Maui – One Man Against the Gods
Dance Unit: Waka Rap
Learning experience / Suggested sequence of Learning / Teaching notes1 / Introduction
Mirror imaging duet
/ Learning intentions:
Students will:
1. Revisit and explore the dance elements (of body awareness, space, relationships, time and energy) in a ‘mirroring’ exercise
2. Develop a dance sequence using dance vocabulary and ideas from the exploration using the DVD Maui soundtrack
3. Present a duet in slow motion of this section (duration at least 6 sets of 8 counts) using the sound track from the DVD of Maui. / > NB. If preparing students to view the whole live show of Maui, then add the learning intention:
4. Students will describe the narrative sequence of the show.
/ · Form a class continuum. Ask students to stand along the continuum based upon their answers to the following questions:
· How much experience do you have in dance?
· How much experience do you have in movement… e.g. sports, martial arts and athletics?
· If you were old enough to go ‘clubbing’ – would you be keen to go along? Do you think you would enjoy yourself dancing? / >This is a quick and easy gauge of dance ‘readiness’ and to alleviate concerns held by student.
· Handout student survey (Resource Sheet AA) on prior dance experience and discuss. Complete for homework. / >A survey of prior knowledge and dance experience is useful as baseline data.
· Mirror Imaging: Students pair up and sit opposite each other cross legged. One person initiates the movement with upper body only while the other person provides a mirror image. Teach body awareness (e.g. emphasize one body part … elbow, shoulders, fingers), then the class might think about the space being used (e.g. the space around you – the space above you), and the energy of the moves (e.g. move with a heaviness, move lightly). “Leaders-can you lead your partner into an asymmetrical shape? … stop there and hold that stillness … now lead them into a symmetrical shape using the space above you … don’t forget wrists and fingers … and stop there …” / > Teacher directs a guided exploration using the dance elements. Refer to the Dance Wall Chart: Practical Knowledge (Ministry of Education) for ideas.
Which students are finding lots of imaginative solutions to the guided discovery?
>Use suitable music from the DVD soundtrack of Maui (e.g. Chapter 27: Fire Pas de Deux in the background).
>Keep calling “change” so the other person takes a turn doing the initiating and leading.
>Keep reminding students to move very slowly.
Paired work / · Have the students trying to ‘trick’ the teacher by mirroring so well that the teacher can not guess who is initiating the moves! / > Students love trying to ‘trick’ the teacher and this ploy will encourage them to focus and move slowly with control! Walk around the room and shoulder tap those pairs who are moving in complete unison.
>Look for students who are focused and intent on their movements.
>Who is using a range of imaginative, controlled movements?
>Take anecdotal notes on a few students.
/ · Students (still in their pairs) then select a small section of work to refine and practise in order to present to the rest of the class (allow 5 – 10 minutes). Set up a scaffold and use a system of counts, sets of 8 (if the music is in 4/4 time) or sets of 6 counts (i.e. 3/4 time) to support students in their choreography. E.g.:
· Sit facing each other to begin in absolute stillness for the first 8 counts
· Lead with one arm only for 8 counts and return to starting position
· Repeat that section but follow the arm at some point with the head
· Add 8 counts of movement using the shoulders and upper body only
· Freeze for 8 counts
· Add on a section using the space to one side and low down
· Move towards a freeze (e.g. in the same position as number 5) to finish / > By keeping students seated it helps them to feel less self conscious
> Use music in the background (e.g. Chapter 21 or 27 from the DVD Maui) and restart the track often to encourage students to use the music for effect
> This sort of scaffold is really just a guide for students and some will want to deviate widely – let them! Some may want to transition to standing – let them.
> Demand focus and integrity even for the smallest movement
· Present the small sections of mirror image dances, half the class in action at a time whilst the other become the viewers / > Ask the viewers to look to see if they can tell if one person is leading.
>Give feedback on student’s ability to use slow, controlled movements.
> Take anecdotal notes on a few more students.
> Think about the world of fashion!
/ · Lead a reflective discussion on mirror imaging. Why do we (human beings) like to make sure we are similar to each other in real life? Where is this desire to conform very clear in real life? / >E.g. What did the dance work make you think about? What did you learn in Dance today? What was the most challenging part of the dance work?
/ · Conduct a circle reflection where students sit in a circle and respond to a key question one by one.
2 / Follow the leader / Learning intentions:
Students will:
1. Develop their dance vocabularies using improvised movement (PK, DI)
2. Develop and present a freeze frame (or still image) from a story of Maui in small groups (3-5) (DI, CI)
3. Develop dance ideas using the choreographic devices of retrograde, stillness and repetition when moving into their freeze ( DI)
4. Present a sequence of dance with focus and integrity. (CI)
5. View and discuss the images created in the introductory overview(“promo clip”) on the DVD of Maui (UC)
/ · Review the mirror activity as a whole class warm up. Teacher calls out different body parts to lead with (e.g. “emphasize your…. elbows, chin, shoulder, hands, thumb” etc). / > Or you might start by sitting in front of the class and leading the ‘mirror imaging’ then perhaps select a student to sit facing the class and have a turn at leading the mirroring.
> Graduate to high kneeling then to standing but continue to focus in on one section of the body and call for some ‘stops’ (i.e. stillness or freezes) at times!
· Introduce the improvisational game ‘flocking’. Explain that students are to stand in a diamond shape; the person at each corner of the diamond will at times become the leader. As the leader moves slowly, everyone else is to follow or shadow the movements until the leader turns 45 degrees either way in which case, a new person at that corner of the diamond takes over leading the movements. / Half the class standing in a diamond formation at a time might be enough dancers depending on the space available
>Remind the leaders to use slow motion and not to make sudden changes as everyone else is trying to follow them.
Use suitable music e.g. Chapter 6 or 11 of the DVD soundtrack of Maui.
/ · Divide into smaller groups of 4 to make the diamond (if there is room have 3 sets of 4 dancers up at a time). Repeat the ‘flocking’ dance improvisation Ask the other students to become viewers. They might look for the most effective moves to be refined and learned for later use. / >Remind dancers to be very focused and to use slow controlled moves- like in tai chi!
Give feedback on the range of movements used and invite feedback from the viewers.
/ · Discuss the dance improvisation and how it felt to be a ‘follower’ and a ‘leader’. What are the challenges faced by the leaders. In what ways was it difficult to lead? To follow? How does this situation (i.e. the dance improvisation – ‘flocking’) parallel real life? Who are our leaders now? What makes a great leader? Lead the discussion back in time … and to legendary figures. Elicit the name: Maui. / Who in the 21st Century are considered great leaders? List these people on a chart.
>You might ask students to investigate one great world leader.
/ · View the “promo clip” on the DVD of Maui. What images are presented? What did you notice about the type of movement? What did you notice about the costumes? The music? / > Teachers link to Primary Integrated unit Resource Sheet E: Who Is Maui?
/ · Ask students to move into small groups (3-4) and to draw a mind map which records their prior knowledge regarding Maui. Each group then takes one story they all know, chooses a moment of tension in the story and creates a still image or ‘freeze frame’ of it. Co-construct the success criteria and write up on the WB e.g. it must:
1. Be completely still/frozen
2. Use different levels and angles
3. Be visually designed so that the audience can see the moment of action
4. Communicate a moment of tension from a Maui story
5. Use appropriate facial expression / Keep this mind map to compare to one done individually at the end of the unit. These ‘maps’ could be a tool to measure student learning about Maui.
/ · Present freeze frames group by group (or half the class at a time) and discuss the effective use of the criteria established. Retell and clarify some of the stories of Maui. / > When presenting these, ask the viewers to try and interpret the freeze frame.
/ · Use these freeze frame/ images, and work on extending them by asking students to move into their freeze by ‘flocking’ (i.e. using slow motion and shadowing each other). You might direct them to select and insert some of the dance moves improvised earlier. At one point in the sequence they must add a rewind where the action suddenly goes backwards – like a movie! This is known as a choreographic device; retrograde. The sequence then goes forward again moving towards the original freeze frame. Ask the students to put in a stop (i.e. a moment of stillness) at some point in their sequence. Revisit and adjust the original criteria to include these changes. Allow time to refine and practise their sequences (5-8 minutes) / > Stay in the same groups
>Now the sequence becomes not just mimed action but more abstract and the movement stylised. It starts to move into the field of dance.
Use background music preferably with no lyrics e.g. Chapter 6, 11 or 27 from the DVD of Maui
>Look for students who are contributing creative ideas and who are exploring different options.
/ · Present group by group and give feedback on the criteria outlined on the WB. / >Which students are focused and dancing with integrity in the presentation of their work?
Opportunity for performance assessment
/ · Hand out Resource Sheet BB for students to complete / Useful evidence for assessment
3 / Learning intentions:
Students will:
1. Explore the movement vocabulary of kapa haka (PK)
2. Use choreographic devices including repetition and addition to develop a dance sequence based on the idea of paddling in a waka (DI)
3. Present their dance and respond to others’ dance sequences (CI)
4. Describe how dance – kapa haka was used in traditional Maori life and identify its purpose today. (UC) / Refer to the glossary in Dancing The Long White Cloud (Ministry of Education)
/ · View the section in the Discovering Dance DVD/ video the section on Maori dance (MoE) and investigate the different styles of Maori dance. Share students’ prior knowledge in a practical session if possible. Investigate the purpose of different styles today. / >Access the on-line teaching notes on TKI and down load:
www.tki.org.nz/r/arts/dance/discover_dance/maori
/ · You might also view a section of traditional kapa haka from the video resource Ihi Frenzy. / >Refer to the Ministry of Education Resource Ihi Frenzy, pages 10 – 12, for further resources.
/ · Ask students to sit in groups of 4 or 6 (in pairs as though in a waka) and show the actions of paddling holding the hockey sticks or rulers or…‘pretend paddles’. Find 3 different ways or movement motifs that capture the idea of paddling. Share back some ideas to whole class. Select some moves and refine and practise as a whole class. / >Play the Maui DVD sound track: Chapters 30 & 31 Waka Rap in the background
/ · Staying in their ‘waka groups’, ask students to ‘follow the leader’ (i.e. place one student slightly forward to lead the paddling moves). Have the other 3- 5 students following their leader’s paddling dance moves. Rotate places to let each student have a turn at leading the paddling. Play the music louder to raise energy levels. / >Encourage the improvisation by calling out some guidance using the dance elements “take your paddles high… add in a shoulder move as well…add a stop… try leaning back as you do that” etc.
>You might need to only allow 2 groups at a time in the space depending on numbers and the space available. The use of the sticks merits close monitoring of the use of space!
>You might select one paddling dance idea to refine and learn as a whole class.
/ · Allow students time in their paddling groups to select and refine one of their favourites to present to the rest of the class. View and de-construct. Use the Dance Wall Chart: Practical Knowledge to find appropriate vocabulary to describe the dance moves.