Teaching
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Example Unit Plan
Unit Plan
Lesson Plans
| Class Age/Level: 12-15 y/o Intermediate Ballet |
| Unit Theme: Rhythm/Musicality |
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Unit Objectives Students will: -Have a better understanding about different musical ideas as they relate to dance. -Have a better idea of how to apply their understanding of the relationship between movement and music to their own artistry. -Have a greater appreciation for music in general, which is the counterpart to so much of dance. |
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Lesson 1 -Rhythm vs Pulse Objectives Students will: -Have a better understanding of the difference between pulse and rhythm in music. -Have a better idea of how the concepts of pulse and rhythm connect to dance. -Be able to better apply these ideas to their own artistry both in phrase work and in improvisation. Narrative This will be conveyed through a themed warm-up that introduces the idea followed by a chance for the students to explore the concept in their own bodies. Following that we will work through a variation of the traditional ballet class structure with exercises designed to bounce between working on the pulse, with various rhythms and without a clear pulse. This will culminate in a creative exercise where the students will create a combo that demonstrates its own rhythms and pulses, which we will then discuss as a part of our cooldown. |
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Lesson 2 – Accents Objectives Students will: -Have an increased understanding of accents in relation to ballet movement. -Have an increased understanding of musicality and how it relates to ballet technique. -Have an increased understanding of the choices that you can make within the structure of a ballet class Narrative Following a brief warm-up students will be given combinations designed to allow them to explore the concept without having to fully improvise. After that will be a variation on a traditional ballet class structure with exercises designed to work with accents, against accents, with changing accents and without accents. Towards the end of the class, the students will have an opportunity to apply their knowledge in a small choreographic exercise, which we will then discuss as a closer to our class. |
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Lesson 3 – Time Signatures Objectives Students will: -Have a better understanding of what a time signature is. -Be able to recognize and recall the time signatures most often used in ballet. -Have a better understanding of the rhythmic qualities of movements and how they fit into certain time signatures. Narrative This class is designed to be similar to the “Rhythm vs Pulse” class to allow the students to dive deeper into their understanding of the movement and concepts. As such, it begins with a similar warm-up that has been tweaked to better fit the concept of time signatures. This is followed by some improvisation based exercises and a set of exercises that should be familiar to the students so that we can dive deeper into their artistry. This culminates in a choreographic exercise that emphasizes adaptation. We will then conclude with a brief discussion about it as a part of our cooldown. |
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Lesson 4 – Musical Phrasing Objectives Students will: -Have a greater understanding of musical phrasing. -Have a better understanding of how phrasing can be used in dance. -Have an idea of how to use phrasing to enhance personal artistry Narrative This class is designed to be similar to the “Accents” class to further reinforce ideas introduced earlier while diving deeper into new levels of understanding. This begins with a brief warm-up followed by some simple exercises that are designed to allow the students to explore the concept. After that, we will move through a “traditional” ballet class with exercises both designed for this purpose and pulled from earlier in the unit with tweaks for this concept. As the end of class the students will play a small choreographic game where they will have to solve challenges of musical phrasing, followed by a brief discussion and cooldown. |
Tab 1
Rhythm vs Pulse
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Objectives After this lesson, students will: -Have a better understanding of the difference between pulse and rhythm in music. -Have a better idea of how the concepts of pulse and rhythm connect to dance. -Be able to better apply these ideas to their own artistry both in phrase work and in improvisation. |
| Materials: Device to play music/metronome |
| Methodology: Teacher led movement, discussion, improvisation and phrase work. |
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Warming Up: Brain dance (to be done to a metronome or similar basic pulse): Breath: Breathing on your own time. Tactile: Patting different rhythms on different parts of the body, in a call and response pattern Core/Distal: Curling and unfurling at different rates relative to the pulse (in 8’s, 4’s, 2’s, and 1’s) Head/Tail: Move head/tail on beat/pulse, move head on beat and tail on half-time and vice versa. Upper/Lower: Partner up and move upper body to a rhythm for four counts. Then follow your partners rhythm for four counts before adding on your own four counts. So each time you move, you are dancing eight counts, four of the previous rhythm and four of a new one. Repeat process with lower body. Body Half: A continuation of the previous exercise, working with a different partner, use one half of your body to make the rhythm, then the partner is going to copy that rhythm with their body half, then make their own rhythm. Cross-Lateral: Walking on the pulse then to double time, half time and dancers’ choice rhythm Vestibular: Stand on one leg, try to move each limb to a different rhythm. |
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Exploring the Concept: Dancers will explore finding the pulse and rhythm of the music and explore different ways to move with that in mind. They will begin by finding their own interpretation of the pulse, then move to that interpretation, then contrast it with various rhythms. Dancers will dance in 2-3 minute bursts to 3-4 songs with a variety of rhythms, meters, tones, and tempos. Sometimes, the pulse is clear, and others the pulse is more vague. We will discuss briefly after each song if time permits. |
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Developing Skills Plie Start in first Demi plié for four counts, Come out of plié for four counts, Demi plié for four counts, Come out of plié for four counts, Port de bras front for four counts, Come back to standing in four counts, Cambré back for four counts, Come back to standing in four counts and transition to second position Demi plié for three counts, Come out of plié for three counts, Demi plié for three counts, Come out of plié for three counts, Port de bras toward the barre for three counts, Come back to standing in three counts, Port de bras away from the barre for three counts, Come back to standing in three counts, Transition to fifth position Demi plié for two counts, Come out of plié for two counts, Demi plié for two counts, Come out of plié for two counts, Port de bras front for two counts, Come back to standing in two counts, Cambré back for two counts, Come back to standing in two counts, Transition to fourth position Demi plié for one count, Come out of plié for one count, Demi plié for one count, Come out of plié for one count, Port de bras toward the barre for one count, Come back to standing in one count, Port de bras away from the barre for one count, Come back to standing in one count. In this class it will be done to a clear 4/4 song so that the different lengths for each movement will create a new rhythm against the steady pulse of 4/4. Tendu Start in first position. Tendu the right foot to the side in 1 count. Hold for 1 count. Close to first position in 1 count. Hold for 1 count. Tendu the right foot to the back in 1 count. Hold for 1 count. Close to first position in 1 count. Hold for 1 count. Tendu the right foot to the front in 2 counts (1, 2). Hold for 1 count. Close to first position in 1 count. Hold for 1 count. Tendu the right foot to the side in 2 counts (1, 2). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the back in 2 counts (1, 2). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the front in 3 counts (1, 2, 3). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the side in 3 counts (1, 2, 3). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the back, holding it for 2 counts (1, 2), then close to fifth position in 1 count. Hold for 1 count. Repeat the combination on the left side starting with the left foot. Degage Done in first facing the barre to the rhythm 1,and,2,and,3,and,4,and,5,and,6,and,7,and,8,and As an example:Dégagé out on count 1, close to first on count 2, Dégagé out on count 3, close to first on the “and” of count 3, Dégagé out on the “and” of count 4, close to first on the “and” of count 5, Dégagé out on the “and” of count 6, close to first on count 7, Dégagé out on count 8. Rond de Jamb From fifth position – Every move initiates on the pulse of the music Temps lie devant [1] Temps lie derriere [2] Lift the leg to degage [3] Brush en cloche to tendu derriere [4] Rond de jamb x4 [5,6,7,8] Degage devant [1] Coupe [2] Develope derriere [3] Brush en cloche to degage devant [4] Rond de jamb en lair to a la seconde [5] Tendu [6] Rond de jamb a terre to derriere [7] Close fifth [8] Repeat whole combination en dedans Stretches: forward and back port de bras (8 counts each) Lunge,forward and back port de bras (8 counts each again) Close fifth, retire balance (16 counts) Close, move into parallel, stretch with some plies. Stretch out the calves. Do the hamstring stretch where you hang off the barres. Frappe Frappe [1] Frappe [2] Frappe,frappe, frappe [3, and, 4] To be repeated front, side, back Double frappe side [1], hold [2] Double frappe side [3], hold [4] Frappe, frappe, frappe [1, and, 2] Frappe [3] Frappe [4] To be repeated back, side, front Double frappe side [1], hold [2] Double frappe side [3], hold [4] Petit battement for 8 counts Balance passe for 8 counts Grand Battement 1 Grand battement en crois [1,2,3,4] 2 Grand battement en crois [5,6,7,8] 2 grand battement devant [1] Passe over [2] 2 grand battement derriere [3] Passe over [4] 4 Grand battement a la seconde [5,6,7,8] Center Tendu Tendu croisé devant, close, tendu [and, 1] Close, tendu, tendu [and, 2] Tendu, close, tendu [and, 3] Temps lié [3, and] Close fifth [4] Repeat derrière Tendu à la seconde x4 (with alternating legs traveling back) [1, 2, 3, 4] Pas de bourrée [5] Plié fifth [6] Pirouette [7] Close [8] Repeat on left Center Adagio Chassé devant to fourth position lunge Grand port de bras Pull forward to tendu derrière Close fifth Développé croisé devant Développé croisé derrière Développé écarté devant Close fifth derrière Soutenu, coupé over to repeat on left To be done once to a song with a strong rhythm and once to a song without a pulse Turns Waltz en tournant devant [1] Waltz en tournant derrière [2] Tombe, pas de bourrée [3] Fourth [4] Pirouette [5] Land fourth [6] Balancé side [7] Soutenu [8] Repeat down the diagonal Warm-up jumps 4 in first 4 in second 2 échappé 4 changement To be done first on the pulse, and then repeated with the option for students to pick a different rhythm Petit Allegro Jeté, pas de bourrée [1, and, a, 2] Jeté, pas de bourrée [3, and, a, 4] Changement x4 [5, 6, 7, 8] Pas de bourrée [1, and, a] Pas de bourrée [2, and, a] Pas de chat [3, 4] Jeté [5] Jeté [6] Pas de bourrée [7, and, a] Changement [8] Repeat to the left Grand Allegro Saut de chat arabesque [1] Saut de chat passé [2] Tombe, pas de bourrée [3, and, a] Pas de chat [4] Piqué arabesque [5] Chassé back [6] Tour jeté [7] Contretemps [8] Tombe, pas de bourrée [1, and, a] Glissade [2] Grand jeté [3] Contretemps [4] Tombe, pas de bourrée [5, and, a] Glissade [6] Grand jeté [7] Run off [8] |
| Creating: Dancers will create a short movement phrase that emphasizes movements on the pulse, movements to a rhythm and the transition between the two ideas. What movement vocabulary they use (i.e. turns, jumps, tendus) will be determined by how far we get through the “traditional ballet” part of class. This will be done without music or to music that has no clear pulse so that the students are setting both the pulse and the rhythm with their movements. |
| Cooling Down A brief discussion about what resonated with dancers and what the dancers still want to explore more. While we are doing this, I will move through a series of stretches that the students can follow with the flexibility for the students to focus on areas of their body that they feel need more attention. |
Tab 2
Accents
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Objectives: After this lesson, students will: -Have an increased understanding of accents in relation to ballet movement. -Have an increased understanding of musicality and how it relates to ballet technique. -Have an increased understanding of the choices that you can make within the structure of a ballet class |
| Materials: Device to play music on |
| Methodology: A combination of phrase work, discussion, very guided improvisation (combinations with choices) and creative work. |
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Warming Up: Class will begin with a brain dance variation. This will take place at the barre and use a mixture of ballet vocabulary, somatic experiences and light improvisation. Breath: Breathing in and out together, first accenting the exhale then accenting the inhale Tactile: Gently grabbing and then brushing the body in various ways Core/Distal: Simple expanding and contracting movement in parallel and then turnout Head/Tail: Circling the head and the hips at the same time, then circling the opposite direction Upper/Lower: Full port de bras in 4 counts (1st, 5th, 2nd position arms) then a combre to each side (2 counts for each side). Followed by treading through the feet (3 treads then back together) and two tendus side. To be repeated right and left in turnout Body half: 4 tendus to the right with the right arm completing a full port de bras, then 4 tendus to the left with the left arm completing port de bras Cross Lateral: 4 tendus to the right with the left arm completing a full port de bras, then 4 tendus to the left with the right arm completing port de bras Vestibular: Releve first position, then shift weight to one leg, then the other if they are confident. (Roughly 16 counts in first, then 8 on each leg) Head movement is encouraged (look at three things in the room) |
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Exploring the Concept: Set plie combination with encouragement to explore different accents: the movement is a framework, but the students are free to explore outside of the set work too. In first: Two demi plies and a grand plie, port de bras front and back, In second: Two demi plies and a grand plie, port de bras side and side Fourth position is the same as first position Fifth position is the same as second position End with a balance in first position Improvised/quickly planned individual Tendus from first: Taking 32 counts on each side to explore. Verbal cues will help the students to follow the structure. |
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Developing Skills: Tendus from fifth: The parenthesis indicate direction [i.e. (f) = front]; The CAPITAL letters are the accents (f)OUT, in, (s)OUT, in, (b)OUT, in, (s)OUT, hold, IN, (f)out, IN, (s)out, IN, (b)out, IN, hold Reverse: (b)OUT, in, (s)OUT, in, (f)OUT, in, (s)OUT, hold, IN, (b)out, IN, (s)out, IN, (f)out, IN, hold Degage: Degagé, Degagé, Coupe, Retiré (Front, side [with passé], back) Port de bras front Degagé, Degagé, Coupe, Retiré (back, side [with passé], front) Port de bras back Frappe: Accent out to begin, and then accent in on the way back Frappe front[1,2], Frappe side[3,4], Frappe back[5], back[6], back[7], Hold[8], Frappe back[1,2], Frappe side[3,4], Frappe front[5], Front[6], Front[7], Hold[8], Frappe side x4 (each take 2 counts), Petit battement for 8 counts Repeat en dedans if time permits (possibly on relevé depending on the students’ comfort level) Balance in a la seconde relevé Rond de Jambe: From fifth position, Passe close back with arm moving through high fifth, Passe close front with arm moving through high fifth, Passe close back with arm moving through high fifth, Coupe, Tendu back[8], Rond de jamb x4 with accent on the passing first[1,2,3,4] Brush through first to tendu devant [5], Rond de jamb accent to the side[6], Rond de jamb accent to the side[7], Close back on [8]. Repeat en dedans Stretches: Forward and back port de bras (8 counts each) Lunge, forward and back port de bras (8 counts each again) Close fifth, retire balance (16 counts) Close, move into parallel, stretch with some pliés. Stretch out the calves. Do the hamstring stretch where you hang off the barres. Adagio: Fondu, Devant, Dévelopé à la seconde, Fondu derrière, Développé à la seconde, Développé devant, Fondu à la seconde, Développé derrière, Fondu à la seconde Balance, attitude derrière Grand Battements: Slow Battement front, Slow Battement side, Battement back, Battement back, Battement back, Slow Battement back, Slow Battement side, Battement front, Battement front, Battement front, Four slow battements to the side, Passe hold for 8 counts, repeat on left immediately. Center Tendu: Tendu croisé devant accent out, Hold [2], Tendu croisé devant accent in x2, Tendu croisé devant accent out, Hold [2], Tendu croisé devant accent in x2, Tendu à la seconde, Tombé lié, Tendu à la seconde, Close fifth, Tendu écarté accent out, Hold [2], Tendu écarté accent in x2 Repeat to the left If there is time, repeat to the derrière (right and left) Center Adagio: Grand plie in first position on the croisé line, Tendu écarté, Close front, Fondu devant, Développé écarté, Fondu derrière, Suite-ne, tendu to first for the second side Center Turns: Balancé front, Balancé back, Tombe pas de bourrée to fourth, Retiré, Land fourth, Tombe pas de bourrée to fourth, En dehors Pirouette, Land fourth, Tombe pas de bourrée to fourth, En dehors Pirouette, Land fourth, Waltz side, waltz side Warm-up Jumps: 4 soubresauts in first position Relevé, Plié, Relevé, Plié, 4 soubresauts in second position Relevé, Plié, Relevé, Plié |
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Creating: The students will work in pairs to create a 16-count petit allegro combination that incorporates a clear interpretation of the accents on a specific beat in the measure (i.e. accenting the first beat of each measure for the full combination or accenting the second beat of each measure for the full combination) Done to a song in 4/4 so their options are to accent the 1,2,3 or 4. If both combinations are being done, then everyone will do their combinations at once to practice at full tempo before moving onto the next combination. If not, then they will get to practice all together before going straight into the showing. The full showing will be done as part of the cooldown. If time permits, the students will additionally create a 16-count grand allegro combination that incorporates a clear interpretation of accents on a specific beat. If the students seem to need more of a challenge, then this one could accent a specific beat for the first 8 and a different one for the second 8 |
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Cooling Down: The students will show their combinations to each other and see if they can figure out which beat the performing group chose to accent. We will have a brief discussion about any moments that the students felt good about, or any moments that the students felt bad about (or if they were just indifferent the whole time) Encouragement to gently cooldown with physical movement. |
Tab 3
Time Signatures
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Objectives After this lesson, students will: -Have a better understanding of what a time signature is. -Be able to recognize and recall the time signatures most often used in ballet. -Have a better understanding of the rhythmic qualities of movements and how they fit into certain time signatures. |
| Materials: Device for music |
| Methodology: Teacher led movement, discussion, improvisation and phrase work. |
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Warming Up Brain Dance (switches between 3/4 and 4/4 the two most common meters in ballet) Breath: Breathing on your own time. Tactile: Patting different rhythms on different parts of the body, in a call and response pattern. This time working in both a 4/4 pattern and a 3/4 pattern. Core/Distal: Curling and unfurling at different time signatures(in 4’s, and then 3’s) Head/Tail: Head and tail circles that take different time signatures to complete (completing it in 4’s then in 3’s) Upper/Lower: Partner up and move upper body to a rhythm for four counts. Then follow your partners rhythm for four counts before adding on your own four counts. So each time you move, you are dancing eight counts, four of the previous rhythm and four of a new one. Repeat process with lower body but in 3/4 time so you are dancing for six counts, 3 of the previous rhythm and 3 of a new one. Body Half: A continuation of the previous exercise, working with a different partner, use one half of your body to make the rhythm, then the partner is going to copy that rhythm with their body half, then make their own rhythm. One side will be 4/4 the other 3/4 Cross-Lateral: Waling around the room accenting the 1 of each measure. However, it will switch from 4/4 to 3/4 halfway through. Vestibular: Stand on one leg and find 4 things to look between (so that you can look at a different thing for each of the 4 beats) then stand on the other and look at 3 different things. |
| Exploring the Concept I will play songs in various time signatures and the dancers will then improvise to them. This will be loosely structured and students can portray the time signature in any way that they feel fit, whether it be tapping it out on their body or dancing the movements full out. The only requirement is that they must embody the time signature in some way. After they have danced to it, I’ll quiz them on what time signature they were just dancing to. |
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Developing Skills Most of these exercises are the same movements from earlier classes in this unit but this time with the added layer of awareness and modulation of time signatures. Either before or after each combination we will have a brief discussion about the time signature typically used for that exercise. Plie Start in first Demi plie for four counts, Come out of plie for four counts, Demi plie for four counts, Come out of plie for four counts, Port de bras front for four counts, Come back to standing in four counts, Combre back for four counts, Come back to standing in four counts and transition to second position Demi plie for three counts, Come out of plie for three counts, Demi plie for three counts, Come out of plie for three counts, Port de bras toward the barre for three counts, Come back to standing in three counts, Port de bras away from the barre for three counts, Come back to standing in three counts, Transition to fifth position Demi plie for two counts, Come out of plie for two counts, Demi plie for two counts, Come out of plie for two counts, Port de bras front for two counts, Come back to standing in two counts, Combre back for two counts, Come back to standing in two counts, Transition to fourth position Demi plie for one count, Come out of plie for one count, Demi plie for one count, Come out of plie for one count, Port de bras toward the barre for one count, Come back to standing in one count, Port de bras away from the barre for one count, Come back to standing in one count. This is the same combination from the rhythm and pulse class. However, as opposed to doing each position as a different rhythm to the pulse, the whole thing will be done to a steady beat and each length of time (4,3,2,1) will be introduced as a different time signature. Tendu Start in first position. Tendu the right foot to the side in 1 count. Hold for 1 count. Close to first position in 1 count. Hold for 1 count. Tendu the right foot to the back in 1 count. Hold for 1 count. Close to first position in 1 count. Hold for 1 count. Tendu the right foot to the front in 2 counts (1, 2). Hold for 1 count. Close to first position in 1 count. Hold for 1 count. Tendu the right foot to the side in 2 counts (1, 2). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the back in 2 counts (1, 2). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the front in 3 counts (1, 2, 3). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the side in 3 counts (1, 2, 3). Close to fifth position in 1 count. Hold for 1 count. Tendu the right foot to the back, holding it for 2 counts (1, 2), then close to fifth position in 1 count. Hold for 1 count. Repeat the combination on the left side starting with the left foot. Degage Done in first facing the barre to the rhythm 1,and,2,and,3,and,4,and,5,and,6,and,7,and,8,and As an example: Dégagé out on count 1, close to first on count 2, Dégagé out on count 3, close to first on the “and” of count 3, Dégagé out on the “and” of count 4, close to first on the “and” of count 5, Dégagé out on the “and” of count 6, close to first on count 7, Dégagé out on count 8. If there is time, Rond de Jamb From fifth position – to be performed in 3/4 time now with the awareness of the time signature in addition to the connection to the pulse that we worked on when we did this earlier Temps lie devant [1] Temps lie derriere [2] Lift the leg to degage [3] Brush en cloche to tendu derriere [4] Rond de jamb x4 [5,6,7,8] Degage devant [1] Coupe [2] Develope derriere [3] Brush en cloche to degage devant [4] Rond de jamb en lair to a la seconde [5] Tendu [6] Rond de jamb a terre to derriere [7] Close fifth [8] Repeat whole combination en dedans Stretches: Stretches: forward and back port de bras (8 counts each) Lunge,forward and back port de bras (8 counts each again) Close fifth, retire balance (16 counts) Close, move into parallel, stretch with some plies. Stretch out the calves. Do the hamstring stretch where you hang off the barres. Frappe Frappe [1] Frappe [2] Frappe,frappe, frappe [3, and, 4] To be repeated front, side, back Double frappe side [1], hold [2] Double frappe side [3], hold [4] Frappe, frappe, frappe [1, and, 2] Frappe [3] Frappe [4] To be repeated back, side, front Double frappe side [1], hold [2] Double frappe side [3], hold [4] Petit battement for 8 counts Balance passe for 8 counts Grand Battement 1 Grand battement en crois [1,2,3,4] 2 Grand battement en crois [5,6,7,8] 2 grand battement devant [1] Passe over [2] 2 grand battement derriere [3] Passe over [4] 4 Grand battement a la seconde [5,6,7,8] Center Tendu Tendu croisé devant, close, tendu [and, 1] Close, tendu, tendu [and, 2] Tendu, close, tendu [and, 3] Temps lié [3, and] Close fifth [4] Repeat derrière Tendu à la seconde x4 (with alternating legs traveling back) [1, 2, 3, 4] Pas de bourrée [5] Plié fifth [6] Pirouette [7] Close [8] Repeat on left Center Adagio Chassé devant to fourth position lunge Grand port de bras Pull forward to tendu derrière Close fifth Développé croisé devant Développé croisé derrière Développé écarté devant Close fifth derrière Soutenu, coupé over to repeat on left To be done a couple times, each to a different time signature Turns Waltz en tournant devant [1] Waltz en tournant derrière [2] Tombe, pas de bourrée [3] Fourth [4] Pirouette [5] Land fourth [6] Balancé side [7] Soutenu [8] Repeat down the diagonal in both 3/4 and then 4/4 followed by a brief discussion about how it felt and why. Warm-up jumps 4 in first 4 in second 2 échappé 4 changement Petit Allegro Jeté, pas de bourrée [1, and, a, 2] Jeté, pas de bourrée [3, and, a, 4] Changement x4 [5, 6, 7, 8] Pas de bourrée [1, and, a] Pas de bourrée [2, and, a] Pas de chat [3, 4] Jeté [5] Jeté [6] Pas de bourrée [7, and, a] Changement [8] Repeat to the left Grand Allegro Saut de chat arabesque [1] Saut de chat passé [2] Tombe, pas de bourrée [3, and, a] Pas de chat [4] Piqué arabesque [5] Chassé back [6] Tour jeté [7] Contretemps [8] Tombe, pas de bourrée [1, and, a] Glissade [2] Grand jeté [3] Contretemps [4] Tombe, pas de bourrée [5, and, a] Glissade [6] Grand jeté [7] Run off [8] |
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Creating The students will split into groups and spend some time creating a dance in a time signature of their choosing. Then they will teach their dance to another group without giving them any rhythmic information and the other group will pick a time signature and perform the dance. |
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Cooling Down We will then reflect on why each group picked what they picked, what the original time signature was for each dance. While we are doing this, I will move through a series of stretches that the students can follow with the flexibility for the students to focus on areas of their body that they feel need more attention. |
Tab 4
Musical Phrasing
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Objectives After this lesson, students will: -Have a greater understanding of musical phrasing. -Have a better understanding of how phrasing can be used in dance. -Have an idea of how to use phrasing to enhance personal artistry |
| Materials: Device to play music and slips of paper with numbers between 4 and 8 on them |
| Methodology: Teacher led movement, discussion, guided improvisation and phrase work. |
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Warming Up Class will begin with a brain dance variation. This will take place at the barre and use a mixture of ballet vocabulary, somatic experiences and light improvisation. Breath: Breathing in and out together, first accenting the exhale then accenting the inhale Tactile: Gently grabbing and then brushing the body in various ways Core/Distal: Simple expanding and contracting movement in parallel and then turnout Head/Tail: Circling the head and the hips at the same time, then circling the opposite direction Upper/Lower: Full port de bras in 4 counts (1st, 5th, 2nd position arms) then a combre to each side (2 counts for each side). Followed by treading through the feet (3 treads then back together) and two tendus side. To be repeated right and left in turnout Body half: 4 tendus to the right with the right arm completing a full port de bras, then 4 tendus to the left with the left arm completing port de bras Cross Lateral: 4 tendus to the right with the left arm completing a full port de bras, then 4 tendus to the left with the right arm completing port de bras Vestibular: Releve first position, then shift weight to one leg, then the other if they are confident. (Roughly 16 counts in first, then 8 on each leg) Head movement is encouraged (look at three things in the room) |
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Exploring the Concept Plie They will take the combination that we have been working with (two demi plies in each position with a port de bras that alternates between front and back and side to side) and get the opportunity to play around with their phrasing. Tendu from first Dancers will take a simple en crois tendu pattern and use different rhythms and accents to explore the different ways that you can phrase that one movement in different directions. |
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Developing Skills Some of these combinations are reiterations of combinations from earlier in the unit, for those combinations a brief discussion about this new level of depth should be had. Tendu from Fifth 5 tendus devant [1,2,3,4,5] Hold [6] Coupe [7] Hold [8] Repeat en crois 1 tendu en crois [1,2,3,4,5,6,7,8] Tendu devant [1] Tendu derriere w/inside leg[2] Tendu a la seconde [3] Tendu devant w/inside leg [4] Coupe [5] Degage Start in fifth position Do 3 dégagés to the front with the right foot, each in 1 count. On the third dégagé, hold the leg in the air for 2 counts. Close the right foot to fifth position in 1 count. Repeat steps 2 and 3, this time performing 3 dégagés to the side with the right foot. Repeat steps 2 and 3 again, this time performing 3 dégagés to the back with the right foot. 2 degage to the side in first, one degage to the side close fifth front 2 degage to the side in first, one degage to the side close fifth back This combination has the musical phrasing of 1,2,3;1,2;1 until those final side degages Rond de Jamb Chasse devant [1,2], close fifth [3] Passe over [4,5,6] Degage back [1,2] 4 Degage en cloche [3,4,5,6] 4 rond de jamb a terre [1,2,3; 2,2,3; 3,2,3; 4,2,3] Rond de jamb en lair [1,2,3,4,5,6,7,8,9,10,11] close back [12] Port de bras devant [1,2,3,4,5,6,7,8,9,10,11,12] Repeat en dedans Stretches: Stretches: circular port de bras en de hors and en dedans (8 counts each) Lunge,forward and back port de bras (8 counts each again) Close fifth, retire balance (16 counts) Close, move into parallel, stretch with some plies. Stretch out the calves. Do the hamstring stretch where you hang off the barres. Frappe Frappe front[1,2], Frappe side[3,4], Frappe back[5], back[6], back[7], Hold[8], Frappe back[1,2], Frappe side[3,4], Frappe front[5], Front[6], Front[7], Hold[8], Frappe side x4 (each take 2 counts), Petit battement for 8 counts Repeat en dedans if time permits (possibly on relevé depending on the students’ comfort level) Balance in a la seconde relevé Adagio Fondu, Devant, Dévelopé à la seconde, Fondu derrière, Développé à la seconde, Développé devant, Fondu à la seconde, Développé derrière, Fondu à la seconde Balance, attitude derrière Grand Battement Slow Battement front, Slow Battement side, Battement back, Battement back, Battement back, Slow Battement back, Slow Battement side, Battement front, Battement front, Battement front, Four slow battements to the side, Passe hold for 8 counts, repeat on left immediately. Center Tendu Tendu croisé devant accent out, Hold [2], Tendu croisé devant accent in x2, Tendu croisé devant accent out, Hold [2], Tendu croisé devant accent in x2, Tendu à la seconde, Tombé lié, Tendu à la seconde, Close fifth, Tendu écarté accent out, Hold [2], Tendu écarté accent in x2 Repeat to the left If there is time, repeat to the derrière (right and left) Center Adagio Grand plie in first position on the croisé line, Tendu écarté, Close front, Fondu devant, Développé écarté, Fondu derrière, Suite-ne, tendu to first for the second side Turns Balancé front, Balancé back, Tombe pas de bourrée to fourth, Retiré, Land fourth, Tombe pas de bourrée to fourth, En dehors Pirouette, Land fourth, Tombe pas de bourrée to fourth, En dehors Pirouette, Land fourth, Waltz side, waltz side Warm-up jumps 4 soubresauts in first position Relevé, Plié, Relevé, Plié, 4 soubresauts in second position Relevé, Plié, Relevé, Plié Petit Allegro Glissade, jete, pas de buree, jete [1,2,3,4] Pas de buree, jete, temps levee [5,6,7,8] Repeat on the other side Really emphasize the phrasing here. Why does it (or does it not) feel like a sentence as opposed to single words. |
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Creating Students will break into groups and create a 16 count grand allegro combination that emphasizes clear phrasing. They will draw 2 slips of paper, which will have numbers between 4 and 8. Then they will use those two numbers, plus the remaining amount to get to 16 to figure out what their phrasing should be. |
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Cooling Down We will watch each others dances and then discuss our thoughts about phrasing. Positives, negatives and all the inbetween. There will be encouragement to gently cooldown with physical movement. |
Tab 5
Example rubric for Rhythm vs Pulse Lesson
| 4 | 3 | 2 | 1 | |
| Clarity in execution of movements on the pulse | Student can clearly execute movements to the pulse even when the pulse is vague and shows a clear understanding of when the pulse is non-existent. | Student can clearly execute movements to the pulse when the pulse is clear and shows a basic understanding of when the pulse is non-existent. | Student can execute movement to the pulse when the pulse is clear but is inconsistent in the clarity of the movement. | Student struggles to execute movements to the pulse. |
| Clarity in execution of movements on a rhythm | Student can clearly execute movements to a variety of rhythms and can seamlessly transition between different rhythms | Student can clearly execute movements to a variety of rhythms | Student can execute movements to some rhythms | Student struggles to execute movements to a rhythm |
| Clarity in application of the two concepts in relation to each other | Student can clearly differentiate between movements to the pulse and movements to the rhythm and makes clear choices on when to use one or the other. | Student can differentiate between movements to the pulse and movements to the rhythm but still is working on clarity in executing one or the other. | Student demonstrates an understanding of the difference between movements to the pulse and movement to the rhythm but struggles to demonstrate the difference in practice. | Student struggles to demonstrate the difference between movements to the pulse and movements to the rhythm. |
| Alignment and technique (i.e. turnout, knee-tracking, and use of plie) | Student regularly uses safe alignment and proper technique | Student often uses safe alignment and proper technique | Student sometimes uses safe alignment and proper technique | Student rarely uses safe alignment and proper technique |
As a Teacher…
Photo Credit: Darren Breen
My theory of education revolves around creating an inclusive and accessible learning environment where anyone and everyone can explore the world of dance. I believe that dance can be anything, but to truly understand and appreciate it, one needs to learn the rules and techniques of various styles. Therefore, my teaching philosophy emphasizes the importance of self-discipline, contextual understanding, and body awareness while allowing for experimentation and expression.
My role as an educator is to pass on my knowledge and experience to my students and teach them about the context and tradition of the styles that I teach so that they can have a greater understanding and appreciation for the art form they practice. I believe that an understanding of the “why” is as important as the “what”. Having an understanding of the “why” behind the “what” helps students to develop a deeper appreciation and connection to the art form they are practicing. It also helps them to make informed choices and develop their own creative voice. Through my teaching, I hope to instill in my students a curiosity and eagerness to learn about different dance styles and their history. My goal is to not only teach them how to execute specific steps and movements but to also cultivate critical thinking skills that enable them to analyze and interpret dance in a meaningful way. Overall, my focus is to provide my students with a comprehensive and well-rounded dance education that goes beyond technical proficiency.
My goal as an educator is to foster a love for dance and encourage self-expression and experimentation among my students. I believe that dance should be something that students enjoy, not something that they feel they have to do. I strive to nurture the drive of my students while not pushing the unwilling. To me, encouraging self-discipline is more effective than enacting external disciplines. To achieve this, I practice positive reinforcement, lead by example and work to create an environment where the dancers feel that they are in control of what they are doing. I disagree with the notion that in order to be successful you have to say “yes” to every aspect of dance, and I hope to keep my dancers safe by being open to communication about how they are feeling and giving alternate options for ways to participate in class. Communication and health are crucial elements of dance education that should be incorporated in all aspects of class.
In my teaching, I push to incorporate various theories of education, including multiple learning theories and a student-centered approach to teaching. I believe that every student learns differently, and it is my role as an educator to facilitate their learning process by incorporating various teaching strategies and techniques. My classes often begin with an opening discussion about how the students are feeling. This also is my opportunity to introduce the subject of the class and figure out their pre-existing knowledge about the concept. From there we warm up, with references and introductions to various aspects of the concept. I then incorporate exercises that allow the students to explore their own understanding of the concept before teaching skills and further developing the ideas introduced earlier in class. I then allow the students to revisit and demonstrate their own knowledge through exercises that encourage creativity.
Dance has immense power and can truly be anything. It is my responsibility as an educator to create a safe and supportive learning environment that allows my students to learn about themselves while exploring the world around them.