement phrases, participate and lead in rehearsal tasks, and make decisions about the elements of production based on the resources provided by the school. Students’ work will be assessed on the corresponding rubric.
Other Assessment Evidence: Do nows, journals, video self and peer assessment, performance contracts
SLO / 1a. Create movement phrases utilizing artistic criteria/limitations (criteria can be set by teacher or student depending on the exact performance project)
1b. Experiment with changes in space, time, dynamics, and relationship to refine the artistic intent of a work
1c. Assess which changes in space, time, dynamics, and relationship were the most effective.
1d. Participate in the rehearsal process as active and productive members of the ensemble
1e. Justify why performance etiquette exists and how it aids the individual and ensemble in the rehearsal process
1f. Evaluate, assess, and create an action plan to obtain possible designs for the production elements
1g. Analyze feedback from video self reflection and peer feedback during the rehearsal process
1h. Produce a rehearsal plan based off of the analysis of feedback
1i. Lead small group and independent rehearsals of the performance work
1j. Develop a system to document the dance and the artistic process
1k. Research effective pre-performance and post-performance audience experiences
1l. Create pre and post performance audience experiences based on research
1m. Research how to plan for the mental and physical exhaustion of touring
1n. Evaluate how the work can evolve after each performance
NCAS / DA:Cr3.1.II b., DA:Pr4.1.III a., DA:Pr4.1.III b., DA:Pr5.1.III c., DA:Pr6.1.III a., DA:Pr6.1.III b.
Unit 3: College & Career Connections