The foundational objectives describe the required content of the Arts Education program. What follows is a description of each foundational objective, how it applies to students at the grade six level, and how its achievement can be evaluated by the teacher.
The Foundational Objectives At a GlanceThe students will:3. Examine ways that dance mirrors and influences individuals, societies and cultures (past and present). 4. Examine the work of various dance artists.
Dance is a means for communicating ideas and intentions in a language other than a written or spoken language. It is a unique medium of expression. In grade six, students will use dance as a means for expressing their own ideas and intentions, and will learn about the process of making dances. The process of creating is as important, and in some cases is more important than the end product. It is through the process of creating that students learn. When creating, students will be challenged to brainstorm, problem-solve, explore, experiment, reflect and so on.
In grade six, the students will:
In a sense, it is artificial to divide the creative process into these stages. Teachers should see these stages as part of one continuum and understand that there is cross-over among them.
Getting Started: Sources of Inspiration
Choreographers get their ideas for dances from many different sources. They might draw on their personal experiences and feelings, the environment, their writing, observation, their imagination, memories, current affairs, the other arts, etc., or any combination of the above. Just as importantly, ideas for their dances might emerge from the elements and structures of dance itself. Many choreographers use journals to collect and incubate ideas and musings which might, some time in the future, become starting-points for dances.
Ideas for students' dance compositions can be sparked by anything of interest to them. Teachers should encourage students to explore a variety of starting-points in their dance-making.
At the grade six level, students will:
Developing Movements
This stage of the process involves developing movements which might be used later when composing the dance. Students will generate dance movements using their starting-points as inspiration. In doing so, they will need to discover the essence or core characteristics of their initial ideas and transfer these discoveries into movement. As a result of this transformation, the students' movements should depart from a literal or pantomimic interpretation of their original idea, possibly showing only a slight resemblance to the starting-point. The students will use improvisation and movement manipulation throughout this process of initial exploration to develop and further refine their movements.
Teachers should note that when students are developing their movements, there might be a progression or transformation from the original idea into a completely different idea. This is to be expected and is a natural evolvement in the creative process. Teachers should encourage students to follow serendipitous moments or other moments where intuition or flashes of inspiration lead away from the original idea into something new. At times, teachers might observe the following: a beginning idea was only a jumping-off point for another idea; the development of the dance idea evolved so far from the original as to be unrecognizable; several starting-points were combined when exploring and developing the movements.
When the students' work is being assessed, changes of direction in their creative processes should be valued and not be seen as a failure in achieving the original idea.
In grade six, students will:
This stage involves sequencing movements into a form. Just as words on a paper gain meaning when they are structured into sentences and sequenced into poetry or prose, it is the sequencing of dance phrases into form that makes dances meaningful and gives them a sense of purpose. (Teachers should note that some cultural and social dances, while they do have form, are not sequenced prior to being danced. They are composed on the spot.)
Principles of composition are the "tools" that help sequence movements into a whole. Choreographic form is the organizing structure into which movements are sequenced. Some examples of choreographic forms are binary (AB), ternary (ABA), rondo (ABACA...), theme and variations (A-A1-A2-A3, etc.), narrative, collage, chance and organic. Form must evolve from the dance ideas and should be only the means by which the idea is presented. Often dance ideas cannot be forced into a preconceived form. By having the form evolve from the idea, the dance composition becomes an integrated whole.
Teachers should make sure that if they are setting movement problems in which the students are to explore specific choreographic forms, the dance phrases the students create in response to the problem must accommodate the form. For example, if students are to create a dance composition with an AB form, they will need to create two dance phrases that contrast in some way. Teachers could ensure this by simply giving students the task of creating two contrasting dance phrases or by asking students to explore and create two dance phrases in response to contrasting ideas such as confinement and freedom.
By now, students will understand that dance phrases have an observable beginning, middle and end, and they will have created short dance compositions displaying basic forms. Middle years students will continue to learn about choreographic forms. Students will be working toward gaining an understanding of form so that, in later years, they can apply this understanding to their own dance expressions.
In grade six, students will continue to create dance phrases with an observable beginning, middle and end. In addition, students will:
As mentioned in "Developing Movements", teachers should remember that departures from the original source of inspiration in the students' work is a natural evolvement of the creative process. Departures should be valued and should not be seen as failures in achieving the original idea.
When assessing an individual student's achievement of this objective, teachers should listen to and observe the student's discussions, dance explorations, improvisations and creations. Teachers might ask questions such as the following:
Actions, body, dynamics, space and relationships are the elements of dance. They are the ingredients or basic language of dance and are integral to understanding dance. When reflecting on the dances of others and creating their own compositions, students will be using their knowledge of the dance elements.
Principles of composition are tools or devices which, over time, have proven to be useful in creating well-formed dances. A well- formed dance is one in which all movements contribute toward the whole. Although the principles apply to all dance compositions, their use will vary according to the choreographic intent. In part, this is what gives dance compositions their individual characteristics. The principles of composition identified in the dance program are adapted from the work of H'Doubler (1957), Lockhart and Pease (1982) and Minton (1986). They are climax and resolution, contrast, repetition, sequencing and development, transition, unity and variety.
The dance elements and principles of composition do not in themselves constitute the dance program; nor are they intended to be studied in isolation. The elements and principles of composition become relevant only when seen in relation to the art form of dance. Therefore, the dance curriculum strongly recommends that the elements and principles of composition be explored within the context of creating and viewing dances, as well as in a context of interest to the students. Students should be encouraged to identify, describe and reflect on the elements and principles of composition as they encounter them in their ongoing dance experiences. What the students learn about the elements of dance and principles of composition should be reinforced and applied throughout the year.
At the Elementary Level, students focused on the elements of dance. They should, therefore, be familiar with basic concepts. At the Middle Level, students will focus on the principles of composition. They will begin to develop their understanding of the principles as they are challenged to sequence their movements in a logical manner and create dance compositions that begin to display unity among the parts.
Middle years students will also extend their understanding of the dance elements and purposefully use this knowledge in their dance experiences. Teachers should refer to Appendix A for detailed information on the dance elements and how they relate to middle years students.
The following learning objectives describe what students in grade six should learn about the elements and principles in general. The students will:
The following outlines what the students are to experience for each individual principle of composition at the grade six level. They are listed in alphabetical order: contrast, repetition, sequencing and development, transition, unity and variety.
Contrast
Contrast is vital to maintaining audience interest in dances. Contrast can be achieved by combining and/or juxtaposing unlike movements. Movements can differ in action, body, dynamic, space or relationship concepts.
In grade one to grade five, students had many experiences in contrasting their movements in their dance explorations and creations. At the Middle Level, students should continue to experiment with contrasting movements. Grade six students will:
Repetition Repetition of movement phrases or parts of phrases is reassuring for an audience. Repetition permits an audience to see the movements in more detail, allowing them to become familiar with the movement vocabulary the choreographer is using. Repetition can also be used to give certain movements an added emphasis. When used effectively, repetition can help create unity by relating sections of a dance to each other.
Repetition should be used prudently when creating dances. As a general guide, movements should be repeated just to the point at which the audience is familiar with them and not to the point at which the audience becomes bored with them.
In grade six, students will:
Sequencing and development refer to the ordering of movements (sequencing) in a meaningful way (development). When movements are purposefully connected to each other, they gain significance and take on meaning. This is similar to a word gaining significance when it is placed in a phrase or sentence. As the dance unfolds, each movement and choreographic idea should grow logically out of the previous one. This creates continuity, helping the audience follow the intent of the dance. However, if the sequencing and development of the dance are too predictable, audiences will become bored.
Students in grade six will:
Transitions are needed when movements and dance phrases are connected. Transitions should work toward the intent of the dance composition by connecting the movements and dance phrases in a meaningful way. Transitional movements should promote continuity and should not stand out from the rest of the dance composition.
In grade three to grade five, students were encouraged to pay attention to the ways they connected their movements and dance phrases. In the middle years, students will continue to consider the transitions they use in their dance compositions.
Students in grade six will:
When all the parts work together in a harmonious and balanced way to contribute to the whole dance, there is unity. Every movement, no matter how brief, should work toward the intent of the composition. Unity is achieved when the removal of any portion of the composition damages the whole dance. In the middle years, students will only begin to create dance compositions showing unity.
Grade six students will:
Variety within a dance composition is vital to engaging and holding an audience's interest. Variety can be incorporated in several ways, as illustrated in the following examples: selecting unlike movements to create variety; varying dance phrases in length and structure; varying spatial, dynamic, body or relationship aspects when movements or phrases are repeated; or presenting movements in retrograde (doing a movement backwards, similar to playing a film backwards).
In grade six, students will:
When assessing an individual student, teachers should listen to and observe the student's discussions, dance explorations and creations. Teachers might ask questions such as the following:
One of the goals of the Arts Education program states that students should come to understand the contributions of the arts and artists to societies and cultures, past and present. The purpose of this objective is to encourage students to examine the relationships between dance and individuals, world cultures and societies. Dances are expressions of people. The study of dance reveals the experiences of people within the context of their culture and society.
Throughout time, dance has defined and transmitted traditions and perspectives of cultures and societies. For example, Aboriginal dances serve many functions and continue to play a large role in maintaining each nation's cultural identity. As well, individual dance artists have frequently used dance to express their own ideas, often responding to and reflecting the times they live in. Sometimes these dances challenge cultural or societal values and offer social commentary. Dance exerts an influence on people within cultures and societies and, conversely, influential individuals and groups affect the dance of their own cultures and societies.
In grade one to grade five, students examined the role of dance in their own lives, their community and surrounding communities, and in various cultures. At the Middle Level, students will deepen their understanding of the dance of individuals and world cultures through discussing, researching, observing and learning dances. Sometimes students will discover societal or cultural factors which influenced an individual dance artist; sometimes the ideas and beliefs of cultures or societies will be revealed. Included in this study will be students' growing awareness of the connections between their own dance expressions, their lives and their society.
In grade six, students will:
Projects related to this foundational objective are likely to include classroom visits by people in the community, field trips, research and discussion. In addition, students will learn various social and cultural dances. Teachers should involve the students in the planning of projects and observe their process in planning and carrying out the plans.
When assessing an individual student's achievement of this objective, teachers should observe the student's commitment and contributions to projects. The teacher should observe the student's understanding of the dances, cultures and societies discussed. Teachers might ask questions such as the following:
One of the goals of the Arts Education program states that students should gain lasting appreciation of art forms experienced as audience. To achieve this goal, students should view and discuss a variety of live or recorded dance presentations. Students should become familiar with the work of dance artists, particularly those of Saskatchewan and Canada.
In order for students to derive full benefit from viewing dances, it is important for the teacher to guide them in a process such as the one described in "Responding to Dance Presentations" in this curriculum guide. Such a process will encourage students to suggest interpretations of dances and state opinions which they are able to support. As well, the process will encourage students to look at the artist's work within the context of the time it was created and, through research, get a sense of those times. In so doing, students will begin to understand some of the work of dance artists and have an opportunity to explore individual and cultural world views as expressed through dance.
Teachers should ensure that students gain a comprehensive understanding of dance by exposing them to a variety of dance styles and dance artists (male and female), extending across times and cultures.
In grade six, the students will:
Projects related to this objective might include discussions, research, field trips, encounters with resource people, and viewing dance presentations. Teachers should involve the students in the planning of projects.
The teacher should observe the students' commitment to the projects and their contribution to discussions. Listen for new ideas. The teacher should observe the students' understanding of the dances and dance artists discussed. The teacher should observe the students' awareness of their own responses to dances, and their own interpretations of what in the dances evoked those responses.
It is possible that students' dance projects will grow from what the students have learned about dance and dance artists. Observe the students' decision-making as they work on their projects. Observe the students' participation when they are viewing and discussing dance projects.
When assessing an individual student's achievement of this objective, teachers might ask questions such as the following:
The purpose of this objective is to encourage students to respond to all dance presentations, including their own and their peers', in a thoughtful and meaningful manner. Students will be required to go beyond their initial reactions to describe, analyse, and further investigate the dance before coming to an informed judgment. The objective will require students to support their own opinions and respect the opinions of others.
Most likely, students will have a preference for one dance style over another. Students should be challenged to suspend their personal preferences and show tolerance for dances before arriving at their judgments. In the end, students might find that their appreciation for dance has been extended to include dance styles not previously accepted or understood.
Teachers can assist students by using a process such as the one described in "Responding to Dance Presentations", included on page 106 of this curriculum, to guide students in their responses. As well, teachers can plan activities which actively engage and involve the students when responding. Examples of such activities include discussions, research, large and small group activities, writing projects, etc.
Students should be encouraged to apply critical thinking to their own dance compositions. Open, supportive discussion of student work in class can strengthen students' abilities to become more informed audience members.
In grade six, the students will:
When assessing the individual student's ability to achieve this objective, the teacher should observe the student's contribution to discussions. The teacher should observe the student's awareness of his or her own response to dances and personal interpretation of what in the dances evoked those responses. Teachers might ask questions such as the following: