CONTEMPORARY SYLLABUS GRADE 3. Level 2 Award in Graded Examination in Dance

Transcription

1 CONTEMPORARY SYLLABUS GRADE 3 Level 2 Award in Graded Examination in Dance bbodance 2018

2 Contents Introduction and Overview... 4 Stage Directions... 6 Vocabulary... 7 Centre Technique... 8 Exercise 1 Pliés with Full Use of the Spine... 8 Exercise 2 Foot Articulation and Tendu Exercise 3 Rond de Jambe with Spine Release Exercise 4 Swings Travelling Technique Exercise 1 Travelling Battements Exercise 2 Walks and Falls Exercise 3 Petit Allegro Exercise 4 Allegro Dance Dance A The Diary Dance B The Water Cycle Training Exercises Training Exercise 1 Warm Ups and Cool Downs Training Exercise 2 Mobilisation of Joints and Lengthening of Soft Tissue Training Exercise 3 Awakening the Body Training Exercise 4 Floor Work & Use of Spine Training Exercise 5 Battements Strand B: Creative Strand A: Improvisation/Movement Generation Task 1 (Preparation for Set Dance A): The Diary An Emotional Understanding of the Narrative Task 2 (Preparation for Set Dance B): The Water Cycle B: Composition Task 1 (Development of Set Dance Material and Student Bow) Strand C: Wider Learning Strand

3 Appendix A Appendix B Appendix C Additional Resources Credits

4 Introduction and Overview About the Syllabus The Grade 3 Contemporary Dance syllabus should be approached as a complete course of study comprising three strands: Technique and Performance Creative Wider Learning Technique and Performance consists of set exercises and dances, which are examined, and Training Exercises, which support learning but are not part of the examination content. The inclusion of Creative and Wider Learning strands marks a change in the ethos of bbodance syllabi at Graded Examination level. By engaging with these strands from the outset, it is hoped that students will be encouraged to develop an individual and creative response to the technical syllabus material. The Syllabus Film is the definitive record of the syllabus. Any discrepancies or inconsistencies between the film and written word should be brought to the attention of bbodance HQ for amendment by the Qualifications and Awards Approval Board. Technique and Performance Comprises nine set exercises and two Set Dances (A and B). Only one Set Dance is required for examination purposes, although teachers may decide to teach both. A range of training exercises including warm-ups has been provided to support the delivery of the set syllabus. Please note that Training Exercises are for teaching and learning purposes only and are not included in the examination. Creative This includes improvisation and composition. This work will collectively allow students to explore topics and themes in the syllabus material and choreograph their own bow for the end of the examination. The tasks for creative work are directly linked to each of the Set Dances and are supported by recommended online resources. This work provides interest and motivation before teaching the actual Set Dance choreography and will familiarise students with the themes and music for the Set Dances. In choreographing their own bow, students may use themes or characters from one of the Set Dances, selecting steps and movements that they have already created for the composition task. Wider Learning This strand is about gaining knowledge and understanding of Contemporary Dance and studying some of the best-known shows from the repertoire (appropriate to the level and age range). Dance students should know about their art form and be familiar with the repertoire, just like students of music, art or drama. In addition, the study of repertoire is one of the best ways of encouraging performance style and quality. Students can be inspired by watching (and listening to) great performances by leading professionals. 4

5 The Specification Grade 3 continues a series of qualifications which are recognised in England and Wales and form part of the Regulated Framework (RQF) at Level 1. Successful completion of the examination leads to the following qualifications: BBO Level 1 Award in Graded Examinations in Dance: Grade 3 Full details of the examination for Grade 3 in Contemporary Dance can be found in the Specification, including duration, recommended uniform and assessment criteria. Please note that Specifications for all Graded and Vocational Graded Examinations are available via the website. Note on Examinations This syllabus will come into effect from January

6 Stage Directions USR Up Stage Right USC Up Stage Centre USL Up Stage Left En arrière SR Stage Right De côté Derrière SC Centre Stage De côté SL Stage Left En face Devant En avant DSR Down Stage Right DSC Down Stage Centre DSL Down Stage Left FRONT 6

7 Vocabulary Grade 3 The following French terms are used and/or introduced in Grade 3: Demi plié Petit Plié Tendu Natural Parallel (parallel 1 st position): Stand with your feet hip width apart, lifting through the arches of the feet, thinking of the weight being dispersed through three points the heel, the big toe and the outside ridge. Ensure the ankle bones are straight and the sides of heel are at right angles to the floor. Extend the legs and ensure the thigh muscles are lifted and gently externally rotated with no grasping of the knee joints. The pelvis should be held in a neutral position with the core stomach muscles lifted up and back towards the spine and the whole spine should feel extended and supported. Check that the rib cage is not hyper-extended and there is a good flow of breath. Relax the shoulders by rotating them back and down and let the arms hang with extension down into the fingers. Extend your neck and hold the head without tension in the jaw. Arms: The arms used in contemporary dance technique are often the same positions as classical ballet with a softening of the elbow and wrist joints and a lengthening of fingers. Head: The term head on the back is used to describe how the headline remains in its simplest alignment in relation to the chest and shoulders, i.e. the head is not turning and instead remains more natural. This term is referred to throughout the syllabus film. 7

8 Centre Technique Exercise 1 Pliés with Full Use of the Spine Music: Dream a Little Dream of Me Doris Day Music Steps Arms Head Commence: Natural parallel facing DSR Relaxed at sides Introduction: 16 counts Wait 14 counts Arms lift to 2 nd position 1-2 Demi plié with curve of upper spine Arms close to 1 st position 3-4 Straighten knees and recover body to neutral spine Arms open to 2 nd position 5-8 Repeat 1-2 Rise with lift of the sternum (solar plexus) Arms lift to high V Focus lifts to high diagonal 3-4 Lower heels and recover body to neutral spine Arms lower through sides of body 5 Turn out R foot to natural 1 st position R arm circles outwards starting by crossing in front of body and lower to sides 6 Turn out L foot to natural 1 st position L arm circles outwards starting by crossing in front of body and lower to sides 7-8 Arms open to 2 nd position 1-16 Repeat in 1 st position Last 4 counts, transition from 1 st to 2 nd position placing feet R, L Arms lift to 2 nd position 1-16 Repeat in 2 nd position 8

9 Last 4 counts, lunge onto R leg and push off the R leg to pivot 90, bring R toe to L ankle and lower to natural parallel facing DSL Arms lift to 2 nd position Repeat entire exercise to L Teaching Tips Training Exercise 3 from Grade 2 can be revisited to remind students of the use of the spine for a curve. Notes on Style The lifting of the sternum (solar plexus) should be a small movement, which is supported by the engagement of the abdominal muscles and maintains a vertical use of the lower spine and coccyx The lifting of focus to a high diagonal should be demonstrated by the teacher and be achieved by the student with length and support up the back of the neck. 9

10 Centre Technique Exercise 2 Foot Articulation and Tendu Music: Drumming Song Florence and the Machine Counts Steps Arms Head Commence: Natural parallel facing DSR Relaxed at sides Introduction 8 counts 1-2 Lift R heel, lower heel 3-4 Repeat 5-8 Lift R heel, stretch toes lifting foot slightly off the floor, lower the toes to the floor, lower the heel 1-2 Spring through R foot, lower to parallel 3-4 Repeat 5-8 Tendu R leg to front, close 1-2 Tendu R leg front 3 Flex R foot 4 Point R foot 5-6 Close 7-8 Demi plié, straighten 1-24 Repeat on L Last 2 counts, turn out L leg and lower into 1 st position, changing to face DSL Last 2 counts, arms lift to 2 nd position 1-48 Repeat in 1 st position (R, L) Arms in 2 nd position 10

11 Last 2 counts, transition to face DSC in 1 st position 1-48 Repeat in 1 st position (R, L) with tendu to side Last 2 counts, transition to natural parallel position facing DSR Teaching Tips The students must allow the supporting foot to move with the body when transitioning between DSR, DSL & DSC to establish a natural 1 st position. Depending on your studio flooring this exercise may require socks to be worn. Notes on Style The spring through one foot, both at a slow speed and faster speed, should be executed with precision and without embellishment in the knee and lower leg similarly to that in Grade 2. In some contemporary technique classes it has become the fashion to flick this movement and this is not required in this syllabus. The student should aim to demonstrate an understanding of the squareness in the hips during the tendu. 11

12 Centre Technique Exercise 3 Rond de Jambe with Spine Release Music: Caravan of Love The Housemartins Counts Steps Arms Head Commence: 1 st position Relaxed at sides Introduction 16 counts 1-2 Tendu R leg side Arms lift through 1 st to 2 nd position 3-4 Close Arms lower to sides 5-8 Repeat 1 Tendu R leg front, plié L leg Arms lift to 1 st position 2-3 Demi rond de jambe to side with straightening of L knee Arms open to 2 nd position 4 Close R leg to 1 st position Arms lower to sides 5-8 Repeat 1 Tendu R leg front, plié L leg Arms lift to 1 st position 2-4 Full rond de jambe to back Arms open to 2 nd position 5 Bring R leg to 1 st position, knees bent 6 Tendu R leg front, L knee bent 7-8 Close R leg to 1 st position, straighten both knees Arms lower 1-8 Repeat previous 8 counts 1-4 Turn in to natural parallel and roll down into forward fold Arms relax overhead Natural extension of the spine 12

13 5-6 Demi plié 7-8 Straighten knees 1-2 Demi plié and straighten 3-4 Roll up through the spine dropping the coccyx into its natural position Recovers in accordance with the spine 5-6 Lift of the sternum and recover to neutral spine Circle both arms crossing in front of the body and overhead, lower arms to sides Natural extension of the spine 7-8 Rotate both legs into 1 st position Repeat exercise on L side Teaching Tips If the student has tight hamstrings they may need to release their knees whilst they roll down through the forward fold and then continue this softening into the first demi plié. Notes on Style The transitions between the parallel alignment and the use of turn out can be discussed and decided upon between the teacher and student. 13

14 Centre Technique Exercise 4 Swings Music: Hey There Delilah Plain White T s Counts Steps Arms Head Commence: Natural parallel Relaxed at sides Natural extension of the spine throughout Introduction 16 counts Wait 12 counts Lift arms through sides of body to overhead 1-4 Drop swing forward, recover with slightly soft knees 5-8 Drop swing forward, recover with slightly soft knees 1-4 Drop swing forward, recover with slightly soft knees Arms swing forwards in parallel ending behind the torso. They then swing back up to overhead Arms swing forwards in parallel ending behind the torso. They then swing back up to overhead Arms swing forwards in parallel ending behind the torso. They then swing back up to overhead 5-6 Circle arms back, down and up through front of body 7-8 Lift sternum Circle arms back, down and up through front of body ending high 1-16 Repeat drop swings and arm circles 1-2 Keeping hips square to front, shift weight to R foot with soft knees Twist upper body to R and allow arms to swing across the body to the R 3-4 Repeat L Repeat L 14

15 5-8 Step turn step (R, L, R) finishing in R side lunge Arms swing open to side and cross body to R in lunge 1-8 Repeat previous 8 counts to L As above 1-4 Face front in natural parallel Arms lift through sides of body overhead and cross in front of body and finish in 2 nd position 5-8 Shunt R leg forward and return R leg to natural parallel with soft knees 1-4 Shunt L leg forward and return L leg to natural parallel with soft knees Arms swing down and lift in front of the torso crossing at the elbows, wrists are soft Arms swing back through the previous pathway to return to 2 nd position small steps (L, R) to face SL Lift arms through sides of body to overhead Repeat whole exercise in profile facing SL Teaching Tips This exercise is designed to explore the use of gravity and suspension/resistance of gravity and should have playfulness to the first learning of the exercise. Notes on Style By this exercise being repeated in profile it is designed to allow the teacher/examiner to assess the understanding of the safe use of the spine and the alignment of the knees over the feet (toes) in parallel. The legs should not be snapped back at any point. 15

16 Travelling Technique Exercise 1 Travelling Battements Music: Machines Biffy Clyro Counts Steps Arms Head Commence: USL corner facing DSR, 1 st position Relaxed at sides Introduction 16 counts Wait 12 counts Tendu R leg behind Arms lift through sides of body to 2 nd position 1-2 Step R, brush L leg through 1 st position to slightly off the floor to front with straight legs 3-4 Repeat L 5-6 Repeat R 7-8 Repeat L 1-2 Lunge forward onto R leg 3 Straighten R leg Lower arms to sides of body 4 Lunge forward on R leg 5-7 Cross L leg back, step forward R leg, step forward L leg 8 Straighten legs and tendu R leg behind Arms lift through sides of body to 2 nd position Repeat whole exercise Teaching Tips There should be an investigation to the rhythm and dynamics of the exercise and the legs should only be lifted as high as is the range of that student. 16

17 Notes on Style In the battement the height of the leg is not specified and it can be executed between degrees, ensuring that both knees are straight. 17

18 Travelling Technique Exercise 2 Walks and Falls Music: Very Superstitious Stevie Wonder Counts Steps Arms Head Commence: Introduction USL corner facing DSR, natural parallel position Wait 8 counts 16 counts 9-12 Demi plié, stretch, rise, lower heels Peddle through the feet R, L, R, lower R heel 1-2 Walk forward R, L Natural swing of the arms in opposition quick walks R, L, R Circle left arm though sides of the body and over 5-6 Drop to the floor onto the L side of the pelvis, roll across the pelvis onto the R side Place L hand on floor and then the R hand 7 Cross L leg over R and stand up facing DSR on L leg 8 Step back R +1 Step L foot to R, feet together 2-3 Step back L to natural turned out position, full rond de jambe front to back with R leg 4-5 Step back R to natural turned out position, full rond de jambe front to back with L leg 18

19 6 Step back L, R foot lengthens to tendu 7 Step forward R 8 Jump to 2 feet in natural parallel Repeat whole exercise on L Teaching Tips Training exercise T4 from Grade 2 and the simpler walk exercise for the same grade should be revisited when first teaching this exercise. Change the music to add interest, and the students could suggest this. In this exercise the first walking phrase is completed on count 1 and the next phrase begins on count 2 which may be a new concept for many young dancers. Notes on Style The use of the arm and the sense of transference of weight throughout this exercise are designed to aid the dancer s sense of falling with weight and gravity. Peddle through the feet ; lift the R heel to start, lift the L heel whilst simultaneously lowering the R heel, lift the R heel whilst simultaneously lowering the L heel, lower R heel. 19

20 Travelling Technique Exercise 3 Petit Allegro Music: Lights Ellie Goulding Counts Steps Arms Head Commence: USL corner facing DSR, natural parallel position Introduction: 16 counts bounces Arms lift through sides of body to shoulder height bounces with soft knees, releasing heels from the floor Arms lift to high V, palms facing up, with lift of the sternum (solar plexus) jumps each with a quarter turn clockwise Palms flip to face down and arms lower through sides of body 5-6 Step R on slight diagonal, jump 2 feet together 7-8 Step L on slight diagonal, jump 2 feet together 1-4 Step turn step (R, L, R) and jump 2 feet together Repeat exercise on other side Teaching Tips The students may be hesitant to count themselves in and simple clapping to music exercises should improve their musicality e.g.: counting and clapping 4 even beats, miss 1, clap 2, 3, 4, clap 1, miss 2, clap 3, 4, clap 1, 2, miss 3, clap 4, clap 1 2, 3, miss 4, 20

21 This pattern can also be replicated with simple jumps. As an extension exercise you could ask the students (in pairs) to work out the pattern in reverse. Then split your group and get students to face each other with one side demonstrating the first pattern and the other side the reverse pattern. Notes on Style The allegro should be performed with a softness to the elevation and there should not be an over extension of the legs in the jumps. 21

22 Travelling Technique Exercise 4 Allegro Music: Cup Song Anna Kendrick Counts Steps Arms Head Commence: USL corner facing DSR, natural parallel position Introduction: 16 counts 1-2 Run R, L Arms lift to 2 nd position, palms forward 3-4 Leap R 5-6 Run L, R 7-8 Leap L 1-2 Step back onto R foot with soft knees, brush L leg through 1 st position with straight leg to the back, hop R foot 3-4 Run L, R turning over L shoulder to face USL R arm stays side, L arm lifts up over head and travels to front of body to open 3 rd position Natural arms 5 Step L US, demi rond de jambe R leg back to front 6 Cross R to SR 7 Jump to 2 feet into natural parallel position facing DS 8 Hold 1-2 Step R side and hop, with a curve of the spine towards the working leg, L toe to R knee 22

23 3-4 Step L side and hop, with a curve of the spine towards the working leg, R toe to L knee R arm lifts through side of body overhead and crosses in front of body 5-7 Chassé R, L, R in parallel to DSR 8 Transition weight fully onto R leg 1-2 Lower to the floor and tuck L leg behind and roll through L hip L arm lifts through side of body overhead and crosses in front of body Place L hand on floor 3-4 Continue to roll onto R hip and place L foot in front Place R hand on floor 5-8 Step R leg back and step the L leg to 1 st position to USR, rolling up through the spine Repeat exercise to L Teaching Tips By this point in the grade students should be confident in the use of falls and there should be a sense of suspension and release throughout. 23

24 Dance Dance A The Diary Music: Lux Aerterna, Requiem for a Dream Clint Mansell Counts Steps Arms Head Commence: Laying on stomach facing DSR, knees bent and ankles crossed Upper body propped up on forearms with a notebook on floor under hands Look at notebook Introduction Ankles uncross and re-cross with the opposite foot in front. Repeat 3 more times Pretend to write in the notebook Maintain focus on notebook Place L hand on floor, roll through L side of body to sit up facing USL corner with R leg crossed over L leg Holding the notebook, arms reach on high diagonal in front of the body Maintain focus on notebook Pretend to write in the notebook Twist upper body L, deepen the cross of the R leg over the L, place the R foot on the floor and untwist the upper body to come to a wide standing lunge facing DSR R hand holds the notebook, place the L hand on the floor to assist coming to standing, then both hands hold the notebook with arms extended, notebook in front of body Maintain focus on notebook 1 Brush L leg through 1 st position keeping R leg in plié Natural head alignment 2-4 Extend L leg to tendu and full rond de jambe front to back whilst straightening R leg 5 Bend R knee and bring L leg through to 1 st position to tendu front 24

25 6 Demi rond de jambe L leg front to side keeping R leg in plié 7 Step onto L leg 8 Bring R leg to L leg to face DSL in natural parallel position and spiral to the L Bring hands and notebook into heart Look down and L towards notebook 1-3 Step turn step (R, L, R) Arms extend in front of body at shoulder height 4 Side lunge on R leg facing DSR, L leg slightly bent with heel off the floor Upper body twists towards USR, arms lift to high diagonal Look up at hands 5-7 Step turn step (L, R, L) Arms lower to shoulder height 8 Bring R foot to L foot, turn over R shoulder to face SR pivoting on L foot Arms sweep behind back to hide the notebook 1-2 Lunge SR on L leg turning to face US, R leg extends to tendu side, both legs in parallel Pass the notebook to R hand and carry R arm overhead through side of the body, spine follows movement of steps and arms Head follows R arm to high diagonal towards SR 3 Cross R leg behind L leg and turn over R shoulder to face SL with soft curve of the spine R arm lowers, crossing in front of body; both arms move to behind the back 4 Step L leg DS and continue turning over R shoulder to face DS Both arms meet behind the back and the notebook switches from R to L hand 5-6 Lunge SR on R leg, L leg extends to tendu side, both legs in parallel Carry L arm overhead through side of body Head follows L arm to high diagonal towards SR 7 Cross L leg behind R leg and turn over L shoulder to face SL L arm lowers, crossing in front of body; both arms move to behind the back 25

26 8 Step R leg US and continue turning over L shoulder to face US Both arms meet behind back; both hands hold the notebook 1 Continue turning over L shoulder to face DSR, step back on L leg, brush R leg back through 1 st position, R leg stretches behind body slightly off the floor, L leg stays in plié 2 Small hop on L leg, keeping R leg straight and to the back Travelling from DSR to USL, step back on R leg, chassé backwards L, R Arms stay behind back with both hands holding the notebook 5 Step along diagonal onto L leg to turn to face DSL corner Transfer notebook to R hand 6 Hop on L leg, bringing R toe to L knee Circle R arm overhead through side of body 7 Tuck R leg behind and drop onto floor on the R knee L hand places on floor 8 Roll through R hip to seated position and spin round towards the L to face DS legs crossed Carry arms behind the body and place the notebook on the floor behind the hips 1-2 Lean body to the R, allowing the L hip to lift off the floor Place R hand on floor next to R hip Look SR 3-4 Lean body to the L, allowing the R hip to lift off the floor Place L hand on floor next to L hip Look SL 5-7 Uncross legs, place feet on the floor, lift hips and take several tiny steps around the arm circling clockwise to face DS, ending with L foot on floor and R knee down with toes tucked Place R hand on floor with finger tips facing US 8 Head lifts to look DS 1-2 Slowly stretch legs R arm reaches in front and slightly across the body with 26

27 the lower part of the arm facing up, fist clenched 3-4 Slowly stretch legs L arm repeats movement stacking on top of R arm with clenched fist 5-6 Slowly straighten legs to full standing position R arm retracts towards body and stacks on top of L arm with clenched fist 7-8 Head tilts back to look up to the sky pivot steps stepping up onto the ball of the L foot then stepping into plié on the R foot travelling backwards Both arms circle down, back behind the body, overhead and forward to the height of the shoulders in parallel 5-6 Lunge L leg side in parallel, R leg extends to parallel side tendu, upper body twists L to DSL R arm reaches out from R shoulder and crosses body to extend on high diagonal towards DSL corner with palm facing up Look over the R fingertips 7-8 Repeat to the R Keep R arm extended across the body and thread the L arm on top and across the body so the arms are crossed at the elbows on a high diagonal 1 Turn to face DSR, step back on L leg, brush R leg through 1 st position to back and lift slightly off the floor with a straight knee Arms lower through centre of body and down by the hips 2 Hop on L leg Both arms circle back behind body and overhead keeping the elbows straight Travelling from DSR to USL, step back on R leg, chassé backwards (L, R) 5 Step along diagonal onto L leg to turn to face DSL corner Transfer notebook to R hand 27

28 6 Hop on L leg, bringing R toe to L knee Bring R arm overhead through side of body Turn to face USL and travelling towards DSR corner, chassé backwards (R, L, R) On count 8, head looks over R shoulder to DS 1-2 Shift body to face DSL and sway onto L foot, both legs in wide parallel position with a curved spine to the L Head sways to L; L ear dropping towards the L shoulder 3-4 Sway to the R with a curved spine to the R Head sways R 5-6 Step L, leap and land on R leg turning over L shoulder to complete a full turn 7-8 Step L to face USL, R leg straight and to the back Arms lift in front of body on a high diagonal with clenched fists and arms crossed at the wrist Look up towards hands 1-4 Pivot to face DSR and slowly kneel to the L knee into a crouched position Arms stay crossed at the wrists and carry overhead to end covering the top of the head Tuck the chin towards the chest and look down 1-32 The final part of the dance should be created by the students, and tasks to achieve this are outlined in Strand B: Creative strand Teaching Tips Remember to start by working on the tasks from the Creative and Wider Learning strands to help develop characterisation and build the set dances in manageable sections. Students will require a notebook as a prop. Notes on Style The dance should be performed with an understanding of the narrative, and this should be discussed with students in conjecture with their knowledge of the historical events of WWII and can be developed contextually by discussing current affairs that affect children. Expressions will be expected to change throughout the dance to reflect the narrative and these could also be reflected in the dynamic qualities of the movements. There are no set counts for the beginning. Instead, students are encouraged to find their own rhythm 28

29 Dance Dance B The Water Cycle Music: Weather Storm Massive Attack Counts Steps Arms Head Commence: Facing the outside of the circle (see notes on style) in a wide parallel 2 nd position, slight bend in L leg R arm lifts across the body to a L high diagonal, palm facing down. L arm relaxed at side. Introduction 16 counts Hold Hold wiggle R fingers 1-3 Lower R arm on a diagonal across the body to extend to a low diagonal to the R, bending the elbow as it passes through the centre of the body. Fingers wiggle to create rain. 4 Reach L arm across the body to a R high diagonal 5-7 Lower L arm on a diagonal across the body to extend to a low diagonal to the L, bending the elbow as it passes through the centre of the body. Fingers wiggle to create rain. 8 Reach R arm across the body to a L high diagonal 1-3 Gallop to the R (R, L R) Circle R arm down, out through sides and across body 4 Stretch L arm across the body to a high diagonal 5-8 Repeat previous 4 counts on opposite side Repeat previous 4 counts on opposite side 29

30 1-3 Step turn step (R, L, R) turning over the R shoulder and travelling along the perimeter of the circle 4 Squat down so hips are on the heels Lower R arm on a diagonal across the body to extend to a low diagonal to the R, bending the elbow as it passes through the centre of the body. Fingers wiggle to create rain. Reach R arm to the side, placing R hand on the floor along the perimeter of the circle, relax L arm to side of body Walk around the R arm (L, R, L) to face the inside of the circle 7 Tilt body from the R to the L Lift the R hand from the floor and place the L hand on floor along the perimeter of the circle Walk around the L arm (R, L) to face the outside of the circle 2 Tilt body from L to R Lift L hand from the floor and place the R hand on floor along the perimeter of the circle 3 Facing the outside of the circle, extend the R leg to rest the foot on the floor Balance on R arm 4-5 Extend the L leg and stack it on top of the R leg to a side plank balancing on the R arm L arm extends and circles through side of body overhead 6 Move to a kneeling position to sit on the heels facing the outside of the circle L arm continues to circle overhead crossing over R side of body to rest on thighs with palm facing up Follow curve of the spine 30

31 7-8 Lift R arm through side of body and circle overhead, cross arm in front of body and rest on top of L hand with palm facing up Follow curve of the spine 1-3 Lift up through hips Circle hands spiralling upwards Lift up through hips 4 Extend L leg to the side Reach cupped hands up 5-7 Roll through R hip onto L hip Place hands on floor behind hips 8 Extend R leg to the side Reach cupped hands up 1-4 Repeat previous 4 counts to the other side 1 Place L foot on floor in front of R knee travelling back along circle 2-4 Step 180 onto R foot, place L leg behind in a forward lunge facing direction of the circle with both feet along the perimeter of the circle Fall to waist height still outstretched Arms extend in parallel in front of the body 5-6 Circle torso to R into high release Both arms circle to R and overhead (straight arms) Follow curve of the spine 7-8 Continue circle of torso from high release to L side bend Travelling clockwise around the perimeter of the circle, chassé in plié (R, L, R) Maintain arms overhead and carry to L side with side bend Arms lower to sides of body 3-4 Step L, jump both feet together to natural parallel position Swing R arm up through 2nd position to above the head and lightly swing it diagonally down and across towards the L hip 31

32 5 Spiral over L shoulder 180 to travel backwards along the circle 6-8 Step backwards, chassé (L, R, L) + Turn over L shoulder 180 to travel forwards along the circle, turning on R foot and keeping L leg in front of body Travelling forwards along the perimeter of the circle chassé (L, R, L) 3-4 Step R, jump both feet together to natural parallel position Swing L arm up through 2nd position to above the head and lightly swing it diagonally down and across towards the R side at waist height 5 Turn over R shoulder 180 to travel backwards along the circle 6-8 Travelling backwards along the perimeter of the circle, chassé backwards (R, L, R) 1-8 Repeat this travelling sequence on the R as previous 1-2 Turn over the R shoulder, step R, and spring L completing a full turn and returning to face outside of the circle Arms lift through sides of the body to 5 th position 3-4 Spiral up through the R shoulder 5-8 Stretch out arms and wiggle fingers down and sweep the R forearm in front and L forearm behind the body, arms bent at the elbows 32

33 1 + 2 Turn to face direction of the circle, travelling forward along the perimeter of the circle 3 steps (R, L, R) Arms open out to sides and scoop forward with slight curve in the elbows to slightly below shoulder height, palms up steps backwards (L, R, L) Arms drop to sides and lift behind body, elbows reaching up, arms slightly curved 5-6 Pause steps forwards (R, L, R) Arms scoop forward and lift slightly above shoulders steps backwards (L, R, L) Arms drop to sides and elbows lift behind body with slight curve of the arms 3-4 Pause steps forwards (R, L, R), finish with R foot in front, both heels off the ground Arms scoop forward and lift slightly above shoulders 7-8 Pause 1-4 Bring L leg through and step, turn onto the R and step onto L leg into a long lunge with use of natural turnout Arms circle across body and through the sides to a high V with palms up and elbows slightly curved 5-6 Spiral to the R and face into the circle Arms stay on the back and twist with the body Follows curve of the spine 7-8 Repeat spiral L away from the centre Follows curve of the spine 1-4 Circle the R arm over and across body to its SP 33

34 5-7 Circle the L arm over and across body to its SP 8 Transfer weight back onto L leg and extend the R leg Drop the rams 1-3 Step onto R leg, cut under with the L and step again onto the R Swing R arm over 4-7 Place L leg under and drop to floor and roll to the other side and step up onto L leg to recover to standing Place L hand on the floor 8 Transfer weight back onto R leg and extend the lolled 1-7 Repeat the previous 7 counts starting by stepping onto the L leg 8 Transfer weight onto the L leg in a side lunge R arm stretches across on a high diagonal across the L side of the body, palm facing down. L arm relaxed at side The final part of the dance should be created by the students, and tasks to achieve this are outlined in Strand B: Creative strand Teaching Tips Remember to start by working on the tasks from the Creative and Wider Learning strands to help develop characterisation and build the set dances in manageable sections All movements from the dance have been covered throughout the technical exercises and aim to develop these creatively. Notes on Style 34

35 The dance should mainly be performed with a flowing and often indirect dynamic as suggested by the music. The dancer should demonstrate a composed style through out the performance. The timing of the steps with the aural accompaniment are designed to fully realise the potential of with the aural a capable and technical dancer. This dance travels in a circle and dancers can start anywhere along the perimeter of the circle. 35

36 Training Exercises Training Exercise 1 Warm Ups and Cool Downs Training exercises 1 and 2 are outlined at Grade 1 and 2 and should continue to be used with the suggested extensions to create an enjoyable learning environment whilst developing social interaction. A) Counted Gallops Student holds hands in a circle, weight on L leg, R foot stretched out. Gallop to the R x 8, gallop to the L x 8, gallop to the R x 4, gallop to the L x 4, gallop to the R x 2, and gallop to the L x 2, Skip (R, L, R, L). Repeat or reverse. Top Tips: As this warm up activity cognitively engages students, it is suitable for 7-17 year olds. If you have a large group, you can utilise two circles travelling in opposing directions. B) Walks, Runs, Gallops An effective and quick warm up could be a series of walks, runs and gallops that additionally incorporates the use of arms and body. Depending on space, this could be performed with a set circle, or much freer, encouraging the students to make directional decisions to engage them cognitively. This warm up could then be further developed by the students suggesting actions that could also be incorporated. Top Tips: You can assign numbers to the movements to correlate with the movement. You can ask students to suggest movements and also give students responsibility for calling out the numbers. Use a slower track and choose movements with a softer dynamic to utilise this exercise as a cool down. These movements should include slower dynamics. C) Walk Run Melt Shock Each instruction has a corresponding action. The melt action should also include a recovery. Top Tips: To develop cognitive thinking, the actions can then be switched; Walk = Run Run = Walk Melt = Shock Shock = Melt (and recover) Top Tips: Ask the students to suggest a trigger word and a corresponding action to develop this movement game. Remind them that all the actions should be performed in silence or this can get rowdy. D) Crab Pool 36

37 This warm up game is great for getting students warmed up via a fun game. As it is fast paced, it develops agility and spatial awareness, which is specifically important for large group dances. Mark off a large area in the studio. One or two students start as crabs - in a cross-legged position, they place their arms down to lift their torso. They then must move like that. They travel around the pool, and if they tap a student via their arm or leg, that student also must join them as a crab. The standing students must try and avoid the crabs by running around the pool They automatically become a crab if; They step out of the pool They make a noise (this is usually a squeal as they are so excited) They bump into anyone they both become crabs The last student standing is the winner Top Tips: Play this game a few times to ensure that the focus is not the winner. Reiterate that it is not worth getting hurt, i.e. students trying to wildly jump over the crabs. Play with bare feet - so the risk of injury is reduced. Ask for volunteer crabs rather than you choosing them. 37

38 Training Exercises Training Exercise 2 Mobilisation of Joints and Lengthening of Soft Tissue Counts Steps Arms Head Commence: Introduction Natural parallel Body scan to check alignment 8 counts 1-2 Turn to R and return C 3-4 Lift to high and return C 5-6 Turn to L and return C 7-8 Drop to low and return C 1-8 Repeat head sequence to L first 1-8 Fingertips to R shoulder and 2 x circles of the shoulder backwards 1-8 Finger tips to R shoulder and 2 x circles of the shoulder forwards 1-16 Repeat shoulder rolls on the L 1-8 Drop hands to sides, 4 x circles of R arm backwards x circles of R arm forwards 1-16 Repeat arm circles with L 1-4 Step into a natural 2 nd position Arms lift into 2 nd position 1-4 Side stretch to the L and stretch the R side 5-8 Tilt from the hips to stretch the torso over to the L leg R arm lifts over the head to follow line of the stretch Arms fall towards the floor or may hold leg 38

39 1-4 Stretch forward between the legs Arms fall towards the floor 5-8 Stretch over to the R leg Arms fall towards the floor or may hold leg 1-4 Side stretch to the R and stretch the L side L arm lifts over the head to follow line of the stretch 5-8 Recover spine back to centre L arm lowers to 2 nd and the R arm lifts to 2 nd position 1-24 Repeat stretching sequence starting on the opposite side. On the final 4 counts move feet back into natural parallel 1-8 Lift R knee towards mid-torso height Hold knee 1-8 Lift R ankle behind the hips Hold ankle 1-8 Place R leg back into a long lunge Place hand lightly on knee 1-8 Rotate 90 into side lunge Place hands onto floor 1-4 Rotate back to the front and curl up through the spine 1-36 Repeat from lifting of the knee with L leg Training Exercises Training Exercise 3 Awakening the Body Counts Steps Arms Head Commence: Natural parallel position Arms by sides Introduction 8 counts Body scan to check alignment Soften knees x 8 Shake arms and hands down x 8 39

40 Alternating shoulder rolls x Soften knees x 8 Shake arms and hands to the side x Soften knees x Alternating shoulder rolls x 8 Shake arms and hands down x Alternating shoulder rolls x Roll spine forward with soft knees and recover Roll shoulders 3-4 Roll spine forward with soft knees and recover 5-8 Roll forwards through the spine Swing arms forward, around and to a high position Relax arms forwards and aim to place hands on floor 1-4 Recover through spine 5-8 Roll forwards through the spine Place hands on the floor and walk them forward slightly 1-4 Recover through spine 5-8 Roll forwards through the spine Place hands on the floor and walk them forward into plank 1-4 Hold 5-8 Walk hands back to downward dog (inverted V with stretched back, arms and legs) 1-4 Lift R leg 5-8 Bend R knee and swing forward to a lunge 1-4 Straighten R leg 5-8 Lunge 40

41 1-4 Rotate 90 to side lunge 5-8 Transfer weight to L side 1-4 Transfer weight back to R 5-8 Rotate 90 to front lunge 1-2 Step L leg forward into parallel and roll up through spine 3-4 Step back R, L Repeat the whole exercise with the L leg being lifted from downward dog Teaching Tips Training Exercise 2 and 3 can be used together to create an effective 6 minute warm-up which is useful when preparing for performances whether for show or for examinations. To maintain interest vary the music used including suggestions by students You could also vary the use of front in the studio or include some changes of directions as this will prepare students for the technical exercises. For example, once the students know the exercise you could introduce the use of a ¼ turn in the first 3 x 8 s. 41

42 Training Exercises Training Exercise 4 Floor Work & Use of Spine Counts Steps Arms Head Commence: Sitting cross-legged on the floor, on sitting bones with an elongated spine, R leg crossed on top Hands placed lightly to the sides, only the fingertips to be on the floor Follows natural line of the spine throughout Introduction 8 counts Breathe and feel the continuous lengthening of the spine stretch up through the ankles and feet 1-4 Curve the upper spine forward 5-8 Recover 1-4 Curve the upper spine to R 5-8 Recover 1-4 Curve the upper spine forward 5-8 Recover 1-4 Curve the upper spine to L 5-8 Recover 1-4 Spiral through the spine to the R Place L hand onto L thigh and reach the R fingertips along floor 5-8 Recover Recover 1-8 Repeat spiral to the L 1-16 Repeat spirals to R and L 1-4 Stretch out R leg then L to 2 nd position (straddle) 42

43 1-4 Stretch over to the L side R arm reaches through sides of body to over the head, L arm stretches in the opposite direction 5-8 Stretch the torso forwards Arms stretch out from shoulders and fingertips are placed on the floor 1-4 Stretch over to the R side L arm reaches through sides of body to over the head, R arm stretches in the opposite direction 5-8 Bring the torso to centre Open up the L arm and bring up the R arm to stretch out to the sides 1-16 Repeat stretching to the R side to start 1-4 Fold into R leg and the L leg 5-8 Breathe Repeat whole exercise on other side 43

44 Training Exercises Training Exercise 5 Battements Counts Steps Arms Head Commence: Natural 1 st position Introduction 8 counts On counts 7-8 tendu R leg behind On counts 7-8 lift through sides of the body to 2 nd position 1-2 Step forward R, brush L leg through 1 st position, with soft knees, to slightly off the floor to front with straight knees Repeat with L and then alternate across the room Teaching Tips Initially you want to ensure that the students are retaining their posture during the battement and many students find this very difficult. To increase understanding replicate the exercise lying on the floor. Nno you can t tendu behind! But, you can lift the legs to the same counts as in the training exercise and ask students how the movement affects their pelvis and arms. Then ask them to identify (name or point to) the muscles that they think they should engage to retain their alignment. When students are confident with their placing you can then experiment with levels, e.g. 2 x with a soft knee on the supporting legs, then 2 x with a straight supporting leg, and then 2 x on a rise. When students are practicing this exercise as a group ensure that they are counting themselves in and coming across the room rapidly. If you have a large group you need to identify a task for them whilst they are waiting and not the next group to go e.g. can they stand on one leg and wait in silence, they must then note when the group in front has commenced and prepare for their turn. This will increase students cognitive involvement with a task. 44

45 Strand B: Creative Strand The following information relates to the Creative Strand of the Grade 3 syllabus. The content is not directly assessed in the examination, but it will help candidates to develop the characterisation and elements of presentation necessary to achieve the highest grades. The Creative Strand is divided into two sections: A: Improvisation/Movement Generation B: Composition We have included some tasks, which will get you started on delivering this content, but teachers are encouraged to tailor and develop these tasks and are free to add additional tasks as they see fit. We would strongly recommend undertaking the Improvisation/Movement Generation tasks before learning the set dances, as this will encourage the candidates to develop their own characterisation and personality which they can bring to the choreography, rather than copying the nuances from the written syllabus and filmed recording. Teaching Tips At Grades 2 and 3, Set Dances A and B will introduce students to a greater range of complexities in genres of music as indicative of professional contemporary dances. Additionally, the final 32 counts will be choreographed by students as the end sequence for the set dances incorporating the bow. This will support the ethos of creativity in the dance studio. As in Grade 1 these dances will have a narrative to enable them to be fully accessible to this age 7-12 whilst additionally fulfilling the Learning Outcomes of mainstream education at Key Stage 2. Key Stage 2 is the legal term for the four years maintained in England and Wales normally known as Years 3-6 where pupils are aged The term is applied differently in Northern Ireland P5-P7 aged 8-11 years. Depending on the age of your students you will be covering subject matter that they are currently covering in mainstream education or you will be deepening their knowledge and understanding of the subjects that have already been covered i.e. Year 7+. Set Dance A covers the Learning Outcomes required in mainstream education and offers a cross-curriculum learning opportunity of Literature WWII and British History. Set Dance B covers geography and the natural world at KS2 and this is also part of KS3 geography, therefore it is a great dance to use with year 7, 8 and 9 students. 45

46 A: Improvisation/Movement Generation Task 1 (Preparation for Set Dance A): The Diary An Emotional Understanding of the Narrative 1) Identity 8 moments in the dance to describe and/or draw the movement and associated feelings? Provide a worksheet (see Appendix A) to complete this for the 8 chosen moments Ask students to reorder the moments to create a new piece of dance. This could be achieved as a solo or a duet and could also lead to a peer-teaching task e.g. each student could create 16 counts and then peer-teach this in duets so that they have phrase 1 and phrase 2 to complete 32 counts. 2) Faster, Slower, Stillness Once the phrase has been completed ask students to relook at the timings of their chosen movements and ask them to apply the terms faster, slower, stillness to their finished dance Students may have to further edit the dance to ensure that they still have 32 counts. 3) Low, Middle High Ask students to consider the use of levels. Suggest that they apply these three terms to specific steps or phrases in the dance; this may also affect their speed. Whilst students are generating these phrases it would be really useful to video them at the different stages and ask the students to review these to lead to a discussion on how and why the phrases have improved? Task 2 (Preparation for Set Dance B): The Water Cycle 1) Can they name the 4 stages of the water cycle? Provide a worksheet (see Appendix B) to complete this. 2) Ask the students to use the 4 stages to create a new piece of dance. Again, this could be achieved as a solo or a duet and then could lead to a peer-teaching task as described for Dance A. 3) Are there other weather occurrences that they think would work well as a piece of choreography? You could provide a variety of music to suggest other states e.g. Vivaldi s Storm. For both tasks there should be an opportunity for students to perform their choreography and receive feedback. This could be ipsative from viewing a recording or from their peers: 1) Name one aspect of the new choreography that they liked 2) Name one aspect that needs further development. 46

47 B: Composition Task 1 (Development of Set Dance Material and Student Bow) From the improvisation tasks, students should be able to choreograph the last 32 counts of their chosen Set Dance and this should include a bow to the examiner/audience. Depending on the age and ability of students, they may be supported on this task. For example, it may be created via a group task with students choosing their last 8 counts. 47

48 Strand C: Wider Learning Strand The Wider Learning Strand is about gaining knowledge and understanding of Contemporary Dance and studying some of the best-known shows from the repertoire (appropriate to the level and age range). Dance students should know about their art form and be familiar with the repertoire, just like students of music, art or drama. In addition, the study of repertoire is one of the best ways of encouraging performance style and quality. Students can be inspired by watching (and listening to) great performances by leading professionals. Teachers Notes: A) How and why are props used in dance? 1) A facilitated discussion to understand the use of props in dance. This may also include any knowledge they have on props used in a wide range of dance genres. Dance and choreographers often make use of props, why? Examples: Jiri Kylian Petite Mort: (Only up to the first 2m25s) Sutra - Sidi Larbi & Antony Gormley with the Shaolin Monks: Are the boxes a prop or scenery? Matilda The Musical! Semi-Finals BGT: Matthew Bourne's NUTCRACKER (Official promo montage): a) Put students into duets or groups can they list all the props they can notice in the Nutcracker! Promo video? Why do they think Bourne makes use of props in this way? b) Discuss whether they think there is a difference to how props are used across dance genres? c) To what extend do they enjoy using a prop? d) Have they been involved in other dances where a prop was used, how successful was this and why? As in the previous grade it would be interesting to create a mood board or a display with images and comments on to identify the students learning. 48

49 B) Dance and Science What is meant by these four stages? 1) Precipitation? Where does this happen more often? 2) Collection & Transpiration? How does the water collect on earth? 3) Evaporation What causes this? 4) Condensation? How can we see this? Why is it called a cycle? Resources The water cycle (KS2): The water cycle and river terminology (KS3): 49