Pre Unit
Don’t forget to print off the Q3 Task Sheet and Checklist 🙂
Grade 10 U3 Task Specific Rubric
This unit we will be looking more in depth at the process of creating dances particularly different starting points (stimuli) for a dance.
What is a stimulus: it is something that inspired you to create dances. All artists respond to the world around them, whether they use movement, sound, images or words. Some artists have very important messages to communicate, while others enjoy playing with material and the ideas they generate. You can stick very closely to the stimulus or use it to guide and shape the material or your dance may develop in a different direction once the stimulus has done its job of getting you started.
Different types of stimuli:
- Visual: sight
- Auditory: sound
- Kinaesthetic: feeling
- Tactile: touch
- Ideational: the brain
Week 1
PLEASE ANNOTATE AND MAKE NOTES ON YOUR TASK SHEET & RUBRIC
Keyword: Form – structure/outline of a dance or accompaniment.
Ideational – Narrative: The Phantom of the Opera
“Our lives are one masked ball.” Gaston Leroux, The Phantom of the Opera.
This is one of my favourite musicals encompassing: jealousy, trust, obsession, love and it is not your typical happy ending story.
‘Far beneath the majesty and splendour of the Paris Opera House, hides the Phantom in a shadowy existence. Shamed by his physical appearance and feared by all, the love he holds for his beautiful protégée Christine Daaé is so strong that even her heart cannot resist‘ for more information please see the following website: http://www.thephantomoftheopera.com/the-show/synopsis
Choreographic approach: Literal – actions closely represent the subject theme or idea.
Outcome: Dramatic – features include mood, emotional content, conflict, issues, for example Swansong and Romeo and Juliet.
Choreographic device: Climax – the high point of the dance (everything leads up to this moment in the dance).
Dancer relationships: Contact, complementary and question and answer.
Group formation: Duet
Structure: Narrative
Have a look at the GCSE Dance resource for more information on creating dances. This is a massive support tool for this unit.
Evaluate the compositional structure for this piece of choreography. Would you have done anything differently?
Look at these variations:
The Phantom of the Opera Study Guide
Rubric Checklist
Ai: Dance language (keyword).
Aii: Compositional structure.
Bi: Technical (lifts).
Bii: Interpretive sensitivity to the work.
Dii: Evaluation of compositional structures (Phantom of the Opera).
Watch the whole show (You will need to put earphones in as it is pretty quiet):
Part 1:
Part 2:
Some of the movements you tried today:
What would you change?
Have a look at this it fits nicely with the concepts boundaries and interpretation. People don’t always interpret what you are trying to communicate in the way that you think… That is why FORM is so important.
http://www.people.com/article/sia-elastic-heart-apologizes-pedophilia-controversy
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Week 2
In what way does form communicate content? (We will look at the controversial Sia video).
Keyword: Combination of Elements – BASTE – Body, actions, space, time and energy.
Visual – Theme and Variation: Gaudi
Who is Gaudi? What did he do?: http://www.parkguell.cat/en/
Choreographic approach: Chance/Collage – movement itself is the main idea.
Outcome: Abstract – explores a theme or idea in a non-representational way, for example Birdsong: https://www.youtube.com/watch?v=7_4ox8gvc-Y
Choreographic devices: Transitions – links between movements. Contrast – adding something different to the motifs for example; slow movements on the spot to fast movements using the space.
Dancer relationships: Canon.
Group formation: Group
Structure: Theme and Variation
Plan 4 counts of 8 of choreography then we will mix and mash it all together. We are using the music from the video. Make sure you notate or take photos of your original movements as they may develop/alter in the two lessons. This is part of the choreographic process (select or reject?).
***Remember part of your end task it to create a video discussion that compares and contrasts three types of form. You could have already completed two from the classes so far.
Stimulus G10 U3 L1 Try to brainstorm some of your ideas for the stimuli on this resource in the boxes for the stimuli. This will support you with creative ideas for weeks 6/7.
You should be Gaudi Artists 🙂
Rubric Checklist
Ai: Artistic processes (Dance keywords).
Aii: Compositional structures (Theme and variation).
Bi: Technical skills (Coordination).
Bii: Performance skills (Interpretive sensitivity to the work).
Ci: Artistic intention (Creating movements for the visual stimulus).
Cii: Perspectives (Commenting on how they would modify the choreography).
Ciii: Exploration (Structure – theme and variation).
Di: Connections between form and stimulus (Abstract – Visual: Gaudi).
Dii: Response to the stimulus (Creating motifs that respond to Gaudi).
Diii: Evaluation (Analysing the structure used by the teacher).
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Week 3
Keywords: Combination of Elements – BASTE – Body, actions, space, time and energy. (We didn’t look at this last week).
Auditory – Binary: Dog Days Are Over
What instruments were used?
What vibe do you get from this music?
Would this piece of music influence your movements? Try to create 4 counts that match the music.
Is this similar to your movements?
Or maybe this?
Did you spot any differences between a duet and a group ensemble?
Florence co-wrote the song with Isabella Summers. She also teamed up for the percussion on the track, together with Charlie Hugall. “Dog Days Are Over” also features musicians Tom “Moth” Monger (harp), Bruce White (viola), Everton Nelson (violin), Christopher Lloyd Hayden (drums) and Rob Ackroyd (guitar).
Choreographic approach: Symbolic – actions or features that closely represent the subject, theme or idea.
Outcome: Pure: concerned with the movement itself.
Choreographic devices: Highlights – important moments when you draw the audience’s attention. (What they will remember after the performance). We will try this using percussion.
Dancer relationships: Canon.
Group formation: 1+2+2+2+1
Structure: Binary
Rubric Checklist
Ai: Artistic processes (Dance keywords).
Aii: Compositional structures (Binary).
Bi: Technical skills (Control).
Bii: Performance skills (Focus).
Ci: Artistic intention (Creating movements for the visual stimulus).
Cii: Perspectives (Commenting on how they would modify the choreography).
Ciii: Exploration (Structure – binary).
Di: Connections between form and stimulus (Pure – Auditory: Dog Days Are Over).
Dii: Response to the stimulus (Creating motifs that are symbolic: percussion).
Diii: Evaluation (Analysing the structure used by the teacher).
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Week 4
We were meant to look at a Tactile stimulus. However, I noticed that I had made a mistake last week. So I would like to try the original structure for an Auditory Stimulus.
Auditory – Binary: Uptown Funk (Mark Ronson).
Why was last weeks choreographic structure incorrect?
This week you will learn one set of movements from me and I will add in a transition phrase where you will then create (16) counts of your own choreography based around the music.
You can choose to follow one these Binary structures:
Ms Megan’s Choreography > Transition > Your Choreography
or
Your Choreography > Transition > Ms Megan’s Choreography
*Please remember that what you plan and what you actually do are sometimes different and the composition will change. For example:
| Planned Composition | Actual Composition | |
| Lesson 1 | Stimulus: Ideational – The musical the Phantom of the Opera.Choreographic approach: Literal – I wanted the actions to represent the idea (Phantom of the Opera).Outcome: Dramatic – I wanted to convey this idea of obsession (issue).Choreographic device: Climax – the high point of the dance (everything leads up to this moment in the dance). I wanted to finish with the final big lift.Dancer relationships: Contact (lifts) complementary (performing similar movements) and question and answer (a movement conversation).Group formation: Duet (two dancers)Structure: Narrative or Episodic (storyline unfolds a section at a time) | Stimulus: Ideational – YES because we focused around the idea of the Phantom of the Opera. Choreographic approach: Literal – YES. Certain movements we could identify with the play for example when the male lifted his arms up and down represented lifting up a cape.Outcome: Dramatic – YES I think my movements displayed this as the male followed the female dancer. However, I would have liked to have seen more expression in my dancers.Choreographic device: Climax – The idea of it YES. But when I the dancers actually completed this lift it didn’t have the ‘climax’ effect I had hoped for.Dancer relationships: Contact – YES we completed three lifts. Complementary – NO I don’t think that the movements were similar once I taught them to the performers.Question and Answer – NO I don’t think that the duet showcased a conversation between the performers.Group formation: Duet – YES.Structure: Narrative or Episodic – YES I think the music also supported this area as we used the same piece of music from the show. |
| Lesson 2 | Stimulus: Visual – Gaudi Mosaic. Choreographic approach: Chance (random selection of movements). Outcome: Abstract (non representational). Choreographic devices: Transitions (links between movements). Contrast (adding something different). Dancer relationships: Canon (one or more dancers move after each other). Group formation: Group. Structure: Theme and Variation (each section develops from the one before). | Stimulus: Visual – YES because firstly we focused on the visual images. Nevertheless, this could also transfer to Kinaesthetic because you actually physically completed the mosaic activity or Ideational (However, isn’t everything we complete an idea). In my perspective I still think the stimulus is visual as my starting point was the Gaudi Image.Choreographic approach: Chance – YES the movements were random. I didn’t know what you were going to choreograph. Outcome: Abstract – YES this was focused on pure choreography rather than a plot. They suggest a particular subject (mosaic, lots of pieces put together to make one image). This could support the ideational stimulus. Choreographic devices: Transitions – NO we didn’t get time to complete these as we didn’t link all of the performers movements together so that we could re-order them. Contrast – NO we didn’t get time to complete this as we didn’t link all the performers movements together so that we could challenge them dynamically within a composition. Dancer relationships: Canon – NO we didn’t complete this. Everyone danced in unison because it took a long time to learn the choreography. We could have completed Counterpoint where you all performed your individual movement sequences at the same time. Group formation: Group – YES. Structure: Theme and Variation – YES to some extent as each dancer was asked to follow on from the next. |
| Lesson 3 | Stimulus: Auditory – Dog Days Are Over (Florence and the Machine). Choreographic approach: Symbolic (actions or that closely represent the theme).Outcome: Pure (just movement itself).Choreographic devices: Highlights (what they will remember after the performance).Dancer relationships: Canon (movement overlaps).Group formation: 1+2+2+2+1Structure: Binary | Stimulus: Auditory – YES because movements were developed when listening to the music.Choreographic approach: Symbolic – YES I think the actions were relevant to the theme of the song as it used a lot of percussion instruments we decided to use body percussion in the dance.Outcome: Pure – YES I was only really concerned with the movement. It is different to abstract as this is representational.Choreographic devices: Highlights – YES I did highlight and develop one motif. I can also say that I used repetition because we repeated the same movements but at a different speed.Dancer relationships: Canon – NO I actually did accumulation as it was more like following the leader where one dancer began the series of movements and the other dancers joined in until we were all in unison.Group formation: 1+2+2+2+1 – NO we actually did a 2+2+2+2 and then unison.Structure: NO we actually completed 3 sections not two so it is a TERNARY structure.A = motif 1B = a combination of different phrasesA = motif 1 which was developed (tempo and repetition). |
| Lesson 4 | Stimulus: Auditory – Uptown Funk (Mark Ronson). Choreographic approach: Collage (organising the material and piecing the dance ideas you have created) & Chance (random selection of movements).Outcome: Pure (just movement itself).Choreographic devices: Transitions (links between movement sections/phrases).Dancer relationships: Unison (same movement at the same time).Group formation: GroupStructure: Binary | Stimulus: Auditory – YES because movements were developed when listening to the music. Choreographic approach: Collage – YES as we pieced together the material we had created & Chance – YES ½ of movements were random. I didn’t know what you were going to choreograph.Outcome: Pure – YES I was only really concerned with the movement.Choreographic devices: Transitions – YES we used one transition which was evident before the next section.Dancer relationships: Unison – YES as a majority some students chose to reorder the sections which altered the structure.Group formation: Group – YES.Structure: Binary – YES for the majority. However, Morteza altered his structure as he split his motif into 2 parts so he ended up with:Motif 1: Morteza’s movementsMotif 2: Ms Megan’s movementsTransitionMotif 3: Morteza’s movements.(This is a Ternary structure). |
Now I have allocated your individual stimulus which you will plan and prepare to perform a 1 minute (minimum) 1:30 (maximum) solo on:
Wednesday 25th Feb – 1st recording with verbal feedback.
Thursday 26th Feb – Final recording.
Yoshie = Visual: Think about what we see (Pink smoke/paint).
Amirali = Auditory: Think about what we hear (1 Reggae piece of music).
Madina = Kinaesthetic: Think about the movement (Slinky).
Syavira = Tactile: Think about what we touch (Pineapple).
Morteza = Tactile: Think about what we touch (Water).
Elena = Ideational: Think about ideas and concepts (Do not cross).
Nick = Ideational: Think about ideas and concepts (Heels and Ballet shoes).
Anas = Ideational: Think about ideas and concepts (Work, life, balance).
Attached are the slides for you to write some notes on: Stimulus Edited for the Students G10 U3 L4
Also attached is the note page you requested: Stimulus Planning Sheet G10 U3 L4 (Alternatively you can create your own).
SO THIS MEANS THAT YOUR TASK HAS ALTERED SLIGHTLY I HAVE ATTACHED A NEW COPY OF THE TASK SHEET FOR YOU: Grade10U3TaskSheet
Remember I am looking at the following areas for your practical performance:
Criterion B:
Technical: Control (performing the actions with skill and sensitivity and the appropriate muscular awareness) & Coordination (controlling all parts moving at the same time).
Performance: Focus (use of the eyes looking at the audience or out across the space) & Interpretive sensitivity to the work (a personal understanding of the actions projected through style, use of music and dynamics).
Something to think about: Comparing a dance with an essay…
|
Dance |
Essay |
| Actions | Words |
| Motifs: actions linked together. | Sentence: words make sentences. |
| Both make a statement that expresses an idea/topic. | |
| Section contains motifs and some variations. | Paragraph has at least four sentences. |
| Both have linked ideas that express more detail and are based on the original statement. | |
| Number of sections=framework | Number of paragraphs=structure. |
| The structure has a shape, a clear size and duration and is logical in expressing its idea. | |
Rubric Checklist
Aii: Compositional structures (Binary and critiquing prior lessons).
Bi: Technical skills (Coordination).
Bii: Performance skills (Interpretive sensitivity).
Ci: Artistic intention (Creating movements for the auditory stimulus).
Cii: Perspectives (Commenting on how they would modify the choreography).
Ciii: Exploration (Structure – binary).
Di: Connections between form and stimulus (Pure – Uptown Funk).
Dii: Response to the stimulus (Organising motifs).
Diii: Evaluation (Critiquing the structure used by the teacher).
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Week 5
Video Recording Week 🙂
We will be focusing mainly on Criterion B:
Bi – Technical Skills
Coordination – The ability to move all parts of the body together efficiently, gracefully and with clarity. Coordination is key to finding that essential flow that makes dancing seamless. Dancers who have difficulty with coordination often have difficulty with musicality, too.
Control – Control is the mastery of the body and it’s ability to perform movement as precise and difficult as required. Greater core strength gives you greater control. Example: control is required in turns to maintain balance.
Bii – Performance Skills
Interpretive Sensitivity – Your explanation of the idea through dance. Does your dance represent the stimulus? (Is this communicated well?)
Focus – To most dancers, focus has to do with where you are looking and/or how you are connecting to the audience. This is usually described as “internal” or “external.” It can also relate to concentration; ‘losing focus’.
For each dancer please note down:
- 1 strength
- 1 area for development
These should relate to the skills stated above. Try to be specific when giving comments.
REMEMBER these following points for your performance:
- You need a white piece of paper with your FULL NAME stated clearly
- You need to introduce yourself and your dance.
- You need to stay in the camera frame. (The camera should be able to see each movement clearly).
We will then give feedback to each individual dancer.
***Make sure that you make notes when you receive your feedback then you can select or reject comments depending on what you think you should alter in the choreography. This should all be evidenced on your blog.
What is your plan now?
Rubric Checklist
Aii: Compositional structures (Acknowledging the structure on your blog).
Bi: Technical skills (Coordination & Control).
Bii: Performance skills (Interpretive sensitivity & Focus).
Ci: Artistic intention (Evidence of creating movements for your stimulus).
Cii: Perspectives (Commenting on how you would modify other student’s choreography as well as your own).
Ciii: Exploration (Structure – this should be evidenced on your blog).
Di: Connections between form and stimulus (This should be evidenced on your blog).
Dii: Response to the stimulus (Organising motifs – recognising this on your blog).
Diii: Evaluation (Critiquing your performance and identifying what you need to complete for your re-recording).
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Week 6
A few pointers to take note of before your re-recording:
- Your name displays were unclear.
- Only one of you wore a costume. What should you wear for your performance?
- You move outside of the camera angle: we cannot see some of the moves?
- The camera is your audience: look at it.
- You can see socks in the view which looks unprofessional.
- The energy is low in your performance.
- Show stillness at the end of your performance which symbolises that you have finished. Don’t just run off the stage!
Rubric Checklist
Aii: Compositional structures (Acknowledging their structure on their blog – the students should have completed their video recording).
Bi: Technical skills (Coordination & Control).
Bii: Performance skills (Interpretive sensitivity & Focus).
Ci: Artistic intention (Evidence of creating movements for their stimulus – evidenced on their blog).
Cii: Perspectives (Their perspective and ideas on the feedback that they have received).
Ciii: Exploration (Structure – this should be evidenced on their blog – this might change depending on their feedback).
Di: Connections between form and stimulus (This should be evidenced on their blog).
Dii: Response to the stimulus (Organising motifs – recognising this on their blogs).
Diii: Evaluation (Critiquing their performance and acknowledging what they have completed for their re-recording).
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Week 7
Keyword: Manipulating Style Specific Movements to Suit Intent – Selection of the movements most suited to express the concept or intent. Does the form suit your stimulus and intent?
Today is your FINAL recording.
What is your interpretation of this dance? (100 word max)
Why do you think I asked you to complete this? (Think about the message behind the choreography was it clear?)
What is meant to SUPPORT the choreography that you create?
THE BLOG (Process Journal)
*I am still not seeing your individual development process when I read through your work.
PLEASE COPY THE FEEDBACK I HAVE WRITTEN FOR YOU ON MANAGEBAC AND DISPLAY IT ON YOUR BLOG
Individual reflection
- How do you feel about the feedback?
- Do you agree/disagree with all of the grades? (Please tell me why)
- Give me one specific area that you would like to improve next quarter.
Ms. Megan's Dance Space 